B5c ; January 9, 1957

beet
down

of MiontaLy

Tribute To

Tommy

Dorsey
 to wish you all

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nd dFrantic Firs f

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to
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Cbyc. end the Coll iu

410 South Beverly Dr. Beverly Hills, California}

Elvis Presley Music Elvis Presley Fan Club

Box 94 Hollywood, California
 2%
< % . vas

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January 9, 1957 3
 I’m sure in the States, the college Samson...
set would rather dance to Dizzy Gilles- Klip River Tvl., South Africa
rotslela=| M-lete| discords |] *)) pie or Gerry Mulligan than Sam Syrup
and his Maple Sugar orchestra. I’m To the Editor:
sure the listeners in Miami, Minnea- Just received your Oct. 31 issue.
polis, or Dallas wouldn’t mind some Would you please tell me how Nat
The Dance... shuffling feet if because of it they could Hentoff managed to grow such a lovely
New York, N. Y. hear Miles Davis, Stan Getz, or Woody beard in only two weeks time?
To the Editor: Herman. Paul Meyer
One of the most important things I (Ed. Note: He didn’t shave.)
learned during my recent playing trip The dance area wouldn’t have to be
to Europe was that the average college in front of the bandstand, it could be Flattering...
student, even though he did not under- off to the side so the listeners wouldn’t
have the dancers between them and the U.S. Army, Germany
stand modern jazz, liked to dance to it. music. If the jazz clubs had the sup- To the Editor:
The clubs had a larger percentage of port of both elements—the dancers and One of the most populated places on
people who came because of this. The the listeners—their chances of staying
people who wanted to just listen our post happens to be a small, pleas-
weren’t noticeably disturbed by the open would be greater. ant library that has in it, in plastic
dancing. In fact, without the dancers, I’m not saying it’s the only answer— binders, a basic selection of American
1 don’t think half the clubs could stay but it’s worth some thought. magazines. I was surprised and delight-
open. Herbie Mann ed to discover one night that Down Beat
had been added to them.
Most of these basic magazines reflect,
from here, if only through their ads,
an America devoted to mechanizing it-
self into a sort of Utopia whose great:
ness can be made greater by greater
amounts of money for, perhaps, those
things and the ingenuous, or ingenious,
The most minds who would create them. No home
should be without the atomic garbage
discriminating drummers demolisher.
Down Beat does not fit into this cat-
INSIST on— egory. That does not make it less basic
for me, but instead makes the others
AVEDIS more superficial, dedicated to the pro-
position that it is not impossible to be
materially opulent, impressive, and hap- inch
ZILDJIAN py at the same time. Down Beat does of 1
not seem to concern itself with these who
MAX ROACH CYMBALS trivialities; it seems to have at heart phrs
the nourishment of the sometimes weak, ent|
(THE ONLY CYMBALS MADE sometimes fabulous voice of a genuine Jazz
American art: jazz. rang
ANYWHERE IN THE WORLD Among other projects, I have been is yc
BY ZILDJIANS) collecting jazz for a good number of Jazz
my youthful years. I call it a genuine ing
American art because it reflects, in leas
gree
some ways, what is for me the real lecte
American heart: that is in joyous riot self,
because it is free.
I doubt that Europeans could ever
Here are the blow as well. And at the same time,
because America can have jazz, I can Rec
AVEDIS ZILDJIAN realistically wish that the country had
set-ups for these great stars. a lot more to offer artistically. People grez
refuse to see that an artist wants to
@ BUDDY RICH— give them something for almost noth-
ing.
12” Hi-Hats (Medium), Sp-3 Howard Tubergen
15” fast (Medium thin),
8” Splash (Paper thin), Thanks...
15” Bounce (Medium), Atascadero, Calif.
17” Crash (Medium). To the Editor:
MAX ROACH— Just a word of thanks to a very fine
14” Hi-Hat Top (Thin), editorial report by Jack Mabley on the
13” Hi-Hat Bottom (Medium), current sad conditions of television.
18” Fast (Thin), 17” Bop Ride More articles of this kind may some-
(Medium), 20’ Crash (Medium). day help to rid the air of these tripe
programs and replace them with some
e JOE MORELLO— legitimate musical entertainment.
The only musie we have now is Law-
14” Hi-Hats (Medium), rence Welk, and that can hardly be
19” Crash Ride (Medium thin), called entertainment, except by those
21” Ride (Medium). who are over 66 and those with the
shallowest of taste.
Royal R. Roney
Write for
your free copy No Controversy ...
of Avedis Zildjian New York, N. Y.
“Cymbal Set-ups To the Editor:
of Famous Drummers.” I have been reading your magazine
for 10 years, and it is now time to
write a letter. I’m not starting another
aveois ZILDJIAN company controversy, but I must make these sug- per
39 FAYETTE STREET » NORTH QUINCY, MASS., U.S.A. gestions. It is imperative that you im- and
mediately discharge the present staff
Established 1623, Turkey ... Transferred to America, 1929. of critics and other “writers.” Or if AME

Down Beat Jan

 AN OFFER AS EXCITING AS THE AMERICAN MUSICAL REVOLUTION THAT HAS SWEPT THE WORLD!
Africa

sue.
»w Nat
1 lovely
Meyer

ermany

aces on
, pleas-
plastic
nerican
lelight-
un Beat
“a * e e e e
rained, On One 12” Long-Playing High-Fidelity Recording
‘ir ads
zing re TO INTRODUCE YOU TO AN EXCITING NEW JAZZ PROGRAM—
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ation ToTo GuyBu Anyny Records
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the frst first treatise
treatise ofo
hn some ° v v As an Associate Member we will send ! your Jazz Appreciation Course). You are to reserve !
itae But —listen to the you each ry well in re gine
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delity and true quality of these records
ment time, a description o e forth- obligated to take any specific number of records.
ag for yourself, Send for your free record
coming release which you have the right I aie ah ie tee een EE OE 7 |
— today. Your acceptance of this free rec-
to reject by the date shown on the | right to reject by the date shown, on the Advice Card i
those ord does not obligate you to buy addi-
Advice Card always provided. | always provided. ¥ pen culties to cancel this momber- i
th the . :
tional records from the Society : ae
— ever.
Send Ger Yous CORR Recend Mew ship for
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of only records
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ber is up to you), you can cancel any ping). I therefore may get three records for your price
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month you choose. To do this, simply | 2 en ; 7 hag 2 See and I pay for l
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write “Cancel” across the Advice Card i lattes se apo ap , . |
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of the forthcoming release and mail it Membership Limited To OnePerson Over21 inAny Family orHouseho
gazine 12” records you buy. Yes—free! Since back to arrive before the date shown. | 1]
ime to the member’s price for each selection is
No record will be sent then or ever. So | Name (Please Print) |
nother $3.98, this means that actually the cost
mail the coupon now while you can still
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ou im- and shipping, comes to about $2.65 a record FREE! j |
t staff City. Zone. State.
Or if AMERICAN RECORDING SOCIETY, Jazz Division, 100 Sixth Ave., New York 13,N.¥. 1, Saradian address: 1184Castlefeld Ave.. Toronto 10. |

n Beat January 9, 1957 wk

that is impossible induct them with an doesn’t play at all and, therefore, the They haven’t one ounce of humility to
intense brainwashing conducted by sickness. the jazz or the men who play it, they
some jazz musicians, someone under- Nat Hentoff is more interested in the sit and pick and squirm. They are
standing what jazz is about, why, how, language than the music, this is ap- petty, in their concept and vociferous
into. None of your critics understands parent in his reviews, and it is suspect- in their opinions, and they should all
modern jazz music, they have tin, tone- ed that what Nat really wants to do is be done away with, as quietly and as
dumb ears lacking everything but the establish a bunch of language vehicles, quickly as possible.
usual remote undefined emotional (pos- terms to be used by the historians, or William Scott
sibly) experience, which also is not as bad, other critics. (Ed. Note: Now about those vociferous opi-
understood. It is obvious he doesn’t know any- nions...) THI
All this show friends, whether you thing about modern jazz, he doesn’t my D
are aware of it or not. The jazz musi- play it, live near it, all he does is sit Brilliant . .. He wi
cian knows you are, for the most part, down and listen to it and then write NEW YORK, N. Y. the st
an organization of phoniness, the se- about, and usually in bad taste at that. TO THE EDITOR: accom)
rious listener surely knows, and the These critics, and all the others you HEE HEE. THAT EDDIE CONDON—WHAT while |
biggest drag of all, you knows! Leonard have writing for you are one of the A FUNNY FELLOW. I'M SELLING MY TYPE- Stor
Feather seems to be the only one who biggest liabilities to the jazz musician WRITER. WHO COULD HOPE TO COMPETE ciansh
plays, but not to judge from the ridicu- in the business. Their whole dull atti- WITH SUCH MATCHLESS WIT? I CAN’T told fe
lous thing he contributes you wouldn’t tude and misunderstood approach only STOP LAUGHING—“DUE BILLS”—INDEED. his e
know it, and it is assumed this is be does harm, even cultural harm as far BRILLIANT—ABSOLUTELY BRILLIANT. discip]
cause, although he does play he really as innocent students are concerned. THE OTHER EVELYN WAUGH fund c
Bud
One Word... Dorsey
Decatur, Ga. my wc
To the Editor: ous co
Re: your note to Kai Winding in the and w
Nov. 28, 1956, issue of Down Beat. warmt
Down Beat is one word. “Mud.” Gettin
J. Arthur Waldrop song’ |
of iror
Congratulations... Dor
Spokane, Wash. when |
To the Editor: peram
Congratulations to Atlantic Records struck
and Marvin Israel on their especially Frank
artful and striking cover for the Jim- workec
my Giuffre clarinet album. This stimu- Alth
lating cover and the many impressive each ¢
jacket efforts of Burt Goldblatt serve not in
as classic examples of what can and gether
should be done in the way of jazz album oughly
designs. And
It has always been a complete enigma in a |
to me why many jazz record companies,
already beset by the admitted problems
of such a venture, should ignore, for
no good reason, the obviously important
facet of successful merchandising, vis-
ual advertising. What more direct form
of visual advertising than the design on swear
the jacket housing their product? cent a
When jazz record companies invest was bi
| their efforts in more tasteful, inviting New —
cover designs, both the company and 10 yea
the jazz fan will profit considerably. with ]
William Ruddy then-b
share
| Great Idea... conve1
Providence, R. I. is still
* Thanks To the Editor: men Ww
I’ve got a great idea for an arrange- the tir
ment. Sixteen men play Pop Goes the Tom
Weasel, and at the beginning of the was W
Down Beat Headers second chorus, a trumpeter stands up one of
and plays April in Paris. With maybe of tha
five or six endings, this can’t miss. is not
Joel Cohen times *
Erroll Garner in hin
Why?... loaded
Madison, Wis. and pi
To the Editor: An ¢
*Voted #1 Jazz Pianist in the 1956 Down Beat Readers Poll naivel;
Just one question: Why does the very furiate
greatest, Ella Fitzgerald, get an ar- Dorsey
ranger like Buddy Bregman, whose ar- forthw
COLUMBIA & RECORDS rangements don’t swing and hamper
Ella very much (and are somewhat on the
repetitious through any one number), were |
Latest Album when other great singers like Frank slop, k
Sinatra, Dick Haymes, and June Chris- Tom
"Concert by the Sea” today’s
ty can get superb arrangements to cramm
showcase their talents (i.e. Nelson Rid- behind
Booking Associated Booking Corp. 745 Fifth Ave. dle on Songs for Swingin’ Lovers, John who re
Mandel and Ian Bernard on Rain or bandst
Martha Glazer New York Shine, and Pete Rugolo on Something
Cool)? koordi1
Robert Naujoks best
heard.
Down Beat
Janua
ility to
it, they Lai
ey are
iferous Gb
wuld all
and as ON Rika eR

