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Volume 3/Number 7/August 1960

Editors: Nat Hentoff

4 Tatum, the last years
Martin Williams
Mait Edey
Contributing Editor: Gunther Schuller
6 Kenny Dorham Publisher: Hsio Wen Shih
Henry A. Woodfin
Art Director: Bob Cato
10 Waller to Wellstood to Williams to Chaos The Jazz Review is published monthly
Dick Wellstood by The Jazz Review Inc., 124 White St.,
N. Y. 13. N. Y. Entire contents copy-
Gigantic Baby Dodds right 1960 by The Jazz Review Inc.
Bruce King Israel Young and Leonard Feldman were
among the founders of the Jazz Review.
16 Introducing Scott La Faro Price per copy 50c. One year's subscription
$5.00. Two year's subscription $9.00.
Martin Williams Unsolicited manuscripts and illustrations
should be accompanied by a stamped, self-
addressed envelope. Reasonable care will be
RECORD REVIEWS taken with all manuscripts and illustrations,
but the Jazz Review can take no responsi-
bility for unsolicited material.
18 Bill Evans by Don Heckman
Duke Ellington by Don Heckman
19 Ella Fitzgerald by Don Heckman
Wardell Grey-Stan Getz by Harvey Pekar
20 Helen Humes by Louis Levy
Mahalia Jackson by Peter Turley
21 Milt Jackson and Coleman Hawkins by Louis Levy
John Lewis and the M. J. Q. by Max Harrison
22 Gerry Mulligan by Max Harrison
23 Stuff Smith by Stanley Dance
Buddy Tate by Stanley Dance
24 Billy Taylor by Mimi Clar
Lester Young with Count Basie by Ross Russell
25 Shorter Reviews

27 by H. A. Woodfin, Stanley Dance and J. S. Shipman

30 B. H. Haggin's The Listener's Companion by Martin Williams

LU Nowhere to Go by Donald Phelps

31 WHAT-FM by John F. Szwed

I 32 Jazz In Print by Hsio Wen Shih

36 The Word Jazz by Alan P. Merriam and Fradley H. Garner

38 Reconsiderations, John Lewis Compositions by David Lahm

an obstacle, and although Tatum's time is subtle and
precise, it doesn't provoke finger popping. And his
harmonies are far from idiomatic modern, often simp-
ler taken chord by chord, but far more complex con-
sidering the uses to which those chords are put. To the
young player of the fifties, Tatum was neither a re-
spected ancestor nor a contemporary facing the same
problems and applying the same techniques. He was
a giant to admire, but not to emulate. For that you
Tatum turned to somebody like Bud Powell, or to one of the
many pianists of somewhat lesser influence.
Yet is was these years, the early and middle fifties
The (Tatum's last half decade), which produced his most
extraordinary recorded work. Norman Granz deserves
a lot of our gratitude for recording him so prolifically
Last Years during this period. Indeed, it was wise to record Tatum
in quantity if you wanted much music of quality, be-
cause of all the very great jazz players Tatum had the
most frequent and horrible lapses of taste. Granz has
issued his Tatum unselectively, it seems, and these
lapses make almost half the material on the "Genius"
series and the subsequent posthumous releases hardly
worth hearing.
Mait Edey As he grew older, Tatum seemed to exhibit an increas-
ing preference for ballads. At any rate, his treatments
of ballads are notably more successful than his up-
tempo performances. There is a simple reason for this.
Most jazz musicians have plenty of musical company. Tatum's improvisation was never primarily melodic,
They learn with others, work with others, and more but harmonic. And most of the up-tempo tunes he
or less inevitably reflect the playing of others. Even the chose to record were, for some reason, relatively shal-
few really radical innovators are isolated only until low dixieland or fast show tunes which were hardly
they begin to collect followers. It's only natural that the vehicle for his enormous harmonic capacities.
the history of jazz is largely the history of groups of On something like Tiger Rag he was completely reduced
musicians working things out in common, in a web to bravura display, unable to bring his real talents to
of mutual influence, each one travelling pretty much bear. A gifted melodic improvisor can do wonderful
the same road. Of course, some stop where others things with simple hidebound progressions, but in
begina function of age, by and large, some go farther Tatum's hands they tended to become pieces of expert
than others in the time they have, and detours and triviality. Few musical experiences are as discouraging
backwaters exist. Still, jazz is a remarkably collective as hearing Tatum wasting his time on inappropriate
endeavor. Almost any player's style specifies his par- material, as he did too much of the time.
ticular slot in the ample historical pattern. It was his totally different approach to improvisation,
Art Tatum worked in a peculiar kind of musical soli- rather than just a preoccupation with ballads, and a
tude. After the thirties, jazz went the way that Christian, superficial difference in sound, which set Tatum apart
Young, Parker, Gillespie, and a handful of others set. from the stream of modern jazz. Unlike most players,
Tatum, though, branched off at the end of the thirties his aim was not to construct new lines over a given
on his own tangent. He had absorbed his early Johnson- progression, but to play or suggest the melody of the
Waller-Hines influences and now he went his own way. tune chorus after chorus, erecting a massive structure
Comparison of his last records with his earliest will of countermelodies, fluid voicings, substitute chords,
indicate that he went pretty far, but it wasn't in the and sometimes whole substitute progressions beneath
direction everybody else was taking. Nobody could it. (Some of the early stride pianists occasionally op-
really follow him, and he evidently didn't care to fol- erated this way, though on a far less ambitious scale;
low anybody else. Pianists almost universally admire it was this school of pianists that provided Tatum with
him, but only very few show or have shown the ability his strongest roots.) At worst, the melody would be
or the inclination to absorb any of his lessons. What adorned with cascades of runs, at best it would serve
they have absorbed are only isolated elements of his as a mere framework, becoming fragmented into
style, and they use them in a radically different con- essential motifs which would constantly recur altered
text. The later Tatum and bop developed side by side, and revoiced. Occasionally Tatum abandoned the mel-
and I think that either would have been very much the ody altogether, to plunge into passages of what were
same even if the other had never existed. essentially free improvisation. You can hear a relatively
The result, of course, was that during the early and simple example of this on You're Blase, on "The Great-
middle fifties Tatum's music was utterly unlike the est Piano of Them All," Verve MGV-8323, which con-
rest of modern jazz. Many of today's young hippies tains a free, sixteen-bar passage between the first
probably find his records baffling and uncongenial. and second choruses, rather like a long second intro-
(On one occasion I was informed that Tatum had no duction. A more ambitious and lovely example is the
soul, just fingers.) Some surely find all that embroidery second chorus on In a Sentimental Mood on "The

Genius of Art Tatum, Vol. 5," Verve MG V-8040, and comfortable and successful with this extended ballad
there are others scattered here and there through the format than with any other.
Verve albums. These passages tend to be short formal His last two albums do not rank with his very best on
pieces in themselves, based on a few little chromatic Verve. Like all the others, they are extremely uneven,
motifs, carefully related and developed. But such ex- but the best passages, naturally, are sublime, and you
cursions return inevitably to the theme, or a para- can feed out of the rest. The last Ip, "More of the Great-
phrase of it in some form. est Piano of Them All," is by and large a less stimulat-
I don't mean to leave the impression that Tatum never ing set than the other. It is studded with lovely things,
indulged in really melodic invention or couldn't do it. but they are separated by passages in which the Tatum
His melodic lines fall into roughly two classes. First, imagination seems to be taking it easy. There are two
rather conventional and often dull swing lines, inter- tracks of consistent excellence, however, which alone
spersed with decorating runs; there is plenty of this would make the album well worth anybody's invest-
sort of playing on Indiana, on "More of the Greatest ment. The first of these is the ballad Isn't It Romantic,
Piano of Them All," Verve MG V-8347, as on many of his which contains samples of Tatum's most sophisticated
performances of old up-tempo standards. But secondly, use of left-hand counterlines. (A couple of years ago
Tatum sometimes got off on passages of extraordinary Verve released another version of this tune on which
original melody, long eccentric lines full of unexpected Tatum was accompanied by Jo Jones and Red Cal-
holes, leaps, and accents. You can hear examples, lender. A comparison of the two will indicate how in-
sometimes too brief, on a number of his Verve record- hibiting he found even the best of rhythm sections.)
ings, almost invariably ballads. Of course, his melodic The other, unexpectedly, is the medium-fast and very
inventiveness with passing phrases and counterlines swinging Happy Feet, a nearly perfect performance
needs no comment. No one else in jazz has remotely of its type, virtually free of frosting. Several other
approached it, not even Ellington. Monk probably comes tracks would be in the same class but for some vacuous
closest, though I suspect he and Tatum didn't really passages.
pay much attention to each other. This, incidentally, The other Ip contains first-class Tatum at greater
is a pity, because if Tatum had been able to restrain length. Except for those ubiquitous runs, You're Blase
himself sufficiently, he would have been the ideal inter- is a fine ballad. It is an odd tune in that its bridge is
preter of Monk's compositions. only four bars long. Tatum revoices that little bridge
A paradigm Tatum ballad (there are plenty of excep- completely each time, producing what amounts to a
tions to what I'm about to say) starts with an intro- series of related interludes, and introduces a shortened
duction of anywhere from four to sixteen bars, fol- final chorus with it. That Old Feeling is a staggering
lowed by a chorus or two out of tempo, several chor- performance (though it too has occasional lapses)
uses in tempo, and sometimes leaving the tempo with a hardly believable wealth of inventionrich
again for the final full or half chorus. Occasionally a voicings and substitutions, implied resolutions, frag-
coda is appended. Many of Tatum's introductions, ments of melody out of phrase, and so on. You're Mine,
especially the longer ones, are masterpieces in them- You is only slightly less impressive, slightly less fertile.
selves; they exhibit all his harmonic variety. The tran- There is more original musical matter in these pieces
sition from out-of-tempo to in-tempo was often gradual. than occurs to most pianists during the course of a
Traces of the beat would be anticipated ahead of whole night. Tatum packs into a few dense bars the
time, and often Tatum would be in strict tempo before content a lesser pianist would spread over a long solo.
a casual listener would be aware of it. Some but not Heat Wave is a short performance in a swinging middle
all of his in-tempo ballad choruses employ a variety tempo. The tune's simplicity is not inhibiting in this
of swing basses. These are rooted in stride patterns, case, and Tatum's brief departures from the key and
but are more complex harmonically and structurally. his compressed sequences of passing chords are
Tatum likes to turn the stride bass upside down for a especially striking, given their straightforward context.
few beats at a time, playing the bass note on the This is a good introduction to his methods for those
second beat and the middle-register chord on the first; who aren't familiar with them. There is also much of
he got a very rich texture by rapidly turning back and interest on I Didn't Know What Time It Was, a relatively
forth in this way and interspersing cadences of tenths rambling interpretation. But the most stunning passage
and other open voicings, as on Isn't It Romantic, is the second chorus of What's New, a piece of impro-
Verve MG V-8347. He flavored these left-hand swing visation matching anything Tatum ever recorded. The
patterns with some very advanced inversions, used subsequent choruses don't maintain the pace, but for
with the utmost discretion and subtlety so as not to providing us with that second chorus (and the last
destroy the consonant sound which he liked so well. verse of the first) we can forgive Tatum every frill and
But these choruses are not usually the most interesting. every piece of bombast that occurs elsewhere in his
The swing basses often prompted conventional swing work. Every aspect of his talent is evident here. He
lines, stride-style note clusters, or simply runs. Tatum follows the theme closely, alternating its fragments
was at his best (and swung just as persuasively) when with sweeping, dancing lines, cadences of chords
he left regular bass figures behind and used his left strummed as though on a guitar, and those tight little
hand to strike passing chords and phrases, ringing inventions opening like flowers from a single note into
single notes, and to lay down counterlines. Finally, clumps of intricate sound full of expanding and di-
the abandonment of tempo in the last chorus, unlike vergent motion. His touch and pedalling are beyond
the gradual movement into tempo, tended to be sudden, comment.
an abrupt crumbling of the beat, often with an accelera- I'm afraid it will be a long time before another pianist
tion and condensation of the theme. Tatum was more conceives of anything to match this.

sound. Indeed, his tone on all these records is dull,
flat, and somewhat erratic. While Webb City contains
his first work of the session, none of the other three
titles on the date display much better control or
conception. Among modern trumpeters only Miles
henny Davis had such an inauspicious beginning. In fact
many of Dorham's problems of time, tone, and idea
were very similar to those which were to plague Davis
dorham until the mid fifties.
However, Dorham was to work throughout the forties
in bop, and, although the pure bop idiom of Gillespie
and Parker was never to be quite natural to him, his
playing continuously showed signs of effort and work.
Even on some records made later in the forties with
Powell and Stitt, on tunes like Seven Up, Blues in
Bebop, and Fool's Fancy, he obviously had improved
H. A. Woodfin greatly in general control over his fledgling efforts. But
for the most part, his work on these tunes is still
basically awkward in articulation and content. His
rhythmic sense seems to have become slightly keener,
It is an indirect tribute to the subtlety of Kenny and he was able to sustain a solo better, but im-
Dorham's work of the last few years that he still holds portant though these acquisitions were, they did not
the reputation of a conventional hard-cooking trum- carry him far enough.
peter of the second rank. The real originality of his Nevertheless, on Bebop in Pastel and Ray's Idea from
recent work has passed unnoticed by the larger jazz the same group of recordings, there are hints of a
public, which has dismissed all of it without the care- developing style which are evident only now in retro-
ful attention which would reveal the real nature of his spect. In these improvisations he begins to work on
style. But Dorham no longer fits into a pigeonhole, and essentially melodic variations which transformed the
to listen to Dorham with understanding requires both line directly. These variations are never carried very
concentration and involvement. far and are hardly even partially completed, but they
Some musicians find their artistic identity at a young represent tentative steps toward a style and an iden-
age with little real difficulty, but for most it comes as tity. At this stage of his development his work could
the result of a harsh battle which may rage for years. only be inconclusive, for he had as yet not achieved
Dorham's artistic identity has come slowly through sufficient authority on his instrument, or even simple
contact and struggle with the often recalcitrant ma- mastery of the concept of thematic development for
terials of his art. Today, after fifteen years of playing, which he seems to have been striving.
Dorham has become a consummate and masterful Unfortunately his work with Charlie Parker in the late
trumpeter, one of the important voices in modern forties was not amply documented on record. We have
jazz. This formative process in the work of Kenny only very few recordings which indicate some progress
Dorham is, luckily for us, well documented on records. in general craftsmanship, but which are still somewhat
Dorham's development has been complicated, and unsatisfactory by any rigorous standards.
perhaps delayed, because he has worked for so many His most interesting solo in this series is on Segment,
years in a dominant style which now seems out of tune where he attempts to construct a thematic variation
with his temperament. When Dorham came to New York which seems designed as a development of the slight
from Texas in the late forties, he was naturally drawn melodic content of the theme into a fuller line. How-
into the bop movement, then in its first flowering. ever, this development comes to very little; the solo is
Good bop playing required musicians of exceptional quite incomplete and rather flat in contour. He was
rhythmic agility and harmonic skill, musicians who still limited by a dull, uniform tone and uncertain
could create at the often hectic tempos and with rhythmic attack. These difficulties of tone production
rapidly shifting chord patterns. The rather exhausting and rhythm are to be found throughout the recordings
demands on performers help to explain the relatively with Parker. There are certainly few indications in
small number of first rate bop recordings. The har- numbers such as Cardboard and Diverse that Dorham
monic density often forced even skillful and experi- was the musician he has become.
enced players into solo playing which was really only In retrospect, it is obvious that his playing was far
desperate chord running. steadier and more consistent than on the earlier
It is not surprising that the work of a young and un- recordings. This improvement was, of course, purely
schooled musician, as Dorham was then, should reflect a matter of degree. His performances with Parker are
the pressure of all these problems. His earliest recorded marked by a weak melodic conception and the above
work, with a group which included Bud Powell, Sonny mentioned failures of intonation and time. But it
Stitt, Fats Navarro, and Kenny Clarke, shows signs of must also be admitted that these lapses are, in gen-
difficulty with both harmonic and rhythmic problems, eral, less striking than those on Seven Up or Webb
and these difficulties were made more striking by City. We must note too that all of these lapses are
contrast with Navarro, an already mature and con- the results in a large part of Dorham's efforts to work
trolled musician. Dorham's solo on Webb City, for in the style of Gillespie and Navarro, whose rapidly
example, is disjointed, executed with a stiff but un- executed harmonic inventions were alien to his own
steady rhythmic attack and definite problems with line of growth. It is no exaggeration to say that Dorham
was still too burdened by the special problems inherent virtually all of his up tempo playing of the period.
to bop to find his own way with assurance. Falling in Love with Love is a particularly telling
This is readily apparent, I think, when we examine the instance in which he attempts to work out a melodic
Jazz Messengers recordings on which Dorham first variation at a fairly rapid pace. However, the improvisa-
speaks with some of the authority of a mature stylist. tion disintegrates into several fragments of meaningful
It was no accident that he found himself as a soloist development connected by thinner material.
with a group in which Horace Silver acted as musical But these failures should not be surprising if we
director. Silver simplified the shifting patterns of ad-lib realize the real nature of the style which Dorham was
passing chords in the accompaniment though he gave then perfecting. It is a technique of melodic variations
the soloists plenty of pre-set chord changes to make in which does not just embellish or decorate the line,
the writing itself. but which rather depends on the construction of each
Dorham in his earliest work with the Messengers is a solo as a melodic unit, the parts of which are integrally
thoroughly revitalized and highly disciplined performer. related by the underlying thematic pattern. The solos
In his solo on Room 608 the energy of his attack and are handled so that the melodic alterations seem only
the clarity of his tone alone are surprising when we proper and, indeed, inevitable. A great deal of the
recall the Dorham of earlier recordings. His time is force of this style comes from the manner in which
still somewhat stiff but far smoother than he had shown he utilizes his horn and embouchure from the middle
previously. On The Preacher his solo demonstrates a to the high register, with changes in tone and vibrato
control in the middle and high registers which allows made an essential part of the development. The
him to move with ease throughout these ranges. A maturation of this style can be found in much of the
better sustained melodic conception allows him to slow tempo work he did with Roach's group in the late
achieve on Doodlin' a blues invention of some strength fifties. My Old Flame is an. outstanding illustration.
and conviction. His playing here constitutes a sustained rewriting of
the original melody in a stark but impassioned manner,
However, he had not yet recorded a solo which is
given color and shadow by the dramatic use of the
really memorable in all respects. What we do find is a
trumpet's tonal resources. The release of the first
good soloist whose work is respectable, but not yet
chorus when he changes from the quietness of his
really distinguished. His lack of distinction is still
preceding playing to a sharp biting tone not only sur-
plain on the later recordings with the Messengers, al-
prises the listener but completes a thematic pattern,
though there is a marked improvement in his rhythmic
in which this change of tone is an important element.
concept. Sportin' Crowd contains a solo in which
Parker's Mood is an interesting display of the use of
Dorham masters the rhythm by riding easily along,
half valve effects in a full development of the Parker
interacting with Blakey at a medium fast tempo. But
theme. Dorham here takes full advantage of all the
his ideas, while consistent and well played, are not
possibilities of a limited given material and produces
first rate. Well executed but undistinguished solos are
a total work of considerable complexity which is both
present throughout the records in Soft Winds, The
satisfactory and complete.
Theme, and Minor's Holiday. In Like Someone in
Love he demonstrates an exemplary control without The body of his work from the period with Roach
developing any striking line. includes many instances in which his method is suc-
cessful, but few of them are at up tempo. Indeed, it
But on Yesterdays he shows conclusively for the first would seem that he was not then able to adapt this
time that he is more than just an accomplished and sort of style to fast tempos. Much of his work at up
professional soloist. He focuses on the theme and tempos was either in the harmonic bop style or were
develops it in a melodic improvisation which extends, attempts at melodic variations which fail. Billie's
refashions, and toughens the line into a musical entity Bounce is one example of a successful up-tempo
obviously related to the original, but goes far beyond invention in which the ideas are well conceived and
it in scope and meaning. He treats the theme as a the/hythmic fluency of his playing is outstanding, but
rough sketch which must be filled in. This improvisa- much of his work in this vein is indifferent and shows
tion is singularly dramatic in its angularity and its that Dorham is not a cooking musician of the Clifford
contrasts of tone production, immediately impressive Brown type. The uniqueness of his conception finally
both in its variety of detail and its unity. Rhythmically, became obvious during 1959, the year in which he per-
his pattern of suspensions, anticipations, and synco- fected his style. In 1959 he produced two widely neg-
pations is an integral part -of the work. His earlier lected recordings which leave no doubt of the originally
difficulties in tone control are nowhere to be found, lected recordings which leave no doubt of the origi-
and his masterful use of the expressive possibilities nality or the quality of his musicianship.
of the tonal variety available on the horn cannot be On the better of these recordings, he was accom-
overlooked. Yesterdays established Dorham as a mu- panied only by a rhythm section. His performances of
sician of consequence who had thoroughly proven the Lotus Blossom and Blue Spring Shuffle show con-
constant progress he had made since his beginnings. clusively that his difficulties in sustaining an im-
His insecure work at medium and fast tempos with provisation at an up tempo have been settled. His
the Messengers continued in much of his subsequent improvisations here are impressive both by their skill
work with Max Roach. On Mr. X, for example, his execu- and their content. Lotus Blossom is particularly strik-
tion is for the most part good, but significant ideas ing because of the consummate ease with which he
are not many and when they do appear they are seldom blends his thematic ideas with a rhythmic attack
carried very far. The same flaws are to be heard on which is dependent on Art Taylor's well patterned work

and yet sets up its own counter pattern. Blue Spring
Shuffle demonstrates an equally impressive rhythmic
ease. However, perhaps his most interesting work to
date is to be found in Blue Friday where he sustains
a beautiful angular variation which is kept in motion
by an amazing and subtle variety of devices of tonal
inflection and rhythm. The entire construction stands
as a tribute to the years of work that Dorham has
devoted to his art.
Only slightly less successful is his work with Cannon-
ball Adderley in a series of arrangements scored for
a septet with French horn and baritone. The arrange-
ments do not come off very well and damage the
impact of the recording. Nevertheless, Dorham's work
is consistently interesting and shows again the extent
of his mastery of his own style. Spring is Here is an
excellently controlled study in detail and contrasts,
while Passion Spring is a marvellously sustained im-
provisation which is built logically in whole and part.
If Dorham is today a mature and skilled soloist, he is
also the exponent of a style which is unique among
modern trumpeters. His technique of dramatically
developed melodic variations is without imitators as
yet. Of course, in one way or another it is the keystone
for the styles of Monk, Coleman, and Rollins. In this
respect Dorham is firmly in the line of those post-bop
soloists who are working beyond the limitations of the
bop idiom. Still none of the trumpeters who may be
thought of as a part of this loosely defined movement
has attempted much in this line. The melodic solos of
Miles Davis are, for the most part, spun-out lines and
are not constructions in the way that Dorham's are.
The nature and scope of his style today raises the inter-
esting question of what Dorham will do next. It seems
clear that he really requires a stable group of some
sort which would provide him with a framework and
would allow him to establish his musical personality
fully. This was exactly what Davis, for example, was
able to do with his often badly assorted quintet/sextet.
But Dorham has so far been too dependent on casual
recording dates, and public understanding of his work
and its nature has, consequently, been too rare. But
with a unit of his own upon which he could place his
own stamp, it would be no longer possible to mis-
understand the musical achievements which are now
so undervalued.
Whatever the public image of Dorham, a serious ex-
amination of the body of his work shows incontestably
that he is, along with Davis and Farmer, one of the
modern masters of his instrument and the originator
of a style which is both new and impressive.
Fats Navarro: Savoy MG-12011. Webb City, Seven Up, Blues in Bebop.
"Opus de Bop": Savoy MG-12114. Ray's Idea, Bebop in Pastel, Fool's
Charlie Parker: Verve MGV-8009. Segment, Cardboard, Diverse (this is
an extra take of Segment).
Jazz Messengers: Blue Note 1518 Room 608, The Preacher, Doodlin'.
Blue Note 1507. Soft Winds, The Theme, Minor's Holiday.
Blue Note 1508. Sportin' Crowd, Like Someone in Love, Yesterdays.
Kenny Dorham: Riverside RLP 12-239. My Old Flame, Falling in Love
with Love.
Max Roach: Emarcy MG-36098 Mr. X.
Mercury MG-36127. Billie's Bounce, Parker's Mood.
Kenny Dorham: New Jazz 8225. Blue Spring Shuffle, Lotus Blossom,
Blue Friday.
Riverside RLP 12-297. Spring is Here, Passion Spring.







Fats Waller

"The Real FATS WALLER." Sedric noodles in the background, swing, and heavy is one of them, and
Camden CAL-473. and then Herman will take it light is another, and that's what
The Sheik of Araby Carolina Shout; Oooh!
; out while Fats shouts encouragement. makes jazz interesting, you dig?
Look-a There Ain't She Pretty; B-Flat Blues; At the end of the record Fats Each of these records has a
Ain't Misbehavin'; Everybody Loves My Baby; utters a little bit of nonsense ("Such representative selection of Fats the
I Believe in Miracles; Rosetta; Squeeze Me; beauty must be deserving!") Camden chosen by John Wilson and
Crazy 'Bout My Baby; Harlem Fuss. which habit together with his fondness the Victor by Nat Hentoff. Both
FATS WALLER and his Rhythm: for slaughtering lyrics ("If you assortments are good, although
"One Never Knows, Do One?" break my heart I'll break your jaw Hentoff's is the more off-beat and
Victor LPM 1503. and then I'll die") has led most normal therefore more desirable to an
I'm On a Seesaw,- Have a Little Dream On people to regard him as an experienced listener. Some of the
Me; You Meet the Nicest People in Your entertainer and most social critics to Camden tracks have already been
Dreams; Carolina Shout; Lulu's Back in regard him as a social critic. released on Victor LPT 6001, a
Town; My Very Good Friend the Milkman,- There's not much to say about these two-record set, and there is one (to me)
Do Me a Favor; Us On a Bus; Porter's Love performances after all these years. godawful organ selection on the
Song to a Chambermaid; Then I'll Be Tired If you've ever heard any you know what Camden, so that my own choice is
of You; There's Honey On the Moon Tonight; to expect. If you've never heard clearly the Hentoff-Victor.
Georgia on My Mind; I'm Crazy 'bout them, then by all means buy some, In the album notes Mr. Wilson omits
My Baby; Lost and Found; The Meanest Thing because they present one of the most names and dates, but says that Fats
You Ever Did Was Kiss Me; I'm Gonna attractive of the many styles of lived with overflowing gusto and tells a
Put You in Your Place and Your Place Is jazzgood unpretentious swing. Both story about Fats and Eddie Condon
m My Arms. Herman Autry and Gene Sedric are with his customary amiability. Hentoff
superb rhythmically, and Sedric's on the other hand says "urban
Most of the hundreds of tunes which sense of pitch and interval is one of civilization," "classically detached
Fats Waller recorded in the the minor marvels of the age. man," compares Fats with Mr. Dooley,
'thirties and 'forties follow the same The rhythm section is heavy, as many and quotes Hodeir. Anybody who
pattern. After a piano introduction rhythm sections chose to be in buys a record for the liner notes is out
and an instrumental chorus, Fats sings those days, but it swings like crazy. of his cotton-picking mind.
one while Herman Autry or Gene There are a million ways to Dick Wellstood

When the above review arrived, I thought of a lot of of that age is that they really in a sense are ashamed
things about Fats and the stride pianists that I'd like of jazz, and sometimes you have to force them to play
to hear Dick Wellstood talk about. I wrote out some good, whereas the moderns (and it is so easy to get by
questions, hoping to get some answers. on b. s. in modern jazz whereas those older have a
I did. Those least likely to provoke a lawsuit follow. real feeling) are not afraid to try to play. Hence the
Martin Williams successes and the b. s.
Care to write about Fats?
How original was Fats and how did he fit into that
No/no thoughts/no organization/no coherence/no real
whole "stride" school?
verbal command of jazz, only an incomparable musical
Well, everybody says the Lion is the most original and
understanding of it.
he probably is, but the question is original from what?
So, why didn't you say more in your review?
Those guys played a lot different in the 'thirties than
I have a simple, direct, uncluttered mind. When some-
they did in the 'twenties. James P. Johnson started off
body asks me to review a record, that's what I do. No
with rags and wound up with a super-Basie, or some-
essays or belles-lettres on such an assignment. When
thing. So the point is, what school? Fats sounded very
I wrote up that "Monk's Music" booklet I said not a
little like Jas. P. most of the time except in the 'twen-
word about why he's great but only whether the publi-
ties. Luckey Roberts probably belongs more with
cation was any good and I think that all the writers
Eubie Blake although I never heard Eubie Blake. (I
should have that much sense, instead of dragging in
did, however, finally see a picture of Mimi Clar.)
Kwakiutl love potions.
Jas. P. is the focal point. The rags, cotillions, mazurkas,
and all those other unknown phenomena all came to- Best regards to you and yours, and I hope to hear from
gether in Jas. P., who made jazz out of them, and then you in the very near future with some more free
the harmonies of Jas. P. went into Duke, the showi- records.
ness into Tatum, the goodtiminess into. Fats, and the Dick Wellstood
rhythmic potentialities into Monk, or something like
that. The thing was not a chronological development.
And Basie stole the skeleton.
How did Fats play Jas. P.'s Carolina Shout? Dick Wellstood is a pianist who has been gigging around New York with
Great. Mostly interesting to me because the tempo is the musicians active on the Metropole scene. He has worked at one
unsteady, and yet he still swings. He plays, like I said, time or another with Ahmed Abdul-Malik, Gus Aikens, Mousy Alexander,
a goodtime version of Jas. P. Jas. P. plays the full Red Allen, Danny Alvin, Jimmy Archey, Harold Austin, Herman Autry,
tune. Fats abstracts what he wants from it. He plays Buster Bailey, Eddie Barefield, Danny Barker, George Barnes, Joe
half the tune, in effect. His half. Barufaldi, Ray Bauduc, Sidney Bechet, Aaron Bell, Tommy Benford,
Emmett Berry, Denzil Best, Jerry Blumberg, Eddie "Mole" Bourne,
Can a kiddie learn from Fats?
Ruby Braff, Gene Brooks, Wellman Braud, John Brown, Lawrence Brown,
No. Your pianist who said not was pretty right. Good- Pete Brown, Scoville Brown, George Brunis, Roy Burnes, Garvin Bushell,
time and rent party piano is kind of out of style. Fats Ernie Caceres, Happy Caldwell, Papa Mutt Carey, Dick Carey, Bob
had nice technique, but that's not what we're talking Case_y, Big Sid Catlett, Frank Chase, Henderson Chambers, Doc
about. How the hell do I know what Cecil Taylor will Cheatham, Gary Chester, Buck Clayton, Rudy Collins, Shad Collins,
see in Fats or Ornette in Jelly Roll? Eddie Condon, Cutty Cutshall, Hank d'Amico, Kenny DaVern, Bill
Fats' blues . . . are they the blues? Davison, John Dengler, Sidney deParis, Wilbur deParis, Vic Dickinson,
No. Show biz blues. But there are a lot of blues tradi- Ray Diehl, Harry DiVito, Baby Dodds, Bobby Donaldson, Fats Donaldson,
tions, and Fats' just wasn't one with Memphis Slim and Buzzy Drootin, George Duvivier, Eddie Edwards, Joe Eldridge, Roy
Eldridge, Pee Wee Erwin, Doc Evans, Morey Feld, Herb Fleming, Pops
the Mississippi type people. Neither is Basie or Cripple Foster, Bud Freeman, Panama Francis, Roy Francis, Barry Galbraith,
Clarence. Leonard Gaskins, Matthew Gee, John GiuTfrida, John Glasel, Tyree
What kind of a composer was he? Most of those guys Glenn, Henry Goodwin, Brad Gowans, Sonny Greer, Mart Grosz, Bobby
wrote both piano "compositions" and "show" songs. Hackett, Al Hall, Edmond Hall, Herb Hall, Coleman Hawkins, Joe Harris,
Fats did too; how did it work out, comparing him to the Heywood Henry, Mort Herbert, Arthur Herbert, J. C. Higginbotham,
others? And isn't Monk in pretty much the same tradi- J. C. Heard, Bass Hill, Chippie Hill, Milt Hinton, Ed Hubble, Peanuts
tion in this respect too? Hucko, Aly Jackson, Oliver Jackson, Illinois Jacquet, Conrad Janis,
What? Do you live in a reconditioned brownstone? Bunk Johnson, Lem Johnson, Manzie Johnson, Jo Jones, Rufus Jones,
How about comparing versions of Squeeze Me? Most Max Kaminsky, George Kelly, Karl Kiffe, Steve Lacy, Cliff Leeman,
George Lewis, Jack Lesberg, John Letman, Eddie Locke, Bob Lovett,
of them made it under various titles. Herb Lovelle, Lou Malin, Wingy Manone, Marty Marsala, Kaiser Marshall,
Good idea. Stu Martin, Red McKenzie, Louis Metcalf, Mezz Mezzrow, Bob Mielke,
How about comparing all Fats' Ain't Misbehavin's? Fred Moore, Russell Moore, Sam Moore, Benny Morton, Benny Moten,
I never dug the highpowered showpieces like Ain't Phil Napoleon, Buell Neidlinger, Rick Nelson, Frankie Newton, Albert
Misbehavin' or Honeysuckle and the popular ones. I Nicholas, Sal Pace, Lips Page, Walter Page, Tony Parenti, LeRoy
never could bear to listen to one of them all the way Parkins, Ed Phyfe, Tommy Potter, Paul Quinichette, Gene Ramey, Nat
through. Ray, Django Reinhardt, Jerome Richardson, Prince Robinson, Pee Wee
It's so hard to tell what Fats could do, because he was Russell, Sonny Russo, Bob Scobey, Cecil Scoot, Gene Sedric, Ed
Shaughnessy, Charlie Shavers, Arvell Shaw, Mickey Sheen, Harry
always trying to entertain, and so made his playing Sheppard, Shep Sheppard, Omer Simeon, Hal Singer, Zutty Singelton,
entertaining at the damndest times; for example, just Charlie Smith, Tony Spargo, Alphonse Steele, George Stevenson, Rex
when things started to swing. Stewart, Slam Stewart, Ted Sturges, Tack Annie, Jack Teagarden,
He plays great on those Commodores with Marty Joe Thomas, Charles Traeger, Art Trappier, Lloyd Trotman, Munn Ware,
Marsala, don't you think? In other words, he was great, Herb Ward, Earl Warren, Benny Waters, Dickie Wells, George Wettling,
and could play with anybody and sound great, but he Josh White, Bob Wilber, Sandy Williams, Johnny Windhurst, Steve
didn't always do it. The trouble with a lot of those guys Wright, Sol Yaged, Abdullah Zuh'ri, and many others.

Bruce King

To understand why many people, myself included, call result from starting a roll with the opposite hand; and
Baby Dodds a great drummersome say the best jazz he knew that it was of importance to plan where a roll
has producedit is necessary to understand the style should begin. If a roll were to finish at the end of a
within which he developed. New Orleans jazz was solo, or chorus, he understood that it must be length-
based on the polyphony of interweaving melodic and ened so as to fill the gap, and lead in the next instru-
harmonic lines. Since the lines were improvised, there ment. He always listened to the band, on the alert for
was very little harmonic extension, and the parts were any transition that required punctuation or a difference
conceived in relation to the whole, rather than devel- in dynamics. He studied each musician he played with,
oped as independent musical lines. Some New Orleans and had a strong sense of what they were likely to do.
musicians were capable of building an organic part When Baby worked with Bunk Johnson or George Lewis,
over several choruses while performing in the en- he sometimes seemed to be directing them, when his
semble, but this was unusual, and the most outstand- own part anticipated that of the horns.
ing feature of New Orleans jazz was the discipline with Baby's press roll will remain the ideal of any drummer.
which the ensembie was varied through subtle shifts For lightness and smoothness it has never been
in voicing, lead, and texture. matched. And he used it with a wide vocabulary of
Given this form of musical organization, one main different beats. His basic beat at fast tempos was
function of the drummer is to provide support for usually the five-stroke roll; on medium tempos the
changes in the ensemble texture. The drummer also seven; and on slow blues he usually used the nine-
adds to the texture, plays contrasting rhythmic pat- stroke roll. He sometimes played an unusual open
terns, and knits the texture together, filling in the gaps. six-stroke roll on his wood blocks by letting the sticks
Later when jazz became more open, and the solo took bounce once, rather than twice, for each stroke. He
over from the ensemble as the center of interest, the would vary his rolls during a number, perhaps using
drummer used his ability to keep spaces open; the five-stroke rolls on one chorus, and nines on the next.
open spaces provided the soloist with room to move, To close the gaps, or introduce a solo, he would use
and left him free to vary his material from the basic longer rolls, sometimes a sixteen-stroke roll, which
melodic structure. It was part of Jo Jones' contribution lasted from the middle of one measure to the next,
to drumming that he kept the texture so light that even sometimes a thirty-two-stroke roll, made by tieing two
the most understated solo seemed to stand out in sixteens. Baby did not simply lay down one roll after
high relief. another, but connected them into phrases which built
The New Orleans drummer, however, had to fill in the through the chorus. As the Basie rhythm section might
gaps, and help emphasize changes in the ensemble develop a figure against the saxophone section, so
texture. In his ability to do this Baby Dodds was a Baby phrased his rolls in riff-like sequences. He might
great drummer. But he also considered his drum a per- also vary his beat with longer rolls, or a few shorter
cussiveas well as a rhythmicinstrument, and related ones, as part of his pattern. Later, during the swing
his part to the melody. When the ensemble voicing period, Baby would phrase his rolls in unison with the
would change, his support changed with it. His press riffs during part of a chorus, then on the release of
roll, the basis of his technique, was capable of great the tune he would alter his phrasing by playing be-
variety of sound and phrasing. It was a marching band tween the riffs so that there would be a contrast.
technique which older drummers had adapted to jazz, Baby always tried to express the melody. In a New
but in Baby's hands the press roll became a subtle Orleans band there usually was one horn carrying the
vehicle for expression. He could change his roll accord- melody, and Baby's own part would be developed to
ing to the dynamics of the instrument he was backing, reinforce the lead instrument; if the clarinet took
sometimes playing on his snare drum more softly than over the lead from the trumpet, Baby would alter his
a guitar or violin. He knew the difference that could beat to bring out the change. Each instrument would

be supported in a different way, by different beats. section he will develop a syncopated beat from his
Alterations in the ensemble voicing would often be first figure; on the release he may play something
reflected in his dynamics or by a change to the bass different in double time; while on the restatement he
drum shell, wood blocks, and snare drum rims. He might return to his original beat. Alternatively, he
considered his wood blocks too loud for most purposes, might play a series of rolls on the A section; play
and reserved them for accents or extreme contrasts. triplets on the drum rims for the A section; use rolls

Occasionally he used the heavy ends of his sticks again on the release; and end the chorus with tied
upon the rims and shells. triplets on his wood blocks. During this time he will
He would begin a chorus on his snare drum, and when have marked the structural changes with various
he felt that the clarinet was going to take over the wood block and tom-tom accents; especially at any
lead he would begin to cue its entry with wood block change in the ensemble voicing, where, perhaps, a
accents. He would back the clarinet on the rims of clarinet takes over the lead from the trumpet on the
his snare, and if the trumpet started to riff behind tfce release.
clarinet, Baby might build his figures on the bass drum Superimposed upon this treatment of the chorus is
shell. He might play on the bass drum rims behind a a more general formal conception of each number as
trombone solo; and on the ride-out he would use an organic whole. Baby will play the early choruses on
snare drum or cymbals. snare drum, develop complicated beats on the rims
Baby's wood block and rim figures are difficult to for the middle choruses, and close by playing upon
explain. While many are standard drum rudiments, his cymbals. He did not use the dot-da-da beat of most
others seem to grow out of the melody. Still others modern drummers, but preferred to play wood block
seem to be inspired by various rhythmic figures first figures, or tap a straight 1-2-3-4 on the cymbal. The
played by the horns. He seldom stuck to one beat rhythms he uses are often interesting, but they do not
throughout a chorus, but kept developing his part. The add swing or definition to the final chorus. This is
logic of his part often had the organic form of a solo. probably inherent to the use of a ride cymbal, which
A rhythmic figure would be explored through syncopa- tends to lose its bits in a thickly woven ensemble tex-
tion, and emerge with shifted accents. The figure might ture. Baby's drumming with Bechet's Feetwarmers
be restated in double time, put into triplets, or made showed he could use the cymbal for fine percussive
into a shuffle rhythm. Sometimes he would contrast effects when he played with more open sounding swing
different beats, while at other times his original figure groups. On the Bechet recordings his cymbal beat is
would go through various changes until it emerged as clear and well defined against the soloists. He often
a totally different beat. Something so simple as a makes use of shifting accents, hits the cymbal on
triplet stated against a riff might be developed in off-beats, or in connection with snare drum and wood
various sequences, and in combination with other block figures. He occassionally used a series of tied
beats, so that a whole chorus might be a variation on triplets on the cymbals, and sometimes made a roll
it. Other times Baby would begin by playing 1-2-3-4 on with his wire brushes on two cymbals at once. He was,
his wood blocks. As the ensemble developed he would I believe, the first drummer to explore the difference in
pick up an idea, and complicate it with off-beats, new sound between the various parts of the cymbal, hitting
accents, to transform it into a very complex figure. it in various ways, and using its crown. Just as his tom-
From his figure the horns might pick up a rhythmic toms were tuned to parallel fifths, so he played his
pattern and state it as a riff. By this time Baby would cymbals to bring out the various intervals within a
be contrasting his original idea with some development theme.
of it, interweaving with the horn patterns. There are Unfortunately most of Baby's career is not well docu-
records where the interplay of Baby's drums with the mented on records. When he worked with Oliver and
clarinet becomes so intense that it is difficult to tell Armstrong, recording techniques prohibited the use of
which instrument is leading the other. At such times snare and bass drum; the drummer's part was limited
Baby's drumming becomes an equal voice in the to the use of the wood blocks. When recording tech-
ensemble, with the drums and clarinet feeding each niques improved, during the thirties, New Orleans jazz
other. was out of fashion, and few recordings were made.
His drumming is melodic in another sense. Besides During the forties Baby was often recorded, but
organizing his part around the melodic lead he also usually on small labels which no longer exist. One
follows the structure of the tune. Most songs have a session with Art Hodes was never issueddoes anyone
general structure of A-A'-B-A: statement, slight devel- know what happened to the masters of this session?
opment, contrasting release, and restatement. Phras- But William Russell used Baby on many of his Ameri-
ing frequently follows this structure because it roughly can Music recordings, and devoted four records spe-
represents the chord changes of a simple tune. This cially to Baby's technique and style, though only three
is especially true of New Orleans jazz where the trum- were issued. These form the crown of Baby's recording
pet part must remain within the discipline of the en- career, and together with the earlier sessions give us
semble, leaving room for the clarinet and trombone. some idea of his achievements.
Baby marks these changes in structure with accents Baby's earliest recordings were made with King Oliver's
on his wood blocks and tom-toms, fills in the gaps Creole Jazz Band. Here Baby is limited to using his
between the phrases with long rolls, and uses different wood blocks; but the swing he generates is phenomenal.
beats for the various sections. On Chimes Blues we hear him playing subtle varia-
Behind a solo, or a clarinet lead-in ensemble, his tions on his blocks, syncopating his beat, playing in
concern with form is most obvious. On the first four double time, using shuffle rhythms, and playing rolls.
measures he will play a simple figure; for the second On Froggie Moore he uses a different variation of his