n Scott By Jack Tracy

rous opi-
THEY’LL BE TALKING about Tom
t
bea
wn
do

my Dorsey for a long time to come. Volume 24, No. | January 9, 1957
He was that kind of a man. Some of
the stories about him and some of his EXECUTIVE OFFICE—2001 Calumet Ave., Chicago 16, III., Victory 2-0300. Publisher—Charles Suber;
Ee, Executive Editor—Jack Tracy; Circulation Director—Robert Lynn. Editorial—Don Gold, Lois Polzin. Ad-
accomplishments became legends even vertising—Gloria Baldwin, James Mulvey . . . NEW YORK—370 Lexington Ave., MUrray Hill 6-1833.
—WHAT while he was still alive. Editorial—Nat Hentoff, Associate Editor; Dom Cerulli; Advertising—Mel Mandel, Advertising Manager
Y TYPE- Stories of his generosity, his musi- . . « HOLLYWOOD—6124 Santa Monica Boulevard, HOllywood 3-6005. Charles Emge, Manager; John Tynan.
OMPETE cianship, and his appetites have been
[ CAN’T told for years. And so have tales about
[NDEED. his explosive temper, his bandstand
ANT. discipline, and his apparently limitless
WAUGH fund of energy.
Buddy DeFranco, a former longtime 9 RCA Victor to Issue Two Dorsey Memorial LPs
Dorsey sideman, loves to tell how Tom- 9 European Concerts By U.S. Jazzmen Seen in Jeopardy
ur, Ga. my would walk onstand after a strenu- 9 Local 47 Rebels Sue Petrillo, AFM for $13,000,000
ous couple of days off, pick up his horn, 11 Newport Jazz Festival May Pierce Iron Curtain
x in the and without the slightest preliminary 11 Jazzmen Turn Out Strongly to Honor Willie the Lion
1 Beat. warmup play the difficult and exacting 11 Hibbler, Heywood, Christy Set for Heath Package
” Getting Sentimental Over You theme
Valdrop 18 Tommy Dorsey: George Simon Discusses Dorsey the Man
song perfectly. He had an embouchure 14 Music World Offers Tributes to Tommy Dorsey
of iron. 15 TD Asa Contributor to Jazz, By Barry Ulanov
Dorsey was a strong-willed man, and 16 A Career Is Ended: Two Full Pages of Dorsey Pictures
, Wash. when he ran into a person of like tem- 18 John Frigo: Portrait of a Well-Rounded Jazzman
perament, sparks were liable to be 19 How Hungarian Jazzman Escaped from Behind Iron Curtain
Records struck. So it was with Buddy Rich and 20 The Duke: Part Two of an Absorbing Interview with Ellington
pecially Frank Sinatra, among others who 21 Ruby Braff: ‘I Lose More Piano Players That Way!’
he Jim- worked for him.
} stimu- Although Tommy and Buddy were at
oressive each other’s throats more often than
t serve not in the many years they were to-
an and gether, they respected each other thor-
z album oughly as musicians. A full combo arrangement right from the books of Charlie Ventura’s group
And so Buddy would leave the band is featured in this issue’s Up Beat section. Also included is another Jazz Off the
enigma in a huff, then get calls from Dorsey Record column analyzing and illustrating a solo by Art Pepper.
ipanies, every few days asking him to rejoin.
roblems He’d return, they’d start fighting again,
ore, for Buddy would leave, etc. It made for
portant some exceedingly lively times if you
ng, vis- were watching it from the sidelines.
ct form Men who knew him long and well
‘sign on 54 Band Routes 30 High Fidelity (Jordan)
swear the only time Tommy’s magnifi- 33 Blindfold Test (Ernie Wilkins) 29 The Hot Box (Hoefer)
t? cent aplomb in front of a microphone
; invest was badly shaken happened onstage at 10 Caught in the Act 22 Jazz Best-Sellers
inviting New York’s Paramount theater some 4 Chords and Discords 24 Jazz Record Reviews
37 Classics (Willheim) 38 Perspectives (Gleason)
10 years ago as TD was being presented 28 Counterpoint (Hentoff) 21 Popular Records
with his Down Beat poll award. His 31 The Devil’s Advocate (Sargent) 7 Radio and TV (Mabley)
then-bride, Pat Dane, was called out to 38 Feather’s Nest (Feather) 8 Strictly Ad Lib
share the applause, and the ensuing 47 Filmland Up Beat (Holly) 35 Barry Ulanov
conversation between her and Tommy
ce, R. I. is still repeated with greatest glee by
men who love the “Did you hear about
rrange- the time” type stories.
roes the Tommy’s penchant for Italian food down beat
of the was well-known, and he fancied himself ON THE COVER
ands up one of the world’s leading connoisseurs Tommy Dorsey, one of the men who helped
1 maybe f that country’s culinary art. Thus it to shape the dance band era, is paid tribute in
‘iss. is not difficult to believe the story some- this issue by many persons in the music world
1 Cohen times told, considering the perfectionist whose careers he directly affected. In addition,
in him, about the time his band un- two articles by George T. Simon and Barry
loaded from a bus at a roadside diner Ulanov help delineate the man and the musi-
on, Wis. and piled in for a quick bite. cian who did so much for music. Other columns
An exceedingly young trumpet player and articles by Ralph J. Gleason, Jack Mabley,
the very naively ordered spaghetti, and so in- and Jack Tracy are devoted to Dorseyana.
an ar- furiated by this breach of taste did
hose ar- Dorsey become, it ig reported that he
hamper forthwith dumped a plate of ice cream
mewhat m the dish of wet, red strings that
umber), were served and shouted, “You like Subscription rates $7 a year, $12 two years, $16 three years in advance. Add $1 a year te these prices for
» Frank slop, kid? Eat that!” subscriptions outside the United States, its possessions, and Canada. Special school library rates $5.60 a
Tommy Dorsey lived a short life by year. Single copies—Canada, 35 cents; foreign, 50 cents. Change of address notice must reach us before
e Chris- effective. Send old address with your new. Duplicate copies cannot be sent and post office will not
ents to today’s count, but those 51 years were forward copies. Circulation Dept., 2001 Calumet Ave., Chicago 16, Ill. Printed in U. S. A. John Maher
son Rid- crammed exceedingly full. And he left Printing Company, Chicago, Illinois. Entered as second-class matter Oct. 6, 1939, at the post office
behind him a lot of memories for those in Chicago, Ill., under the act of March 3, 1879. Re-entered as second-class matter Feb. 2, 1948.
rs, John Copyright, 1957, by Maher Publications, Inc., all foreign rights reserved. Trademark registered U. S.
Rain or Who remember being crushed against a Patent Office. Great Britain registered trademark No. 719,407. Published bi-weekly; on sale every other
mething bandstand to hear a perfectly oiled and Wednesday. We cannot be responsible for unsolicited manuscripts. Member, Audit Bureau of Cireulations.
koordinated machine play some of the OTHER MAHER PUBLICATIONS: DOWN BEAT; UP BEAT; MUSIC ‘57; JAZZ RECORD RE-
Naujoks ae music anyone has ever VIEWS; RADIO Y ARTICULOS ELECTRICOS; BEBIDAS; ELABORACIONES Y ENVASES; RADIO
eara. Y ARTICULOS ELECTRICOS CATALOGOS.
wn Beat
January 9, 1957
 strictly ad libd|5
Nev
Sam (
NEW YORK ever t
r; JAZZ: Louis Armstrong flew to London just to do a con- clerk }
A cert for Hungarian Relief Dec. 18 at Royal Festival Hall betwer
with the Royal Philharmonic orchestra and British jazzmen. and tl
“Ww)
Louis and Joe Glaser did it for free . . . Ernie Henry
replaced Phil Woods in the Dizzy Gillespie band, with E. V. aske
Perry back in the trumpet section . . . Correction: the Sun- swing
day Al Zeiger trio sessions (Down Beat, Nov. 28) on Sixth An
Ave. are not for the public . . . Leo Miller has instituted torted
a new Sunday jazz series—5 to 9 p.m.—at the Westnor in those
‘7 4 Westport, in addition to the regular Tuesday sessions, now
in their third year ... Kapp Records is planning an unusual
two-12” LP panorama of west coast jazz for late January
release. Almost all the familiar names will be included,
plus Warne Marsh’s new unit, John T. Williams, and Med Vic
Flory . . . Ralph Burns, Gil Evans, and Ernie Wilkins did
the writing for Billy Butterfield’s first Victor dance band
date . . . Atlantic’s Nesuhi Ertegun went to the coast to
record the Charlie Mingus Jazz Workshop, the Jimmy Giuf- Dor
fre trio, and T-Bone Walker. He also cut Joe Mooney in
New York with Osie Johnson and Milt Hinton . . . In addi- RCA
tion to selecting a winning combo, Jazz Unlimited’s Sunday Tribute
afternoon sessions at The Pad wil] also pick the best indi- Jan. 1.
vidual musicians. He too will get a gig at the club. Vol.
Erroll Garner due to make his first Swedish tour in June singing
for three weeks .. . J. J. Johnson’s combo is likely to play ard, an
Sweden for from six to eight weeks, starting in mid-June as I H.
.. . Rolf Kuhn’s quartet, with Bill Clark, Joe Benjamin, and thing I
Ronnel Bright, made their New York debut opposite Count My Dr
Basie at Birdland in December. They go into Cafe Bohemia Sweeth
% . Feb. 1 for the whole month . . . Gigi Gryce’s Jazz Lab unit Swanee
2 that has been playing the Pad comprises Idrees Sulieman, Holiday
| Mal Waldron, Arthur Edgehill, and bassist Julian Euell... Vol.
| Les Jazz Modes at Birdland for a week Jan. 3. Front line tra, Jc
has Julius Watkins and Charlie Rouse, with pianist Gildo Oliver,
Mahones, drummer Ron Jefferson, and bassist Martin ing su
e% Rivera. They have another Dawn LP due soon .. . Watch For Y«
| for 16-year-old modern jazz tuba player Ray Draper. He able Y
"0 broke it up one Sunday afternoon at the Pad, and he will Shine,
Sc record for Elektra with his own unit of trumpeter David like Mi
a Phelps, trombonist John Gordon, bassist Bernie Upson, pian- Chloe.
b«J ist Herbie Mickman, and drummer Mike Addest . . . Marian Vict
McPartland and Eddie Heywood are at The Composer... ages 0
Watch for a comprehensive Savoy album of the complete set, T)
1945 Bird sessions that produced Ko-Ko, Now’s the Time, cludes
Billie’s Bounce, etc. John Mehegan is in charge and will from t
contribute extensive liner notes. air sh
ENTERTAINMENT-IN-THE-ROUND: Barbara Lea held Two o
over for the fourth time at the Village Vanguard .. . Lester waitan
Cowan is close to buying the screen rights to Lady Sings sey hi
the Blues. Billie Holiday will soundtrack the music and Smile
Dorothy Dandridge may star . . . Basin Street owner Ralph India,
Watkins, impressed by Lurlean Hunter’s performance there, Sunny
intends to have her back as soon as bookings permit... The
Lena Horne opens at the Empire Room of the Waldorf- himsel:
Astoria New Year’s Eve ... Nat Cole at the Paramount swapp!
Jan. 23... Tommy Wolf at Gatsby’s on First Ave. sideme
ON STAGE: Eartha Kitt may return to Broadway next
year as mehitabel in Shinbone Alley, a musical version of
Don Marquis’ archy and mehitabel stories . . . Producer Jean
Dave Merrick wants Harry Belafonte for the lead in his
upcoming musical Pigeon Island .. . Arnold B. Horwitt and \ .
Albert Hague, who wrote Plain and Fancy, have another Chir
musical scheduled for next season. It’s called O Happy Me!, Holl
a story about the music publishing business. Lisa Kirk is Chinat
sought for a leading role. Your .
Select the instrument RADIO-TV: Chesterfield gobbled up Frank Sinatra’s many
ABC-TV series, due next year, without even an inkling of in Bur
you really wont... what his show will be like . . . Perry Como signed Louis 78.
Armstrong for his final show of 1956 on Dec, 29... The An
and play your very best— Mills Brothers and Gogi Grant are in Rory Calhoun’s tele- gan p
with the finest quality strings. film series called Here Comes the Showboat . . . Jerry Lewis cafes
makes it solo on NBC-TV Jan. 19. It’ll be an hour-long formec
color spectacular, the first for the comedian since he split Willia
Always use Gibson
— they're tops! with Dean Martin . . . NBC-TV will take the wraps off in the
a new conception of Tonight when Steve Allen leaves the ville a
show in the middle of January. Columnists from New York, Schwa
Chicago, and Hollywood may take over the show and set Shows
it on an events-as-they-happen-in-the-entertainment-world Midni:
GIBSON, INC., KALAMAZOO, MICH. (Turn to Page 44) the wi

Down Beat Janua

 b A Sandwich Local 47 Rebels Sue AFM,
New York—A record buyer at
Sam Goody’s hauled his purchases
ever to the checking counter. The Petrillo, Seek $13 Million
do a con- clerk noticed a Brahms Quartet LP
‘ival Hall between sets by Thelonious Monk By Charles Emge
and the Modern Jazz Quartet.
“What do you want with that?” Hollywood — The Local 47 revolt against AFM chief James C.
asked the checker. “He don’t Petrillo, smoldering quietly since the expulsion of its spearhead, Cecil
swing.” F. Read, has broken out again. The action came with the filing of
An eavesdropping customer re- lawsuits here by more than 100 Local 47 musicians against Petrillo,
instituted torted, ““No, man, but have you dug
those changes?” the AFM executive board and others.
estnor in The suits demand more than $13,000,000 The first court action in the case
ions, now in damages. was the granting of a temporary re-
n unusual The first suit was brought by 91 straining order by Judge John J. Ford,
January musicians “on behalf of 6,000 musicians enjoining the companies from makin,
included, employed in the recording industry.” any payments to the fund in excess o
and Med It is based principally.on the charge the 5 percent royalty, which the rec-
kins did Victor Sets Up ord firms have been paying since the
that wage increases of 10 percent (Jan.
nce band 1, 1954) and 21 percent (Jan. 1, 1956) trust fund was set up in 1948. Both
coast to were negotiated by the AFM with the sides claimed the first inning as “a
my Giuf- Dorsey Tributes recording industry but that, in “breach victory.”
looney in of its obligation” to its members, the THE SECOND SUIT, which demands
In addi- RCA Victor expects to release two AFM “arranged for the diversion” of damages of $4,468.950 of the AFM and
s Sunday Tribute to Tommy Dorsey LPs by the money from these wage increases was signed by 22 prominent studio mu-
~— indi- Jan. 1. into the recording performance trust sicians “in behalf” of 2,400 musicians
fund. Damages asked total $8,587,900. and heirs of musicians employed in the
Vol. 1 (LPM 1482) features the
r in June singing of Frank Sinatra, Jack Leon- ALSO NAMED IN the complaint, filed motion pieture studios,” is based on
y to play ard, and Edythe Wright on such tunes in Los Angeles superior court by at- the issue that sparked the Local 47
mid-June as I Hadn’t Anyone ’Till You, Every- torneys Harold A. Fendler and Daniel rebellion, reuse payments for theatrical
min, and thing Happens to Me, I'll See You in Weber, were 84 recording companies. films released to television stations.
te Count My Dreams, Josephine, and You're a However, the “neutrality” of the re- This suit charges that the AFM
Bohemia Sweetheart, plus instrumentals like cording companies is noted in the suit. entered into agreements with the film
Lab unit} ¢ wanee River and Satan Takes a No damages are demanded of the com- producers in 1952 and 1954 under which
sulieman, Holiday. panies, only that a be restrained the recording musicians were guar-
Buell... Vol. 2 (LPM 1438) spotlights Sina- from making any further “royalty” or anteed reuse payments of $25 for side-
ront line tra, Jo Stafford, Connie Haines, Sy “wage increase payments” into the men, $50 for conductors (and contrac-
ist Gildo Oliver, and the Pied Pipers, perform- trust fund. tors), $75 for arrangers and $25 for
Martin ing such tunes as East of the Sun, copyists.
. Watch For You, Street of Dreams, Embrace- (Composers are not under AFM jur-
aper. He able You, and Come Rain or Come isdiction, furthermore, their product—
| he will Shine, in addition to instrumentals European Concerts original music—can be copyrighted, and
ar David like Milenberg Joys, Tea for Two, and the copyright usually becomes the prop-
on, pian- Chloe. erty of the producer or studio engaging
. Marian Seen In Jeopardy the composer.)
Victor recently released three pack- THE SUIT CLAIMS that since June,
oser... ages of Dorsey music. A two-record
complete set, That Sentimental Gentleman, in- Paris—Jazz concerts featuring Amer- 1955, the reuse payments have been
he Time, cludes 28 pieces of Dorseyiana culled ican artists may be on the way out in diverted illegally to the trust fund.
and will from the France and Europe, the British Melody Also challenged in the suit ig the
NBC radio network files of 5 percent royalty payment, in addition
air shots during the 1940-’44 period. Maker reported. to the reuse fees, which the AFM fund
Lea held Two other LPs, Yes Indeed and Ha- French booker Benoit-Levi was quot-
. Lester waitan War Chant, include such Dor- ed as saying that American agents de- has been receiving from pictures re-
ly Sings sey highlights as Marie, I'll Never mand too much money, there is too leased to television.
As in the suit naming the recording
usic and Smile Again, Boogie Woogie, Song of much comedy in the concerts, and there company
or Ralph India, Once in a While, Chicago, and is too little time between visits by dif- film studioas musicians’
“neutral” defendants, the
suit names all
ce there, Sunny Side of the Street. ferent groups. major and independent studios as de-
mit ..4 The air shot sides feature Dorsey Benoit-Levi said he lost some $5,000 fendants—plus all TV film producers—
WNaldorf- himself, too, playing, announcing, and on his Kid Ory tour, and even more but demands only that they be enjoined
ramount swapping banter with announcers and with a recent Basie tour. He added that — making further payments into the
e. sidemen. many fans, disappointed because “Lou-
is Armstrong tended to fool about on fund.
fay next the stand,” may have stayed home to Dec. A “show cause” hearing was set for
rsion of play Basie records rather than be dis- 14. Attorney Michael G. Ludd
>roducer Jean Schwartz, Writer Of appointed if the Count fooled around, is heading up the defense for the AFM.
d in his too.
witt and He cited one solution: American
another ‘Chinatown,’ Dies At 78 agents putting on their own concerts
py Me!}, Hollywood—Jean Schwartz, writer of and paying the bookers on the conti-
Kirk is Chinatown, My Chinatown, Rockabye nent for organizing them. Feather-Allen
Your Baby with a Dixie Melody, and
sinatra’s many other hits died of natural causes
kling of 4 Burbank hospital on Nov. 30. He was Butterfield, Scott, Norvo, Jazz History
id Louis
os ame A native of Hungary, Schwartz be- Montrose Wax For Victor New York—Steve Allen is narrating
n’s tele- gan playing piano in New York City a two-12”-LP set, The Jazz Stary, for
y Lewis cafes while in his teens. He later New York — Billy Butterfield has Coral. Script is by Leonard Feather.
our-long formed a songwriter partnership with signed with RCA Victor, and his first Some 40 records or excerpts thereof
he split William Jerome and, following success LP will be with a 18-piece band. Tony will be used in the album which ranges
raps off in that field, the two began a vaude- Scott is also cutting a dance band set from pre-jazz roots to the modern scene.
ives the ville act. Broadway musicals scored by for the label with 19 pieces. On the Willie (The Lion) Smith has record-
w York, Schwartz include the Shubert Passing west coast, Shorty Rogers is record- ed a description of historical piano
and set Shows, Artists and Models, and The ing a Red Norvo LP, and Jack Mon- stylists for the project. A session on
it-world Midnight Rounder. He is survived by trose’s first album for Victor. Rogers folk roots featured guitarist George
the widow, Sally, a brother, and sister. is Victor’s west coast jazz director. Barnes, plus Lou McGarity on violin.

mn Beat January 9, 1957 9

 story-telling tunes than on jazz-inspired
creations. She opened with a smoothly
caught in the act 5 rocking, cleverly conceived I’m Havin’
Myself a Time. Her approach to They o
Can’t Take That Away from Me in-
dicated an astute perception for lyric Tim
Sylvia Syms: Interlude, Hollywood expression. When the World Was
For the follyday season, Interlude Young became a dramatic, but disci- New
owners Harry Weiss and Glen Mc- plined, Galsworthyian reminiscence, to be |
Mann chose shrewdly when they signed with considerable, justified emotional view 0
Sylvia Syms for the stint running substance. wrote |
through Christmas week. Only an at- Miss Winthrop sang and whistled her of a re
traction of Sylvia’s dynamism is cap- way through Merry Minuet, a tune Brookl;
able of pulling the crowds into the spot Charles Addams could have written. “The
dominated for eight frantic months by The philosophy expressed in one line band .
Frances Faye. characterizes the mood: “What nature emphas
Because of Miss Syms’ firm base in doesn’t do to us will be done by our jazz g)
jazz vocalizing, it was imperative she fellow men.” Between the Devil and the be tra
be backstopped by no ordinary nitery Deep Blue Sea showed indications of repetit
group. Bassist Harry Babasin heads Miss Winthrop’s ability to swing, but part to
the intrepid supporting quartet, in- this characteristic was more tantaliz- is capé
cluding Arnold Ross on piano; Don ingly evident than obvious. excepti
Overberg, guitar; Jimmy Pratt, drums. She turned to “the most promising “The
The quality of accompaniment provid- folk song of them all,’ Shuffle Off to flower
ed by the group and their between-sets Buffalo, complete with up-to-date lyrics quentl;
jamming make for a fortunate, if all- and scat breaks. She romped through ments
too-rare, musical phenomenon on the the 1935 heirloom, The Gentleman Ob- guitar
usually ‘arid Sunset Strip. viously Doesn’t Believe and concluded ist, Ed
Sylvia’s voice is a swinging horn, Barbara Lea with the rarely heard, but delightful, ing sp
PR a it displays a tendency to strid- tribute to homicide, George. “But
ency at times. She is consistently mov- as much fun as the audience on this. With the exception of a few scat- band’s
ing at all levels of dynamic and emo- On Ellington’s I Didn’t Know About tered moments, highlighted by the few simo 4
tional expression: In Yip Harburg’s You and on I Had Myself a True Love, bars of scat breaks in Buffalo, Miss it seer
tender Then I’ll Be Tired of You or she sang the words with meaning and Winthrop’s first night program showed hither
the uptempo, free-wheeling Tea for with a beat. Nobody Else But Me and more of a devotion to bistro ballads bull-in
Two. In the latter particularly is her Blue Skies were taken at a peppier than jazz tradition. If she is to genu-
phrasing and unerring beat an object tempo, one in which she is completely inely satisfy her stated devotion to jazz,
lesson to today‘s young vocal comers. at ease. she must march in the front door, in-
Her between-tunes exposition amounts So much has been written about stead of waiting for an invitation. Fro
to a virtual peripheral education in Miss Lea’s similarity to Lee Wiley that
American musical comedy—a rich, perhaps an important factor has been Although she manifests an appreci-
skillfully handled touch. overlooked. She has a vocal texture able amount of forceful charm in per- The
The inevitable J Could Have Danced somewhat similar to Miss Wiley’s, but forming her current repertoire, as il-
All Night, apart from being a required for this reporter the similarity ends lustrated opening night, it might be Nev
rendition in recognition of the singer’s there. If there is any one outstanding wise for her to eliminate some of these partic
recent hit record, is belted in bounding, influence in Barbara’s style, it is the tunes, however clever, in order to in- conce!
shouting spirit. It isn’t until the second voice and horn of Jack Teagarden. clude tunes which would allow her to Smith
chorus, however, when the rhythm sec- Not that she phrases or inflects like use her voice as a bona fide jazz instru- cludec
tion shifts into straight 4/4 high gear, Big T. Rather, she has his feel for a ment. sy Sr
that the place really rocks. Babasin song, his ease of getting around in a Now regulars on Monday and Tues- play)
lays down the beat with such uncon- lyric without losing the melody line or day nights at Kelly’s, pianist Dick in a
fined joy, both aural and visual, that the beat. Everything Barbara does, it Marx and bassist-violinist John Frigo Wee
digging him alone makes the number becomes apparent on repeated listen- provided Miss Winthrop with the kind Shaw.
a happy experience. ing, is her own, but with the Teagar- of swinging backing that could make Am
Miss Syms confides a fear that she’s den flavor. Jan Peerce come on like Presley. Their playe
losing her identity with jazz due to On a subsequent set, she did Gypsy efforts as a duo made for additional Partl
recent successes with pop hits. Strictly in My Soul, Our Love Is Here to Stay, satisfaction. son, 7
on the basis of her Interlude stand, The Devil Is Afraid of Music and I Although how they play is more im- (Mol
though, it would appear extremely Love Jersey City. On these numbers, portant than what they play, among by H
doubtful that her fear has substance. the Teagarden ease and casual com- the tunes they massaged were Hooray Dick
The mystery remains why she hasn’t petence came alive. for Love, Midnight Sun, Take the “A” band,
made the west coast nitery scene be- The over-all impression is that Bar- Train, Satin Doll, Joey, Iullaby of (Lux
fore. bara is developing on sure ground. She Birdland, All the Things You Are, Au- 13-ye
—tynan is avoiding material that would invite tumn in New York, and You Stepped rad J
comparison to Miss Wiley, or other fe- Out of a Dream. Sam
Barbara Lea; male vocalists, and by doing that she Marx constantly manifests an acute Gene
Village Vanguard, New York is building herself a library of tunes sense of dynamics, from forceful, per- audie
The young woman who was the crit- as yet not done to death. She looks as cussive attacks to delicate, fleeting pas-
ics’ choice as new-star female vocalist though she is having fun on the stand. sages. Assuming full command of his
in the 1956 Down Beat poll made a And that, coupled with the solid musi- instrument, he creates a variety of har-
pretty package—visually and aurally— cal background she has, should do much monie moods. His cascading chordal se- Ellic
in her appearance here. to extend her as a prominent vocalist. quences, massive in impact, and his
Barbara looked trim and cute in a —dom perceptive ear for variations on a theme On
tasteful black cocktail gown. She sound- make him a pianist of considerable sta-
ed swinging and relaxed on the bouncy Faith Winthrop, Dick Marx, John Frigo; ture. Ne
tunes in her set. On a ballad and a Mister Kelly's, Chicago Frigo’s bass sound contributes a ott \
bluesy tune she exhibited a warm, Faith Winthrop is a young, robust, thoughtful, rhythmic counterpoint to Steel
husky voice, with just a touch of vibra- appealing Bostonian who abandoned her Marx’ virtuosity. Together, they create thro.
to for tonal polish. role ag an education major at Boston an integrated, meaningful jazz mood. signe
She opened with a bouncing Honey university more than three years ago On Autumn and Dream, Frigo played a C0)
in the Honeycomb and then swung into to attempt to scale the wall of jazzdom. movingly hip violin, subtly melodic on has —
an amusing Willard Robison tune, Re- This pilgrimage has taken her from the former and excitingly swinging on El
volvin’ Jones. The latter number is a Boston to Bermuda to San Francisco the latter, with Marx’ pulsating piano and
musical adaptation of the old joke about and Hollywood and has resulted in a spurring him on. Thanks to months of date:
the man, Jones, who warned his wife soon-to-be-released LP for Epic. working as a duo, Marx and Frigo have at tl
he would turn over in his grave if she The majority of the interpretations found a cohesive, inspired, creative to 2
misbehaved after he was gone. Bar- in Miss Winthrop’s debut set at Kelly’s sound. begil
bara looked as though she was having indicated more emphasis on suave, —gold Jan.
10 Down Beat Janu
nspired
noothly
Havin’ Reviewer Has No Hibbler, Heywood,
o They Restless Natives
Me in- New York—The scene: the bal-
r lyric Times For Basie Christy With Heath
as cony of an all-night movie on 42nd
; disci- New York—In what may turn out street. New York—The second Ted Heath
scence, to be the most controversial jazz re- On screen, Richard Widmark and American tour, opening here Feb. 8,
otional view of the season, John S. Wilson female await a morning attack by will include Al Hibbler, June Christy,
wrote in a New York Times appraisal the Apaches (Indians never attack and Eddie Heywood. Heath receives top
of a recent Count Basie concert at the at night unless they get time and billing with Hfbbler second. In exchange
led her a half
a tune Brooklyn Academy of Music: for the Heath unit, Count Basie begins
The war drums are throbbing in a British tour April 7 for 16 days. Wil-
rritten. “The appearance of Count Basie’s the background as Widmark and
1e line band ... last night put an unfortunate lard Alexander is booking the Heath
female exchange meaningful de- tour while Harold Davison is handling
nature emphasis on the limited range of this spair. Suddenly the drums stop.
oy our jazz group. Part of this limitation can the Basie journey through Britain.
Silence.
nd the be traced to the unimaginative and “Why have the drums stopped?” A partial Heath itinerary includes:
ons of repetitious quality of the band’s book, the female anxiously asks Wid- the Academy of Music in Philadelphia
Zz, but part to the make-up of the band, which mark, (Feb. 8) ; Carnegie hall (9); Rochester,
ntaliz- is capable, but with only two or three “Because it’s a bass solo, you N. Y. (10); Pittsburgh (13) ; Cleveland
exceptions, not distinguished. idiot,” came the voice from the bal- (14); Chicago (15); Detroit (16); Co-
mising “The band, which was once the finest cony. lumbus (17), and Dayton, Ohio (18),
Off to flower of the swing era, swung infre- Bloomington, Ill. (23), Cincinnati (24),
lyrics quently . . . Most of these rare mo- Toronto (28).
rough ments occurred when Mr. Basie, his Basie will play Glasgow, Newcastle,
unm Ob- guitarist, Freddie Green, and his bass- Leicester, Sheffield, Bristol, Wolver-
cluded ist, Eddie Jones, got some quiet breath- Newport Jazz hampton, Luton, Birmingham, Liver-
rhtful, ing space by themselves. pool, Manchester, and Bournemouth in
“But for most of the evening, the addition to dates in London.
scat- band’s level was monotonously fortis- Heading East?
ie few simo and instead of actually swinging,
Miss it seemed to charge headlong, battered Boston—A jazz package organized
howed hither and thither by Sonny Payne’s by the board of the Newport Jazz fes- Count, King Onstage
allads bull-in-a-china-shop drumming.” tival would be taken to Europe and
genu- Iron Curtain countries in 1957 under
) jazz, plans being worked out by George
yr, in- Wein and Louis L. Lorillard of the At NYC Paramount
on. From Muggs To Diz, Newport festival and producer Billy
preci- Rose. New York—Count Basie and Nat
n per- It was reported that Wein announced (King) Cole will play a week onstage
They Honor The Lion Rose had approached the festival lead- at the Paramount theater here start-
as il- ing Jan. 23.
ht be New York—The large number of ers with the plan, which would depend
these on the world situation at the time. Although not a clear-cut return to
participants in the recent Central Plaza Rose toured Europe, Russia, and the the stage show policy for which the
to in- concert honoring Willie (The Lion)
ier to Red satellite countries last summer on theater was famous in the ’30s and:’40s,
Smith on his 40th year in music in- a presidential mission to promote a the Basie-Cole package may represent
nstru- cluded prominent jazzmen from Mugg- cultural exchange of some 500 artists. the first in a time-to-time series.
sy Spanier (who was ill and did not Lorillard said Rose wanted about 30
Tues- play) to Dizzy Gillespie (who blew “Whenever a package comes along
Dick in a set with Herman Autrey, Pee jazz artists for the 20-week tour. that we can afford, we’ll play it,” a
Frigo Wee Erwin, Tony Parenti, Arvell Jazz artists for the tour, if it ma- theater spokesman said. In the plan-
kind Shaw, Art Trappier, and the Lion). terializes, would be selected by the ning stage at presstime was a stage
make Newport Jazz festival board. show to be presented with the release
Among the other musicians who of Betty Hutton’s new picture, Spring
Their played were Cliff Jackson, Jimmy Mc-
tional Reunion. This package would be head-
Partland, Eddie Barefield, Vic Dicken- ed by Betty and Ella Fitzgerald.
son, Zutty Singleton, Red Allen, Eddie Granz Signs Woody
e im- (Mole) Bourne, George Stevenson, Bob- Since dropping a regular weekly
mong by Hackett, Herb Hall, Andy Russo, stage show policy, the Paramount has
ooray For Clef, Verve presented individual bills which have
a Dick Cary, the entire Wilbur DeParis
band, Hank Duncan, Sol Yaged, Meade New York — Norman Granz_ has done well at the box office. Most re-
y of (Lux) Lewis, Wingy Manone and his signed Woody Herman. Woody will cut cently, a Frank Sinatra-Dorsey Broth-
, Au- 13-year-old drummer son, Jimmy, Con- jazz for Clef and pop for Verve. Also ers package played last August in con-
-pped rad Janis, Wild Bill Davison, Jo Jones, newly added to the Verve roster are junction with the release of Sinatra’s
Sam Taylor, Panama Francis and Billy Daniels and Rose Murphy. picture, Johnny Concho. Jackie Gleason
acute Gene Sedric. Some 500 were in the Granz still has four unreleased 12” and his troupe also have played the
per- audience, Art Tatum solo LPs, plus several other Paramount stage.
' pas- sets including Tatum. Among the latter
f his are a session with Ben Webster, a
har- quartet date with Jo Jones, a second
al se- Elliott To Lead Quintet Carnegie Hall To Be
trio session with Benny Carter and
| his Louie Bellson, a second trio album with
heme On New York TV Show Lionel Hampton and Buddy Rich, and Torn Down In 1959
sta- a record with Buddy DeFranco released
New York—As of Jan. 7, Don Elli- on the ARS mail order label and soon New York—Carnegie hall, showcase
s a ott will lead the quintet on the Ted to be available on Clef in retail stores. of great classical and jazz artists for
t to Steele Show over WOR-TV, Monday decades, will be torn down in the spring
reate through Friday, 2-4 p.m., here. He is of 1959. The Philharmonic Symphony
100d. signed for an indefinite period under society, which was attempting to stave
ayed a contract whereby eight weeks’ notice Business Is Goody off destruction of the hall by raising
c on has to be given by either party. New York—Sam Goody, king of the funds enough to buy it, did not take
g on Elliott will continue to work clubs record discounters, is expanding into advantage of an option to buy the hall.
iano and an increasing number of college the west coast and European markets. Concerts will continue to be given at
is of dates weekends, and he will again be Under survey are several locations for the hall until the society’s lease expires
have at the Composer here for probably 17 the Goody low-cost record operation in in April, 1959. Tentative plans were
ative to 20 weeks in the coming year. He Los Angeles and at least two European made by the society to move to a new
begins a four or five-week stay there countries. Goody also is reported ready location in the proposed Lincoln Square
gold Jan. 17 or 24. to move into Philadelphia and Boston. cultural center.
Beat January 9, 1957 1l
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When six year old Ray Bauduc first studied ture of
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Down Beat Januar
Tommy Dorsey: The Impatient One