beat on each theme, developing his part with shifting varies his five-stroke rolls with shorter rolls and rim
accents, and Spanish rhythms. On Canal Street Blues shots. His accents continually shift the center of the
his wood blocks interplay with the horns. Behind Johnny rhythm. He introduces the harmonized riff with a little
Dodds' solo his figures first follow the descending run of his own on the rims. After the bass solo, Baby
runs of the clarinet and then contrast with them during soloes for eight measures in double time. By slight
the second half of the chorus. Perhaps he is at his shifts in accents, the use of sixteenth notes and a
best on Mandy Lee Blues where his part is completely changing tonal patternhe used two wood blocks and
constructed from various beats and syncopations which four tuned cow-bellshis solo seems to fluctuate
follow- the melody. Here we find lots of double-time between double time and free tempo. The rhythmic
figures, always implying contrasting time values above idea is not unlike Parker's breaks.
the stated beat. On Snake Rag we hear him phrasing During the 'forties Baby also recorded with Chippie
in unison with the horns, then double timing the Hill, Mezzrow, and various small groups for Blue Note
second theme, changing his beats on the later chor- and Circle. Among the best of these sessions were
uses, and simplifying his patterns for the ride-out. the trio sides with Albert Nicholas. Wolverine Blues
There is a progressive movement from order to excite- is especially good, with Baby's wood block work building
ment to order. Despite the limitations of recording tech- throughout. During this period he also made a few
niques, Baby's playing shows a wide vocabulary of recordings as a soloist, examples of his ability to
beats, a concern with texture, and a fine sense of construct rhythmic variations, rather than displays of
swing that implies several contrasting time values at virtuosity. Beginning with one syncopated beat, Baby
once. will explore it until it is transformed into another.
After the Oliver recordings there is little to demonstrate Often the idea will be explored in various tonal areas
Baby's ability during the twenties. On the Armstrong through the use of rims, tom-toms, and cymbals. Some-
Hot Sevens we occasionally hear him playing a wood- times Baby explored an idea in intervallic variation,
block accent, or a Charleston beat on the cymbals, using his tuned tom-toms. Another record shows Baby
but otherwise the drums are inaudible. The same is using a percussive effect known as nerve beats, by
true of other recordings he made with Armstrong and loosely holding two drum sticks in one hand, and
Johnny Dodds, though on a few sides made with his making them rattle through the contraction and expan-
brother he brings his drumming technique to the sion of the nerves between the elbow and shoulder.
washboard. The results are surprisingly satisfactory, It is technically difficult, since the rattles must be
considering the limitations. On Forty and Tight he as quick, even, and precise as a drum roll. During
varies his beat from measure to measure, making use the forties Baby also worked for a period on the
of broken triplets, and the dot-da-da rhythm that mod- This is Jazz broadcasts. Only one Ip was released from
ern drummers play on the ride cymbal. Piggly Wiggly the series, and it does not give us a particularly good
shows Baby trying to use the washboard as a voice, idea of Baby's drumming. However, many collectors
interweaving his figures and accents around the made private recordings of the programs, and from
horns, varying his beat with triplets, shuffle rhythms, these we can see how well Baby could play within a
using off-beats, or playing unaccented straight fours. mixed Dixieland-New Orleans group. As on the Feet-
In the early 'forties, Baby recorded a few sides with warmer session, Baby's style is highly individual. On
Sidney Bechet's Feetwarmers, in one of those attempts the broadcasts he was expected to fill in Chicago-style
by New Orleans musicians, common at the time, to tags. Where other drummers might use these spaces
compromise with the swing style. It was, I think, an to show off their technique, Baby's breaks are economi-
interesting development, which produced extremely cal and witty. He would hit his tom-toms two or three
exciting music, though sometimes over-excited. It is times in a syncopated rhythm, cleverly parodying the
a measure of Baby's ability that the records he made pyrotechnics of others. Or he would simply leave his
are hot without being frenzied. On Ain't Misbehavin', breaks open until the very last moment, to release the
for instance, he keeps the rhythm lively by contrast- growing tension with a witty tom-tom punctuation, or
ing long and short rolls, yet his playing is a model of a run on his cow-bells.
discipline. You can hear him accenting the release with The recordings Baby made for William Russell's Ameri-
his cymbals and cueing in the second chorus with a can Music label range from the early forties to the
roll. On the chase choruses he outlines the trumpet early fifties. The musicians include Bunk Johnson,
part with woodblocks, and keeps the various breaks George Lewis, Kid Shots Madison, Jim Robinson, Dar-
lively by moving from snare drum to cymbals to nell Howard, and Natty Dominique. Except for a few
blocks. On Blues for you Johnny Baby plays unison brass band sessions, these are the only modern re-
with the horns, mixing nine-stroke rolls with tom-tom cordings of Baby playing with a group of New Orleans
accents; behind the vocal he lays down a basic beat, musicians. Here Baby is in an ideal environment, a
varying his nine-stroke rolls with twelves, and one- band whose playing calls for a drummer aware of
beat presses; there are double-time tom-tom punctua- nuances in.texture and voicing. Few other New Orleans
tions on the release; on the instrumental choruses he drummers are still capable of fulfilling these functions.
breaks into five-stroke rolls played at double time. For Barbarin, for example, has become crude through
Save it Pretty Mama, Baby begins by starting his roll working with Dixieland groups. In such an environment,
on the afterbeat, switches on to the beat, and then off however, Baby was perfectly at home, for his work
again. Behind the piano he lays down a seven-stroke had always remained within the New Orleans tradition.
roll. He plays on the cymbal behind the trumpet, Lonesome Road amply demonstrates Baby's sense of
hitting double time off-beats. On the ride-out, his rolls musical form. On the first two choruses, the A-section
are in unison with the riffs. On Stompy Jones Baby is marked with snare drum or rim accents, and the

release (B section) is ended with block or tom-tom to state counter-rhythms as explicitly as Dodds (or
punctuations. For the third chorus Baby moves over for that matter Roach). During the thirties, more was
to his drum shell, where his rhythms are ambivalent implied, and the tension resulted from the interplay of
between the stated beat and double time. On the slight nuances of rhythm. However, New Orleans jazz
release he plays a series of linked triplets. The end was explicit, and within this sphere Baby was the
of the release is signaled with wood block accents. finest drummer jazz has produced.
For the last chorus Baby plays on the shells, using We know that many New Orleans drummers, including-
a little syncopated tom-tom figure at the end of the A Zutty Singleton, were influenced by Baby; many white
section. He plays triplets on the rim again for the musicians, including Tough, Krupa, and Wettling, found
release, and marks the conclusion with woodblock their inspiration in his work. Listen to Krupa playing
accents, before returning to the shell for the restate- a roll and you hear Dodds. Listen to Wettling varying
ment. his texture behind different instruments, and there's
Other recordings Baby made with Bunk show the same Dodds again. However, changes in the equipment of
taste and musical organization. Lord You've Been modern drumming and in musical style in general,
Good to Me begins with Baby playing open six-stroke prevented Dodds establishing a tradition for drummers
rolls on the rims, and triplets on the tom-toms. Behind as we can speak of the trumpet tradition established
Bunk's runs he approximates the same rhythm on his by Armstrong.
tom-toms. Behind Lewis he echoes the clarinet on Baby's drumming was rooted in an ensemble style.
his wood block until the release, where he plays a When musicians developed the solo as the primary
contrasting rhythm. Each section of Careless Love is means of musical expression drummers had to develop
marked by rolls, block work, or snare drum accents. a lighter, more open sound around which the horn
There are contrasting seven-stroke rolls behind the could play. Instead of the drum filling in gaps its job
trombone on the fourth chorus, and double time wood was now to leave them open. Kaiser Marshall solved
block rhythms on the release behind the clarinet and this problem by developing the high-hat beat which is
trumpet choruses. These sides also show Baby giving still used today by most drummers on the top cymbal.
direction to the band, controlling its dynamics, and The adoption of the high-hat, and later the ride cymbal,
preparing for breaks and changes of texture. On 827 broke the link with the New Orleans snare drum style.
Blues, Baby plays double time on the shells behind the Or so it would seem. But was it as simple as that?
clarinet, then slows down to the basic tempo to intro- Wasn't Baby one of the first modern drummers after
duce the "snag it" break. He introduces the riff on the all? He was, supposedly, the first to begin beating
same number with his wood blocks. On Golden Leaf regularly on a top cymbal. Though he didn't use the
Strut he introduces the trombone-clarinet duet with JVJ beat of most modern drummers (usually played
wood block accents. Notice how he prepares the breaks ), there are good reasons for crediting him
two measures in advance by playing accents which with the basic idea of riding the cymbals. Moreover,
suggest the rhythmic contours that are forming. Again we hear elements of Baby's musical approach in the
notice, on Low Down Blues, how he suggests stop work of other drummers. Listen to Jo Jones' brush
time by pressing down hard on his rolls behind the work on his early recordings, and see if it isn't the five-
horns on the sixth chorus. On most of these tracks stroke press roll reinterpreted. Or for that matter, listen
we find, him phrasing the introduction in unison with to Jones playing melody solos behind Tatum, as Baby
the horns, marking the tune structure, directing the had played melody on his trio sides with Art Hodes.
dynamics of the band, and adding counter-rhythms Again, listen to Catlett's press roll, and his playing on
behind the lighter ensemble passages. On the fourth the rims of his drums; Catlett was either influenced
chorus of Blue As I Can Be Baby brings the band by Baby, or indirectly influenced through another
down lowor funkywith heavy nine-stroke rolls. drummer (Webb or Singleton), who had learned Baby's
But perhaps the finest drumming is on the famous ideas. Even in modern drummers, many percussive
Lewis-Robinson duet of Ice Cream, on which the ab- effects seem to derive from Dodds. They may have
sence of a trumpet allows the drum an equal part been learned independently, but they are the same
with the clarinet and trombone. It begins at a very effects. Roach, we know, was impressed by Baby's
fast tempo, and from the first, Baby generates excite- drumming at a concert where they both played. It
ment by using wood block and tom-tom accents. Each would be interesting to know whether Roach had
release, and the end of each chorus, is marked by played accents upon the rims of his bass drum before
some accent or explosion. On the second chorus Baby that. Certainly he must have learned to do nerve beats
is already playing syncopated rhythms on the drum by watching Baby. Blakey and Roach use their elbows
rims, using triplets on the release, and eighth-note to change the tone of their snare drum. Is this an
figures on the return. On the third chorus, these synco- African idea, or did it come from watching Baby use his
pated eighth note figures develop, echoing the clarinet's heel to vary the pitch of his tom-tom? For that matter,
phrasing, mixed with six-stroke rolls, and double-timed did modern drummers become fascinated with the use
triplets. When Robinson takes over lead, Baby begins of the snare drum roll before Roach saw Baby use it?
playing snare drum, since the trombone offers fewer I have no answers to these questions. Perhaps they
rhythmic variations with which to interweave. How- are only of interest to jazz historians. They do show
ever, Baby keeps dropping accents and various beats that Baby was years ahead of his time in his use of a
here and there to support the other musicians. Here, drum set as a musical instrument. Any drummer who
I believe, we have the soul of jazz in simultaneous is concerned with tonal patterns, timbre, texture, and
contrasting rhythmic variations upon a single pulse. rhythmic variation belongs to Baby's tradition. We
It is, of course, not absolutely necessary for drummers have come full circle back to his idea of drumming.

a Lee Konitz record with Stan Kenton called
In late 1955, LaFaro joined Buddy Morrow's
band. "We toured all over the country until I
left the band in Los Angeles in September 1956.
INTRODUCING SCOTT LaFARO I didn't hear any jazz or improve at all during
that whole time." But a few weeks after he left
Morrow, he joined a Chet Baker group that in-
cluded Bobby Timmons and Lawrence Marable.
"I found out so much from Lawrence, a lot of it
"It's quite a wonderful thing to work with the Bill just from playing with him. I have trouble with
Evans trio," said bassist Scott LaFaro. getting with people rhythmically and I learned a
"We are really just beginning to find our way. lot about it from him. I learned more about
You won't hear much of that on our first record rhythm when I played with Monk last fall; a great
together, except a little on Blue In Green where experience. With Monk, rhythmically, it's just
no one was playing time as such. Bill was .im- there, always."
provising lines, I was playing musical phrases LaFaro remembers two other impoitant experi-
behind him, and Paul Motian played in free ences in California. The first was hearing Ray
rhythmic drum phrases." Brown, whose swing and perfection in his style
LaFaro is dissatisfied with a great deal of what impressed him. The other came when he lived
he hears in jazz, but what he says about it isn't for almost a year in the mountain-top house of
mere carping. He thinks he knows what to do Herb Geller and his late wife, Lorraine. "I prac-
about it, at least in his own playing. "My ideas are ticed and listened to records. I hadI still have
so different from what is generally acceptable a feeling that if I don't practice I will never be
nowadays that I sometimes wonder if I am a jazz able to play. And Herb had all the jazz records;
musician. I remember that Bill and I used to re- I heard a lot of music, many people for the first
assure each other some nights kiddingly that we time, on his records."
really were jazz musicians. I have such respect In September 1958 LaFaro played with Sonny
for so many modern classical composers, and I Rollins in San Francisco, and later he worked
learn so much from them. Things are so contrived with the same rhythm section behind Harold
nowadays in jazz, and harmonically it has been so Land. "I think horn players and pianists have
saccharine since Bird." probably influenced me the most, Miles Davis,
Charlie Parker was already dead before Scott Coltrane, Bill Evans, and Sonny perhaps deepest
LaFaro was aware of him, even on records. In of all. Sonny is technically good, harmonically
fact Scott LaFaro was not really much aware of imaginative, and really creative. He uses all he
jazz at all until 1955. knows to make finished music when he impro-
He was born in 1936 in Newark, New Jersey, but vises.
his family moved to Geneva, New York, when he "I found out playing with Bill that I have a deep
was five. "There was always the countryside. I respect for harmony, melodic patterns, and form.
miss it now. I am not a city man. Maybe that is I think a lot more imaginative work could be
why Miles Davis touches me so deeply. He grew done within them than most people are doing,
up near the countryside too, I believe. I hear but I can't abandon them. That's why I don't
that in his playing anyway. I've never been think I could play with Ornette Coleman. I used to
through that 'blues' thing either." in California; we would go looking all over town
LaFaro started on clarinet at fourteen and studied for some place to play. I respect the way he
music in high school. He took up bass on a kind overrides forms. It's all right for him, but I don't
of dare. "My father played violin with a small think I could do it myself.
'society' trio in town. I didn't know what I wanted "Bill gives the bass harmonic freedom because
to do when I had finished school, and my father of the way he voices, and he is practically the
saidhalf-joking, I thinkthat if I learned bass, only pianist who does. It's because of his classi-
I could play with them. When I did, I knew that I cal studies. Many drummers know too little
wanted to be a musician. It's strange: playing rhythmically, and many pianists know too little
clarinet and sax didn't do it, but when I started harmonically. In the trio we were each contribut-
on bass, I knew it was music." He went to Ithaca ing something and really improvising together,
Conservatory and then to Syracuse; it was there, each playing melodic and rhythmic phrases. The
through fellow students, that he began to listen harmony would be improvised; we would often
to jazz. He got a job in Syracuse at a place called begin only with something thematic and not a
the Embassy Club. "The leader was a drummer chord sequence.
who played sort of like Sidney Catlett and Kenny "1 don't like to look back, because the whole
Clarke. He formed my ideas of what jazz was point in jazz is doing it now. (I don't even like any
about. He, and the juke box in the placeit had of my records except maybe the first one I did
Miles Davis records. And I first heard Percy Heath with Pat Moran on Audio Fidelity.) There are too
and Paul Chambers on that juke box. They taught many things to learn and too many things you
me my first jazz bass lessons. There was also can do, to keep doing the same things over and
over. My main problem now is to get that instru-
ment under my fingers so I can play more music."
Martin Williams

of spiritual joining with his instrument a standardas a basis for variation,

RECORD that has been the prerogative

of the hornman.
Now, obviously I'm not trying to
except that in Evans' case the
variations are written.) In arranging for
pop music and dance bands, the

state anything so dogmatic as a requirements, while perhaps less
principle, for I have certainly been artistically demanding, are somewhat
deeply moved by many musicians who more stringent in the limitations of
played rhythm section instruments. expression involved. Form, for
But I can think of none who were instance, becomes a limiting element;
able, through such a close connection pop tunes are notorious for the
with their instruments, to express simplicity of their structure.
themselves as fully Evans does. Instrumentalists have tried long and
He does not play the piano, in the hard to release themselves from such
sense that Tatum did, nor a strictures, and sometimes
BILL EVANS: "Portrait In Jazz." "percussive instrument." Listen to successfully, but they are allowed
Riverside RLP 12-315. the rapture, the great personal the freedom of melodic invention. The
Bill Evans, piano; Scott LaFaro, bass; Paul intensity that he reveals in When I arranger can take such liberties
Motian, drums. Fall In Love, Spring Is Here and his only as an exception to the rule. The
Come Rain Or Come Shine; Autumn Leaves; own composition, Blue in Green. extent of his variation is mostly
Witchcraft; When-I Fall In Love; Peri's Autumn Leaves is perhaps the best limited to the elements of rhythm
Scope; What Is This Thing Called Love?; example of the interplay among the and harmony; melodic invention may
Spring Is Here; Someday My Prince Will Come; members of the trio. LaFaro take the form of ornamentation or
Blue In Green. shows a stupendous skill, playing perhaps original counter-themes and
with, against, and through the pulse. motto inserts, but only in a
The accolades for Bill Evans have by He has no fear of the treacherous manner that will not detract from the
now ranged far and wide through high notes on the G string nor does melody or make it less recognizable.
critics, musicians, and the public. he hesitate to vary his intonation if It is, therefore, exceptionally
Although I don't think he has as yet that is the desired effect. Evans' interesting to hear Ellington's skills
achieved the level of innovation most impressive piece of in such a situation. Obviously these
that his talent indicates, this equipment is his superb sense charts will not have the ultimate
recording is a further example of of time. He knows unerringly just importance of Ellington's own
his formidable potential. Perhaps just where each note must fall and places compositions, but for the skill and
as important as anything he plays is it at precisely the spot where it authority, the satiric good-humored wit
the stride that he took as a leader, will give the greatest rhythmic that they show us, they are
especially in organizing a cohesive, impact. His 3/4 solo on Prince cannot invaluable. Any arranger-composer,
tightly rehearsed unit which still be described as less than masterful. young or old, might receive endlessly
allows both Scott LaFaro and Evans' potential is immense, and valuable technical tips from
Paul Motian full freedom in their he is still very young. His careful repeated listenings.
contributions to the group. For LaFaro, personal evaluation of his work has Got A Date With An Angel is great
in particular, this is a wise move. His permitted him to record only fun, especially in the snappy Hal Kemp
role is one of great importance, material which he feels has reached muted brass. Ellington's piano
combining responsibility for meter fruition. Such integrity, rare is featured here, as through most of
with a remarkable invention in solo. anywhere, is especially admirable the album. His style is short and
There is still a deficit in the in an art that is often subject to the to the point, with an almost Basie-
percussion, and at times the drumming most crass sort of commercial like sparseness, perhaps because both
seems almost superfluous in the regulation. he and Basie are exceptionally
face of the improvisatory excursions Don Heckman conscious of the value of the use of
of the piano and bass. But I silence in their playing. Satan Takes A
don't mean to denigrate the group Holiday and Laugh, Clown, Laugh
accomplishments; Evans' avowed DUKE ELLINGTON: "Bal Masque." are in the same genre, both
intention to "grow in the direction Columbia CL 1282. employing Harry Carney's tongue-in-
of simultaneous improvisation" is Johnny Hodges, alto, Paul Gonsalves, tenor; cheek statement of theme. The
highly admirable, and this album is a Jimmy Hamilton, clarinet; Harry Carney, last ensemble chorus of Clown is
giant step in the proper direction. baritone; Shorty Baker, trumpet; Clark Terry, particularly goodsomewhat
Evans seems to me to be very much flugelhorn; Ray Nance, trumpet and violin; suggestive of Basie in voicing and
a Romantic, both in orientation and "Butter" Jackson, John Sanders, trombines; rhythm patterns but nevertheless
preference. Often when an almost dark Ellington, piano,- Jimmy Woode, bass. completely original.
sombreness encompasses his music, Other personnel unlisted. Johnny Hodges is not the driving force
it brings a feeling of closeness Alice Blue Gown; Who's Afraid Of The Big Bad of old, but his playing still
between him and his instrument that Wolf; Got A Date With An Angel; Poor exhibits a purity that is both rare
is unparalleled in pianists. This is Butterfly; Satan Takes A Holiday; The Peanut and beautiful. Gypsy Love Song,
the sort of thing one might expect Vendor; Satin Doll; Lady in Red; Indian while verging on saccharine on
from horn players, most of whom are, Love Call; The Donkey Serenade; Gypsy occasion, gives an indication of
after all, concerned with a highly Love Song; Laugh, Clown, Laugh. Hodges' love for the saxophone and
personal vision. But pianists, Perhaps the least obvious facet in the the wonderful breadth of its
drummers, bassists and guitarists diamond-pure talent of Duke interpretive possibilities. On Alice
are usually more objective (and how Ellington is that of orchestrator. Of Blue Gown his text is somewhat more
intriguing that they have come to be course, he orchestrates his own obvious, but he speaks with an
thought of as a sort of symbiotic compositions brilliantly, but most authority that enlivens the whole
organism called the Rhythm Section). composers prefer the development of band. Lady In Red and Indian Love
Their business has been to 'keep their own germinal ideas to the Call are to me the most interesting
time,' 'lay down the changes' and transformation of the themes of others. charts. Listen in particular to the sax
'stay out of the way' of the front line. (The immediate exception is Gil voicings on Lady, and the wonderful
By playing instruments they could Evans, who uses non-original source harmonic movement in the interlude
control only in the kinesthetic sense, material in the same manner that a of Indian Love Call. Clark Terry's
they lacked that sense of coupling, horn man will use the chords of flugelhorn solo on Lady and indeed,his

playing throughout the album explore the dark, cavernous night NOTABLE NEW RELEASES ON
shows that he has mastered the worlds of our more sophisticated A GREAT NEW JAZZ LABEL
instrument. His tone, pure and light lyricists with a harrowingly clear
and not at all brassy, sounds understanding of their content, Miss
for all the world like the rich velvet Fitzgerald has always seemed to

tones of the single reed woodwinds. prefer the sugar-plum world of happy
To me, this record fulfilled that rare endings. She is, as Nat Hentoff
condition of improving with noted in The Jazz Word, "an innocent
additional hearings and I recommend with the musical capacity of a
it highly. It has the universal sweet wizard."
artistry that is beyond labeling, When Ira Gershwin writes: "I've got

a virtue typical of Ellington that brings beginner's luck,/The first time that
to mind an oft-quoted statement by I'm in love/I'm in love with you./Gosh,
Kurt Weill, "I don't give a damn I'm lucky!";
for posterity; I write for today." or: "Somebody from somewhere/
Don Heckman Will appear someday/1 don't know
just from where/But He's on his way";
he evokes a feeling that Miss
"ELLA FITZGERALD Sings the George Fitzgerald can express to the fullest
and Ira Gershwin Songbook." of her considerable musical powers, HAROLD LAND
MG V4024/5/6/7/8. for there is no devious emotion West Coast Blues: the hardest tenor
Arranged and conducted by Nelson Riddle. to confuse or cloud the issue. Many of in the West blows up a storm with
Personnel unlisted. Gershwin's lyrics, in fact, suggest guitarist Wes Montgomery & the
Sam and Delilah; But Not For Me; My One a deep belief in the American dream, Eastern soul rhythm section of Sam
and Only; Let's Call the Whole Thing Off; that incredible world in which Jones, Barry Harris, Lou Hayes.
Beginner's Luck; Oh, Lady Be Good; gold-paved streets of success are (Jazzland 20; also Stereo 920S)
Nice Work If You Can Get It; Things Are available to all who believe in the
Looking Up; Just Another Rhumba; How Long beneficent goddess of good
Has This Been Going On. fortune. For the little orphan girl who CHARLIE ROUSE
S'Wonderful; The Man I Love; That Certain leaped to nation-wide attention with Takin' Care of Business: Thelonious
Feeling; By Strauss; Someone To Watch A Tisket, A Tasket, the myth must Monk's tenor man gets his first LP
Over Me; The Real American Folk Song; Who be a part of everyday life, a as a leader and it's really a cooker!
Cares?; Looking For A Boy; They All dream fantasy that she relives every With Blue Mitchell, Art Taylor, Walter
Laughed; My Cousin From Milwaukee; time she steps on a stage to Bishop, Earl May.
Somebody From Somewhere. receive the unabashed enthusiasm (Jazzland 19; also Stereo 919S)
A Foggy Day; Clap Yo' Hands; For You, For of audiences throughout the world.
Me, For Evermore; Stiff Upper Lip; Boy This is not to imply that Miss
Wanted; Strike Up The Band; Soon; I've Fitzgerald has no ear for sophistication. CHET BAKER
Got A Crush On You; Bidin' My Time; But again, as with Gershwin, it with Fifty Italian Strings: Rich, full
Aren't You Kind Of Glad We Did?; Of Thee must be of a satirical kind, backing that showcases Chet's lyrical
I Sing (Baby). compounded of harmless double- trumpet at its very best in a group
"The Half Of It Dearie" Blues; I was Doing entendres and musical parody, as in of top standards.
All Right; He Loves And She Loves; Love By Strauss, Aren't You Kind of (Jazzland 21; also Stereo 921S)
Is Sweeping The Country; Treat Me Rough; Glad We Did?, Treat Me Rough and
Love Is Here To Stay; Slap That Bass; Boy! What Love Has Done To Me!.
Isn't It A Pity?; Shall We Dance; Love These are the tunes she seems to like Also red-hot and new
Walked ln You've Got What Gets Me. best and performs with the greatest
gusto. In Lorelei she comes close WOODY HERMAN: The Fourth Herd
They Can't Take That Away From Me; a big-band swinger with Zoot Sims,
Embraceable You; I Can't Be Bothered Now; to getting campy. And the word
distortions, one of the more precious Nat Adderley. (17 & 917S)
Boy! What Love Has Done To Me!;
Fascinatin' Rhythm; Funny Face; Lorelei; elements in Gershwin's style, MEL RHYNE: Organizing a new
Oh, So Nice; Let's Kiss and Make Up; are done openly without the well-we- organ star, with Blue Mitchell &
I Got Rhythm. know-he's-not-serious attitude. Johnny Griffin. (16 & 916S)
Even Just Another Rhumba, with its
Ella Fitzgerald is unique in American rhymes of 'rhumba,' 'dumber,' CHET BAKER in Milan The brilliant
entertainment. With amazing 'September' and 'succumb-a,' is trumpeter in tunes by Miles, Bird,
versatility, she has performed on both is brought off with honest, almost Mulligan, Rollins. (18 & 918S)
sides of that tenuous curtain little girl sincerity. For the same
between pop and jazz singing. It reason, the exasperating coyness of A> > HAfKX.f> I &NU

would be foolish and irrelevant to Let's Call The Whole Thing Off
attempt to label this particular (tomato-tomato; potato-potato)
undertaking with such generalities as becomes as guileless as a bit of fluff.
"jazz" or "non-jazz." The question The ballads are not, in general, all
of her legitimacy as a jazz artist is that one might desire. On
secondary to the fact of her Embraceable You, A Foggy Day, Love
universal appeal. Walked In, Love Is Sweeping The
The Gershwin Song Book, like the Country, Someone To Watch Over Me
accumulated work of any good and But Not For Me, she sings with
songwriting team, includes material a quiet, relaxed assuredness, but the
that runs from excellent to mediocre, overall effect is bland and, I'm
from near-jazz to sentimental trifles. afraid, uninteresting. The few that do
More intriguing is the fact that succeed stand out far above the
the lyrics of Ira Gershwin seem to others. I've Got A Crush On You, Isn't
suggest a feeling about life that is It Romantic and How Long Has
much to Miss Fitzgerald's liking. This Been Going On are beautiful
Unlike Billie Holiday, who could stylizations, but I strongly object to

the last chorus of How Long, with Criss pickup combo impresses Shavers loves fireworks, and a
its insipid and unnecessary use of me most by their effortless swing. lot of his fancy technical stunts are
a spoken section. Many fine and little The slurring legato style had reached just that and no more. And he is
performed verses are used in their its height during this period. Most very stiff and employs a corny,
entirety. Listen in particular of the hornmen here were using romantic terminal vibrato which takes
to those of Beginner's Luck, long melodic phrases like Bird, but the edge off his hard swing style.
Somebody From Somewhere, Aren't rhythmically were not yet as Nat Cole has a wonderful solo on How
You Kind Of Glad We Did, Of Thee I advanced. They accent on and behind High The Moon. It should remind
Sing, Funny Face, and I Got Rhythm. the beat but rarely between beats. us that he was an important
The charts are very obvious Howard McGhee and Wardell Gray jazz pianist. He (not Tatum) was
throughout. Riddle relies heavily on are two good examples of such Oscar Peterson's principal influence,
devices that he has used over and evolving jazz soloists. and Peterson got some of those
over again, especially the ponderous Gray was at this time strongly funky comping chords from him.
after-beat accents that were so influenced by Lester Young. In the Getz, in his Early Autumn period, has
often on his Frank Sinatra dates. The next few years he was to assimilate a fine solo also on High High The
one saving grace is his string more and more Bird until, by 1950, Moon but runs out of ideas half way
writing, which is quite outstanding, he was playing in a strongly through I Got Rhythm. Willie Smith is
most notably on The Man I Love, A individual manner somewhat good on Moon (a very fine track
Foggy Day and Isn't It A Pity. reminiscent of Sonny Stiffs tenor if you haven't already guessed),
Of the tunes on the five albums, the playing. Though Rollins was probably but on Rhythm his solo is a series of
following are completely the first on tenor to assimilate Parker's unrelated arpeggios. He repeats a lot
successful, both in terms of Miss rhythmic approach thoroughly, I and concentrates mostly on
Fitzgerald's performance and the feel that Gray was an outstanding getting a mean edge on his tone.
appropriateness of the accompaniment: musician and very underappreciated. Norvo is tasty as usual.
Let's Call The Whole Thing Off, His lines show a wonderful continuity. The rhythm sections are almost
Things Are Looking Up, By Strauss, (It is no accident that Jon inaudible because of poor
The Real American Folk Song, My Hendricks and Annie Ross have set recording and lousy surfaces.
Cousin From Milwaukee (practically lyrics to some of his solos.) They Harvey Pekar
a jazz line), I've Got A Crush On You, are flowing, complete melodies. His
Isn't It A Pity (which certainly time was perfect; and I have heard
deserves more performances), They no one swing more effortlessly. "HELEN HUMES." Contemporary 3571.
Can't Take That Away From Me, Boy! Howard McGhee, one of the earliest Helen Humes, vocals; Benny Carter, trumpet;
What Love Has Done To Me!, and bop trumpet men, had wonderful Frank Rosolino, trombone; Teddy
Loreleia total of ten out of control in the upper register and Edwards, tenor sax,- Andre Previn, piano;
fifty-three; not a bad percentage a loud, powerful, if rather narrow Leroy Vinnegar, bass Shelly Manne

when one considers the variety sound. His phrases were long and or Mel Lewis, drums.
of material. loosely constructed, and he paced You Can Depend on Me; Trouble in Mind;
himself intelligently, so that Among My Souvenirs; Ain't Misbehaving Star
Norman Granz has done a superb he excelled in long solos. A concert
production job on the album; the liner Dust; Bill Bailey; When I Grow Too Old
setting like this one was just right for to Dream; A Good Man is Hard to Find;
notes by Lawrence D. Stewart are him since it gave him all the
among the best and most informative Bill; Tain't Nobody's Biz-ness; I Got It Bad;
room he needed. During the fifties When the Saints Go Marchin' In.
I have ever read. Cover art by McGhee became more modern. His
Bernard Buffet is printed on a phrasing tightened and he was Helen Humes is a phenomenon in her
separate fibre board and can be generally much more introverted. way. A veteran of at least 33 years'
removed for framing. I haven't heard any of his work in professional singing experience, she
But those who remember the Gershwin recent years to compare with sounds, today in high fidelity, as she
numbers recorded with Ellis Larkins these sides. did on blue label Decca in
at the piano should think twice 1938 when she entered the big-time
about these records. Sonny Criss was and still is one of the with the Basie Band. The clear,
Don Heckman outstanding alto men in the idiom. light, schoolgirlish manner which links
He anticipated the beat less than Bird her with Mildred Bailey of Red Norvo's
WARDELL GRAY-STAN GETZ: did then, though, and had a
"Groovin' High." Crown 5002 Band and Ella Fitzgerald of Chick
more delicate sound. Perhaps Webb's Band, still remains,
Warded Grey, tenor, Howard McGhee, because of personal difficulties, he
trumpet; Sonny Criss, alto; Dodo Marmorosa, virtually unchanged by any darkening
has not received the credit he of tone or alteration of style.
piano; Red Callender, bass; Jackie Mills, should have.
drums. During her years with Basie, she was
Dodo Marmarosa plays a fine solo on the band canary, chanting the
Groovin' High; Hot House.
Hot House. The quality of ephemera which the Basie orchestra,
Stan Getz, tenor; Charlie Shavers, trumpet;
Marmarosa's few records placed as a dance band, had to play. Her
Willie Smith, alto; Nat Cole, piano,- John
him a niche above such fine pianists backgrounds were usually of
Miller, bass; Louis Bellson, drums, Johnny
as Al Haig. His solos were stock arrangement quality, occasionally
Moore, guitar; Red Nervo, vibes.
exquisitely structured, and even leavened by a brief solo from Buck
How High the Moon; I Got Rhythm.
in 1960 I would call him a harmonically Clayton or Lester Young. Since her
The major figures of the bop advanced pianist. There are some style was unaffected and
revolution (Bird, Diz, Bud) are resemblances between his style and straightforward, she was not an
considered "immortal" by insider and Tristano's, probably most obviously unpleasant stage wait.
layman alike; many other excellent on Boyd Raeburn's Boyd Meets Until the Vanguard Town Hall concerts
musicians from this period, however, Stravinsky, and I wonder if this is increased the count by one, she
have been forgotten. Some of them coincidence. had recorded perhaps two titles of
are dead, some are off the scene, It's a pleasure to hear performances substance with Basie, both ballads:
but their musicsome of the most which excited a not-too-hip crowd If I Could Be With You, and
exuberant, powerful music in jazz without resorting to any JATP Someday Sweetheart.
deserves to be heard. bad taste gimmicks. This present-day recording indicates
This Ip represents a concert recorded The quality of the second group is not that her forte remains the slow
on the West Coast in 1948; the so consistently high but is ballad which she sings expressively,
Wardell Gray, Howard McGhee, Sonny nevertheless interesting. Charlie with good diction and minimum

embellishment; her most effective With the exception of One Step, all
tracks are Star Dust, Among My the other songs are so overwhelmingly
Souvenirs, and I Got It Bad. When she fervent as to be beyond
is singing at faster tempos or criticism. My discomfort was greatest
declaiming the blues, she retains too during the recitative on God is So Good.
much of that quality of the The notes, not surprisingly, make a
thirties which is the equivalent of point of Miss Jackson's religious
the vo-de-o-do of the twenties. sincerity, which, since this is a
Lest I appear too harsh, let me say collection of religious songs, must be
that by the standards of my relevant. Unintentionally or
favorite columnists and jazz disc otherwise, however, it does seem to
jockeys, who all tell me that Kelly, stifle criticism in advance. I
Chris and Christy, and Dinah, Delia and don't know whether this is a good
Dakota are important jazz singers thing or not.
of our day, though she lacks the Peter Turley
hipness and the distortions of most
of them, Helen Humes also is
important, also a great jazz singer. MILT JACKSON & COLEMAN HAWKINS:
She is accompanied by a polite jam "Bean Bags." Atlantic 1316.
band directed by Benny Carter, Milt Jackson, vibraharp; Coleman Hawkins,
with the competent Contemporary tenor; Tommy Flanagan, piano;
house rhythm section. The horns Eddie Jones, bass; Connie Kay, drums.
acquit themselves nobly in Ciose Your Eyes; Stuffy; Don't Take Your Love
their brief solos: Carter's fine trumpet from Me Get Happy; Sandra's Blues;

recalls such players as Bill Indian Blues.

Coleman and Arthur Briggs; the "COLEMAN HAWKINS with The RED
agile Rosolino, who normally sounds GARLAND TRIO." Prestige-
as though he is operated by IBM, Swingville 2001
plays in an unaccustomed soulful Coleman Hawkins, tenor; Red Garland,
manner, and Teddy Edwards, after his piano; Doug Watkins, bass;
many years as a lonely West "Specs" Wright, drums.
Coast non-Brother, displays It's a Blue World; I Want to be Loved;
a splendidly full-toned horn. Red Beans; Bean's Blues; Blues for Ron.
Louis Levy Lots of Beans, some partially cooked
and some spilled.
The Atlantic association of alliterative
MAHALIA JACKSON: "Come On aliases is only a semi-success.
Children, Let's Sing." The two titans are properly
Columbia CL 1428 professional, but without exceptional
Come On Children, Let's Sing; If We Never direction, or strong summations.
Needed the Lord Before; Because His Like most of the Atlantic output,
Name is Jesus; You Must Be Born Again; this album is a careful production. It
Brown Baby The Christian's Testimony; Keep
is a relaxed session in which
a-Movin'; A Christian Duty; One Step; rehearsal and preparation are evident.
God is So Good. There is good diversification of
Dan Morgenstern's recent letter about selections and tempos. It isn't just
imposing standards on a piece of a take-your-tum-and-disappear-date
music which are alien to it probably the group works orchestrally.
apply aptly to my view of this Nevertheless, and despite all, the
record. I've never been interested in parts are far better than the whole.
Gospel singing, and now that I'm With one exception, all tracks are
faced with an Ip of it, I find that the handled as theme-and-variation-and-
criteria I normally apply to music out, without any attempt at
don't seem to work, and I conclusion. The exception, Indian
haven't any others to substitute. Blues, based on the hokum background
I enjoyed the 'rhythm' songs, music of every juvenile western,
particularly The Christian's Testimony seems to inspire all hands and winds
with its delightful instrumental up the session exhilaratingly.
introduction and You Must Be Born If thoroughgoing professionalism is
Again. If We Ever Needed is everything to Atlantic, it is nothing to
interesting harmonically, but it goes Prestige. Their "Swingville"
on too long. The title song is sung Hawkins-Garland Trio date is a causual
with a great deal of enthusiasm, but blowing affairwhich does not
the composition itself struck me necessarily diminish its value. There
as being rather synthetic. Keep-a- are even indications, in the
Movin' shares the qualities of the originals, that this session might
others, but is more adventurous have been of greater musical value,
melodically and harmonically, and at but, gelded by Van Gelder, it
times shows a definite affinity is spoiled by terrible recording.
with certain elements of what is still While Garland and his men are
being called (but no longer is) rock recorded with, by comparison, a
and roll. This was the only track relatively natural sound, Hawkins'
on the record that seemed to me to saxophone is forced through an echo
have a strong musical personality of chamber and distorted into an ugly
its own rather than being yet belching caricature of his full but
another variation on a standard theme. crystal-hard tone. This kind
General Manager: Pat Henry

of juke-box howl has sold millions these: fragmentation of material, is what they have done here. It may
of records but is purposeless and extensions of contrapuntal be their finest achievement within
here and all but destroys a possibly technique. Counterpoint has always the limits of form and melodic-
fine blues-oriented date. been a prominent feature of harmonic content of ballads. Apart
Louis Levy the Quartet's work of course, and from the lyricism of the whole
systematic fragmentation first performance, the most notable
appeared in the God Rest You Merry passage occurs in I Can't Get Started,
"The M.J.Q. at Music Inn, Vol. 2." Gentlemen variation. where the melody is implied, rather
Atlantic 1299. Yardbird Suite, the most absorbing than stated, by piano and vibraharp
John Lewis, piano; Percy Heath, bass; track, illustrates both thematic in what amounts to an example
Connie Kay, drums; Milt Jackson, vibraharp. fragmentation and an unusually of both counterpoint and
Yardbird Suite; Midsdmmer; Festival Sketch; diversified overall treatment that is fragmentation. This record, perhaps
Balled medley: Stardust, I Can't Get probably a larger application more than any other, leads one to
Started, Loverman. of the same principal. The line of speculate whether the real
Sonny Rollins, tenor, added. Parker's original melody is broken up significance of the M.J.Q.'s celebrated
Bag's Groove; Night in Tunisia. analyzed, we might almost say innovations is that they have been
"The JOHN LEWIS Piano." Atlantic 1272. into a number of detached and the means of reviving and
John Lewis, piano; Connie Kay, drums: contrasting segments. Consecutive reinterpreting collective improvisation
Harlequin. segments are announced on different on a higher level than ever before
Percy Heath, bass, added: Little Girl Blue; instruments so that fragmentation is in jazz.
D and E. emphasized by changes of tone- In the context of the Quartet we
John Lewis, piano; Barry Galbraith, guitar: color. Later there is 'a flashing accept Lewis's piano playing, perhaps
The Bad and the Beautiful; It Never stop-time chorus, by Jackson an a little too casually, as an integral
Entered My Mind; Warmeland. entirely convincing revival of this old part of the overall sound, and his solos
Jim Hall, guitar, replaces Galbraith: deviceand a subtly-conceived as just one of the group's voices.
Pierrot; Columbine. passage in which Heath and Heard in comparative isolation on
JOHN LEWIS: "Afternoon in Paris." Kay hint at the fragmented version of Atlantic 1272, it presents us with
Atlantic 1267. the theme without direct statement. certain problems at first, but,
Barney Wilen, tenor;-John Lewis, piano; Lewis' improvisation is a notable finally, with further illumination of
Sasha Distel, guitar; Percy Heath, bass; example of lucid melodic thinking. the nature of Lewis' music. This
Kenny Clarke, drums. Another solo by Jackson leads to a record has an unobtrusive originality
All the Things You Are; Bag's Groove; masterly compressed restatement that only becomes fully evident with
Willow Weep For Me. in the form of a series of nimble close acquaintance, and this quality,
Pierre Michelot, bass, and Connie Kay, drums, canonic imitations on a the unique flavor of his improvising,
replace Heath and Clarke. part of the theme. is very hard to define. To mention
I Cover the Waterfront; Dear Old just one sphere: the harmony is really
No one should need reminding of the
Stockholm; Afternoon in Paris. most conservative, especially by
significance of strict contrapuntal
For many years the music of pieces like Concorde and the standards of Monk or Cecil
Ellington's orchestra could be Versailles, either in relation to the Taylor. The truth is that in this
classified under various types: blues, development of the Quartet's special case originality does not derive, even
mood, and descriptive pieces, qualities, or to jazz composition as a partly, from the application of
portraits, solo features, 'abstract' whole. Although Lewis has not specific technical devices, but from
musical compositions, etc., and produced anything in quite that qualities that lie behind the rather
earlier, 'jungle' style items. These category for some time, counterpoint deceptive outward aspect of the music.
categories represented separate, remains a vital and increasingly To begin with, the gentleness, and
simultaneous paths of development subtle part of the group's method. more especially the apparent
within the band's output. The paths There is some beautiful intermingling understatement, are misleading. One
would sometimes continue over of piano and vibraharp lines in feels Alun Morgan was out of touch
a number of years, or disappear to I Can't Get Started, Loverman, and, when he wrote, "I like Lewis not so
return later. Thus Lightnin' (1932), above all, Midsommer. Another much for what he actually plays but
Daybreak Express (1933) and contrapuntal approach seems to have for what he implies." As the listener
Happy-go-lucky Local (1946) are points developed out of Lewis's singular begins to understand this music,
along the same line. This kind of powers as an accompanist. While it becomes clear that Lewis implies
richness and diversity can only Jeckson improvises on the melody, nothing, but states whatever he
be expected in jazz from a group Lewis supports him with an has to say with uncompromising
that has been together for a unusually full and varied directness. This, surely, is
long time, in which each member accompaniment that contains frequent what he meant in his reported remark
contributes creatively. references to the theme. It to a pupil that "every note you play
It has become increasingly clear constitutes, especially in Festival must be the truth." Intently
during the past three years or so that Sketch, a kind of parallel thematic thoughtful but never too deliberate,
the Modern Jazz Quartet is the one exploration. A situation in which his own playing follows this precept
group since the war that can be a theme is subject to two completely. Lewis's solos have a
compared in essential respects with simultaneous lines of development in self-sufficient spareness that is not
the Ellington orchestra. Its detractors, this way might be called merely the result of a taste for
who spend little time listening counterpoint in depth. economical textures, buttrite though
to it, have contentedly heralded its The Quartet's earlier ballad medley on the phrase may beof making
stagnation and forthcoming demise Atlantic 1265 was not as convincing count every note he plays and
more than oncejust as Ellington as their Gershwin medley. These registering with expressive purpose
has been dismissed as 'finished' each linked selections have become a his feelings and reaction to the
time he has done something cliche in assembling Ips, and many musical situation in which he finds
newbut, really, fresh things are are far too off-hand. However, it is like himself. Nothing is played for effect.
still happening, and it is no the M.J.Q. to take a somewhat This peculiar directness is further
surprise that there are several areas discredited formula like this and implemented by another quite
of development. Atlantic 1299 make more of it then even their different aspect of his approach to
draws particular attention to two of greatest admirers would expect. That the piano. Although everything he does