By George T. Simon fancied himself a good jazz instru- words I did—in print, in fact—in a
mentalist. magazine for which I was writing at
THE SHOCK of no Tommy Dorsey This was brought home very forcibly the time. But, so as not to harm his
is just beginning to wear off. The vast to me one night on an all-star record future bookings, I didn’t mention his
void in the music world and in the lives date in which I asked Tommy to play name—just wrote about “the famous
of those of us who were lucky enough some jazz. “Nothing doing,’ he told bandleader who will, ete. .. .”
to have known him well is never going me. “What business have I got playing Well, of course, as you know, Tommy
to be filled, for, just as there never can jazz when Jack (Teagarden, who was never did quit, but one year later Artie
be another Tommy Dorsey, the musi- on the date) is in the room!” Shaw did, and to a lot of persons
cian, there never can be another Tommy I DIDN’T ARGUE with Tommy. Peo- Tommy had made me a great scoop
Dorsey, the man. ple seldom did. He knew what he want- artist.
As the shock does wear off, many ed, not only in such isolated instances, Those were the days of Bernards-
things come into focus. One of the most but also in life as a whole. ville, N. J., where Tommy had a fab-
startling is that if Tommy Dorsey had A self-made man, he wanted to do ulous home, complete with swimming
been a little less impatient, he might many things and to do them his way. pool and tennis court, and to which he
easily still be with us today. Here again it was impatience—impa- reguiarly invited huge entourages for
For Tommy was impatient. He was tience with routine, with tradition, and weekend visits.
generous and kind and, of course, very with the apparent mediocrity and inef- THERE WERE pinball machines, a
talented. He was full of love of good ficiency of others. Band bookers both- hi-fi set (long before hi-fi was fashion-
people and of good things. He was am- ered him. He was sure they were doing able) and fabulous food and drinks,
bitious and alert and sensitive—so ter- things the wrong way. So, in typically and, of course, much laughter—very
ribly sensitive—and he loved to live. He dynamic Dorsey fashion, he opened his much laughter. That’s something that
was a driving man, a powerful, dynam- own successful booking office and book- Tommy loved probably most of all—to
ic, driving man. And he was impatient. ed himself and even tried to get some laugh and to be happy with friends. He
FROM ALL REPORTS, his last ac- of the biggest names to come with him. had a very keen wit, and the laughs
tions were typical. Lately he had not The same thing went for recording were always there at Bernardsville,
been happy. Those close to him knew companies. Just recently he outlined where the entire band would come out
it only too well. He loved his home and to me in great detail how he planned after winding up Saturday nights at
his family, and the thought of its dis- to have a huge record company, with the Pennsylvania.
integration made him acutely miserable. many top stars, including his own band Tommy would put them all up in
With the dreaded divorce proceedings with which, on his own, he had recorded bunks, the musicians and friends like
just a few days off, Tommy obviously dozens of new jazz instrumentals, and Johnny Mercer, Lennie Hayton, Clay
couldn’t have gone to bed that night a how he felt everyone would make out Boland, and all the many others who
content human being. much better financially and in other were attracted to, and attractive to,
Tired and depressed, he must have ways. this man.
wanted deep sleep as quickly as pos- TAKING THINGS INTO his own They were all there, and they were
sible. So, enough pills for a quick and hands like this was nothing recent with all in many other places, too. For
good night’s rest ... too many pills to him, either. He was one of the first, if wherever Dorsey went, he attracted
be able to fight off nausea ... sickness not the first, of the big name band- persons. That there were always so
. choking .. . death. leaders to form his own music publish- many of them with him was not so
Tommy left the world a great deal. ing company. And back in the ’30s, much because he needed them, the way
His music, of course, the greatest mix- when he wasn’t completely happy with other, more insecure performers do, but
ture of swing and sweet ever produced the music magazines, he made plans to rather because he wanted them, because
by any one orchestra. What other bands release his own, though, as I recall, all this was HIS way of living, his very
could boast of singers like Frank Sina- he ever did do was print up one or two full way of living.
tra, Jo Stafford, Dick Haymes, Connie quite small editions. Undoubtedly, some of them made
Haines, Jack Leonard, Stuart Foster, But he always had to be doing some- certain they were always within reach,
and all the others? And of jazz musi- thing extra. While other name band- because so long as Tommy was around,
cians such as Bunny Berigan, Bud leaders were busy enough attending to they were sure of eating and drinking.
Freeman, Davey Tough, Pee Wee Er- their music and careers, Tommy would For this was a generous man, who
win, Johnny Mince, Charlie Shavers, be trying out new ventures. shared his good fortune with others,
Ziggy Elman, Louie Bellson, Buddy Investments intrigued him, and he and who saw to it that the persons he
DeFranco, Terry Gibbs, and all the was constantly dabbling in oil wells, loved and admired were well taken care
rest? And of arrangers such as Axel several of which came through for him. of. Such as the times he used to send
Stordahl, Paul Weston, Dean Kincaide, For a while, model electric trains fas- a sick Davey Tough to a rest home, all
Sy Oliver, Bill Finegan, and Ernie cinated him, and I can recall when he expenses paid, until he was well enough
Wilkins? bought thousands of dollars worth of to return to the band—but only if he
TOMMY LOVED TALENT. He rec- equipment at one time—so much of it, wanted to come back.
ognized it and encouraged it and he in fact, that I doubt if he ever got to HE SHARED HIS musicianship, too,
never seemed jealous of the numerous unpack all of it. some of it most unwittingly. Sinatra
stars in his band. I can recall many More recently it was a home work- and Jo Stafford and Leonard all cred-
nights when he’d stand there in front, shop, beautifully outfitted with all sorts ited their phrasing to the nights they
trombone in hand, and call off chorus of saws and drills and all the other spent listening to Tommy blow his
after chorus for the various men in tools with which to make things. Tom- trombone — those long, clear phrases,
his band, smiling at them with sincere my showed it to me a few months ago, with the breath not at the obvious
admiration, exhorting them with “take and I had the feeling that this was one place at the end of each four or eight
another ... and another ... and one of those things he was going to get bars, but in between them, so that
more.” Sometimes Bud Freeman, whose around to some day—some day when there’d be enough air with which to
imagination, wit and drive floored he had enough time. tie phrases together, and thus make a
Tommy, would blow a dozen choruses HE HAD TALKED to me of the day, much more attractive whole out of each
in a row. with great longing, almost 20 years chorus.
Maybe one reason Tommy encouraged ago. His band was riding high. He was And as for trombonists—well, Tommy
jazzmen so much was because he saw in terribly busy, and he was ‘complaining was to the melody men what his idol,
them a quality he felt he lacked. He about the fact that he didn’t have Louis Armstrong, has been to jazz
knew his capabilities as a sweet trom- enough time in which to do the things trumpeters.
bonist and as a technician (he would he really wanted to do. This was Tommy Dorsey. The man
have had to be both tone deaf and com- “Mark my words,” he said to me. who had so much to give—and gave so
pletely dishonest with himself not to “One year from today I’m going to be much. And the man who was impatient
recognize this amazing talent), but, de- out of this business and really live the —too impatient for his own good and
spite the public’s opinion, he never kind of a life I want to.” Mark his for the good of all of us who miss him.
January 9, 1957 13
 World Offers Tributes To Tommy TO
Music great
Doze}
music
Scores of musicians, entertainers, certainly marks the end of an era. They death, I couldn’t believe it. It was just insti
singers, and music business men lost say that no one is irreplaceable, but as though this was a dream | and it they
a personal friend when Tommy Dorsey I’d like to see someone replace Tommy.” would turn out to be not true.” Th
died. erate
The depth of their feelings can be J. J. Johnson: “It has often been said Vincent Lopez: “Jimmy and Tommy soun
gauged by these brief summaries of that the trombone is the nearest in- both worked for me back in 1925. I pleas
their feelings, expressed on learning strument to the human voice as relates can say this about Tommy—he always playi
of Dorsey’s death: to sound and tonal texture. My opinion respected me. He always called me Mr. ment
is that Tommy Dorsey more than any Lopez and introduced me any time I To
Paul Whiteman: “He was a great other trombonist gave substance and went where he was playing. He was this
friend, a wonderful musician. He was meaning to this observation. I’ve heard a real gentleman. upon
wonderful to his boys, and he was a it said that Tommy Dorsey influenced eithe
“He was a real Irishman. He may accla
most generous host. His death was an singers as well as trombonists, especial- have been rough, but he had a heart
irreplaceable loss to the music business, ly where phrasing, breath control and simp
of gold. You never had any trouble with ing
and the band world will sorely miss co-ordination in general is concerned.” him if you leveled with him. The fights
him.” both,
are an old myth. He was 100 percent and
Miff Mole: “I was deeply shocked to musician. He had a great ear and knew was
Eddie Condon: In his New York learn of Tommy’s death. He and I were rhythm and melody. He could immedi-
Journal-American column, Pro and Con- ately tell a good man. You could never It
great friends. I’ve known him since and
don. “The thing I remember best about 1920, and to me he was the greatest fool him musically. Fabulous really goes
Tommy is hig generosity. Back in the with him. He was a wonderful musi- that
trombonist. I remember working with good
early ’30s, when things were about as him in various little groups and for cian and an excellent businessman. He
tough for jazz musicians as they are had the nerve to gamble, and he was quite
college proms with Bix and others. It’s Ar
right now for button-shoe manufactur- a great loss. He is irreplaceable. He smart by going into the Statler (hotel,
ers, Tommy was only a sideman work- contributed so much to the music we where the Dorseys’ band was “open | the |
ing in various bands around New York. have today.” at the time of Tommy’s death) and my
“But whenever Tommy had some sitting there . . . making it a base of mon]
money, so did his hard-luck friends, and operations.” forg:
whenever Tommy was eating, they ate, Bud Freeman: “I met Tommy and four
too. Jimmy at what was probably the first kette
jam session on record, held at 222 N. Jackie Gleason: “Tommy Dorsey sym- ing
“He had a place out in Merrick, L. I. bolized an era in popular music. He
Many a weekend, he would load up a State St. in Chicago, which later be- Langs
came the Three Deuces. They were with was the Pied Piper of the jazz-swing his|
bunch of hungry musicians in a couple era, and to millions of popular musical
of cars and haul us all out there, and Paul Whiteman, and we all sat in. I Carl
we’d play ball and drink beer and eat went with Tommy later. Tommy was devotees—and professional musicians— with
known by many people to be a tough he was a key factor in the band busi- with
as though we hadn’t eaten for a week, ness, maintaining a hold on the public
which in most cases was true. Those guy, but he was always fine with me. mac!
He gave me a great deal of freedom in interest in its most critical period in
weekends made a lot of us feel that the history. TC
weeks of looking for and never finding his band, and if I became at all famous then
any work were actually worth it. as a soloist, he is responsible for it. I “He had that electric vitality so tinct
“Tommy Dorsey was the greatest have a very warm feeling toward him. necessary to meet the changing tastes in |
host I’ve ever known in my life. And “Lots of people might have said he of a frenetic public, and it was this post
one of the greatest human beings, I was difficult, but I always felt that if vitality, too, that he was always able
to infuse into his sidemen. It was this no n
might add. He was a perfectionist. A a man could play, Tommy would give wha
wonderful musician himself, strictly him his solo. When I heard of his (Turn to Page 34) earl;
drilled by his father to do only his miss
best, he expected his own musicians to
do their best. Sometimes he was carried
away by his desire for perfection. Tom-
my had a temper and never attempted
to keep it locked up when music was
being played. He insisted that every-
body had to be playing right up to the
top of his form.
“To some kids who read this...
Tommy Dorsey was a figure out of the
past. But you can hear him on records,
and you'll find he’s as fresh and mod-
ern as any of the present-day idols.
The trouble is, you won’t be able to
know him the way a lot of us did.
And we’ll never forget him.”
Frank Sinatra: “There are so many
things I can say about Tommy Dorsey
that I can’t even begin to put them into
words. He was without doubt a great fair
and gifted musician. Most of the knowl- that
edge I have of the music business I coul
got from him.” on |
the
Connie Haines: “He was like a father beat
to me. He was like one of the family. cont
All the kids who were with Tommy are
successful and doing just great. He had
a knack for finding talent, and he al- two
ways gave talented kids a break. Every- tha
one was loyal to Tommy.” ier
Among the bandleaders attending the Hollywood portion of Jackie Gleason’s Jim
Sy Oliver: “Tommy’s death is a great tribute to Tommy Dorsey were (second row) Stan Kenton, Billy May, Les Brown, mo\
shock to me. He was a great man. It and Ben Pollack. ran
lian
14 Down Beat
Jan
 By Barry Ulanov
TOMMY DORSEY was one of jazz’s
ny great liaisons with the outside world.
Dozens, perhaps hundreds, of classical
musicians first learned to respect the
as just instrumental skills of jazzmen when
and it they listened to Tommy.
Thousands of others, musically lit-
erate or not, recognized that in the
Tommy sound of his trombone there was more
1925. I pleasure for their ears than in the
always playing of most men on most instru-
me Mr. ments.
time I Tommy recognized, too, that he had
de was this effect upon the musical public,
upon many musical publics; and so,
either because of a taste for public
le may acclaim, or a genuine affection for a
2 heart simple and sweet balladry, or a yearn-
le with ing for the inevitable corollary of
e fights both, the big money, he turned more
percent and more from jazz to a music that
d knew was many steps removed from it.
mmedi-
1 never It was a music that was often sticky
lly goes and stiff at the same time, a music
1 musi- that upon occasion wasn’t particularly
ian. He good to dance to and was sometimes
he was quite unpleasant to sit and listen to.
(hotel, And yet, for all the compromises and
playing the latter-day indifference to jazz, Tom- Eddie Condon, Max Kaminsky, Bud Freeman, and Bobby Byrne were among the
h) and my was a jazz musician, an uncom- jazzmen who played on Jackie Gleason’s CBS-TV tribute to Tommy Dorsey.
base of monly good one, who never entirely
forgot the craft he learned three and
four decades ago with the Jean Gold-
kette and Paul Whiteman bands; work-
2y sym- ing beside Bix Beiderbecke and Eddie
sic. He Lang and Frankie Trumbauer, with
L-swing his brother Jimmy and Joe Venuti and TD: Jazzman
musical Carl Kress; playing in pick-up bands
cians— with Benny Goodman and Don Redman,
d busi- with Bud Freeman and Frank Tesche-
- public macher and Bubber Miley. identity. It isn’t Tommy himself that ords or the road or just a quick blow on
riod in one thinks of when one reaches back the radio, had somebody who was good,
TOMMY WAS a Dixieland musician,
then; a Chicago jazzman, if that dis- in the mind’s ear for the sound of that sometimes three or four, and more often
lity so tinction holds any importance for you, very satisfying rabble-rouser, that than not a half-dozen.
' tastes in his playing associations, hig jazz band of the flying wedge formation, It’s sad that it takes a man’s death
as this postures and predilections. There is of screeching trumpets and driving to achieve something like perspective
ys able no mistaking the Miff Mole influence in rhythm. for him, even a glimmer of critical pro-
as this No, it’s Sy to begin with, and scores portion in the measuring of his achieve-
what you can hear of Tommy in the
early records. There is no way of such as Swanee River and Swing Low, ment. But if it has had to wait until
missing a_ straightforward two-beat Sweet Chariot and Deep River and now to be said clearly and openly, let
style in such jazz as his small band Opus No. 1. And then it’s the trumpet it be said that his—that Tommy Dor-
of the late ’80s, the Clambake Seven, section, notably Ziggy Elman and sey’s—was an achievement of size. Let
used to play—both in the playing of Chuck Peterson blowing together, Ray it be said, often, and if possible with
the band and in Tommy’s own solos. Linn’s several stints with the band, and corroborative evidence drawn from the
As soon as Tommy had made over the the wonderful esprit de corps which record files and from air checks, that
Joe Haymes: band into his own outfit, made for such a sumptuous ensemble his was a much greater achievement
in early 1936, it paraded an orthodox in the jazz or behind Frank Sinatra or than Glenn Miller’s, 2 much more sub-
Dixie flavor. His soloists were Maxie the Pied Jipers or Jo Stafford. stantial contribution to jazz than that
Kaminsky and Joe Dixon and himself. No, one doesn’t think of Tommy when of most leaders of the ’30s and ’40s,
His drummer was Dave Tough. And one thinks of the sound of the Dorsey even if not of the consequence of a
soon afterwards there came Bud Free- powerhouse of the ’40s, but it was his Duke Ellington, a Woody Herman, a
man and Bunny Berigan; and then Pee band and one that reflected high stand- Benny Goodman.
Wee Erwin and Johnny Mince. ards of musicianship, perhaps the And if his bands had durable musical
More than any of the variously suc- highest all-around musicianship that qualities, so did Tommy’s own perform-
cessful editions of the band that fol- any band so clearly directed at the ances. He never made the mistake of
lowed, those personnels of 1936, 1937, boxoffice ever was able to pitch at and supposing that he was so versatile a
and 19388 reflected Tommy’s own tastes. hold to. It wag a sleek band. It was musician that he could turn to a tra-
They called it “swing” because that was a swinging band. Its best sides still dition quite foreign to him and make it
the tag that sold records, but what it make good musical sense, the good mu- his own. Never did he try his hand at
was, we must recognize today, was a sical sense of Tommy Dorsey. a trombone concerto fished out of the
fairly polished version of Dixieland THERE IS SO MUCH of Tommy early 19th century or the late 18th.
that for all its firm eye on the boxoffice that maybe his musical sense isn’t al- Never did he go looking for a trombone
could never escape its leader’s firm foot ways apparent—so many records, so sonata or trio or quartet to show
on the floor and just as tight grip on many hundreds of sides. But to some himself the chamber musician he
the slide, pushing an ingratiating two- wasn’t. Never did he commission, so
beat music that I for one am quite of us who have been chronicling this far as I know, a Hindemith or a Stra-
content to call jazz. music for most of the time Tommy was vinsky or a Prokofiev to dash him off
a significant figure in it, these are a little night’s music, a good blow for
TOMMY’S TASTES were sstrictly more than just long lists of records the longhairs.
two-beat, really. It makes good sense that hit and records that didn’t, more
that when he turned to a louder, heav- than just the incubators of Sinatra and The closest he came to such an out-
ier jazz in the early ’40s, it was to the Stafford, more than just a file of sales of-character musical monstrosity was
eason’s Jimmie Lunceford version that he figures and bank statements. Some- in Sleepy Lagoon and one or two other
Brown, moved. Sy Oliver became his jazz ar- where back in those lists are a company oily employments of strings. It never
ranger and the heavy two of the bril- of distinguished jazzmen: every band got too serious; he never became pom-
liant Lunceford band became his jazz that Tommy ever put together, for rec¢- (Turn to Page 54)
n Beat
January 9, 1957 15
 Backstage at Hollywood theater 10 years ago: actor Laird Cregar,
the former Mrs. Dorsey (Pat Dane), David Rose, Tommy, and Count
Basie.

Possibly the last picture of Tommy, taken Nov. 19, 1956, at his
birthday party held at New York's Hotel Statler.

Onstage at the Paramount theater in New York: TD and Gene From the movie /'ve Got Rhythm came this still, with Dorsey leading
Krupa received their Down Beat awards. Pat Dane is between them. the band as Mickey Rooney and Judy Garland sang and danced.
16 Down Beat
 They had their squabbles, but this 1941 picture shows TD and Benny Jackie Gleason gave the Brothers Dorsey their TV break when he
Goodman buddy-buddy as Dorsey paid Benny a visit at the Mead- turned over part of his show to them regularly for their Stage Show
owbrook. segment.

Tommy and Buddy Rich, two volatile personalities, were rejoined when the Dorseys took The Dorsey Brothers—Tommy and Jimmy—
over Stage Show and Rich once more became a member of the band. who headed some of dancedom's best bands.
January 9, 1957 17
 John Frigo

The Well-Rounded Jazzman

By Don Gold “My bass style has developed in re- “I enjoy this diversification of in-
spect to my violin playing; the latter terests. I enjoy playing violin on the
THIRTY -NINE- YEAR-OLD John has developed through playing with WLS National Barn Dance show. It’s
Frigo is a bassist, violinist, trumpeter, jazz groups,” he says. not jazz, but you can’t fool those
- cae artist, and satisfied suburban- “Many so-called jazz violinists im- people. I don’t feel it to be square,
ite provise, but maintain that schmaltzy, and I enjoy it because it’s another way
He digs Ray Brown (“he plays the gypsy feeling. Their changes don’t re- of expressing myself. It’s a challenge
instrument properly”), daily commut- flect real jazz expression. to be authentic and be appreciated.”
ing (“it gives me time to think of “Sound classical training usually JOHN LIKES TO TALK about his
lyrics and TV jingles”), and pastel means little exposure to jazz. I had painting. It’s not an obsession, but a
paints (“but without that smooth look a good background on violin, left it relaxing hobby, and that’s the way he
found in most pastel works’’). for years to play bass, returned to wants it to be.
Although the Chicago-born musician it to find that the jazz influence had “When I was very young, I was
never has had a formal lesson on bass permeated my approach on both in- fascinated by maps,” he recalls. “Be-
or painting, he has found justified suc- struments.” fore I was 7 years old, I could draw
cess in both. With more than 30 years FRIGO IS AWARE of the demands the entire U. S., complete with state
of study and experience as a violinist, made on the bassist by his instrument. lines. When I began traveling as a
however, Frigo hopes to crash through He notes, “There is a necessity to cre- musician, I started on pastels.
the jazz barrier on that instrument. ate more than a walking bass line.
HE BEGAN studying violin at the I play aggressive bass; I don’t feel it “I’ve never taken an art lesson, and
age of 7. He continued his formal to be a secondary instrument. It con- I’ve yet to take it seriously. I don’t
studies until he was 15. While in high tributes, by an inspiring beat, to the depend on it for a living, so I sell, arm
school, he discovered that the school performance of the other musicians. when I do, just to people who appre-
orchestra needed a bassist. With self- This is what provides the bass player ciate them, people I know. I’ve avoided
the art element, the critics, the profes- fro1
taught rudiments as a basis, he won with satisfaction. And, of course, this his
the chair. inspiration works as a reward for him, sional buyers, because I paint when
After his school days, he spent three too, since the other musicians pass it I want to and what I want to.” pla;46
years in the coast guard, playing in back to him. This carefree attitude is not reflected
service bands with Kai Winding and in the opinions of those who commend the
“Full maturity comes when one is his work. Several dozen of his paint-
Al Haig. He joined the Chico Marx entirely aware of his role in a group,
band, on bass and “comedy fiddle,” in his integration with the other members ings have been bought, including sev-
1941. From ’45-’47 he was bassist with of that group.” eral for $250 each.
the Jimmy Dorsey band. As a jazz violinist, he is embarking IN TERMS OF HIS widespread in-
After the Dorsey gig, Frigo joined on a crusade to win recognition for his terests, John looks to a many-faceted
guitarist Herb Ellis and pianist Lou instrument, on conceptual as well] as future. He intends to maintain his jazz
Carter to form the Soft Winds trio. technical grounds. violin fluency by continuing with Marx.
During his stay with the group, the “MY VIOLIN STYLE reflects all my He feels he’s learned much, harmoni-
three wrote I Told Ya I Love Ya, Now likes,” he says. “Because I paint, I cally speaking, from Dick. His violin
Get Out and Detour Ahead. John’s search for tone colors in playing, al- solo of Polka Dots and Moonbeams in
99 Guys was recorded by Woody Her- most playing in terms of colors. The the Brunswick LP, Too Much Piano,
man. The group toured for six years. violin can lure you to playing so many which he cut with Dick, followed by
Then Frigo returned to Chicago. phrases which fall easily on the instru- his work on the Marx-Frigo Coral LP,
ONCE SETTLED IN his home town, ment. In jazz, there is a constant temp- attracted Mercury. He hopes to record
he turned his attention to the develop- tation to play for technique’s sake, several LPs devoted to jazz violin in
ment of his violin talent in a jazz at- rather than in terms of flowing con- months to come.
mosphere. He joined pianist Dick Marx cepts.” He says he wants to see Europe and
and singer Lucy Reed in a successful Frigo’s diversified activities keep him he hopes that a successful LP will
engagement at the Lei Aloha. This busy but never too busy, because he help him get there. Some day he’d like
lasted three years. Then, Frigo and does what he enjoys doing and little to have his own trio. Above all, he re-
Marx moved into the Cloister inn. else. This results in a self-accusation. fuses to limit himself.
Recently, they moved north on Rush “T’ve never taken music seriously,” “I don’t want to be limited to any
St. to Mister Kelly’s. he says. “I suppose if I did, I’d want one form,” he says. “I’m taking advan-
In addition to his work with Dick, to concentrate on one instrument. I tage of suburban commuting to write
John is a freelance member of the play violin, bass, and trumpet now. lyrics and TV jingles, for example.
ABC staff, and a new Mercury record- paint, too. I want a normal home I don’t want to restrict myself. Most
ing artist. He’s scheduled to cut a jazz life. I have to sacrifice some things, important, I want to play as creatively
violin LP soon, with voices and rhythm. but I want a comfortable life, with the as possible. When I’m 50, I want to
He says he feels that his bass playing opportunity to express myself crea- fee] I’m playing as modern as_ the
has benefited from his efforts on violin. tively. 20-year-old cats.

Down Beat
 By Don Gold died, there was a relaxation of the “That concert featured a Shorty Rog-
ON NOV. 2, 1956, George Garda, 26, harsh Russian attitude toward jazz. ers’ kind of music,” Garda says. “Some-
The Russians did not accept jazz but one had obtained Rogers’ arrangements
boarded a Red Cross truck in Budapest, came to adopt a hands-off policy toward by mail. In addition, we featured small-
Hungary, a besieged city. Hours later, it. er groups, following the examples set
with nothing but the clothes he wore, In 1954, Garda helped form the Hot by stars in America.”
he arrived in Vienna, Austria. The first club of Budapest. The group was In July, Czech and Yugoslav jazzmen
part of a long-cherished hope had come headed by Juyla Roy Schmidt, who joined Garda’s group in the last ses-
to life. knew a good deal about jazz in Ameri- sion at the Gellert bar. The Hot club
Days later, Garda arrived at Camp ca. The group had five music advisors had a concert planned for December.
Kilmer, N. J., processing center for —for drums, piano, guitar, saxophone, The chaos that forced Garda to flee
hundreds of Hungarian refugees. To- and trumpet. The group designed its a the plans of the Hot club as
day, Garda lives with an aunt in Chi- own emblem and had lapel pins made. well,
cago. Currently, he is unemployed. But these pins were not worn in public. GARDA REPORTS that Hungarian
Garda is a drummer. In Budapest he “On Dec. 31, 1954, we held our first jazz fans prefer modern sounds. He
had been secretary of the Hot club, a jam session,” Garda recalls. “We held contrasts thig to the preference for tra-
jazz society. In America he hopes to it in an apartment. Invitations were ditional jazz in Vienna. He cites the
find the outlet for jazz expression not —ed ”published, but members were noti- Hot club’s favorite artists as an illus-
always available in Hungary. Above tration of the popularity of modern. jazz
all, he wants Americans to know that Garda and his jazz compatriots in Hungary.
jazz has a home in Hungary. formed jazz groups patterned after “Qur all-star group would read like
Garda has a story to tell. those headed by American jazz stars. this,” he says. “ uss Freeman, piano;
“LET ME TELL you that the youth They had a Shearing-like quintet, a Shelly Manne, drums; Stan Getz, tenor;
of Hungary enjoy jazz,” he says. group inspired by Mulligan’s pianoless Paul Desmond, alto; Bob Brookmeyer,
“After the war, the Americans came quartet, and a Getzian unit. Regular trombone; Chet Baker, trumpet; Gerry
and brought jazz. But it was just two sessions were held in member’s apart- Mulligan, baritone; Johnny Smith, gui-
years; then the Commies came in. ments. tar; Milt Jackson, vibes; Eddie Safran-
“I remember seeing American films INEVITABLY, SOMEONE reported ski, bass; female singers Ella Fitz-
before the Russians came. I saw a the group to the Russians. The scandal gerald and June Christy; male singers
of in- Glenn Miller film, one featuring Harry
on the James, and the one about the Dorsey
ow. It’s brothers. After these films appeared
1 those in Hungary, a great interest developed
square, in jazz. Dancing became popular. Mu-
ler Way sicians began to study jazz. I remember
people going through the streets sing-
Behind The

allenge
iated.” ing In the Mood.”
However, after 1948 there was little
out his American jazz in Hungary. Russian
, but a music and films flooded the country.
way he Garda remembers that movie houses
lron Curtain

were empty. By 1950, the Communists

I was had assumed complete control.
s. “Be- of “subversive American jazz” was Chet Baker and Nat Cole, and Stan
d draw “They taught that jazz is bad,” Gar- spread throughout Budapest. Club Kenton, favorite orchestra.”
h state da notes, “that it is bad, imperialistic, members were warned that a reoccur- “We can’t understand how any band
y as a capitalistic music. They said it poisons rence of this “American propaganda” can be rated above Kenton,” Garda
the minds of the youth. would result in a visit from the secret says. “But we mean his recent group,
“There were no jobs for jazz musi- police. Meetings were suspended for six not the old ‘progressive’ band.”
on, and cians. You had to play ‘Hungarian months. The small-group sides most often
[ don’t jazz.’ We heard our jazz on the U.S. In July, 1955, Czech bandleader heard in Hungary are those by Shorty
I sell, army’s station in Munich.” Charles Vlach appeared in Budapest Rogers, Dave Brubeck, George Shear-
appre- for a series of concerts. Before being ing, and Modern Jazz Quartet.
voided SINCE MUSICIANS were prohibited
profes- from playing jazz in public, Garda and admitted to Hungary, Vlach had been Despite this devotion to jazz in
when his friends gathered in apartments to warned not to play jazz. Vlach didn’t America, Garda feels that Hungary has
i play for their own enjoyment. keep his promise. Five thousand fans many jazzmen who could find a place
flected “The more anything is prohibited, cheered wildly as Vlach’s band put on in our jazz scene.
mmend the more people like it,” Garda states. a concert that lasted six hours. “Julius Kovacs, a 29-year-old drum-
paint- “If they knew AFN-Munich was going Encouraged by Vlach’s feat, Garda mer, is the best jazz musician in Buda-
ig sev- to broadcast jazz, the fans would travel got in touch with him and managed to pest,” he says. “He started playing
miles to get to a radio. I remember get a job as drummer with a group when he was 6. He practices 10 hours
that in those days we were fascinated appearing in one of Budapest’s leading a day. Shelly Manne is a better drum-
ad in- hotels, the Gellert. Naturally, Viach’s mer, but I can’t imagine anyone being
‘aceted by James, Miller, Dorsey, Teddy Wil-
son, Krupa, Art Tatum, and Goodman.” band just happened to be living at the far better than Kovacs,” he adds. Ko-
is jazz Gellert. As a result, the hotel bar was vacs was Garda’s teacher.
Marx. In 1951, for the first time, Garda
heard the sounds of Charlie Parker, the scene of some of the most swinging
rmoni- sessions in Hungary. THREE HUNGARIAN pianists, Attila
violin John (Dizzy) Gillespie, and Max Garay, Ivan Zagon, and Tibor Gyimesi,
Roach. He liked what he heard. In- “Vlach had a trumpeter like Baker
ums in and two altomen like Bird,” Garda says. are derivative, but creative, jazzmen.
Piano, spired by the jazz sounds penetrating Guitarist Gabor Szabo is another promi-
the iron curtain from Munich and the “One night we had a session that made
ed by me feel like I was in Carnegie hall. nent jazz influence in Budapest, al-
al LP, Voice of America’s daily four hours of Viach’s brass and reed sections were though he’s only 18.
record dance-jazz music, Garda and his friends firstrate, and our rhythm section was In the Hungary he left, most jazz rec-
lin in began collecting jazz records. excellent. The best of both groups made ords are smuggled in from abroad. The
“We collected 10 to 20 records,” he for a stirring session.” president of the Hot club manages to
ve and remembers. “All were smuggled ACCORDING TO GARDA, Vlach con- supplement the supply with arrange-
> will through the Communists. I don’t know tributed to the enthusiasm for jazz in ments and records which he obtains
d like how we got them in, but we did. When Budapest and inspired the Hungarian from a member of the U. S. consulate
he re- one of my friends would get a new rec- jazzmen to defy the authorities. in Budapest. The club has a recording
ord, he’d call all the members of our In April, 1956, the Hot club con- machine, which is used to record tunes
Oo any group to hear it. He would call and say, ducted a public concert in a rent-free played on AFN and the Voice of Ameri-
dvan- ‘Tonight we have one Gillespie and one hall. This took place because the musi- ca programs.
write Miller,’ and we would rush to hear cians assured the police that they would Garda says he hopes that American
mple. them.” play Romanian folk music. This time jazz fans will send records, arrange-
ost IN 1953, THERE was little live jazz they sent out invitations. More than ments, and phonographs to Hungarian
tively to be heard in Hungary. In Budapest, 1,000 fans attended; at least 500 more jazzmen, once the g¢urrent situation
nt to Garda listened to records and practiced were turned away. At last, jazz had a eases. He says he feels that in time
: the on his drums. Then, when Joseph Stalin public hearing. (Turn to Page 34)

January 9, 1957 9
Beat
 The Duke

(Ed. Note: This is the second of a smaller and smaller. And the genera-
two-part interview with Duke Elling- tions of jazz are getting so tight.”
ton, in which he discusses his career, Critics: What of the critics? Is Duke
bands, and viewpoints on jazz.) bothered by them or does he ignore
them?
By Nat Hentoff “What can you say?” he asked. “You
Big Bands and Durability: Next, either agree or disagree. Beyond that,
if it’s your performance that’s being
bands and whether Duke sees signs of criticized, naturally you sometimes feel
a possible return to widespread big people didn’t understand what you
band prosperity. were trying to do and you feel that
“It’s hard to say,” he said. “I only they didn’t have the proper scale of
see it from my own point of view. Try- appreciation to apply to the perform-
ing to keep an organization together ance. You feel that if they had con-
always has its problems. I mean when sulted you and asked what you had
you stay in it all year. If you have a intended here in this place, you might way-out jazz sit there and get juiced
band for three months when there are have been able to hand them a yard- if they want to.
a lot of college dates and other things stick by which they would have been “Or take the Lake Shore Country
to fill in with that make it pay off, and better able to measure. When it’s a club in Chicago. In a place like that, I
then you take a rest and come back good review you look at it and laugh do all the work. People gather around
six months later, that’s good business. and say, ‘Real great.’ If it’s a bad re-
Unfortunately, I’m not a good busi- the piano and ask for a lot of songs.
nessman. If I did that, took time off, view, by the way, there’s always some and the cats in the band just roam all
and weren’t in it all the time, being considerate friend who'll make sure around the bar.
you see it, like, ‘Did you see what... “Another thing is I don’t want t»
away would take its mental toll. I said about you?” educate people. I’m as interested in
mean not being able to participate, not “You can’t afford to be bogged down modern music and jazz as anyone else.
being able to hear what you want at too much with negativism, because it I love to do it and listen to it and
the exact moment you want to hear it. takes too much of a mental toll and there are some people in it who kill
“Some people have the cigaret habit takes you too much away from what me, who knock me out. But I have to
as I have the grapefruit habit. But I you’re doing and may mess up your respect an audience, too. If somebody
also have the music habit. I have to next thing.” comes to hear me, I have to respect
have a certain amount of music every “If you pay too much attention to it,
day. And as I said before, the most them first as people. And that means I
important thing is listening to it.” you say, ‘If the man has a license to can’t be rude to them. I wasn’t brought
criticize me, how can he chailenge my up that way, and I see no reason to
WHAT WERE THE factors, Duke right to criticize him?’ And that can change,
was asked, that have enabled him to go on to the 10th power. What it is “Getting back to repertoire. Take
field a band every year all these years, is freedom of speech from which comes Diminuendo and Crescendo. Before
even during the death valley days of freedom of expression in music, speech, Newport (the jazz festival), we really
the band business? and everything else.” hadn’t played it too much. We hadn’t
“Well, we were talking a while ago Repertoire: A musician in Ellington’s overdone it. And we haven’t done it
about how unfair it is to compare a band had complained to this writer much since then until we got to Bird-
present band with our band 10 or 20 that too many numbers in the book land, and now we play it a couple of
years ago,” he began. “But we can go were being played too often and as a times a night. I don’t know whether
the opposite way, too, in this context. result the musician felt insufficiently the men in the band realize it, but the
Our band has a lot of different audi- challenged from night to night. reason we haven’t done it too much
ences to draw on. We not only have “That's a result, of course, of re- since Newport until now is that I
the audiences who get our albums to- quests and so forth,” Ellington replied. knew the round of requests was com-
day—kids in schools and colleges—but “Suppose four albums come out this ing. I knew that the minute the record
a lot of our time is filled by people year. The audience that comes to hear came out, we were going to have to
who romanced and married to Mood ou will request a general run of num- play it often.
Indigo. ers, and you have to play them. If “THE THING I remember about
“People, for example, come into Bird- you don’t, you’re the worst from their Newport is that we opened with the na-
jand and say, ‘We came here to cel- point of view. The other night a cat tional anthem, played a number, and
ebrate our 25th anniversary, and this sat through four sets waiting for Skin then didn’t come back until last. I said
is our daughter who is 21 today. We Deep. to George Wein. ‘What are we—the ani-
met at the Dartmouth-Harvard dance “I know, they say I have 200 num- mal act, the acrobats? By the time
when you played there, and we thought bers in the book I never play. I’d like we got on, we’d be playing just exit
there was no better way to celebrate to hear them, too, but you can’t play music, because a lot of people have to
than coming to hear you again’. 200 different numbers in one night. get over that bridge by a certain time,
“It happens all over the country. You And you can’t go around the country or make curfew, or catch a suburban
get two and almost three generations and not play Moon Indigo, Sophisti- train because they have to go to church
sometimes. In Chicago, there may be a cated y, and Solitude. And those tomorrow morning, and any number
couple who used to come to the College numbers, don’t forget, have served us of things!’
Inn to hear us, and their daughter saw very well. And those are the numbers, “IT really griped, but I went along,
Jump for Joy three times. We have too, that we have to play when there’s and we did the best we could.”
all these other audiences through the an audience where a lot of people have The best, it was pointed out, turned
years to draw from, and so were not no appreciation of the wilder things. out to be the key experience of the
totally dependent on the audiences we “WE FILL A LOT of gaps in playing festival.
have accumulated just this year or the a lot of places where people aren't “Well, which all proves skill is won-
last year or the year before last. And really jazz addicts. Like the Elks club derful to have if and when the four
having these other audiences to draw in New Philadelphia, Ohio. Those peo- points converge,” Ellington commented.
on fills up the dates that are not nor- ple are just the solid citizens of the The four points?
mally good dates. town, and to them Ellington is Mood “Being at the right place, doing the
“The generations are getting closer Indigo. You may have to flay it all right thing, before the right people, at
and closer, just as the world is getting night. The cats in the band who play the right time.”
20 Down Beat
 By Ruby Braff mistake, but the reason for the nice
things they had the opportunity to de-
FOR YEARS IT has been my mis- velop is the guy relatively few know
fortune to be dragged by piano players about. The Count himself.
because I love that instrument and its It was Basie’s conception that paved
possibilities so. I lose more pianists the way for the so-called modern
that way, but it can’t be helped. rhythm sections, which, in most cases,
It seems that playing piano is too are way out of control.
much of a job for the average piano If Walter Page couldn’t be heard
player. Most persons started playing and was being choked by Basie’s play-
piano because it was conveniently at ing, Jo Jones would have been power-
their disposal. Had they attempted less to breathe himself, making it im-
some instrument not connected with possible for us to have heard the kind
the rhythm section, they would have of drumming that marked him the
had to realize that it’s no fun to ac- greatest.
company the pianist, because he’s got Had Count played more than he
more control than anyone else in the thought necessary behind the soloist,
band. he would have had to clash with Fred-
The pianist has two chances to de- die Green. And we would never have
stroy you—with rhythm and with har- heard this great rhythm section. That
mony. As a rule, he does both. Even means that all the guys like Pres,
some of the biggest names on piano Buck, Edison, Vic, Jones would have
can’t play behind anyone. They’re con- been cramped in their playing.
stantly soloing. AT DIFFERENT TIMES I’ve heard
A PIANIST IN A jazz group has to persons say about Count’s former side-
be a doctor, otherwise someone has to men, “He doesn’t sound as good as he
get hurt. Look at the things a pianist used to.” If true, it’s because he’s not
juiced must have in addition to what the oth- plaving with piano players who have
er guys must have. Count’s time and taste.
ountry Every jazz musician has to be a ‘his drumming thing is physical, not
that, I drummer in his playing. Every phrase, just mental, There are no tricks to de-
around if it’s any good, must be rhythmical as veloping a good left hand, for example.
songs. well as anything else. So, consciously You develop the muscles by work.
am all or otherwise, all players have to drum. When Count needs a change of pace
Many players don’t have a beat but behind his right hand or someone’s
ant to sound good because the guys in the chorus, his left hand can become a
ted in rhythm section are wailing so well. pretty strong rhythm section.
ie else. Conversely, some players play so out- One might think that there should
it and standingly well that the untrained ear
ho kill doesn’t know that they’re playing in
ave to spite of their bad rhythm section.
nebody The pianist must control the orches-
respect tra which he has at his fingertips, so
eans | that it does not interfere with the flow
rought of the bass feeling and so that the How | Lose
son to
harmonies he’s playing are helping in-
Take stead of channeling the soloist. The
efore pianist must consciously be a student
really of percussion.
THROUGH THE YEARS, people have Piano Players
hadn’t
one it mentioned the great bands of Duke
Bird- Ellington and Count Basie and others.
ple of They always have taken note of the
hether soloists in these bands, some of whom be a million ways to play piano behind strumentalists, he couldn’t play note
ut the weren’t that great. someone, but I don’t think so. All the one. After all, he hasn’t had experience
much Many persons who think about Duke great pianists have ended up (without fighting pianists behind him.
hat I think only of his ability in arranging them getting together and conspiring) As far as I’m concerned, one of the
; com- and composition or of the other won- with the same things in common in wonderful things about jazz is that
record derful artists such as Hodges, Brown, their playing behind a soloist, varied you’re supposed to build compositions
ive to Blanton, or Webster who played with as their styles may have been, or are. on as high a level as you can against
him. Few realize that when Duke is The more the soloist would play, the relatively simple backgrounds.
about at the piano, he is drumming behind less the pianist .would play and the MANY PERSONS I run into who like
he na- the soloists the greatest, like Count, more percussive he’d try to get. Now my old-fashioned playing, have asked
, and but with his individuality still coming pianists play whole-note chimes and me (too often) what I think certain
I said fugues behind you. What a favor! musicians are trying to do with the
e ani- through. Duke has a wonderful touch.
It’s not noticed as much because behind Many terrible piano players I*hear harmonies. I’m not sure, but whatever
time end up taking a freer solo of their own it is I hope they hurry. Maybe their
t exit a solo he’s playing in the background
where he’s supposed to be—not the than anyone else in the group because experiments with voicings and harmony
ive to they can’t accept the horrible back- will help some day, but I think most
time, foreground!
ground that they’ve made you the vic- of them should busy themselves trying
urban Duke did interesting things to both tim of. When they take their own solo, to make any melody swing in its first
hurch rhythm and harmony 20 years ago. they automatically call for help from form and make that good.
umber But like all the greats, he plays simply the orchestra mm their left hand. A lot of pianists and musicians can’t
and logically behind you so that you hear the changes to Honeysuckle, but
along, can do all the things you like without AND IF YOU'LL notice, that left they sure can alter them. Because their
beng handcuffed. One can be out in the hand plays a lot less in their own solos. substitutions are so abstract that you
urned street when Duke or Count are play- [It’s always accenting and always push- can’t point at them and immediately
f the ing, and if the soloist stinks, you can ing. In some rare cases, the left hand say they’re wrong, they get away with
still know at what bar the guy is. Al- will try to stride for a change of pace murder.
won- ways every chord is hit as loud as it or for percussive reasons. I don’t know if all the bad qualities
four should be, and it’s hit when it will be Whatever the left hand is doing dur- in piano players is the reason for
anted. most helpful. ing these pianists’ solos, it’s doing the Gerry Mulligan’s decision to do with-
FROM WHAT I have seen or heard, best it can not to hurt the right hand out one, but if piano players don’t
g the generally speaking, people think about so that the pianist has a good time hurry up and make with a beat, other
le, at groups will eventually do without them,
the Basie band of a few years ago as during his chorus. If his left hand did
a great band of great soloists. It’s no to his right what he does to other in- too.
Beat 21
January 9, 1957
 Ella Fitzgerald-Louis Armstrong
Jazz Best-Sellers
Ella and Louis
Here are the 20 best-selling jazz record albums
Verve 4003 Ray |
in the country. This biweekly survey is conducted and bra
for this
among 1|50 retail record outlets across the coun- Wonder}
Ella Fitzgerald results ¢
try, and represents a cross section of shops, not a sort o
Cole Porter Song Book the num
just those which specialize in jazz. less soul
Verve MGV 4001-2 of the b
the first
ing of t
11 June Christy Misty Miss Christy collected
from a
Ellington Capitol T 725 strumen
broken |
3 at Newport bum. Ra
score hi
we, Columbia 934 late 40s
12 Albam-Wilkins Drum Suite
Song ch
RCA Victor LPM 1279 few yea
in the
ments o
Shelly Manne and his Friends Low, St
I'm an |
My Fair Lady 13 Brubeck and J & K at Newport would g
more in
4 Contemporary 3527 Columbia 932