is attuned to the instrument's the qualities already discussed.
b l u e n o t e ^
qualities, he thinks of the piano as a Accompaniments are simpler, less THE FINEST IN J A Z Z
composer does all the time and as involved in the train of the L SINCE 1939 A
a pianist only rather incidentally. soloists' thoughts, but help the music
Thus Harlequinthe best track here to swing in a most marked fashion CLASSICS IN MODERN JAZZ
is not some kind of exploitation as behind Distel in Dear Old
of the piano's potential in texture of Stockholm. As we would expect, he
sonority, but a study in space, improvises on the themes themselves,
displaced accents and fragmented as the explicit references at the
melodic development. His musical beginnings of his Afternoon in Paris
ideas are expressed directly and Dear old Stockholm solos indicate,
and not couched in terms of and and not just on their chords.
therefore modified by conventional Unusual powers of thematic
pianistic scale,-chord, arpeggio and variation and suggestion are shown
decorative formulae. This in the intriguing Willow Weep For Me

contrasts sharply with, say, Art Tatum, introduction, which in its
whose singular harmonic vision unexpectedness recalls again some
was always communicated strictly in of Ellington's openings in "Back
terms of a transcendental keyboard to Back." Solos like the one on Bag's
technique. Indeed, if a comparison is Groove exhibit the abundant
to be made it must be with melodic invention that is so valuable
Ellington's playing on the "Back to a gift for a composer, which has
Back" Ip. There is the same kind served Lewis so well. THELONIOUS MONK
of freedom and directness, and it is Max Harrison GENIUS OF MODERN MUSIC
probably no coincidence that both 'Round About Midnight, Off Minor, Ruby My
men are reported to have played quite Dear, I Mean You, April in Paris, In Walked
"MULLIGAN Plays Mulligan." Bud. Thelonious, Epistrophy, Misterioso, Well
differently on the alternates takes Prestige 7006.
of each piece. You Needn't, Introspection, Humph.
Allen Eager, tenor; Gerry Mulligan, baritone; BLUE NOTE 1510, Vol. 1
Because of its directness this music George Wallington, piano; Phil Leshin, bass;
is a valuable indication of many of Carolina Moon, Hornin' In, Skippy, Let's Cool
Walter Bolden, drums. One, Suburban Eyes, Evonce, Straight No
Lewis's ideals. The singing sound he Mulligan's Too.
always seeks to draw from the Chaser, Four In One, Nice Work, Monk's Mood,
Max McElroy, baritone added. Who Knows, Ask Me Now.
piano, the acutely sensitive phrasing, Funhouse; Mullenium.
the balance of tension and release BLUE NOTE 1511, Vol. 2
Nick Travis, Jerry Hurwitz, trumpets;
both between adjacent phrases and Ollie Wilson, trombone, added.
within a single phrase, the Ide's Side; Roundhouse; Kaper; Bweebida
variations of tonal shading, the Bobbida.
overall clarity of thoughtall these
are illustrated more clearly here The artist who has gone on to further
than on the M.J.Q. discs where the achievements will probably deplore
goals are more complex and other critics returning to his earlier, less
personalities contribute. successful, less typical work. There
The "Afternoon in Paris" Ip finds seems especial point in doing so in
Lewis in a context which although this case, however, for this
normal for most jazzmen is rather 1951 recording was the first to reveal
unusual for hima "blowing the nature of Mulligan's potential
session." Inevitably the music is and to include all the elementssome
looser in texture and less organized still in provisional formof his
than most of the work we associate mature style. Insofar as a musician's
with him, but there is evidence of development can be documented
fruitful preparation in the casual poise with records we may, with our THE AMAZING BUD POWELL
of almost all of the solos. If knowledge of his later work, point With Fats Navarro, Sonny Rollins, Max Roach,
there is an element of M.J.Q. to this Ip as the beginning of the real Art Taylor, Roy Haynes, etc.
integration in the music it is because Mulligan. Until this time none of Un Poco Loco (3 takes), A Night In Tunisia
Lewis, Heath and Kay tend always his records had given much (2 takes), Dance of the Infidels, 52nd St
to think in that way. indication of what direction he was Theme, It Could Happen To You, Wail, Orni-
Wilen is a discovery, with plenty of likely to take. Items such as thology, Bouncing With Bud, Parisian Tho-
ideas, good melodic continuity, Waterworks and Night on Bop roughfare. BLUE NOTE 1503, Vol. 1
excellent time and a full, firm tone. Mountainrecorded with Kai Winding Reets And I, Autumn In New York, I Want To
His best solos are on All The in 1949had no real group feeling; Be Happy, It Could Happen To You, Sure
Things You Are and Willow Weep For extemporisations like those on Thing, Polka Dots And Moonbeams, Glass En-
Me. The latter is the more Chubby Jackson't So What and I May closure, Collard Greens and Black-Eye Peas,
impressive because his vigorous solo be Wrong of 1950 contained some Over the Rainbow, Audrey, You Go To My Head,
altogether avoids the trap of individual ideas but were not Ornithology. BLUE NOTE 1504, Vol. 2
lethargic phrasing that slow ballads outstanding. On the other hand, THE AMAZING BUD POWELL, Vol. 3
set, particularly for tenor players. Mulligan had contributed valuably to BLUE NOTE 1571
Distel has less to offer. His solos are Miles Davis's 1948 nonet. The TIME WAITS
assured and have some subtlety records that group made for Capitol THE AMAZING BUD POWELL
of rhythm and accentuation, yet do in 1949 and 1950 have become BLUE NOTE 1598
not suggest the presence of a indisputable classics but in collective THE SCENE CHANGES
distinctive musical personality. But endeavors of that kind some THE AMAZING BUD POWELL
listen to the beautiful sound compromises are unavoidable. Michael
Clarke's brushes make behind the James put the matter very
guitar in the Willow theme chorus! illuminatingly in his essay on Complete Catalog on Request
Lewis's contributions exhibit, though Mulligan in the November 1957 Jazz
in a somewhat less concentrated form, Monthly: "The particular weakness of BLUE NOTE RECORDS, INC.
43 West 61st St., New York 23
such experiments is the absence reminiscent of Shorty Roger's banal inspiration. "Trumpet style" has
of a consistent emotional pulse. It is efforts. long been accepted on both piano
true Davis emerged as the leading Most of the solos are by Mulligan, and clarinet in jazz, and Stuff
soloist and that his contributions lend Eager and Wallington. Eager plays a similarly adapted it for the fiddle. In
the recordings a sort of creative personal variant and dimunition fact, when double-stopping on
unity. No one need be reminded of of Lester Young and his best solo riffs, he can sound like a whole brass
the importance of the new scoring is on Bweebida. Wallington's section. The intense drive and
devices. Such commendable contributions are not representative ferocious attack are, however,
innovations are infrequent enough to of his real powers, and little he does frequently contrasted with passages
warrant liberal praise. Nonetheless, here is really distinguished. In his solos that are mockingly tender, romantic
every soloist makes some concession Mulligan displays greater force or whimsical. In this respect, there is
to the need for musical unity, and clarity in his thinking than he a close resemblance to Fats Waller's
and the result may conveniently had shown before. Roughness formulaswinging music, humor,
be described as a brilliant of tone remained but the increased and a minimum of solemnity. This
compromise." If these Prestige titles discipline in phrase formation is equally apparent in the hoarse
are Mulligan's first to embody a was most notable in his thirty-five vocals on Somebody Loves Me and Oh,
coherent expression of a tangible choruses in the eighty-one chorus Lady Be Good, where Stuff corpes on
and consistent musical personality, Mulligan's Too. He was at that time like a cross between Louis and
with at least some integration an inferior instrumentalist to Fats, and in the often irreverent
between writing and improvisation, Chaloff or Lars Gullin but the ability intros and codas. Normally as much
it is because they are the first to sustain those thirty-five a chameleon as Tatum, Stuff shows
of which he had sole charge. The choruses augured as well for his his ability to sustain a mood on
instrumentation is not as future as a composer as his handling Blue Violin, an attractive composition
unconventional as that of the of the session did for his he evidently wrote in
Davis nonet, nor does it have so wide future as a leader. collaboration with Andy Razaf.
a range of tone-color, but is Max Harrison Stuff's opening melodic choruses
unusual in employing two baritones alone are worth the price of the record,
and no alto. Mulligan no doubt and they should prove irresistible
had the Claude Thornhill and Elliot STUFF SMITH: "Cat On a Hot Fiddle." to anyone whose appreciation of jazz
Lawrence bands of that time in Verve MG V-8339. is not bound by the conventions
mind when he decided to use two Stuff Smith, violin; John Eaton, piano; of the fifties.
baritones to obtain a full, heavy, dark- Lewis Powers, bass; Harry Saunders, drums. Stanley Dance
toned ensemble sound. Undecided; Take the "A" Train; Blue
Unity of conception is apparent Violin.
both in the compositions, which are Smith, violin; Paul Smith, piano; Red Mitchell, BUDDY TATE: "Buddy's Date."
all Mulligan's and represent the bass; Sid Bulkin, drums. Prestige-Swingville 2003.
first real crystallization of this aspect The Man I Love; Oh, Lady Be Good; Nice Buddy Tate, tenor; Pat Jenkins, trumpet;
of his talent, and in the almost Work If You Can Get It; They Can't Take That Eli Robinson, trombone; Ben Richardson, alto
uniform level of the saxophone Away From Me; Somebody Loves Me; and baritone, clarinet; Sadik Hakim, piano;
solos. Bweebida Bobbida (originally 'S Wonderful; Nice and Warm; Strike Up Wendell Marshall, bass Osie Johnson, drums.

called September Serenade) and the Band. Me 'n' You; Idling; Blow Low; Moon Dog;
Funhouse are the most interesting There is a long tradition back of the No Kiddin'; Miss Ruby Jones.
pieces. In the former, brass and saxes violin, and the average person Buddy's band will probably have to be
alternate two strong and contrasting probably has more fixed ideas about recorded at The Celebrity Club.
figures over a neutral rhythmic how it should be played, or how it This one no more than the
background during the first sixteen should sound, than he has about any Felsted and Baton albums does proper
bars. In the final eight of the other instrument. That may justice to the way the band can
theme chorus the same phrases are partially explain some of the recent sound. It's even conceivable that,
swung strongly as they lead into severe criticism of Stuff's records in through long usage, the four horns
Eager's solo. The references to the this magazine. have somehow developed a sound
theme in Mulligan's solo increase the Quite apart from amplification, Stuff's which specifically fits a broad,
feeling of continuity and the only fiddling is certainly unorthodox. low-ceilinged hall.
weak fink is the tense playing of Jerry He gives you, by turn, a violin, a Wendell Marshall and Osie Johnson
Hurwitz. Funhouse was almost the horn, and a band, and though academic substitute for regular members of the
first indication we had of Mulligan's accuracy may often be lacking, he group. Wendell is fine throughout,
liking for the stark contrapuntal also gives what they don't teach in but Osie had a harder task. He
lines over a simple accompaniment, academiesa wonderful beat is an adaptable, swinging drummer,
that were to become such a feature and quick-witted, frequently humorous but the band is accustomed to a
of his Quartet. These two also invention. heavier and more straightforward beat
hint at later compositions: the Eddie South is the other great jazz than he sometimes provides here.
ensemble bridge between Eager's and violinist (dig his C Jam Blues on His light, explorative accentuations
Hurwitz's solos in Bweebida is the Mercury MG 20401) and he plays with at times sound foreign to the basic
origin of Western Reunion, while more grace and more regard for style, although Eli Robinson and Sadik
Funhouse reminds us of Bernie's Tune the established rules. Like the Hakim show themselves far from
and of Jimmy Raney's Minor too. achievements of Louis Armstrong, unaware of contemporary trends.
Mullenium is the most attractive theme Johnny Hodges and Coleman Hawkins This is, of course, a dance band, and
melodioally and, together with in the thirties, his conception, his the nearest thing today to the
Funhouse, foreshadows something sound, technique and phraseology, famous Savoy Sultans. It is at its best
of the Quartet's emotional together represented an ultimate which at medium tempos, playing numbers
atmosphere, if not its musical might understandably have resulted like Dickie Wells' No Kiddin' and
organization. Kaper swings in a kind of jazz orthodoxy. But Eli Robinson's Me 'n' You, Blow Low
exceptionally wellalways a prime there was room for Stuff, too, as there and Miss Ruby Jones, the last being
concern with Mulliganand was for Hawk and Lester, or Jimmie an obvious relative of Miss Sadie
Roundhouse is the only poor Harrison and Tricky Sam. Brown. When Buddy is swinging, with
composition included. It is Stuff has cited Louis Armstrong's the other three horns moaning
Savoy Blues as an original source of behind him, the band can create a

stirring effect of a kind too rare "LESTER YOUNG with COUNT BASIE Stereo Bargain of the Month
nowadays. and his Orchestra." Epic SN 6031. Riverside 1150Thelonious Monk5X5
Pat Jenkins, formerly with the Savoy Regular price $5.95our price $3.69
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Muted, he gets a stinging and Comes Charlie; Taxi War Dance; Ham 'n
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distinctly stimulating sound. But 279MonkMysterioso
Buddy is the star. He has the same Top Broadway; Boogie Woogie.

Easy Does It; Lady Be Good; Jump for Me; 298Wynton Kelly Blue
trick of making a dancing entry as 306 Billy Taylor with 4 flutes
Hawk or Lunceford's Joe Thomas. No Hollywood Jump; Louisiana; Moten Swing;
Tickle-Toe; 12th Street Rag; Let Me See; 307Chet Baker Plays Lerner & Love .
matter who has preceded him, he 315Bill EvansPortrait in Jazz
seems to come in swinging twice I Never Knew; Song of the Islands;
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always noticeable, for he immediately Buck Clayton, Harry Edison, Shad Collins, CL500The Benny Goodman Combos
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the bold simplicity of his solo Freddy Green, guitar; Walter Page, bass.
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there is, as Jimmie Rushing CL829Bunk JohnsonLast Session
confirms, no tenor to touch him, no Two twelve-inch Ips, containing CL881Eddie Condon's Treasury of Jazz
one who sounds so right. "He sounds, twenty-four tracks that Lester Young
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BILLY TAYLOR: "Taylor Made Jazz." incontestably jazz classics. Like the Pierce3.98
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Obviously a small group of Ellington The foundations of modern saxophone Special Discount Verve Records
men will partially reproduce a cross style have been correctly traced For 1 month onlyanything in this
section of Duke's orchestral sound in back to Lester Young. The legend of large, varied, wonderful catalog for
spite of themselves since Ellington his influence on contemporaries only $3.18, our normal price for $3.98
takes into consideration the stylistic and on the younger generation of Ips. As you know, Verves are priced at
tendencies and idiosyncrasies of his musicians of his day is now pretty well $4.98 (Normally $3.98 at Seymour's).
men when he writes for the band. And common knowledge. This legend
yet this petit-point version of Duke's carried well beyond the Basie period, Special prices in this ad only while
orchestra dissatisfies me. First, I miss coming to an end only last year stocks set aside for this sale last, then
Duke. His absence is reflected in the with his death in New revert to our regular (20% off) prices.
playing. Second, the men seem bored York at the age of forty-nine.
with the whole undertaking, or at least We stock only jazz and folk music. We
But this Ip is more than just a specialize in Mail order service hard to
their performances sound bored to me. memorial to the great, impeccable
Of all the things Taylor has composed find labels.
Prez. Star though he was, Lester Blues, Mainstream, Traditional, Modern
in this album, the ballad Theodora, functioned for over five years as an
a solo vehicle, is the only one with "We" are Bob Kqester, Joe Segal,
integral part of the Basie orchestra. Sherm Darby, ready'to serve you.
melodic interest. And this is partly due His was perhaps the most fetching
to Hodges, who brings life to even the sound, the grandeloquent swing. But Don't forget Delmar
dull compositions. He also gives his he worked among illustrious players. (list $4.98; our price $3.98)
tracks unity, purpose, direction, and The reeds included Tab Smith, 201 Doctor JazzGeorge Lewis
form, all of which are lacking in the Herschal Evans, Chu Berry, Earl 202On ParadeGeorge Lewis
others. Warren and Buddy Tate. In the next 203 Singing ClarinetGeorge Lewis
The Taylor compositions were arranged tier above were such trumpeters as 204Jazz at Westminster College-
by Johnnie Pate, and his ensemble Harry Edison, Buck Clayton and the Dixie Stmprs.
parts are a combination of Ellington formidable Shad Collins. And 401The Bob Graff Sessions
and Shorty Rogers. Even in the smaller the trombones! Has any band, any and our most recent album:
combo, Carney is the base on which band at all, possessed a section sound 206Walt Gifford's New Yorkers with
the ensemble rests. Gonsalves is so broad or supple as that of Johnny Windhurst, Dick Cary, Ed
Gonsalves, typical on Tune For Tex, a Benny Morton, Eddie Durham, Vic Hubble, Bob Mitchell,"***" Down Beat
bit galleryish on Cu-Blue. Taylor adds Dickenson and Dicky Wells? Order from;
nothing; neither does he detract in The band was very strong in solo talent
any way. indeed. But it commanded other SEYMOUR'S RECORD MART
Mimi Clar talents as well. The sections could 439 S. Wabash, Chicago 5, III.

swing as one man. This was partly some pains to point out, Dickie's were more than anything else the
because the ensemble possessed a Dream may be the finest small group creation of Lester Young, extended by
rare single-mindedness in the side of the decade. It goes the Basie ensemble, and, in
approach to matters of intonation and beyond the hard hitting perfection of embryo form, preserved on Dickie's
rhythm. It was due also to its celebrated sides like the Billie Dream. But the new generation had
singular good fortune in resting over Holiday-Teddy Wilson Miss Brown to still more radical innovations to make
the mightiest rhythm section of You, Barney Bigard's Caravan or with the rhythmic possibilities
that period. Yes, and the Hampton's exultant Wizzin the Wizz of jazz and new adaptation to the
most modern too. with Chu Berry in peak form. more dynamic emotional requirements
Jo Jones had already worked out the On Dickie's Dream, an ideal equilibrium of a new era. Perhaps this was
rudiments of a new percussion is in effect among the seven our folk music's way of replenishing
style. He had acquired a tighter bass performers and creativity flows onto itself to avoid becoming esoteric and
drum sound, more variety and a new level of subtlety and tonal effete. The time for day dreaming
economy in punctuation on the snares achievement. The timeless quality of was past. The new generation was to
and above all, a freer, lighter, great art, the more remarkable voice a far more violent message
more constant Cymbal sound. The because it is folk art and essentially of protest than the bland Bohemians
maturing of this style, which can be ephemeral, retained only by the odd of the less complicated 'thirties
followed on the sides under chance of the phonograph record, has had offered.
discussion, led directly to the school been captured, creativity in full As for Prez, when he left the Basie
of Clarke and Roach. Irt its own flight, fused and fixed for all time. band and its matchless rhythm
day it was admirably suited to the This same timelessness can be heard section in 1940, it is probable that,
light, free swing of the sections in Lester's solos on three of the although he continued to experiment
and the solos of Young, Collins, Edison, band sides, notably Song of the and develop, he never played
Smith and Wells. The freedom Islands, and again on Easy Does It as well again. The curtain side was
enjoyed by Jo Jones was possible and Jump For Me. He had found Broadway and it is included in this
thanks to the rock-like reliability new forms of expression which went album.
of Walter Page on bass and Freddy beyond the exuberant manner and The Epic Ip is a fair and intelligent
Greene on guitar. And finally dramatic contrasts, leaping statements compilation but it does not exhaust
the entire section was crowned by and flamboyant tonality of Twelfth the Lester-Basies. There are another
Basie, one of the great pianists of jazz, Street Rag, in itself an elaboration half-dozen wonderful performances
whose clear, simple concept is as on the punching, jazzy delivery of in the Columbia-Vocalian-Okeh-Epic
fresh today as it was 25 years ago. Shoe Shine Boy. (There was possibly archives: Volcano, Super Chief,
Like Ellington, Basie conceived another link, the so-called "lag-along" and those striking overtime
the keyboard as a kind of master manner that one hears on performances, Miss Thing parts I and
control of the over-all operation. But Hollywood Jump.) In Jump For Me, II, and The World is Mad, parts
unlike Duke and others like Luis all of the essential elements had I and II. These are of a piece with
Russell, he thought beyond terms of been resolved. the best of Basie in 1939-40; that
harmonic foundation and used Negative vibrato, extended dynamics, is to say, they embodied the last
adroitly-timed melodic phrases to subtlety carried to or past the refinements of swing as it was
give continuity, spice and emphasis point of understatement, are the performed by the key figures who had
to the band performance. qualities now brought forward. But shaped it. What came later followed
Within the Basie band, more than these late solos do not swing any divergent ways, the main one
within the bands of Goodman or less than the straightforward Twelfth leading to bop, cool and the modern
Ellington, lay the sounds and rhythms Street Rag. The same rhythmic period, and the less importint
of the jazz future, the seeds of bop, urgency is there. But now it exists paths, imitations, deterioratit is,
indeed everything that has developed by implication. This might be called dilutions and imitations of initations.
along the main line since the the cryptic style of Lester Young. Besides the grand swing of the
days when America danced, in a It is this complex of elements that the Columbia-Vocalian period, there are
thousand ballrooms now dark, across coming generation of musicians forty-seven sides recorded for Decca,
the land. This was a very great extracted in arriving at the methods from 1937 to 1939. This is music of
band that came out of Boss of the next decade. early maturity and unqualified
Pendergast's Kansas City. Swing had become very ripe on the distinction, to some, the high mark of
Fulsome praise? Perhaps. But let's vine by the time Easy Does It was cut. lusty, hard-swinging big band jazz.
examine the evidence. The small band Endless possibilities seemed to In spirit that work has much in
sides, for example, of which the exist for the jazz musician. And indeed common with Taxi War Dance.
album contains five: Shoe Shine Boy, some beautifully wrought Lester also recorded with pick-up
Lady Be Good, and Boogie Woogie performances were captured on groups under the leadership of Teddy
from the rough and ready record: Ellington's Don't Get Around Wilson and Billie Holiday. Some
Jones-Smith, Inc. date in 1936, and Much Any More, Lunceford's Organ of these, enhanced by Basie
Lester Leaps In and Dickie's Dream, Grinder's Swing and Goodman's colleagues, rank close to the famous
cut at the Kansas City Seven Till Tom Special, to name just three. Dickie's Dream date. Finally,
session some three years later. All had the same effortless swing there were a handful of odd items of
The latter pair at least must stand and luminous sound. But it is a varying interest made with Glenn
comparison with many distinguished curious phenomena of jazz history that Hardman, Benny Goodman, and under
performances in the genre, for this new high ground was occupied Lester's own name for Commodore.
the late thirties not only witnessed 'for so short a time. Extrinsic factors The memorial album on Epic is a
the flowering of big band jazz, were operating against the jazz one in a thousand example of how
but the perfection of the small musician. Soaring overheads and records ought to be if they
ensemble: by the various Ellington personnel turnover in the great could bedeathless music contained
combinations, the electric ensembles orchestras, waning box office business, in a handsome package, with
collected from time to time by and the unmistakable threat of photographs and writing of the highest
Teddy Wilson and Lionel Hampton, World War II, all combined to quality. It might be wise to lay in
and the Goodman cycle that began unsettle the old hands who had a spare copy. This is apt to be played
with the trio and culminated in brought a style to a point of perfection. as long as interest
the sextets with Charlie Christian. "New Sounds" became a sort of endures in jazz music.
However, as Andre Hodeir has gone to rallying cry during the 'forties. These Ross Russell

a style characterized by measure and
by melodic grace. I think, however,
that his playing is actually a kind
of nonstyle. His performance of Blue