The Modern Jazz Quartet! 14 Chris Connor

Fontessa He Loves Me, He Loves Me Not

Atlantic 1231 Atlantic 1240

15 J. J. Johnson-Kai Winding
Stan Kenton
Jay and Kai plus 6
6] Cuban Fire
Columbia 892
Capitol T 73!

16 Dinah Washington Home.

Erroll Garner In the Land of Hi-Fi

Concert by the Sea EmArcy 36073
LP AB
Columbia 883 samplin
Garcia
17 Louis Armstrong Ambassador Satch rangem
pretent:
Columbia CL 840 erquist,
Stan Kenton calists .
the Juc
In Hi-Fi one trac
18 Jimmy Giuffre Among
8 | Capitol T 724 are Ho
vin Sto
The Jimmy Giuffre Clarinet ard, Di
Bernha
Atlantic 1238 Albert
James Moody Body a
Is on th
Flute 'N The Blues Coqueti
19 Perkins
- Lewis Grand Encounter Moon, .
[e) Argo 603
Pacific Jazz 1217
Drea
MG360
Clifford Brown and Max Roach and he
20 Miles Davis
- Milt Jackson ranging
At Basin Street Quintet - Sextet did all
On fou
iTe) EmArcy 36070 Prestige 7034 on fou!
trombo

22 Down Beat Januar

 another four, six horns and _ four excitement; others when the material
rhythm, Evans, an extraordinarily sen- is stagey and over-dramatized. On the
popular records |b) sitive and supple colorist, writes with a two standards in the set, For All We
particularized care for the contours Know and Long Ago And Far Away,
(linear and emotional) of each song as the treatment glistengs once the effects
well as with a measured understanding are out of the way. Burrito Borracho,
bums RAY CONNIFF of Helen’s texture and phrasing. With- a Richards original sketching musi-
Ray has gathered about him a big al, his is as personal an arranging voice — the tribulations of a drunken
cted and brassy band and a mixed chorus as exists in the pop-jazz field today. donkey, profits by the applied dra-
for this 12-tune production entitled ’S His string writing, by the way, is ahead matics, and emerges a memorable piece
-oun- Wonderful! (Columbia CL 925). The of that of almost all his contemporaries of humorous writing.
results are danceable, although there’s in this idiom, since it is imaginative Richards’ Dimples has a _ pretty
, not a sort of shuffle beat through most of scoring for strings, not an attempt to theme, absorbingly developed by the
the numbers. The chorus, singing word- make strings into horns or into sale band and the soloists, but opens with
less sounds with or against the sections foam mattresses. coy percussive effects. Band Aide, the
of the band, gets a little wearing after As for Helen, she has retained and sole flag-waver in the set, moves along
the first few tracks. The over-all feel- deepened her attractively throaty briskly with booting solos by Richie
ing of the album is that someone has warmth, her jazz cry, and intense de- Kamuca, tenor; Marty Paich, piano;
isty collected the final production numbers sire to get inside a song. Her instru- Stu Williamson, valve trombone; Frank
from a lot of film musicals. A solo in- mentalized, jazz-blown phrasing has be- Rosolino, slide trombone; Buddy Child-
strument or voice might have agreeably come less strained although there is ers and Maynard Ferguson, trumpets;
broken the over-all texture of the al- still an occasional tendency to overblow, Charlie Mariano, alto.
bum. Ray polished up the ’S Wonderful to overdramatize. What she still needs
score he did for Artie Shaw in the is a more consistent touch of wit, of
late 40s, and updated the September lightness, of buoyancy, for all in this PAUL WHITEMAN
lite
Song chart he did for Harry James a life is not Dostoievskyian. But she is Paul Whiteman: 50th Anniversary
few years later for this collection. Also certainly a moving experience to hear (Grand Award two 12” LPs 33-901) is
in the set are orchestra-chorus treat- and feel, and this is an impressive LP. the most ambitious project thus far at-
ments of Dancing in the Dark, Speak Next time by the way, Helen should tempted by Enoch Light’s label. The
Low, Stardust, Begin the Beguine, and stand farther back from the mike. first side is Rhapsody in Blue profes-
I’m an Old Cow Hand. The last-named There are valuable solos by Jimmy sionally re-energized by pianist Buddy
would go pretty big as a single. It has Cleveland, John LaPorta, Hank Jones, Weed, clarinetist Al Gallodoro, and
more individuality than the others. Oscar Pettiford, Barry Galbraith, and trumpeter Charlie Margulis. Though a
Jerome Richardson. Full personnel for considerably overrated piece, the senti-
all tracks should have been provided. mental “jazzy” Rhapsody sounds better
FATS DOMINO There is an excellent selection of rela- in its original orchestration for large
Rock and Rollin’ (Imperial 12” LP tively underdone songs such as Any- dance orchestra—as here—than in the
9009) is one of the best of all the place I Hang My Hat Is Home, I’ve usual mock-symphonic arrangement.
rhythm and blues sets available. An- Never Seen, A New Town Is a Blue The second side of the first LP in-
toine (Fats) Domino of New Orleans, Town, Where Flamingos Fly, I’m Just cludes Lew Davies’ arrangements of
first of all, is a blues man; he rocks a Lucky So and So, and Troubled When Day Is Done (featuring Margu-
the blues with invigorating warmth, Waters. lis), It Happened in Monterey, Lime-
an irresistible beat, and no gratuitous house Blues (with Eddie Manson on
larynx tricks. Fats just sings. His in- MARK MURPHY harmonica), and Ramona. The arrange-
strumental background could certainly Meet Mark Murphy (Decca 12” LP ments are in character since they tend
be less insistently limited melodically DL 8390) is an unusually important toward inflation and fanfarish corn.
and harmonically, and the three instru- record debut. Murphy, 24, is that rarest The last track has Joe Venuti with
mental tracks are the least interesting of all singers—a real stylist who is quartet in Autumn Leaves.
parts of the album. But when Fats original, musical, and rarely distorts
sings, the roots of the best of rhythm The second LP is much the better,
to gain his special impact. He also has thanks mainly to the presence of Jack
and blues become powerfully clear. In- a fine feeling for time. Like a jazz sing-
cluded are My Blue Heaven, Careless Teagarden and Johnny Mercer. Big T
er, he plays in and around and over sings and plays with man-size warmth
Love, and When My Dreamboat Comes the beat. Though not a jazz vocalist,
Home. and directness in Jeepers Creepers and
he is clearly jazz-influenced, and his Christmas Night in Harlem (both duets
phrasing is imaginatively instrumental- with the delightful Mercer) as well as
JOHNNY GREEN-RUSS GARCIA ized. He not only understands all the Basin Street, Lover, and Lazy River.
The Johnny Ever Greens Played by emotional connotations of the lyrics he There’s also an agreeable Hoagy Car-
Russell Garcia (ABC-Paramount 12” sings, but he often expands and elasti- michael Washboard Blues cut in Holly-
LP ABC-147) is a large (16 songs) cizes their meaning so that you hear wood with an orchestra directed by Van
sampling from the works of Green. them with new insight. Alexander. Tommy Dorsey is heard in
Garcia conducts his own apposite ar- Murphy is fortunate to be backed by The Night Is Young and My Romance,
rangements, and there are sound, un- the expertly apt arrangements of Ralph Jimmy Dorsey in The Dreamer in Me,
pretentious performances by Don Fag- Burns, who also conducts. (That’s Tony and Venuti again in How High the
erquist, pianist John T. Williams, vo- Scott on Limehouse Blues.) Good selec- Moon.
calists Eddie Robertson and Sue Allen, tion of tunes, including A Nightingale The album ends with a tape from a
the Jud Conlon Rhythmaires, and on Sang in Berkeley Square, I’m a Circus, radio show on which Bing Crosby, Har-
one track, Bill Ulyate and Cappy Lewis. Exactly Like You, Two Ladies in De ry Barris and Al Rinker (the Rhythm
Among the other distinguished sidemen Shade of De Banana Tree, You Mustn’t Boys) clown through some ancient gag
are Howard Roberts, Joe Comfort, Al- Kick It Around, and If I Could Be with material and sing Mississippi Mud
vin Stoller, Buddy Childers, Joe How- You. Murphy won’t make it as quickly again (isn’t it about time “darkies”
et ard, Dick Nash, Tommy Pederson, Milt as, let’s say, the more tricky fo nnd wag deleted from the lyric?). It’s a
Bernhart, Ted Nash, Jack Sperling. Mathis, but with any luck, Mark should generally amusing tape, however, and a
Albert Marx produced. Titles included be much more important musically. collector’s item. Whiteman concludes
Body and Soul, Out of Nowhere, Steam with a brief thank you to all.
Is on the Beam, I Cover the Waterfront, JOHNNY RICHARDS Since there’s a lot of yelling in the
Coquette, There’s a Ring around the With the pilot group of the band booklet about the sound, it should be
er Moon, I’m Yours. he is forming, composer-arranger-leader pointed out that the engineering on
Richards has put together an eight- Rhapsody overaccentuates highs so that
HELEN MERRILL piece set called Something Else by there’s relatively thin middle, and also
Dream of You (EmArcy 12” LP Johnny Richards (Bethlehem BCP there’s quite a bit of surface noise on
MG86078) is Miss Merrill’s third LP— 6011). The band is composed of four that side. Rhapsody suffers most from
and her best. And it is also an ar- reeds, four trumpets, French horn, tweeterenia; the other three sides are
ranging triumph for Gil Evans who four trombones, tuba, piano, bass, and quite well recorded, except, of course,
did all the scoring and also conducts. two percussion. Paradoxically, the for the tape. In summary, a good nos-
On four tracks, there are five strings; weakness and the strength of the album talgic package that will appeal more to
on four others, a reed quintet and one are in the writing. There are moments those who’ were growing up in the ’20s
trombonist with four rhythm, and on when this band generates tremendous and ’30s than to young jazz buyers.

January 9, 1957 23
 have |
triguing with possibilities than most Hall, guitar, and Curtis Counce, bass. leased
contributions by relatively new writer- Hollywood dise jockey Sleepy Stein pro- some |
jazz records Clb players. Between Me and Myself, ap- duced it. The recording is excellent all compe
parently a shadow play of remembered the way through. Over-all, it is a very rivatir
homewarmth contrasted with the excite- successful LP. The major criticism is the nc
ment, strangeness and sometime loneli- that the majority of the tunes are of tive a
All records are reviewed by Nat Hent- ness of a new country, is quite effective the exotic type that Collette seems to recom
off unless initialed by Jack Tracy or with its beginning Japanese-seeming have a oman for writing, and this are th
Ralph J. Gleason. Ratings: ***** Ex- theme and the subsequent seesaw. Thig- gives the LP a sameness that weakens velope
cellent, **** Very Good, *** Good, pen executes a very subtle solo on that it. 12” L
*x* Fair, * Poor. track, and it’s only too bad Toshiko did However, there are simple, lovely
not provide her own part with more solos by Hall scattered throughout. Col-
Adams-Burrell-Chambers- extended development. lette plays beautiful flute solos on the
Clarke-Flanagan title number, and on /t’s You there’s Taki
Homework is a little above par for You St
Afternoon ig Paris; You Turned the Tables on the usual “original” course. The kalei- a fine Collette tenor solo, some excel- That 4
Me; Apothegh; Your Host; Cottontail; tom's Meteor
Thumb doscopic Address makes it with an lent muted trumpet by Anderson and
Rating: kK#kkKK assist from the notes. Afternoon, par- a warm, liquid solo by Hall. On Blind-
The only ringer in Jazzmen: Detroit ticularly its theme, is rather memorable. fold Test, grooviest of the tracks, the Th
is the invaluable Kenny Clarke. The Soshu, the briefly developed Japanese group gets an almost Basie sound at is ble
others are all indices of how productive song, is delightful to start with but times. A Walk in the Veldt is the tight, Eddie
a spawning ground Detroit has become moves into a middle section that is neat sort of writing that character- The 1
for modern jazz: guitarist Kenny Bur- somewhat too sentimentalized in the izes the best of the Los Angeles work. tinua
rell, pianist Tommy Flanagan (now Western romantic tradition for my Anderson, in his melodic effort on sion,
with J. J. Johnson), baritone saxist taste. Tosh’s version of Sunrise, while How Long Has This Been Going On?, Tal’s
Pepper Adams (with Stan Kenton), competently idiomatic, underlines the shows an unusual ability to play pret- pare!
and bassist Paul Chambers. Their blow- eclecticism she must still break through. tily and romantically and on the final and |
ing here—as in the Desmond-Elliott LP The LP as a whole is an invigorating track bursts into some exciting jazz. who ]
reviewed elsewhere in this issue—is and moving experience, and is warmly : le (R. J. G.) (Dig 12” LP ant
primarily of a low-flame, conversational recommended. Quality of sound and J 101) swin;
kind. They fuse and pulse well to- surface could be better. (Storyville 12” Paul Desmond play.
gether with the rhythm section a finely STLP 912) J belle; A Watch *s Carroll; Everything a ful
knit, flowing texture of full-sounding Happens to Me; Let’s Get Away from It All; beat,
but not overbearing momentum. Buddy Collette-Chico Hamilton-Jim Hall Look for the Silver Lining; Sacre Blues; You and |
Flanagan solos with customary un- Green Dream; It’s You; A Walk in the Veldt; Go to My Head; Line for Lyons
How Long Has This Been Going On?; The Blind- Rating: toekek
hurried, functional taste and sensitive fold Test; Jungle Pogo Stick; Tanganyika; Wag- a
ttouch; Chambers, with his large-boned nervous; And So Is Love; Coming Back for More The Paul Desmond quartet for this of t
sound, continues to be an impressive Rating: **** occasion consisted of Don Elliott on omit
soloist, and Burrell, as has been cited trumpet and mostly mellophone; Joe taris
Although it doesn’t say so in the Dodge; and Norman Bates. The jazz
here before, is one of the most im- notes or anywhere else, this album is ern
portant young guitarists. Adams indi- they make is casually conversational, Hall
probably Buddy Collette’ s because he wholly unpretentious, and of unusual
cates he may well be the best rela- gives his name to most of the numbers set,
tively new baritone saxist since Jack and is featured throughout. It’s called sustained low-pressure warmth. While yeal
Nimitz began to be heard with THE Tanganyika, by the way, and the cover there are few peaks or depths of in- LP .
Orchestra in Washington. tensity, there is nothing shallow here;
is a rather unattractive but striking it is like good talk between interstimu-
The only weakness in the set is that pseudo-African head designed by John-
the ensemble figures are quite thin ny Otis, who runs the company. lating friends of above-average wit and
in imaginative interest. Admittedly, communicative skill. Bates and Dodge
The personnel is Hamilton, drums; are steady, but might perhaps have
they’re meant mainly as introductions Collette, saxes, flute, clarinet; John An-
and signposts to blowing, but they still derson, trumpet; Gerry Wiggins, piano; provided a higher fire and more supple
could have been constructed more dar- flow.
ingly or at least more freshly. But this The two horns are a relaxing gas
is certainly a —— LP to warm e - J whether engaged in linear lacrosse or
yourself oe recommended. Amplification on their extended solos. Both take plea-
(Savoy 12” Vp MC- 12083) With regard to the statement in sure in form, and their solos build with
my record review of Columbia's logic and a sense for wholeness. Both
Toshiko Akiyoshi eschew the banal and the easy memory-
Between Me and Myself; It Could Happen to American Jazz Festival at Neuw- small-change. Both have warm, unmuf-
You; Kyo-Shu; Homework; Manhattan Address; port LPs (Down Beat, Dec. 12) fled tones and both articulate with con-
Sunday Afternoon; Blues for Toshiko; Soshu No that the liner “notes continue the sistent clarity.
Yoru; Softly as in a Morning Sunrise fiction that Newport is ‘nonprof-
Rating: tookk fit’,”” I should like to make clear Don is less dicty than he occasionally
This is Toshiko’s first LP to have that I do not dispute the legal becomes with his own unit, and Paul
been made in this country (Norman status of the American Jazz Festi- adds to his superb lyrical quality a
Granz recorded her in Japan upon the val at Newport as a nonprofit or- more rolling strength than he sometimes
initial recommendation of Oscar Peter- ganization. I do feel that the cul- indicates in the Brubeck context. The
son—Norgran 10” LP MG N-22). On tural level of Newport after three Blues ig a particularly fertile track.
the new date, Toshiko has the excellent years is not, from my viewpoint, Mort Sahl’s notes are neither useful nor
assistance of bassist Paul Chambers as consistently high as it should funny; and the cover, described as “the
and drummer Ed Thigpen. In contrast be in a context whose goal is not first serious attempt to fuse primitive
to the almost wholly Bud Powell de- profit-making. art with modern jazz” could as easily
rivative (though emotionally plunging) Nor, after three years, am I have been placed on a box of brillo for
first LP, Toshiko shows here the grad- clear as to what the ultimate goals all the relation it has to the music
ual emergence of her own voice, al- of the American Jazz Festival are inside. It .is, however, an engaging
though she still is more eclectic than aside from holding a _ three-day work. (Fantasy 12” LP 3235)
unmistakeably personal. annual show. It was in that sense
The emotional power remains, and Elsen-Ilcken-Madna-Schoonderwalt-Vos
that I felt that the usual cultural Wailing for Weelink; Dufti Chris; Second
it is a power not limited to wailing connotation attached to the term Date; Nowhere; Mops; A Rainy Holiday; Stan
ferocity. Toshiko can be tender though nonprofit was a subject for debate. the Wailer; Autumn in New York; Young Peter;
still strong on a ballad (as on the first But I also feel I should make Papernote; For Minors Only; All the Things You
sections of Happen and the very slow, clear that in the actual sense of dre; The Universe; Herman’s Hanky
very gentle Kyo-Shu—Nostalgia). She profit-making, I agree that the Rating: *%
also has her own introspecturns of im- American Jazz Festival at New- Jazz Behind the Dikes is a collection
aginative drama (ag on Sunday and port, is a a organization, of Dutch jazz with combos led by drum-
Address). And she has the basic requi- nor do I feel that any of the offi- mer Wes Ilcken (husband of Rita
site for a jazz musician—she can play cers of the American Jazz Festival Reyes), pianist Frans Elsen, pianist
the blues convincingly (dig Chambers are engaged in that Festival for Rob Madna, baritone saxist Herman
especially, however, on Blues). profit-making reasons. Schoonderwalt, and altoist Tony Vos.
oshiko’s originals — there are six —nat Contrary to the notes, this is not the
here—are, for the most part, more in- “first time” most of these musicians

24 Down Beat
 have been issued here since Epic re- Virgil Gonsalves
ice, bass. leased 10” LP LN 1126 of Dutch jazz Whitewash; Our Love Is Here to Stay; Lost
stein pro- some time ago. The performances are World; IU Take Romance; Searle’s Corner;
ellent all Viva Zapata; Half Mine; Goody-Goody; Gar-Din;
competent, but they are thoroughly de- My Heart Stood Still; Fascinatin’ Rhythm; Bags’
is a very rivative and do not as yet show what Groove
ticism is the notes call “individual and distinc- Rating: tk
SS are of tive approaches.” I see no reason for Jazz-San Francisco Style (when are
seems to recommending this except for those who we going to have Duluth or Ankara
and this are that curious about Dutch jazz. En- style?) is concerned ,with Virgil Gon-
weakens velope contains full personnel. (Epic salves’ unit. The leader is on baritone;
12” LP LN 3270) Dan Pateris, tenor; Bob Badgley, valve
2, lovely trombone; Clyde Pound, piano; Gus
iout. Col- Gustafson, drums; bassists Max Har-
is on the Tal Farlow
Taking a Chance on Love; Yardbird Suite; stein (3) and Ron Crotty. The musi-
i there’s You Stepped out of a Dream; They Can't Take cianship igs crisp and assured, all the
ne excel- That Away from Me; Like Someone in Love; soloists are of merit, and it’s a heated,
‘son and Meteor; I Love You swinging rhythm section. What limits
in Blind- Rating: kKkKKK% the effectiveness of the combo, however,
icks, the The Swinging Guitar of Tal Farlow is the writing, some of it by Jerry
sound at is blended with the happily apt piano of Cournoyer and Bobby Searle. The scor-
he tight, Eddie Costa and Vinnie Burke’s bass. ing, for the most part, is irritatingly
laracter- The result is a deeply invigorating, con- tight, slick, repetitious and with almost
es work. tinually flowing and interflowing ses- nothing of irresistible imagination to
ffort on sion, one of the best LPs of the year. say. Since there is so much of it, the
ng On?, Tal’s ideas wing into patterns of ap- rating is not higher, but I would recom-
ay pret- parently unending logic and invention mend your hearing the record for the
the final and his time is effortlessly true. Costa, booting soloists and the rhythm section.
ng jazz. who plays piano with spontaneous buoy- What the combo needs is a book that
12” LP ant zest and functional, irresistible will either be challenging or will be
swing, also fits mellowly into the three- mainly take-off lines for blowing—or
play. Burke, a master of blending with both, It’s a shame to restrict this many
Everything a full, round tone and an irrefragable good jazzmen in so unadventurous a
m It All; beat, also solos with characteristic force corset. Excellent engineering by John
lues; You and taste. Neal. I should note that while most of
Bill Simon has contributed another the vitality herein erupts in the solos,
long, detailed, excellent historical study the ensembles are well played and the
for this of the evolution of jazz guitar. He musicians make as much of them as is
liott on omits, however, among the younger gui- possible, but the essential mediocrity of
ne; Joe tarists one of the most impressive mod- the writing lumbers through. (Liberty
he jazz ern Charlie Christian disciples—Jim
sational, 12” LP LJH 6010)
Hall. This is a thoroughly delightful
unusual] set, one you’ll be listening to for many
. While years. (American Recording Society 12” Dexter Gordon
3 of in- LP ARS G 418) Daddy Plays the Horn; Confirmation; Darn |
w here; That Dream, Number Four; Autumn in New |
York; You Can Depend on Me
rstimu- Rating: **
wit and Matthew Gee
Dodge Out of Nowhere; I'll Remember April; Joram; Daddy Plays the Horn (the cover is
Sweet Georgia Brown; Lover Man; Gee!; Kings- just as silly as the title) has tenor |
s have ton Lounge; Th Boys from Brooklyn Gordon with a rhythm section of Ken-
/ supple Rating: kkk ny Drew, bassist Leroy Vinnegar, and
Trombonist Gee, who has_ worked drummer Larry Marable. The set is an |
ng gas with Erskine Hawkins, Dizzy Gillespie, a&r mistake. Gordon does not have the |
osse or Ammons-Stitt, Basie, and Jacquet now imaginative range and depth to sustain |
ce plea- has_his first LP as leader. The first side a 12” LP as the one major soloist. At
Id with (five tracks) includes altoist Ernie jeast one more horn was very much |
s. Both Henry; pianist Joe Knight; the excel- 1eeded. The rhythm section is fine,
emory- lent bassist from Chicago, Wilbur but pianist Drew is a soloist somewhat
unmuf- Ware. and Art Taylor. like Gordon—he says what he has to
th con- The quintet numbers are somewhat say well, but he’s limited in inventive- |
hampered by rather routine arrange- ness,
ionally ments. The rhythm section, however, is To the credit of both are a funky
d Paul steamy, and Ware has a remarkable blues-strength; a lean unsentimental
ality a solo int Lover Man. Henry is a slashing, virility; a powerful beat; a clear,
1etimes Bird-driven altoist who has been away strong sound. But without searching
t. The from the scene for a time. His passion conception, these virtues are not enough
track. and wailing beat are welcome. Gee cer- over a long 12” LP road. (Bethlehem
ful nor tainly has drive, a virile tone, and 12” LP BCP-36) Sit back, relax, pull up your phono-
as “‘the swings fully, but his conception is often
imitive graph and have some Black Coffee
not too fresh. He is, however, kicks to Lionel Hampton
easily hear because of his emotional force. Love for Sale, Stardust; I Can't Get Started: with Peggy Lee while she sings and
llo for Second side (last three tracks) is Willow Weep for Me sighs ‘I’ve Got You Under My Skin’,
music played by a septet formed of Gee, Ken- Rating: kkk ‘My Heart Belongs To Daddy’, ‘I
gaging ny Dorham, Frank Foster, Cecil Payne, Lionel Hampton Plays Love Songs Didn’t Know What Time It Was’,
Joe Knight, John Simmons, and Art places Lionel in the most musical con-
Taylor. Again, the rhythm section digs text for him—away from his big band. ‘You’re My Thrill’ and other great
It-Vos a firm groove. In the front line, Dor- His associates are Oscar Peterson, Ray standards. Peggy’s Black Coffee is
Second ham is the most impressive soloist. Fos- Brown, and Buddy Rich. strong and delicious brew! Decca
y; Stan
¢ Peter; ter and Payne contribute muscular Buddy is beyond criticism here, drum- Long Play album DL 8358 (avail-
ngs You solos, but like Gee, are more valuable ming throughout with thorough taste,
for their emotional impact than for the sensitivity, and impeccable time. Brown, able on Extended Play 45).
depth of their imagination. The heads, t:o, is fine in the rhythm section, has
lection all by Gee, are quite ordinary. Not a two brilliant solos, and his tone has its
drum record for anyone on a stringent bud- usual Jean roundness, to use a partial!
Rita get, but otherwise a warm if not par- paradox. Oscar comps very well, and his
ianist ‘DECCA
ticularly distinctive experience. Title solos are tasteful. But I still fail to |
erman is Jazz By Gee! (Riverside must have hear a major original conception in his |
r Vos. borrowed a Bethlehem Rumpelstiltskin). work. His trio is a marvel of cohesion
ot the (Riverside 12” RLP 12-221) and as part of that unit, Oscar is a a New World or Vazz
jicians
January 9, 1957 25
 vital force in jazz; but as a soloist, he is enchanting in a different way here.
lacks imaginative depth. (Note the quartet’s dynamics-balancing
Lionel, of course, is invigorating by in the beginning and dig Milt’s solo
$198 JAZZ BUY $198 virtue of his rhythmic size and his later.) Sun Dance strikes me as more
enormous vitality, no matter how slow effective in this version than in the
the tempo. His ideas, however, are not original nonet context. The new Lewis
REGULAR $498 VALUE always strikingly fresh, and his taste is work, A Morning in Paris (basically
sometimes debatable, although here he the same chord structure as John’s An
for only $198 is mostly within bounds on that score. Afternoon in Paris) is a brisk, stimu-
In summary, a very pleasant, entirely lating promenade. God Rest is a won-
relaxed, mostly reflective (except for drous series of delicate but intensely
the up-tempo opening track) coHoquy. strong mobiles centered on the kind
“JAZZ IN TRANSITION (Verve 12” LP MG V-2018) carol, and the control of dynamics here
is beyond the present capacity of any
Hank Mobley other jazz combo.
. . a dazzling modern jazz Bouncin’ with Bud; S2nd Street Theme; Minor
Disturbance; Au Privave; Little Girl Blue; Alter- There has been increasing talk among
collection all on one 12” high. nating Current musicians here and in Europe that the
Rating: xkkle MJQ should plunge into more challeng-
Tela biammacceyacttersd fea- Tracks 1-3 and 6 have Donald Byrd, ing areas of form and simultaneously
turing: Doug Watkins, Barry Harris, and Art should open up more in terms of emo-
Taylor along with Mobley. Hank is the tional improvisation. This may well be
only horn on Biue, and Jackie McLean true (although it strikes me that people
PHILLY JOE JONES makes a front line of three on Privave. in the jazz tield are, as usual, in too
This is a hot, intense session, except much of a hurry to call for change).
HORACE SILVER for the slow, romantic Blue which con- But in any case, at its present stage,
tains the most sensitive Mobley I’ve there is much joy and many provoca-
SUN RA yet heard on records. tive emotional personal images to be
Mobley throughout, as a matter of deepened from listening and relisten-
PAUL CHAMBERS fact, indicates considerable improve- ing to LPs of theirs like this. I think
DICK WETMORE ment (or perhaps I’m just beginning to Jay Maisel’s cover is the best jazz
get his message). His work has in- album photograph of the year. (Attan-
ART BLAKEY creased authority; and in places, grow- tic 12” LP 1247)
ing individuality of conception. Byrd,
CECIL TAYLOR whose first appearances on records were
marked especially by lyricism, is hard- Bernard Peiffer
PEPPER ADAMS er and more on the attack here. He is Lover Come Back to Me; You Took Advantage
of Me; Rhumblues; ’S Wonderful; Black Moon:
DONALD BYRD emotionaliy effective, but often calls to dh-Leu-Cha; Blues on the Wing; Bernie’s Tune;
mind the advice Coleman Hawkins sug- Lullaby of the Leaves; Blues for Slobs
JOHN COLTRANE vesied for another modern hornman: Rating: kkk
‘Settle down—wait a minute—wait a Bernie’s Tuneg is the first LP made
CURTIS FULLER minute.” in this country by French pianist Ber-
“Byrd, in short, has yet to create nard Peiffer. He is very dependably
JAY MIGLIORI enough inner confidence so that he can backed by Ed Thigpen, bassists Oscar
TOMMY BALL relax into a groove, play fewer notes, Pettiford and Chuck Andrus, and the
and have each one count with powerful superior guitarist, Joe Puma. First side
JOE GORDON ease. The rhythm section is strong, and accompaniment is by just Puma and
Detroit pianist Harris plays with a Pettiford. This is the best Peiffer I’ve
DAVE COLEMAN beautiful touch and fluid ideas. McLean yet heard on records, and it indicates
is an eloquent gucst in Privave. (Pres- in part why such critics as Feather
DOUG WATKINS tige 12” LP 7061) and Ulanov have become devoted par-
HERB POMEROY tisans of his cause. Peiffer has a prodi-
Modern Jazz Quartet-Jimmy Giuffre gious technique and harmonic knowl-
.... & many others Oh Bess, Oh Where's My Bess?; A Fugue for edge. He plays with drive and virility;
Music Inn; Two Degrees East, Three Degrees he uses both hands with power and
West; Serenade; Fun; Sun Dance; The Man That effect; he has wit; he can, as seemingly
GREAT PERFORMANCES BY Got Away; A Morning in Paris; Variation No. I few modernists are able, play an out-
on “God Rest Ye Merry, Gentlemen”
Rating: xkkkYe of-tempo chorus (Lover) without weep-
THE .BEST OF TODAY’S ing arpeggios and soap opera sentiment.
Recorded last summer at Music Inn
I UAALEHe ¢CU. GeOE during the course of the unprece »dented On the first side, he is best on Lover,
jazz season there (described in John and particularly interesting on his own
PLETE. TRANSITION DIS. Wilson’s excellent notes) this most re- non-jazz piece, the piano solo Black
cent MJQ recital includes three guest Moon. He describes the latter as “based S
COGRAPHY, LAVISHLY IL- appearances by Jimmy Giuffre, the on the modern impressionistic ideas of
LUSTRATED BROCHURE & contemporary jazzman probably closest the 12-tone classical school” (that equa-
in spirit to John Lewis. Giuffre appears tion might require some semantic un-
FREE MEMBERSHIP IN THE in Lewis’ Fugue, a pleasant work raveling.) The work itself is too deriva-
though not quite as ingratiating as tive of a stew of influences (Bartok and
TRANSITION JAZZ CLUB— Vendome or some of the other earlier Stravinsky as well as the consistent
fugal structures. Giuffre also plays 12-tone writers) to be a significant com-
ALL FOR ONLY $1.98. David Raskin’s Serenade, a non-jazz position; and it has elements of bravura
performance. The piece—from the UPA melodrama that fail to sustain the open-
cartoon, The Unicorn in the Garden— ing somberly stabbing mood. Yet it is
DON’T MISS OUT, GET is an experience in unfolding serenity. an arresting tour-de-Edgar-Allen-Poe.
“JAZZ IN TRANSITION” Jimmy is heard finally in his own Fun, As for the rest, there is quite often
written to be performed with the MJQ from my subjective hearing—a lack OoO
000
0
FROM YOUR DEALER The work has become one of my favor- of beneath-the-surface emotional dig-
ite jazz chamber conversations and is ging. There is all the evidence of in-
TODAY! firmly indicative of the subtle wit, skill tensity, but I don’t feel much depth of
and disciplined purposefulness that passion. Yet Feather and Ulanov ap-
WRITE FOR NEW FALL CATALOG! make up Jimmy’s musical character. parently do; so, as always, you have
The MJQ’s Bess—one of the loveliest to listen for yourself and determine
pleas in the Gershwin score—is appro- your own reaction. A second fault that
TRAWTTIOV priately tender but somewhat static. occurs less here than in those club ap-
The same is true of the otherwise affect- pearances of Peiffer I have caught is
6 Ashton Place, Cambridge 38, Massachusetts ing Man. Two Degrees, first recorded in a tendancy to play too much, to forget
the marvelous Lewis - Perkins - Hall - that the art of eloquence is in, large
Heath-Hamilton Grand Encounter LP, part, the knowing of what to leave out