Monk on the Hanover-Signature Ip
shows what I mean. He does not
really come to grips with Monk's
composition. In place of a consistent
performance he offers a series of
well articulated but fairly standard
blues reins which in this context lack
cohesion, and throughout the Ips one
searchs vainly for any freshness.
Bryant's problem comes down to a
The latest production of AHMAD JAMAL question of artistic identity and the
Enterprises, "Happy Moods" (Agra fact that he has not yet achieved his
LP 662), is played by the founder and own identity makes him sound
president. A good deal of very fancy
stuff has been said and written
conventional and glib in spite of his
obvious talent. Joe Turner
about Jamal. I have heard his use of The French pianist BERNARD

silence discussed in terms that would PEIFFER is back with us on "The Pied
be more appropriate to Webern and Peiffer of the Piano" (Decca DL9218). BIG J O E RIDES AGAIN
Boulez. I suppose we all realize that He displays again his well known L P 1332
Jamal's influence on Miles Davis is pianisms to the fullest. His all too Classic Kansas City blues in Big
very apparent in such things as obvious skills are not complemented by Joe's famous shouting style.
Bye Bye Blackbird and All of You, but taste and imagination. Thus a typical
that is surely small reason for such Peiffer performance, say Stardust
inordinate praise. One must admit that on this recording, consists of a series
he has found a gimmick and, with of melodic or harmonic variations,
the precision of Crosby and none too well developed, which are
Fournier to complement him, he has evidently meant to dazzle by the J i m m y Giuffre
perfected a series of shiny, beautifully exhibition of frankly sensational runs
produced, empty works. On the current and frills. His sense of time is
release he runs from Little Old academic in its continuous emphasis
on the most obvious patterns. WESTERN SUITE
Lady through the blues to his own
Rhumba No. 2. The workmanship is both Essentially, all his work seems L P 1330
impeccable and dull. His Excerpt designed to be immediately impressive A major work that masterfully com-
from the Blues seems vacuous by. means of the ostentatious dressing bines Western folk flavor with mod-
posturing, but, Lord knows, it is chic! which is strewn through each number. ern jazz.
"This Here Is BOBBY TIMMONS" I am in a minority. I have a
(Riverside RLP 12-317) contains enough leaflet published by Laurie Records
funk or 'soul' to saturate even the advertising another Peiffer recording
most avid admirer of the, by now, from which I quote following.
cliche of blues cum gospel; tracks
such as This Here, Dat Dere, and
Leonard Feather: "Peiffer is amazing. I
can't recall any jazz pianist except
Billy Taylor
Moanin' are best seen, I think, as Art Tatum blessed with such complete
travesties on a style which at one time mastery. He manages, in his jazz work,
served a necessary function with to swing in a peculiarly exultant ONE FOR FUN
integrity and point. Timmons' playing manner." Barry Ulanov: "Nobody I've L P 1329
seems to reiterate stale fragments of heard matches his skill as an The universally popular Billy Taylor
dull ideas with blatant force. improviser and his thorough knowledge in his swingin'est piano album to
The balance of the Ip is devoted to of his instrument." This is date.
standards like Prelude to a Kiss, My considerable praise. I am not sure
Funny Valentine and Come Rain or whether Ulanov really means that
Come Shine. On these, Timmons Peiffer is better than Parker. THE LEGENDARY
abandons the defrocked preacher in Armstrong and Tatum, to name a few.
favor of a Bud Powell and Red
Garland attack which does not
"Profile" (Blue Note 4022) presents
the first solo recording of DUKE B u s t e r Smith
seem to attempt very much in the way PEARSON. He is the latest of the lyrical
of serious playing. I get the pianists who now include Duke
L P 1323

impression on these ballads of a lack Jordan, Barry Harris, and Wynton
of melodic imagination. Kelly. The most prominent A great altoist of the Twenties and
The ubiquitous RAY BRYANT is to be characteristic of this group is their Thirties, Charlie Parker's first and
most important influence, dazzles
found on two recent releases, "Ray concentration upon a continuous a new generation with his first re-
Bryant Plays" (Hanover-Signature melodic flow to which rhythmic and cording in two decades.
SM-6008) and "Ray Bryant Trio" (New harmonic elements are subordinated.
Jazz 8227). On each he runs through a Pearson does not show the melodic
grace of the predecessors and All available stereo ($5.98) and monaural ($4.98).
selection of modern jazz standards
(Blue Monk, Doodlin', Django, etc.). ancestors I have named. His playing Write for complete
Bryant has developed a manner which seems modelled on Wynton Kelly's, LP catalogue and
allows him to play improvisations but his lines do not have the melodic stereo disc listing.
that superficially seem incisive and clarity for which he seems to strive,
even compelling. There is an air and some rather hackneyed and
of precision and cogency which leads obvious figures appear regularly. TLANTIC
one to think that Bryant has On Gate City Blues his playing is

157 West 57 Street, New York 19, N. Y.

undistinguished, strictly modern funk, I didn't particularly like the kind of when led by Benny Carter how
not aided by the rather soporific work music to be heard on "PETE FOUNTAIN underappreciated (outside the
of Lex Humphries on drums and Gene Day" (Coral CRL 57313) when it was profession) Sonny Greer has always
Taylor on bass. fresh, a quarter-century ago. If been; how tasteful and compelling Jess
Hanover-Signature's "The Wild Piano of Fountain has added something new, I Stacy's piano still sounds; how
MARY ANNE JACKSON" (HM 8009) haven't heard if, but I must admit grievous was the loss to jazz of Nat
introduces a frenetic stylist who tries my attention kept wandering as I Cole; how distinctive and exciting the
to compensate for a lack of ideas listened. He does, however, play beat and tempos of the Hines
by a ferocious attack which seem to with much facility and a comprehensive band were in the late '30s, as
me to border on the ludicrous. Miss knowledge of Goodman phraseology. reproduced on Rock Hill. This last title,
Jackson relies on the reiteration His four companions do a competent on which the tenor solo is by Bob
of certain rather mediocre rhythmic accompaniment job, but there is Crowder (not Budd Johnson), also
and melodic figures which may no Lionel Hampton or Teddy Wilson reveals the excellence of another much
seem authentic on a cursory hearing among them to induce or evidence underrated drummer, one of the best
because of her emphatic and forceful tolerance. And any Goodman analogy in jazz history, the late
presentation. There are moments, will break down on that sour note. Alvin "Mouse" Burroughs.
by the way, when she sounds vaguely Here we have an elaborately packaged "Going for Myself" (Verve MG V-8298),
like and oddly distorted and curdled album with four whole pages of is a testimony to the sad later years of
Tristano. hoopla devoted to New Orleans, city of LESTER YOUNG. Though authority
The tunes are all Miss Jackson's own. "pralines, postcards and picturesque and fluidity are lacking, the music,
"Good Deal" (Blue Note 4020) features sights." The music was recorded at when viewed with the charity of those
THE THREE SOUNDS at their dullest. the eleventh annual jazz concert who love Lester, retains in its
Of course, they are a very slick group of the New Orleans Jazz Club. Attended blurred images not a little of his
which produces its own modish by "dowagers, resplendent in jewels piquant lyricism and singular
brand of ersatz jazz with a glib, serious and furs," it was an occasion when rhythmic sensitivity. At times, too, his
air. They have found a formula Fountain "brought jazz home to angular phrasing and sparsely noted
which permits them to entertain and, respectability in New Orleans." lines suggest ironic recognition of the
presumably, enlighten the great Significantly, he had to ship in a couple policy of attrition adopted by
jazz public which so credulously more ofays from the West Coast to younger popular rivals. He takes up his
accepts the current Basie band, Chico complete his group. I hope clarinet on St. Tropez. The playing
Hamilton, and Red Garland. The colored people were admitted to the is not very mobile, but he produces
Three Sounds have adapted their 'style', concert, for there are still some in that delicate and soulful sound which
a variegated pastiche, from Garland "the City that Care Forgot." A picture may well have inspired some of
and from Jamal, but Bill Dowdy is on the sleeve shows one sweeping Jimmy Giuffre's low-register research.
an inept drummer, and Andrew the sidewalk. Harry Edison, on trumpet, provides
Simpkins only an adequate bassist. No LIONEL HAMPTON'S "Open House". an almost brutal contrast. There
Crosby, Chambers, Fournier, or (Camden CAL-517) probably is as good is nothing blurred here. The curt
Philly Joe here. an example as any of the kind of articulation and the direct,
"Mighty High" (Argo LP 660) has MILT stagnation that existed in jazz prior to uncomplicated phrasing transport us
BUCKNER on organ assisted by the arrival of bop. It ought to make from twilight to high noon and the
Kenny Burrell and Jimmy Campbell on you wonder whether we are really shortest of shadows. There are a
alto in a program of blues and so much better off. Besides Hamp, who number of smart quotes for those who
standards like Organ Grinder's Swing sang, played vibes, piano and drums, appreciate that kind of musical
and Willow Weep for Me. The general there were over fifty assorted musicians humor, including one from Yes, Sir,
atmosphere could be called funky on the different dates from the That's My Baby! on Love Is Here To
mainstream a la Bill Doggett, but thirties and forties presented here. Stay.
Buckner's solos range from movie-house The standard maintained was, I submit, The two rhythm sections are
melodrama in Abstraction to higher than we are getting on records unobtrusively competent; that on the
stridency on Mighty High and After today. The maligned three-minute first three titles Peterson, Herb
Hours. Nor did anyone else have form and its cramping compression Ellis, Ray Brown and Louis) Bellson)
much to contribute; Burrell is the best seem, after all, to have resulted gives slightly more lift.
assistant, but, for him, he is in more inspiration and richer content. Stanley Dance
undistinguished. Even the tracks with inferior
H. A. Woodfin personnels swing. In fact, of the
ninety or so sides Lionel recorded for The difference between the GEORGE
Victor with small groups, more than LEWIS of the American Music and
The collection of songs by JOE two-thirds were eminently Climax records and today's Bourbon
WILLIAMS entitled "That Kind of successful, so that a couple more Street Dixielander is of coursa
Woman" (Roulette R 52039) is hardly albums like this from Camden would Bill Russell. Russell picked the
designed for readers of this magazine, not be amiss. The people who assist personnel (not to say the
although it does contain a few Hamp here are recommendation instrumentation), the repertory, and in
solos of interest by Thad Jones and enough, among them: Hawk, Chu and New York even arranged the way the
Zoot Sims. Except on Cherry (arranged Ben Webster; Clyde Hart, Nat Cole, music was presented. In a way the
by Frank Foster), the scoring was all Billy Kyle, Jess Stacy and Sir Climax records are as much Bill's
done by Jimmy Jones, who reveals a Charles; Hodges and Benny Carter; as they are Lewis', and if Lewis
handsome talent. On one session, Cootie, Rex and Jonah; Casey and furnished the raw genius, Russell
he uses three horns, flute and rhythm; Christian; Hinton and Kirby Cozy; Jo, brought out what was in him. The 1950
on a second, trumpet, woodwinds and Sonny Greer and Alvin Burroughs. band with Elmer Talbert was the
rhythm; and on a third, a full Sweethearts On Parade, One Sweet only good band Lewis had more or
complement of strings. Joe Williams is Letter, Blue Because of You and Rock less on his own. When he began using
a good craftsman. He has a voice Hill Special are little masterpieces Kid Howard again, Howard's lip was
to work with and there's no reason in their genre. Hearing these shot, and the bands never did
why he should be confined to blues, performances again after too long an achieve the earlier coherence and
but he might well leave songs like interval, one is reminded how pretty and cohesion. On "Blues from the Bayou"
Here's To My Lady to lesser flexible a four-piece sax section (Verve MG V-1019) George Lewis'
mortals. without baritone can sound, especially 1959 Monterey Jazz Festival band

more usual title, The Original Jelly Roll Now a correspondence course
Lewis, trumpeter Andy Anderson, Bob
Mielke, Joe Robinchaux, Drag, and Blues, on "JELLY ROLL MORTON
Plays and Sings" (Riverside 12-133).
the incredibly noisy Joe Watkins
play what I suppose is a typical With the release of this second GEORGE RUSSELL'S
program: Panama, Milenberg Joys, volume of selections from the Library
Memphis Blues, Beale Street Blues, of Congress recordings, Riverside LYDIAN CHROMATIC
Salty Dog, There's Yes, Yes in is in effect announcing that its reissue
Your Eyes, Second Line, and program which has been moribund
anyhow the past few yearsthe
Louisian-i-a. Lewis' tone is thin and
hollow and his weakness for falling re-reissue of 10" Ips on 12" was
feverish at Riversideis now officially
back on cliche is much more
pronounced than on his great records. dead. The label had hardly begun "The first important theoretical inno-
Mielke's best bit is on Beale Street. to touch the store of material vation to come from jazz."John Lewis,
Consciously or not he sounds available to them on Paramount and musical director of the Modern Jazz
most like he did with Bob Wilbur Gennettfabulous, that is, to those Quartet.
on Salty Dog (ou est les neiges simple souls who know something "Important for every serious jazz mu-
d'antan?). I still find Joe Robichaux about the unreissued material. sician."Art Farmer.
completely uningratiating. I would Riverside has violated the music on
say the same thing about this Ip by ripping it out of context, Taught at the School of Jazz, Lenox,
Joe Watkins vocals (Yes, Yes; robbing it of a good deal of its Mass.
Louisian-i-a; Second Line) except that charm and significance. Freakish, For information write to:
they do take him away from the probably the most completely realized
piece in the set, survived the Concept Publishing Company
hi-hat for a chorus.
The album notes refer to Lewis as operation, and Wolverine Blues (the 121 Bank Street, N. Y. 14, N. Y.
perhaps the only remaining scatted version from Volume VIII of
exponent of pure New Orleans music. the original issue) stands up pretty
A moratorium on that phrase is well too. The point of his vocal on My
overdue: BILLIE AND DE DE PIERCE, Gal Sal, on the other hand, is lost. Subscribe to
for example, are only two of many The lone accomplishment of the Ip is
active exponents of New Orleans music to reunite the two parts of Original
discovered during the Third Wave Jelly Roll Blues, which Blesh was
of the New Orleans revival, who have never very happy about separating, on
been recorded only on Ips. Billie and two consecutive tracks. Panama,
De De can be heard along with Ain't Misbehavin', Miserere, The Murder
Brother Randolph on washboard Ballad, and very fragmentary
and Lucius Bridges, who sings John versions of The Naked Dance,
Henry, in twelve tunes collected Darktown Strutters Ball and You Can
by Harry Oster and Richard Allen Have It complete the list.
(Folk Lyric Recording Co. EL 110, WALLY ROSE, aided by Morty Corb,
distributed by the Louisiana bass, and Nick Fatool, drums, plays two
State University Press). Despite the Morton compositionsThe Pearls and
much advertised fact that she King Porter Stompnot included in
accompanied Bessie Smith, and the the Riverside set, as well as ten
frequently repeated references to her other more or less classic rags famous French review
continuing the Bessie Smith tradition, Topliner Rag, Gladiolus Rag, Euphonic
I find Billie's piano, in large Sounds, Easy Winners, Pineapple
doses, monotonous (the three selections Rag, Cascades Rag, Frog Legs Rag, Red For information write to:
on Irwin Heifer's Tone Ip were just Pepper Rag, and Springtime R a g -
on "Ragtime Classics by Wally Rose" The Jazz Review,
about right). Her voice is gratifying.
Although he receives less (Good Time Jazz M 12034). Good 124 White Street, N.Y. 13, N.Y.
attention, I think De De is the better Time Jazz is another outfit that has
artist of the two. In spite of the gone flabby in its traditional half,
fact that his trumpet playing is likely while forging fearlessly ahead (with
to be uneven nowadays, his best
blues accompaniments at least
suggest the Louis Armstrong of 1925,
Ornette Coleman) in its Contemporary
end. This is, I believe, the third time
that Wally Rose has recorded some of
and he brings to his singing of tunes this material for them. I can't see Send stamp for free detailed list
like Eh La-Bas and The Peanut that anything has been gained, except of hundreds of photos of jazzmen,
Vendor a variety and inventiveness of perhaps a little in audio quality, bands old and new, obscure blues
phrasing Billie never shows. When and I can see where something has
been lost. Rose's playing has gotten artists, sweet bands and vocalists.
Billie gets into the right groove,
as she does on Mama Don'a 'Llow she flashier, and the drumming (if, indeed, Traditional and modern musicians
can play with a vigor and the earlier sessions had drums) represented. Photos of bands add
exuberance that is irresistible to the more obtrusive. I think it was Guy
Waterman who complained that Rose to the enjoyment of your record-
listener as well as De De.
The other tunes, incidentally, are Gulf never had the right conception in his ings.
Coast Blues, Some of these Days, rag playing anyhow. I wouldn't know, Examples: Oliver, Morton, Bechet,
You Can Depend on Me, Jelly Roll, but I've always been fond of his 78s of
Euphonic Sounds and Topliner. At any Lester Young, Basie, Moten, E.
Nobody Knows You when You're Down
and Out, Goin' Back to Florida (an rate, he doesn't have it here, Lang, Bix w. Whitman, Waller, Earl
autobiographical blues by Billie), understandably. It's hard to resist the Hines 1943, Benny Goodman,
Panama, and St. James Infirmary: Dick temptation to try to make something
out of ragtimebut really it's Dizzy with Bird, Bunny Berigan,
Allen's album notes are a very model
for the genre. impossible to do a damned thing early St. Louis and K. C. bands.
The composer of Jelly Roll, Ferd with it. New price schedule now in effect.
Morton, plays and sings it under its J. S. Shipman Duncan P. Schiedt
2534 E. 68th St., Indianapolis, Ind.
BOOK that begins a good list. Another point
is that Haggin's comments are such
commonplaces on the whole; I cannot
successively, to his underworld con-
tacts, a night-club entertainer and,
finally, a restive debutante, played by

imagine him having so little of per- Miss Maggie Smith, who understands
sonal perception to offer about any and, to an extent, shares the emotional
other kind of music that he liked as vacuum in which he has learned to
well as he obviously likes the jazz live. She helps him get away; but he
he mentions. mistakenly suspects her of betraying
Martin Williams him; and, finally, shuffles down into
oblivion, badly wounded, at the bot-
The Listener's Companion, revised sec-
ond edition, by B. H. Haggin. Doubleday
Anchor Books; New York, 1959.
MOVIE tom of a Welsh pasture.
The movie, then, attempts to depict
the need for dependence on others,

even to a man who has consciously
As everyone always says, B. H. Haggin, and systematically divested himself
now of The New Republic, is one of of all emotional contact; and the
our best music critics. Actually, B. H. pathetic reflex twitchings with which he
Haggin is, in the true sense of that Some of the most perceptive and sen-
sible use of jazz background (com- tries to meet this terrible need. The
much-abused word, one of our few producers have tried to do so by re-
music criticsbut he is not one of our posed and played by Dizzy Reece) in
a recent movie occurs in Nowhere to creating as nearly as possible the
best only by default. What everyone pure distillate of plot, action, quick-
does next in talking about him is to Go, a recent British melodrama which
apparently evaded every New York sketched character, and background,
mention Haggin's "blind spots". I won't in which Frank Tuttle and other one-
bore you with such things because (a) reviewer as neatly as George Nader, in
its opening sequence, skins past his punch directors specialized during the
it is not my purpose to review all of thirties. The approach comes in strong-
this book, (b) I learn at least as much prison warders. In this sequence, Mr.
Nader's supporting cast includes Ber- est during the early jailbreak, burg-
in disagreement with him as in agree- lary and robbery sequences, where the
ment, and (c) if I did I might end up nard Lee, a rope ladder, a home-made
bomb, an almost soundless sound- necessities of business-like crime are
giving further exposure to my own blind track, and Reece's piquant, skittering anatomized with a pedantic literal-
spots. But I would like to talk about theme which annotates the anticipa- minded respectfulness which charac-
something similar, about some particu- tion, anxiety and triumph of* Mr. terizes the best British melodrama,
lar omissions. Nader's escape. Later, in a flashback, from onan Doyle to Ian Fleming. The

The collection in question begins for Mr. Naderan up-and-coming Raffles film-makers are helped further by an
"someone who has just begun to be phones the home of his potential equally literal-minded camera, which
interested in music" and continues to victim; the theme punctuates his call frames and close-ups every important
include chapters on composers, on with a mewing aside. And later still, detail like the insignia in a TV ad;
forms, and on periods and styles. when Nader's ex-buddy, Lee, ransacks and by a sound track which fools
Among these is a brief section on jazz. his apartment for loot, the theme whis- around entertainingly with a few de-
So far as it goes, it is good. Its main pers anxiously, at the level of outside vices made available by Hitchcock's
point of departure is the series of Co- street-noise. early films, but not used conspicu-
lumbia reissues by Armstrong, Bessie ously since then. I imagine that direc-
Smith, Bix and Billie HolidayTeddy In short, jazz is used flexibly in this
film, unobtrusively and respectfully as tor Seth Holt deserves credit for these
Wilson. It further mentions Jess Stacy things, althoughon no better evidence
a well-trained muscle. It represents,
(rather oddly in view of a slighting of perhaps, nothing more brilliant or sen- than his drama criticismI'm inclined
Earl Hines, I feel), the "Chicagoans", sational than a very good level of to thank scenarist Kenneth Tynan for
Ellington, Teagarden, etc. As you can unassuming efficiency; and we can much that is shrewd, circumstantial
judge, it all could have been written give it ample credit only by remem- and graceful in the script. George
in the late thirties, and as a matter of bering how often we have seen such Nader has little to do that wouldn't
fact, most of what Haggin says about efficiency at work in eight out of ten be required of a well-paid floor-walker;
these people admittedly comes from recent films or television shows. but he does that about fifty times more
his old Nation colleague Otis Fergus- That's right. In this film, jazz is not ingratiatingly than he did it in, say,
son or indirectly from Fergusson's read- used as a smudge-pot for ready-made the best-forgotten Ellery Queen TV
ing of Panassie's first book. Thus, for "atmosphere"; it is not used as "under- series. Bernard Lee exploits a dolphin
example, we have the old line about scoring," like those flatulent wow- smile to the limit; and Maggie Smith
the Armstrong Hot 5s as better than wows from the brass section which frequently suggests the plump, high-
the "Savoy Ballroom" sides. Better they notify you when to be convulsed, on enamelled charm which typifies the
may be, but any critical comparison the Dennis O'Keefe Show; nor is it Daughters of Barnard and Smith, over
should show the realization that the used to express the film-maker's spin- here in the States.
latter attempt something very different, sterish mixture of fascination with, The movie fails in that it misses emo-
and very necessary to the development and contempt for, any kind of vital tional contact all along the line almost
of an innovative musician like Arm- emotion. The final evidence of how as completely as does its hero; partly,
strong. deftly and cleanly jazz, or any music, I suppose, because the point of view
I can go on taking exceptions: it no can be handled in a film comes late is almost exclusively that of Mr.
longer seems reasonable to me to speak in Nowhere to Go; whenfor a mo- Nader's rather vacuous con-man-turned-
so highly of a potential but so obvi- ment in a Welsh cottagethe jazz burglar. I suspect, though, that much
ously undeveloped a talent as Frank theme is replaced by a freezing shower
of Bach-like chords. of the blame rests with the attempt
Teschmacher's as many once did and The film as a whole expressesless to reproduce a kind of film which is
Haggin still does. But the real point successfullythis determination to as much confined by its era as are
is that the real loss is Haggin's. No produce a self-contained, consistently the crisp, linear, jaunty advertisements
one who has his acute understanding molded work. The storya kind of of the thirties. I wonder, in fact,
of melody and lyricism and his very simmered-down Graham Greene novel whether the melodramas of Tuttle,
real appreciation of the kind of melody centers on Nader's quarrel with his Le Roy and otherssupposedly ex-
that jazz offers in an Armstrong should accomplice, Bernard Lee, over the pert in evoking the emotions of rage
deny himself the great lyric pleasures division of loot. Lee is accidentally and fear and anticipationdidn't do
of at least a Lester Young, a Ben Web- killed; and Nader appeals for help, a lot toward stereotyping and almost
ster, a Miles Davis, an Art Pepper- killing those emotions, by the very

fact of their poker-faced efficiency; a Negro audience, the all-jazz FM thing recorded before 1954. Somehow
so that later audiences turned, in station was created in 1958 to play the names of Chris Connor and Frank
almost trope-like reaction, to the "all forms of jazz twenty-four hours a Sinatra appear more and more through-
overweaning pseudo-emotions of the day." Such a thing is easily said. But out whole hours of music. The station
science-horror movies. In any case, one does not start a jazz station once conducted a poll to see if their
the only recognition of such feelings simply by gathering a large collection listeners would approve of hearing
in Nowhere to Go is far too inter- of current records and playing indis- Johnny Mathis included as a jazz
mittent and sketchy to dramatize the criminatively. The rhyme and reason singer. I mention that, not to stir up
need for emotional fusion. Also, like to jazz must be brought out by men the old argument over "what is a jazz'
so many half-allegories, the film tends, who know and are sympathetic to- singer," but to indicate that these
I think, to blur distinctions rather wards its history and styles. Further, a singers are being presented at the
than express them more clearly; for collection of great (and lesser) jazz expense of more important material.
example, the distinction between emo- works of the past must be brought I realize that this station is a com-
tional and social contact. Watching together and played freely. Unlike mercial venture, but I question whether
the theoretical agonies of Mr. Nader, "classical" FM stations, a jazz sta- or not a steady diet of only modern
I could imagine a quite different sort tion cannot hope to gain a broad jazz, interspersed with an occasional
of man, equally cold but more articu- sampling of history by waiting for the singer, will really please anyone.
late and self-projecting, who might older sides to be reissued on current As I suggested before, this state of
have been much more successful at Ips. one-sided jazz at WHAT-FM is prob-
finding the friends he wanted. The And, of the number of masterpieces ably due more to a lack of under-
point is, that even a supposedly in- from the past that are available on standing of jazz, than to merely a
stinctual medium like the movies has Ips, few are ever heard on WHAT. matter of station policy. The disc
to stand still and speak up for itself A better reason for this incomplete- jockeys' comments are few, generally
when it ventures to say something ness of jazz is, I suspect, an almost dull, and seldom helpful. This re-
about human relationships. I imagine total lack of understanding of jazz stricted scope (modern jazz only), com-
a certain measure of self-awareness is history by the station's disc jockeys. bined with bland commentary, makes
indispensable even to the modest sort Excepting Danish-born Chris Albertson, serious jazz listening to WHAT-FM
of tragedy which Nowhere to Go pro- it seems that the station's personnel impossible, and one must be painfully
poses; whereas Mr. Nadar shows and management have little more than selective.
and is asked to showall the self- album note knowledge and "l-heard-X- There is an exception to all this, and
awareness that one would expect of a say-the-other-night-at-Pep's" gossip to Chris Albertson is a very large ex-
handsome and contented airdale. The pass on to a still largely uninformed ception. Formerly with Radio Denmark
handsome, dead-center technique which audience. (he still does a weekly show for them),
gives charm and exactness to the film's The record-playing staff of WHAT-FM Albertson is the only member of
exposition, makes its emotional se- includes program director Sid Mark WHAT'S staff who has the background
quences seem too foreshortened, cold, (formerly of the Red Hill Inn, home and understanding to make a genuine
and rather fatuous; again, when ex- of "Jazz in Jersey"), Gene Shay, Chuck contribution to jazz on radio. Albert-
planations are required, a movie has Sherman, Ron Robbins, Chris Albert- son's personal collection, augmented
to stand up and sing out; and this son, and Henry Earl, who plays "clas- by listener's contributions (in one
movie suffers regrettably from the sical, semi-classical, and show tunes" week, he received over 800 jazz 78s
cleft palate which I've tried to diag- on "Sunday Surprise" between 9 AM. from two listeners alone), represents
nose. and noon on Sunday mornings. (This all of the station's historical library
Don't try not to see it; as I say, a good single strange departure from jazz and Albertson alone takes advantage
deal of it is technically astute and policy might well be related to nurs- of these. His Sunday afternoon show is
respectful and its basic idea, how- ing Sunday morm'eg hangovers, if we a delightful potpourri of Kansas City,
ever mistakenly applied, seems to me assume that all jazz is noisy, but one skiffle, Waller, Chick Webb, Morton,
one of the few intellectual approaches suspects that it is more likely con- and lots of items not likely to be
to movies which suggests a genuine nected to a still existing stigma sur- reissued tomorrow.
understanding of, and interest in, rounding the playing of jazz during It is only in the programs of Chris
movies. But for the film as a whole- church hours.) Albertson that one sees some of the
well, what was that title again? The format for the bulk of the shows vast educational and entertainment
Donald Phelps on this station seems to feature three possibilities of jazz radio: tape re-
or four different Ips an hour. This corded interviews with visiting jazz-
method presumably allows for as men, e.g., Jimmy Rushing, Lester

RADIO many different "sounds" (the station's

favorite cliche) as possible. In prac-
tice there seems to be a strong dis-
Young; an hour a week spent with a
listener, listening to his choices of
great jazz and'his reasons, and per-

The idea of "all-jazz" radio would
regard for over-all programming that
results (my examples come from a
few months back) in "Everybody Digs
Bill Evans" being featured three times
haps most important, his intelligent
programming and his broad jazz ex-
perience which he freely imparts to
his listeners. But he is a voice in the
seem to be an exciting possibility. in one day, or Jimmy Wisner's "Blues wilderness and he has some of the
Like the jazz festival, a station devot- for Harvey" being played unmercifully, poorest air time.
ing its full schedule to jazz might day after day. But these are minor WHAT-FM has developed a monthly
successfufly reach a vast new audience points. The real failure lies in lack of guide which accurately lists selec-
of uninitiated listeners. But if WHAT- authority in presentation. tions hour-by-hour and carries moder-
FM in Philadelphia is typical, things Extended listening will quickly reveal ately entertaining articles on jazz per-
are little better in jazz radio than that only one of five jazz disc jockeys sonalities. With the aid of such a
they are in the majority of sadly pre- seldom if ever plays anything but the bulletin, selective listening is easier.
sented jazz festivals. Twenty-four hours "latest sounds"the newest releases. The real problem, of course, is that
a day of WHAT'S dull programming, Thus, there are frequent appearances any station that fails to view jazz in-
uninformed disc jockeys, and unwar- by Basie, Chico Hamilton, Miles, Shelly telligently runs the risk of presenting
ranted repetition have almost suc- Manne, and all west coasters, but one jazz lop-sidedly to an unsuspecting
ceeded in the apparently impossible has to look hard to find early or middle audience and making jazz dull for
in making jazz dull. Ellington, Louis, any of the 1946-49 the sophisticated listener.
Growing out of WHAT-AM, aimed at bop thingsor for that matter, any- John F. Szwed


desegregation, local than they are in the

(Negro) politics, African general press. There are
affairs, and the accom- jazz 'items' in the show
plishments of Negroes in business gossip sections
almost any f i e l d . Although of every one of the papers,
they are like a l l local and one can pick up a
newspapers in reporting good deal of miscellaneous
the local church doings information about the
(like the N.Y. Times), comings and goings of
school news (like the jazzmen from them. I
N.Y. Post), and the social discovered from Nat
l i f e of the local gentry, Middleton's Daze'N'Divots
they also have another column in the Philadelphia
rather special tone which Independent that Beryl
I can perhaps convey by Booker, a lady whose
quoting a few column blues playing I've long
heads: Uptown Lowdown, admired, is preparing to
Tavern Topics, Everybody come out of retirement,
Goes when the Wagon and that Barney Bigard is
Comes, and best of a l l , back with Louis Armstrong.
Dapper Dan's Dope (Dapper From this column, and
While Nat Hentoff is on Dan is a numbers from an adjoining one by
vacation, I'm going to try tipster). Jimmy Brown, I learned
a Jazz in Print too. One would expect that about two jazz nightclubs
Rather than doing one these papers might have a in Philadelphia that I
more report on the same lot to say about jazz, didn't know before. From
old round of jazz since there is so much talk Les Matthews, Mr. 1-2-5
magazines and European about jazz as the. main Street in the Amsterdam
medical journals spiced artistic contribution of News, I learned that
with bits from Louella and America to the world and Eddie Lockjaw Davis has
Kilgallen, or a piece on of the Negro to America. broken up his group.
the collected works of Sure enough, there is a But I am afraid that I
Max Harrison, I want to good deal more linage found out a good deal
take a look at one source about jazz than one would more about the domestic
of writings about jazz find in other American l i f e of Dakota Staton,
in the United States papers of equivalent the rather less domestic
widely circulated and circulation and influence. l i f e of Delia Reese, a
widely readthe Negro But these papers hardly forthcoming happy event in
newspapers. These weeklies see jazz at that level of the Sarah Vaughan house-
are edited for local idealization. It is in- hold, and Miles Davis'
communities and are sup- stead a part of the latest f i s t fight, this
ported by local readership raffish world of time with a Deejay; a l l of
and local advertising. Tavern Topics. which leads me to believe
They a l l have in common Jazzmen are obviously that whatever Jazz Review
some natural preoccupa- bigger celebrities in the intellectuals and esthetes
tions: segregation and world of the Negro press say about "artistry" and

"creative daring", jazz
musicians are just enter-
tainers to the folks
back home.
Of the five papers that
I looked into (The Chicago
Defender, The Pittsburgh
Courier (New York edi-
tion) , The Amsterdam News, "^t"** a quarterly of comment & criticism
The Philadelphia
Independent, and The New
York Citizen-Call, a l l
dated June 11, 1960),
only one had a column that MARTIN WILLIAMS PAUL BOWLES
specifically dealt with
jazz, but nearly a l l of ALLEN GINSBERG ERICK HAWKINS
them had several refer-
ences to jazz in one form
There were five jazz items
in the Defender, the most
conservative paper.
Gossip column mentions
of Sarah Vaughan and single copies: 75c. RECORD CENTRE STORES
Dinah Washington need no
comment. A feature article 655 Lexington Ave., Cor. 55th St. Greenwich Village - 41 West 8th St.
about the twentieth Subscribe$2.50 yearly
anniversary of the death
Walter B. Barnes, a
Chicago alto saxophonist, 299 W. 12th Street, N.Y. 14, N.Y.
singer, and dance band
leader, rather perplexed
me. The article told of
his success at Chicago
ballrooms like the Grand
Terrace, the Sunset, and
the Arcadia in the early TO READERS OF
thirties, and about
troubled years in the late
thirties when he had to
tour the South to keep
working. It told me noth-
ing of his musical
accomplishments, in fact
never used the word
'jazz', and I began to
FOR $3.50
wonder whether the piece Just fill out the coupon and send it with your check or
might have been a long- money order to: THE JAZZ REVIEW 124 White Street,
forgotten obituary, N. Y. 13, N. Y. Please add $1.00 for foreign postage.
recently unearthed. But
Then there was a Please send me the Jazz Review for 1 year.
musical calendar listing
various musical events at NAME
churches, and educational
institutions, that omits ADDRESS
a l l mention of jazz
except for a listing
(accidental?) of an CITY ZONE. STATE
appearance by Franz
Jackson, who leads a
Dixieland group in This offer is available to new subscribers only.
Chicago, at a settlement

house. And finally there almost missed the point. no need to waste words on
was a column on the teen- It is blues singers it ; suffice i t to say
agers* page called they're hunting for, isn't that i t is meant for
Platters from which I it? phatic communion rather
quote the following: And then, right under than communication.
"... I know you go for the TV guide, there was The Citizen-Call, which
that swinging background a l i s t of the Top Ten. seems aimed at that nice
music composed and con- The Times does that for light couple in the
ducted by Henry Mancini books every Sunday, and Pepsi ad rather than at
. . . Swingin* huh!" and I've always wondered Killer Joe or Sister
" i f ballads aren't your about that too, but I Sadie, has a column called
speed, you'll probably think that's done for The JAZZ Bit by Louise
go for What a Day by book sellers in the David Stone. I can suggest
Sarah Vaughan or B i l l provinces. But what is the tone of the column by
Bailey by Bobby Darin. the function of a sales reproducing here the
Both of these records volume listing in a non- explanation of the star
swing to no l i v i n ' end, trade paper? As that rating system:
which means that the teens teenager said to David
in Chi-town should go for Reisman, "We like i t Record Ratings
* * * * * Oh, man, what a gasserf
them in a big way." It because i t ' s popular."
* * * * Like, it swings nicely
seems jazz is for the Both the Courier and the * * * Sometimes, it jumps
young. new Citizen-Call have * * A noble effort, but later
The New York papers are regular record review * They should never have
rather hipper. I was coumns. The Courier's gone to the studio, man
pleased to see in the column is by Harold L.
Amsterdam News a straight Keith, and is called as I can suggest the level
news item headed Monk Data 'bout Discs. It of musical sophistication
Gets Ca'rd for NYC Clubs. isn't restricted to jazz, by quoting "Bryant gives
and amused because i t but the alliance of his left something to do
was placed next to a musical styles in this besides banging out block
larger item that read record section reflects chords or 'comping' as
Ira Aldridge Society has an attitude that forces the in-group calls i t " .
Negro Composers, which I Miles and Cleanhead to rub The emotional attitude
suppose shows where the shoulders, an attitude of the writer isn't too
real composers are. that has more to do with distorted by the quote,
Actually, the Amsterdam Miles' love for Ahmad or "In Cannonball's latest
does a fair job in cover- Cannon's for Cleanhead record, a performance of
ing jazz. I found from than many people are 'Work Song' is really
their theatrical column willing to admit. About saying something, but
that Bud Johnson is lead- the new Cannonball record here i t lacks the proper
ing a band on a rock and (that filthy one) Keith strength and sweat".
r o l l tour, that Noble says, "There's no need to The Citizen-Call also
Sissle and Eubie Blake's waste words on this one. devotes a page to an
"Shuffle Along" will be Suffice i t to say that entertainment guide that
revived on Broadway next 'Cannon' has another great normally covers theater,
f a l l for the nth time, album on the market that restaurants and movies.
that Luckey Roberts, who will sell like hot-cakes". This week, i t was re-
I had feared was inactive About a new Benny Carter stricted to a listing of
because of poor health, he says, "We wish we had eleven jazz night clubs,
was able to play at a room to expound on the Uptown, Downtown, and
recent social occasion. virtues of the latest Midtown. The listings
Elsewhere in the Amsterdam Benny Carter outing on the include l i t t l e blurbs that
I found that the Hotel United Artists Label . . ." are written in a kind of
Theresa's Gold Room has And, "Ray Charles has high school yearbook cum
the "nationally famous another smash on the New Yorker style, and
Latin Jazz Quintet plus Atlantic label . . . while i t is less re-
one", which aroused my Everybody is bound to stricted geographically
curiosity, and that say 'Yes !' to this than The New Yorker's
Prestige Records is con- disc . . .". I wish we had l i s t i n g , i t is just as
ducting a talent search enough room to expound incomplete. Small's,
for folk singers. This on the virtues of this the Half Note, and the
last announcement was so kind of commercial Show Place could a l l
tactfully worded that I enthusiasm, but there's request equal space. Nat

Hentoff bibliographers fact is that Basie plays he works with the titles
will be happy to know Birdland at least eight of tunes and builds his
that he has already made weeks a year, and has lyrics around the t i t l e ,
the scene with one of his played the Waldorf this because they are so
minor polemical pieces in summer. Is there a white meaningful. I am tempted
this, the third issue of jazz band that works to ask Jon to translate
the Call. that much in New York? Every Tub for me and ex-
Last of a l l , Ellington's band has plain how he built his
there is an article of a played a Town Hall concert lyric on that phrase.
series called the Golden by themselves. Has any Frank Kofsky, the recent
Jubilee of Jazz, in the whi.te band done that in winner of a Down Beat
space normally occupied the last fifteen years? prize, has a piece about
by Izzy Rowe's Notebook Does Chet Baker s t i l l do the "philosophy" of Jon
in the Courier ; a dehy- better financially than Hendricks that I can only
drated history of jazz, Miles Davis with Miles' diagnose as an acute case
really a history of the style? Is this chip really of quarterly writing in
Negro in New York Jazz. It necessary? the head. I would suggest
is a notably shoddy piece When I think that he search for further
of work, f u l l of half over a l l I read in these examples of Hendrick's
absorbed facts and papers, I am no longer "philosophy" in the
dubious interpretations. surprised at the success New Testament, in the
It naturally leans to the of Ahmad or Dakota in the Baghavad-Gita, in
a l l Negro interpretation Negro communities. I Dostoievsky, in lesser
of jazz history, but in a begin to wonder whether Dickens, in Edgar Guest,
peculiarly disjointed way. Billy Taylor wasn't right in Vincent Youmans, in the
The "real pure jazz" is about Negroes and jazz Sat. Eve. Post, perhaps
described as "the weird after a l l . even in Orphan Annie and
and rhythmic intonations But a l l that doesn't Mary Worth. But as J . S.
of an Ellington, a Basie sound at a l l like the Shipman so rightly says,
or the playing of Goodman old Jazz in Print, so just "One man's tautology is
from the scorings of a to hold the franchise, another man's criticism".
jazz giant like "Smack" I have some short bits. Students of the genuinely
Fletcher Henderson". A recent Saturday Review inane, which is happily
Henderson is later survey of photography becoming rarer in current
described as a young man as an art noted that jazz writing, will be
who came up from Georgia Ray Bryant will be on interested in the notes
to study chemistry at view at the Metropolitan to Duke's new "Blues in
City College. The article Museum this summer in a Orbit", Columbia CL 1445,
makes a point of estab- photo by Larry Shustak. written by Ted Macero.
lishing the priority of So there is a Royal Road Two last things which
drummer Louis Mitchell after a l l . have nothing to do with
as the f i r s t man to play In the Summer 1960 issue Jazz in Print. (I notice
jazz in New York, to of Art in America, one they always sneak in, and
discredit the white ODJB, of those beautifully I don't want to disappoint
but immediately contra- designed coffee table the fans.) As I listen to
dicts itself by saying magazines that have an some jazz groups recently
that Mitchell's band enormous circulation but formed (the Jazztet,
featured "refined music no readership, there Slide Hampton's group and
with a turkey trot is a portfolio of Cannon's among them), I
specialty number". Lee Friedlander's photos wonder i f Negro musicians
The conclusion of the of New Orleans jazzmen; have gotten tired of the
piece is that familiar beautiful tender work, old pattern of having
and certainly true bit technically superb and their stuff popularized
about white musicians moved by profound human by white musicians and
stealing a l l the ideas sympathy. decided to join together
and making a l l the money, In the latest issue of to cut out the middle man.
but the proof is strange Ralph Gleason's Jazz And I wonder, when the
indeed. "Today, only (at last) : a beautiful, Ancients were looking for
occasionally does one touching piece about the Seat of the Soul,
find a top name band of Monk in San Francisco ; why they never thought of
Negroes along Broadway, an interview with Jon looking in the region of
or in any of the more Hendricks by Gleason in the back-beat.
classy houses". But the which Jon tells us that
This is the fifth in a series of which we have happily escaped. The other suggestion came two
articles surveying the literature on Jazz presents to the mind disorder. It months later in an unsigned article
the origin and history of the is suggestive of things unpleasant, or in the Musical Leader. "Syncopep,"
word "jazz." atavistic leanings of which we are all said the periodical, "represents an
properly ashamed, of borrowings from
savages, of near-orgies that have quite honest effort to provide something
properly been combatted by those who new within the limitations of its
have care of the young and the morals exponents." It is a "new way of
of youth. The word has evil associations presenting old melodies" (Anon
...(Anon 1924e:36). 1924b:568).
The writer was talking about jazz
Although the Courier agreed with influence on classical music, but
Lopez about the word's connotations
the word jazz 3 and pointed out that jazz (music)
he apparently envisaged "synco-
pep" as the label for all modern
had come a long way, the journal music, composed or not. Whether
did not like Lopez's "Modern Mu- he intended it for jazz music per se
sic" substitute. Rather than sully is uncertain.
the music, it suggested the word
part V be kept "until it dies a natural
death" (loc. cit.). Lopez's sugges-
The semantic tempest in a teapot
simmered down toward the end of
tion apparently received no further 1924 and no publication turned the
notice. gas on again until 1949. Then Down
Beat, the jazz trade magazine, had
In July, 1924, however, another so- a circulation-building brainstorm.
Alan P. Merriam ciety maestro got into the act.
Meyer Davis reportedly offered a
"New Word for Jazz Worth $1000,"
it announced.
prize of $100 for a new name for
and jazz which "must . . . be at once For years, musicians, writers, and cri-
Fradley H. Garner both dignified and comprehensively
descriptive" (Anon 1924d:28). Musi-
tics have complained there is no word
to describe the music of today. The
cal Courier shrugged its shoulders: term jazz has lost its significance.
By any other name . . . perhaps one should say that this Swing just isn't swinging anymore.
attempt to get a better word than jazz Be-bop refers to one restricted school.
Is the word "jazz" really bad enough for the expression of American popu- ...The same situation existed back in
to be thrown out of the language? lar music in its present stage of de- the early 30's, when the word jazz had
Three times in the last thirty-five velopment is laudable. It is rather been applied to the music of the
years determined efforts have been difficult, however, to see what differ- Ted Lewises and the Paul White-
made to bury it. Twice, less for- ence the name makes; and it is still mans and had lost much of its virility
mally in the literature, euphemisms more difficult to believe that any such and color...
effort will actually change the name Join the fun! Help select the word to
have been offered for the "unmen-
or prevent people from talking about: replace outworn jazz! (Anon 1945a:10).
tionably low" word.
jazz, as long as it is jazz, in the future
The first anti-"jazz" campaign was just as they have in the past. In a later issue, semantici >t S. I.
sparked by a gentleman with a The thing to change is not the name Hayakawa, jazz scholars Marshall
vested interest. Musical Courier in but the music, and, in spite of what Stearns and John Lucas and band
1924 reported the views of a promi- Mr. Davis says on this subject, and leader Stan Kenton were named as
nent hotel society band leader: what others have said, jazz is still jazz. judges (Anon 1949b:l), and on No-
A bit better, certainly, than the weird vember 4, 1949, the 26 winning
Vincent Lopez, who is doing his bit "ad libbing" of half a dozen years
at the next meeting of the League of entries were announced:
ago, but a perfectly obvious develop-
Composers to clarify the situation, ment from that style. 1st Prize: Crewcut ($1000)
objects to the term "jazz." Being on . . . However, may someone win the 2nd Prize: Amerimusic
the inside, he feels more strongly on hundred dollarsand here's wishing 3. Jarb, 4. Freestyle, 5. Mop, 6.
the subject than most of us. . . . He good luck to a lively and vigorous Novaclassic, 7. Pulsemusic, 8. Mes-
insists that, jazz being dead [sic], the contest (Anon 1924d:28). merhythm, 9. Le Hot, 10. Bix-E-Bop,
name ought also be dead, or, at least, 11. Hip, 12. Id, 13. Sock, 14. Swixi-
ought not to be hung on to what he
calls Modern Music or Modern Popu- The Davis offer apparently never bop, 15. X-Tempo, 16. Ragtibop, 17.
lar Music. cost him a cent. At least it is not Blip, 18. Beatpoint, 19. Idioism, 20.
This is a point for discussionand reported again. If there was a lucky Ameritonic, 21. Improphony, 22.
we must say at the outset that we winner, he remains as anonymous Schmoosic, 23. Syncorhythm, 24.
agree with Mr. Lopez, that the use of as his entry. Beatfelt, 25. Syncope, 26. Reetbeat.
the word "jazz" leads to a lot of mis- Meanwhile, two unsolicited sugges- An editorial in the same issue
conception and misunderstanding, and tions made their way into print, one cheerfully admitted:
that the progress of American music from Clay Smith: "But why stigma-
would be more rapid, that it would tize what is good in the music by All of the judges concurred on one
more readily gain universal accept- thing, that none of the hundreds of
ance and respect, and would take its the unmentionably low word 'Jazz?'
...Why not call it 'Ragtonia' or words poured in could be accepted as
proper place especially with the mass a suitable substitute for jazz . . .
of our people, were the term by which 'Calethrumpia' or anything on earth Probably now we will revert to the con-
it is to be called not suggestive of an to get away from the term 'Jazz'" tinued use of jazz with more satisfac-
unpleasant phase in our history from (Anon 1924e:595). tion and with greater assurance. It

might be nice to utilize "crewcut" HIP TIP
once in a while, as a change of pace Lately, in almost every jazz article (or
and to avoid monotony. But if any at least in most) written by a "white
word ever replaces jazz it will have to kat", the writer tries to show his hip-
be because like Topsy, it "just growed" ness by using the term "o'fay" to de-
(Anon 1949c:l). scribe the members of his in group,
under the assumption that this is a
There is the story of "jazz" as re- term used by Negros to describe whites.
ported in some fifty sources in the Well, as a Negro, I have news for you.
I have never in my life heard a Negro
last forty-one years. Its etymology use that term (except in "Odds Against
is uncertain, no matter what the Tomorrow" where it sounded so very
etymologists or the folklorists or awkward).
the writers, sociologists, jazz his- So the next time you want to use hip
torians, musicians or moralists say. (or Negro) words to describe whites, try
The folk stories or name-corruption "paddie", "grey" or "non member".
accounts are ingenious, many of If you must use "o'fay", omit the o and
them, but they cannot be substan- just say "fay". It sounds much better.
tiated. The use of the word as a ELEMENTARY SCHOOL JAZZ Charles Blagrove Hobson
minstrel or vaudeville term leaves The positive effect of your publication New York City
us only a little closer to the original upon the jazz community has been MORE EARLY MILES
good, that is, on players and listeners My copy of Herbie Fields' Savoy 591
source. contains Run Down (5813), played by
The African and Arabic theories who feel vitally affected by jazz. The
attempt to formalize emotional re- Herbie on tenor with rhythm section
need to be explored further, if pos- sponses to music should be congratu- and Camp Meeting (5820), where Herbie
sible, but the alleged English, In- lated; it has been depressing for me plays clarinet and Cobb (?) tenor sax,
dian and Spanish accounts are to watch this valid form of expression both soloing; there is an uncredited
probably untenable. The relation- surrounded by the cult of the hipster. trumpet in ensemble, but it cannot be
ship of "jazz" to the French verb Positive effects aside, The Jazz Review heard alone at any point, and could be
too often lapses into pedantry. Some of anybody, including Miles.
"jaser" remains a distinct possi- Mr. Edwards correctly states in his let-
bility, given the French influence the sentences and paragraphs in the
ter that masters 5805-8 are by Rubber-
in the Southern United States and magazine are in effect a parody of legs Williams, but when he says no
particularly in New Orleans, and academism. And the inclusion of mu- trumpet, he is completely wrong. I have
sicians as reviewers doesn't always Savoy 5516, which contains Deep Sea
taking into account the early idea
help the clarity of the magazine; too Blues (5807) and Bring It on Home
that "jazz" as a minstrel term in- often, musicians are facile with in-
volved actions not unlike the French (5808) by Rubberlegs with the Herbie
group language without considering Fields Orchestra. In addition to Herbie's
translation of that word (to prattle whether they communicate with read- clarinet and tenor, both sides contain
or jabber). ers not privy to that group. trumpet obligatos to the vocal. The
The reference to the alleged French I would also like to disagree with your trumpet work is very good, and very
"chasse beaux" (a Gallic dandy) reference in Jazz In Print some months much like Dizzy's many vocal back-
is intriguing and should be investi- ago to Billy Taylor's article in Dude in ground work of that time (with Rubber-
gated further. The onomatopoetic 1957, "Negros Know Nothing about legs/Clyde Hart on Continental, Rub-
and spontaneous etymologies are Jazz". It is difficult not to be prickly berlegs/Pettiford on Manor, Albinia
about this, being a Negro, but really Jones on Black & White). This trumpet
speculative and frustrating, since Taylor has led you up a blind alley. might well be Miles Davis.
they cannot be confirmed. The link Jazz has been a part of my musical ex-
between jazz and the slang sex perience, and that of my friends and Johs Bergh
terms "jasm" and "chism" remains their families, for too many years to Oslo, Norway
a distinct and logical possibility. even need a polemic in our defense. THE GOOF AND I
As for locale, the earliest account After all, Miles Davis, perhaps the most In an article published in The Jazz
influential musician today, certainly de- Review for November, 1959, I cited a
we have seen reports the word was double-time run on Boppin' a Biff as
first applied to the music in San veloped from an upper middle class
background . . . My wife, who is a mu- representative of Fats Navarro's amaz-
Francisco. This is hard to believe, ing technique. That run was actually
sical consultant, has been developing
in view of where the music began. played by Kenny Dorham, whose name
the use of jazz in the elementary was not listed on the ten-inch Ip on
But it is fairly certain the term school music program . . . For her first
caught on across the country be- which I have the piece and who, at
grade class in rhythms, sho has used that time, played very much like Fats.
tween 1913 and 1915. Most of the Miles Davis' record of Flamenco Blues; My apologies to the readers of The Jazz
early spellings (jass, jas, jaz, jasz, for the study of brass instruments, she Review for my carelessness.
jascz, etc.) probably were the in- has used the record Music for Brass;
as part of the study of the movement Harvey Pekar
ventions of the writers concerned. Cleveland, Ohio
Suggested replacement words have west, she has used Sonny Rollins'
fallen on deaf ears. Wagon Wheels; the program ends in
Less imagination and more research the sixth grade with a unit on jazz as
such, as part of modern music, where APOLOGY
may produce results, but we seri- records of the Brandeis College Con-
ously doubt whether the real origin The review of The Country Blues by
cert and Music for Brass have been Samuel B. Charters in our June issue
of "jazz" ever will be discovered. used as examples of larger works in on pages 34 and 35 was written by Dick
So far as music and folklore are jazz. Hadlock. A production error caused his
concerned, it may not make the Robert T. Tatum name to be omitted. Our sincerest ap-
slightest difference. Gary, Indiana pologies to Mr. Hadlock and our readers.

A unique feature of this record
is the influence of the music on the
improvisors (sax, clarinet and
trombone only). One of the most
deeply plumbed sources of an
improvised line in modern jazz has
been the notes of implied passing
chords. While some musicians
today are exploring other lodes, two
Ips by guitarist Wes Montgomery
should indicate that the passing
"The Modern Jazz Society presents a is so evocative of non-jazz forms. chord is not passe. In John Lewis'
Concert of Contemporary Music." Actually, it is no less valid than the music, though, care has been
Verve MG V-8131. rest, and the fugue is certainly taken that few such opportunities shall
Stan Getz, tenor; J. J. Johnson, trombone; superior to the countless four bar be offered the soloist. In a
Anthony Sciacca, clarinet; James Politis, blues that pass as "jazz originals." composition like Afternoon in Paris,
flute; Manuel Zegler, bassoon; Gunther John Lewis is nothing if not an for instance, the changes are
Schuller, French horn; Janet Putnam, harp; evocative and sensitive musician. "tightly packed" with very little room
John Lewis, piano; Percy Heath, bass; Connie This talent did not come in the for implications between then.
Kay, drums. envelope with his No Sun In Venice The improvisors are compelled to use
Midsbmmer; The Queen's Fancy. contract; that is made clear on melodic ideas. The result is
Lucky Thompson, tenor, replaces Getz; this record. Sun Dance, inspired by that all five here seem determined
Aaron Sachs, clarinet, replaces Sciacca. dancers in New Mexico and not to waste a single note. Lucky
Little David's Fugue; Sun Dance; Django. Africa, has a gentle sway and melodic Thompson's solo on Sun Dance is
directness which are implemented still all music. Each time he seems to
All the compositions on this Ip are by in the recapitulation, when the have exhausted the simple harmonies,
John Lewis, and all the three soloists, Sachs, Johnson and he unfailingly finds a final phrase.
orchestrations, except Django and Thompson are used as a contrapuntal In The Queen's Fancy, Getz, who has
The Queen's Fancy which were trio. Midsbmmer, which I enjoyed often used repetition "for
arranged by Gunther Schuller. These as an MJQ performance, seems emphasis," uses it only when the
pieces were presented in concert overdramatized here, even though the background changes behind him,
in the form in which they appear here orchestration needs to be somewhat calling attention to the background
(all except, the fugue, to my fuller; there seems to be a great rather than himself. J. J.
knowledge, have been recorded deal of empty space between the leaves no idea in mid-air (neither
in other versions) in 1955. It seems instruments in the ensemble. does Lewis) and uses the same
safe to guess that among the reactions There remains Django, one of John rhythmic pattern on many occasions
to these pieces was the inevitable Lewis' most successful and where the shape of his melody
"It isn't jazz!" Such accusations characteristic compositions. It permits an idea to be transposed and
have been levelled at John Lewis since exemplifies the form into which he has then repeated (note Django).
that time, and the compositions cast his own group by treating solo In some other work (Billie's Bounce
here have probably been responsible and arrangement as equal with Getz "At The Opera House"),
for that feeling to some degree. contributors toward the overall he anchors a whole chorus at a time
Though they may have started some "piece". The written material, which on one tone, surely an impediment to
people wondering about the fusion of appears to open and close the an evolving melody. This habit is
jazz and classical music, this composition, is a slow dirge. The absent here.
record at least seems to ignore the middle section is improvised by the What has prevented a recording of
question. Instead, John Lewis' soloists at a slow swinging pace. The such virtues from being acclaimed
notes specify that the works "center first section of the improvisations and influential? First, although the
on and depend on the jazz soloist are based on chords derived from the music swings enough to satisfy
and incorporate jazz and classical dirge, while the bass plays a the definition, I suppose, there is no
techniques." straight walking four. Next, the chords real momentum or drive. This,
Little David's Fugue and The are abandoned for a pedal tone plus the uniform tempo and
Queen's Fancy have nothing to do with dully repeated by the bass. A short constantly simplified harmonies,
jazz as original material. In fact reprise of the chords is followed in dulls the presentations.
the chords on which the soloists the background by a loping Most important is the basic
improvise in the former are not, Western figure. The effect of this emotional climate of John Lewis'
strictly speaking, part of the original evolution on the soloist is far-reaching. work. It has been most aptly
material, but rather by-products of The chord background, while expressed, I think, as charm. This
the coexisting melodies. They somewhat swinging, is still mournful. feeling is not easy for the composer
ought not be available at all, unless The pedal bass restrains the to communicate and certainly
one incorporates them as a "jazz soloist; he plays phrase after phrase difficult for the jazz improvisor to
technique"! Similarly, there are what against it, but seems to make no project. Since it is Lewis' true
amount to background riffs behind progress. He starts each time where expression (and increasingly is
the trombone solo in this piece. he began before. At last we becoming Milt Jackson's too), he is
In The Queen's Fancy, Getz' solo definitely capture the major scale; successful as his own soloist. Though
emerges from the ensemble directly, and only then does the background they are not so-called "hard
and although the material is cooperate with blues-based boppers", the soloists here express
Elizabethan in matter, the manner of improvisation. The release is felt less than total involvement with this
its utilization is strictly in 1930"s- and communicated by all the soloists. attitude (although they emulate it),
big band style. Actually, these two They all seem to breathe easier out and thereby they shed a disturbing
pieces seem most out of place in the open. The preparation for this unreal light on the record.
only because their thematic material climax by John Lewis is masterful. David Lahm

A II i l f Q I OLeonard Feather Nat Hentoff Dom Cerulli G e o r g e

M l VI L l \ I \jr\ Crater Martin Williams Ira Gitler Sid McCoy

Inside Stuff from RIVERSIDE I making records with just plain I , is no need to feel guilty. Instead, just
Records . . . . music on them. Some of our more run right down to your friendly local
recent new releases are making us record store; they still have it very
This marks the first appearance in much in stock for you.
\feel more than a little proud and\
Jazz Review of a more or less regu-
happy; among them, may we call to Not quite as venerable, but no fledg-
lar page in which we hope to aban-
I your attention the following: I ling any more, is that remarkable
don the usual formality and stiffness
of a normal advertising format and, I A most unusual excursion into CANNONBALL ADDERLEY San Fran-
instead, just tell you what's going on the area called "soul," a big, full- cisco' record, now about nine months
at Riverside. We'll tell you about ! sounding album that is already stir- \old. At this advanced age, most of
what's new, what's going to be new, ring up much comment and excite- today's jazz LPs are about ready for
what we're excited about and what ment, combining the exciting tenor the scrap heap, but this phenomenal
we think you'll be excited about . . . of JOHNNY GRIFFIN and the\ J masterpiece of "soul" is still a full-
To begin with, let us note the record remarkable scoring of bright new ar- I fledged best-seller, and showing no
debut of a witty and controversial j ranging star NORMAN SIMMONS. I signs of slowing down.
columnist who has been attracting This one goes by the fitting name of J
Having moved this conversation
quite a bit of attention from his around to the subject of Cannonball
position in the pages of another pub- C There is only one man who can Adderley, and recognizing that this
lication in the jazz field. A fellow make an oboe sound as if it were page promises you nuggets of inside
called GEORGE CRATER'. born to play the blues, then create [information, we would like now to
We are well aware that this distilla- rich and exotic melodies on the flute, I reveal for the first time that we are
tion of Mr. C's. inimitably pungent, and then play some of the earthiest I J hoarding, for release at some future
devilish and lop-sided views on life, tenor imaginable. And that one man \ I date, a really superb surprise pack-
liberty and pursuit will not please does all this on a single LP, a fas- \age put together under Cannonball's
everyone. On the contrary, not pleas- cinating effort entitled THE THREE leadership, on which the alto star's
ing everyone seems to be one of his hand-picked supporting cast in-
motivating forces, leading us to sus- I eludes the very great Ray Brown on
C Everyone who came out of Detroit bass and the incredible Wes Mont-
pect that if George Crater ever did in the past several years, it seemed,
succeed in pleasing everyone, he gomery on guitar. Now that we've
had something to add to the living told you this, however, all you can
would immediately shrivel up and legend of just how much piano was | do for the time being is dream about
crumple away, like a Shangri-La being played out there by a most
debutante exposed to the outside air. it. Sorry, but that's how it goes with
retiring young man who refused to inside information. . . .
leave home. Then, suddenly, he did
This record (aptly, if unstartlingly,
entitled OUT OF MY HEAD) will leave (to join the Cannonball Adder-
tell you all about such important ley Quintet); Riverside caught up
contemporary social phenomena as with him during a San Francisco
Footnote Department: Careful readers will have noted
wind-up dolls, TV jazz shows, the engagement by the Adderley group, above a total absence of all those confusing catalogue
care and feeding of jazz night-club and recorded a "live" (in every sense numbers that clutter up most people's advertisements.
Instead, there have been a half-dozen Judiciously
audiences, the quaint habits of jazz of the word) trio performance that placed single numbers of the type that indicate the
critics. It will relate the tale of the proves those legends to have been existence of footnotes. And here, at the conclusion of

fearful night that George Crater most accurate: BARRY HARRIS AT this scholarly essay, are the footnotes themselves, a
handy reminder of the full numerical and title iden-
faced a jazz-concert audience in a
THE JAZZ WORKSHOP . tification of the records we have been discussing:

live (at least temporarily) appear- 1. "OUT OF MY H E A D " by G E O R G E

( R L P 841 - Mono only)
ance. It will do all this and more . . .
and it will do it in the dulcet tones But it is no t only the new that makes 2. T H E BIG S O U L - B A N D : J O H N N Y GRIFFIN
Orchestra (RLP 331: Stereo R L P 1179)
of the man whose evil, brain turns us happy these days. There are, also,
out the Crater column every issue a few elderly releases that keep 3. T H E T H R E E F A C E S O F
(RLP 325: Stereo R L P 1176)

these days, a remarkable (obviously) roaring along. In that connection, 4. B A R R Y H A R R I S A T T H E J A Z Z WORKSHOP

fellow named Ed Sherman. This we could point to any one of a dozen ( R L P 326; Stereo R L P 1177)
record will even bring you a set of exceptional Riverside albums by 5. T H E L O N I O U S M O N K Plays Duke Ellington
incisive album notes on Crater, man | THELONIOUS MONK, but let us arbi- (RLP 201 - Mono only)

and myth, by Ira Gitler. And (par- trarily single out his very first work 6. C A N N O N B A L L A D D E R L E Y Q U I N T E T IN S A N
F R A N C I S C O ( R L P 311; Stereo R L P 1157)
ticularly if you got rhythm), who I for this label, a five-year-old LP on
could ask for anything more? ivhich this modern genius interprets
the music of Duke Ellington*. If j
In addition, Riverside has been busy
in more conventional areas like
there is any one of you who has not
I sampled this enduring classic, there RIVERSIDE