Down Beat
gam
ie
=]
y here. A Great Label Re-Enters the as well as what to include. But Peiffer LP) to the light and swingy Ain’t It
ancing Field in Jazz, Pops, Classics! surely deserves more attention — and the Truth.
’s solo better bookings — than he has yet There is a remarkable full sound to
Ss more received. He is an honest artist of
in the the band, Jimmy Rowles is excellent on
Lewis forcefulness and impressive musical piano without straining to sound like
ically knowledge. (EmArcy 12” LP MG Count, and the whole thing comes off
n’s An 36080) very well indeed. If it were not for the
stimu- inclusion of two long drum solos, this
2 won- would be a five-star LP. If you dig
Art Pepper drum solos, it is. The personnel, for
tensely Pepper Returns; Broadway; You Go to My
> kind Head; Angel Wings; Funny Blues; Five More; once, is listed on the jacket. (R. J. G.)
*s here Minority; Patricia; Mambo De La Pinta; Walkin’ (Norgran 12” LP MGN 1086)
of any Out Blues
Rating: kkkk
The Return of Art Pepper is _the
among best LP yet released on the Jazz: West Ralph Sharon
at the label. With Art on his first record in Manhattan; Two Sleepy People; Have You Met
alleng- Miss Jones?; Man on the Couch; Just Because
some time are trumpeter Jack Sheldon We're Kids; Darn That Dream; Mood for Mitch:
eously and a superb rhythm section of Russ There’s a Small Hotel; Love Walked In; Can't
f emo- Freeman, Leroy Vinnegar, and Shelly Get out of This Dream; Pluto Crat at the Auto-
vell be Bernie Privin Orch...........Hi Fi 12° LP mat; Slightly Oliver
MG6027 $3.98 Manne. Russ also solos with original Rating: *%*
people Dance music with stars in its eyes by a jazz impact. Sheldon plays better on this
in too band with the Goodman sound and modern ar- date than on any previous recording, Easy Jazz is one of the saddest
ange). rangements. Al Cohn, Osie Johnson, others blowing with heat and incisive ideas, wastes of important jazz talents in
stage, although he could do without a few recent recorded jazz history. The date
ovoca- rhetorical flourishes. It’s fine having was made some time ago, was lost at
to be Pepper back. He has grown musically one point by someone in the London
listen- since his last recordings, and now is organization, found again, and finally
think certainly one of the leading jazzmen on issued. Sharon’s personnel comprised
| jazz his horn. He plays with immediate emo- Kenny Clarke (misspelled in the notes),
Atian- tional warmth, with a fuller tone than Teddy Charles, Joe Puma, Charlie Min-
some of his contemporaries, and with gus, and J. R. Monterose (not only mis-
wih MCCALL
MARY AMON spelled on the envelope but called Jack
an invention that is now becoming more Montrose on the record and listed as an
his own than that of any of his influ- altoist rather than a tenor). I expect
vantage ences. His time is excellent. Sharon was instructed to make this
Moon; Art plays with justified assurance “commercial like Shearing,” but since
; Tune; at all tempos, although on the two it was he who actually did the arrange-
ballads, I preferred his own Patricia ments, the blame for this exercise in
made considerably to the somewhat surface tepidity is his.
t Ber- treatment of Head. There are eight Sharon’s charts are unbelievably ban-
idably Pepper originals. The best is Patricia al and soporific. Once in a while, the
Oscar Mary Ann McCall Hi Fi 12°" LP and the medium Funny Blues is a ball, sidemen break through the wall of
id the MG60: 40 $3.98 as is the final track. But on the up- dullness and assert their souls (ag in
st side The great vocalist, formerly with Herman and tempos, the lines are too brittle and part of Couch and Mood). In fact, what
a and Ventura, makes a triumphant return to jazz busy. Excellent recorded sound and few solos the sidemen have are excel-
with 10 smooth stylings, backed by Ernie good Claxton pictures. Pepper was ser-
r I’ve Wilkins orch, and arrangements. iously missed; I hope he’s back for a lent, with Montrose particularly imagi-
icates Write for Complete FREE Catalog long, productive time. (Jazz: West 12” native. And dig the power and flow of
sather Mingus in the rhythm section. But for
| par- JWLP-10) most of the LP they are trapped in
RECORDS, INC
prodi- Sharon’s vacuum. His own work here
nowl- NEWARK, N.J. can best be described ag cleverly eclec-
Buddy Rich
rility; Blue and Sentimental; Down for Double; Jump tic. To complete the frustration, the
r and for Me; Blues for Basie; Jumping at the Wood- balance and recorded sound are of un-
ingly WZ side; Ain’t It the Truth; Shorty Ceorge; 9:20 usual quality, worthy of much more
1 out- MODERN MUSIC Special challenging music. (London 12” LP LL
weep- Rating: **** 1488)
625 N. Grand
ment. The title of this is This One’s for
ST. LOUIS 3, MO., U.S.A Basie, and when you come right down
over, to it, there is nothing harder to do Westchester Workshop
s own
Black in jazz than to emulate the lighter-than- Key Chain; Love for Sale; Bert Flight; Minor
pYos JAZZ ON RECORDS air feeling and the compelling sound of Incident; Fruity Tutti; The Beak; No Coast At
based 4; Carenooch
as of 12" LPs $3.98 EACH the seemingly simple Basie band. Nu- Rating: *%ke*k
(0 Modern Jazz Quartet at Music Inn........ ATL. merous attempts before this have been
equa- Bill Russo Orchestra. ........eeeseeeeee ATL. First jazz LP on the RKO-Unique
c un- A J. J. Johnson Quintet-—J Is For Jazz....COL. abortive. Now and then some approach label is by a unit organized under the
sriva- C) Kai Winding Septet—Trombone Sound... .COL. it, but this is the first time in my mem- direction of writer-altoist Vinnie Ric-
k and [] Pete Rugulo Orch.—For Hi-Fi Bugs. ...EMARCY ory when an album has been able to
(] Return of Art Pepper...........0-505: JW. get the atmosphere, the mood, and the citelli, Who has worked the Paddock
istent () Brookmeyer & Zoot—Whoo-eeeee...... STORY. light texture of Basie to a pretty good near Yonkers Raceway for the past two
com- [J Jackie & Roy—Sing, Baby, Sing...... STORY and a half years. His associates are
ivura 12°" LPs $4.98 EACH degree. Eddie Bert, drummer Joe Venuto, trum-
open- (0 Bethlehem’s Girl Friends—Chris Connor, Dual responsibility, I think, must be peter Joe Shepley, tenor Carmen Leg-
Julie London & Carmen McRae....... BETH shared by Marty Paich, who had the
it is Byfst Most—Musically Yours........... BETH. gio, baritone saxist Gene Allen, pianist
Poe. Australian Jazz Quintet—Varsity Drag... common sense to keep the arrangements Dolph Castellano, and bassist Eddy
Thad Jones—The Magnificent............ 4 as simple as possible, and by Buddy Tone. All the writing, including the
often C) Horace Silver with Blakey.............. B.N. Rich, who, as leader, is the first one
lack O Dizzy Gillespie Orch.—World Statesman. ..NOR seven originals, is by Riccitelli. His
dig- Send for FREE Catalogues to get the tempos right. Once the right voicings are skilled and interesting, but
f in- $1.00 Deposit on C.0.D.’s place to play them had been set, the unfortunately, his themes are undis-
Foreign Orders add $1.00 Postage rest fell in more easily. tinguished; and since neither the devel-
th of U.S. Servicemen exempt from Foreign Postage Charge
y ap- All in all, this is a splendid album. opment sections nor the blowing (ex-
have Buddy Collette is utterly delightful on cept for Bert) are extraordinary, the
MAIL ORDER JAZZ Blue and Sentimental. Harry Edison LP, while thoroughly professional, is
mine TIFTON, GEORGIA
that is superb in his numerous trumpet solos not outstanding. Rhythm section is
> ap- America's Largest Exclusive as well. The brass section gets a fine marked chiefly by the crisp, swinging
Jazz LP Mail Order House Basie-ish feel, and the shakes are right drums and good sound of Venuto. Rest
ht is
orget Send 25 cents for complete there. The numbers vary in mood and of the horn soloists are all quite able,
large catalog listing jazz books feeling from the fine, swinging Down but Bert is the best. Engineering de-
and every modern jazz LP for Double, through the haunting Blues served a credit line. (Unique 12” LP-
e out available. for Basie (the only new tune on the 103)
Beat
January 9, 1957 27
 year and also help to fill sections of
the LP catalog that are quite slim.
_ counterpoint Troubadour and Trouvére Songs ex-
plores the lyric drama of idealized love
BosSex ast a eal aes er | during the age of chivalry in the 12th
and 138th centuries in France. The sub-
By Nat Hentoff tle countertenor is Russell Oberlin, and
he is accompanied by Seymour Barab
MY ABIDING interest in the possi- on viol. An excellent booklet contains
bilities of the LP for purposes other the original texts, translations, and an
than musical has been further stimu- introductory essay (EA 0012). The
lated by Arnold Michaelis’ Recorded third set involves one of my favorite
Portrait of Adlai musical refuges: English Keyboard Mu-
Stevenson. Politics sic from the Tudor Age to the Restora-
aside, and they cer- tion. Harpsichordist Paul Wolfe awak-
tainly are for Stev- ens works by Tallis, Newman, Redford,
enson, this is the Tomkins, Bull, Byrd, and others. A
kind of self-exami- wonderfully singing Pleyel harpsichord
nation by a man of is used (EA-0013).
perception, humor,
and a sense of his- PERHAPS THE MOST unusual label
tory that will bear devoted to “new” music igs Ficker Rec-
replaying every few ords, 27 Arcadia road, Old Greenwich,
months, if not every Conn. Its artists are on the wing and
week. demonstrate how varied and multiply
Michaelis, the in- expressive certain voices can be that
terviewer, is unusually skilled at bal- have never studied solfeggio.
ancing between obtrusiveness and the There are three votumes, for example,
kind of overdiscretion that leads to con- of Bird Songs of Dooryard, Field, and
fusion or sticky politeness. Forest, 175 different species from the
The record, one of a forthcoming Atlantic to the Pacific. The first two
series, is available from Arnold Michae- sets range from the Great Plains to
lis, Inc., 320 W. 76th St., New York the Atlantic, and the third concerns the
City, 23. Before starting his own label, west coast style. And if you insist on
incidentally, Michaelis conversed with larger forms in your birdartistry, Fick-
Bruno Walter in a warm example of er also has released Jim Fassett’s Sym-
how certain aspects of a life in music phony of the Birds, in which Fassett
can be illuminated in this manner (Co- has taken various bird calls and by
lumbia BW 80). tape-manipulation has orchestrated a
Columbia is also to be commended for bird symphony in three movements.
its release of Leonard Bernstein on The second side is even more fasci-
Beethoven in which Bernstein “looks at velous nating, for it indicates, “ . the mar-
Beethoven’s rejected sketches for the complexities of musical motifs
first movement (of the Fifth Sym- hidden, up till now, in the calls of a
phony) and demonstrates with orches- number of familiar birds of the field
tral illustrations how this work would and woodland. By reducing the speed of
have sounded if Beethoven had not re- these bird calls . . . the hearer becomes
jected them. Bruno Walter and the New aware ... of intricate patterns, of
York Philharmonic perform the com- slides and thrills and flutters . .. the
plete work on the second side (Columbia highest notes are brought down within
CL 918). . hearing range, and the most rapid
sections, often missed entirely at their
TWO OTHER MAJOR labels deserve normal pitch, can be discerned clearly
credit for adding to the library of as groups of separate notes repeated in Ralph Burns
musical speech on LP. Decca has made quick succession .. .
available two of America’s most native FINALLY, A RETURN to the label
and unpretentiously eloquent poets MEET MARK MURPHY, the
reading from their own works: Robert that last issue began this excursion into
the more unexplored areas of LP rep- newest star in Decca’s jazz galaxy!
Frost (DL 9083) and Carl Sandburg ertoire. Folkways has assembled four
(DL 9039) ... And Victor has recorded Affectionately nick-named the
Siobhan McKenna’s bluntly lyrical in- first more volumes to go with the invaluable “Singing M” by Milt Gabler, head
terpretation of Shaw’s Saint Joan two sets of Negro Folk Music of
(LOC-6133). There are reservations Alabama. Decca a&r man, Mr. Murphy’s out-
about some members of this cast that The complete (up to now) set of six of-this-world jazz vocal interpreta-
played in New York, and not all of includes(II),secular music (I), religious
tions make him the swinging end!
Miss McKenna’s performance is as music Rich Amerson’s singing and
story-telling (III and IV), spirituals
penetrating as it could be, but there Backed by brilliant Ralph Burns
is no resisting the Gaelic song-like (V), ring game songs and others (VI).
There is a 43-page booklet by Harold arrangements, Murphy sings and
ardor of her. Courlander with notes, texts, and his-
It is the policy of this column inter- swings tunes in a bewildering but
torical and _ sociological backgrounds. happy variety of moods and tem-
mittently (and of Devil’s Advocate These six LPs, plus Fred Ramsey’s nine
more regularly) to give attention to volumes (so far) of Music from the pos. Wait'll you hear the Murphy
new small labels with an imaginative South on Folkways, provide essential
point of view. Saturday Review, High versions of ‘Fascinating Rhythm,’
insights into the people, music, and
Fidelity, New York Times, and Hi-Fi mores from which jazz grew. ‘Limehouse Blues,’ ‘Exactly Like
Music at Home give partial but far
from comprehensive reviews of the very You,’ ‘Give It Back To The In-
small and very new companies; and dians.’ Better Meet Mark Murphy
they fail thereby in an important part Accordionist Buckley Dies now. You'll like him! Decca Long abo
of their responsibility, because these ans
companies rarely have the money to Los Angeles— Accordionist Stanley Play album number DL 8390. thir
advertise their initial way. One of the Mickiewicz, 36, died here Nov. 23 after
newest labels is Expériences Anonymes, a long illness. Known professionally as pla
20 E. 1Jth St., New York City. Two of Frank Buckley, he had written arrange- thir
the
its first LPs, engineered with charac- ments for several name bands and ‘DECCA had
teristic sensitivity by Jerry Newman played accordion in several movies. He con
of Esoteric, are among the loveliest RECORDS
c

Was a member of the Frank Remley

z

bra
recorded musical experiences of the trio at the time of his death. a New World or Jazz ver

Down Beat Jan

 MODERN JAZZ
BEGINS ON Prestige THE MOST CONVENIENT
A jazz musician is never more exciting than
when trading phrases with a fellow hornman.
THREE MAIN EVENTS MUTE EVER DESIGNED!
By George Hoefer
ON THE
THE UNTIMELY DEATH of Art PRESTIGE CARD
Tatum has triggered a reverie. Think- (tenor class)
ing of Art brings back the wonderful Hank Mobley vs. John Co!trane
listening experiences of September, 1935. INFORMAL JAZZ ..12" LP 7043
Although Tatum had (trumpet class)
a modicum of suc-
cess prior to this Kenny Dorham vs. Donald Byrd
date as an accom- (alto class)
panist for Adelaide Phil Woods vs. Gene Quill
Hall, he still was 12” LP 7046
very little known. PAIRING OFF
Sam Beers
brought Tatum to January Releases on Prestige
Chicago to play be- GIL’S GUESTS
hind the bar at the Gil Mellie Qrt. & Guests......12’' LP 7063
Three Deuces, 222 DUAL ROLE OF BOB BROOKMEYER
N. State St., in the Teddy Charies—Jimmy Raney. .12’' LP 7066
fall of ’85. The story PIANO EAST/WEST
was that Beers had discovered the Freddie Redd/Hamp Hawes 12"° LP 7067
young, partially blind pianist playing MORE MOONDOG ‘LP 7069 G
an alley-joint in Cleveland known as Available At Your Local Record in. .$4.98
the Greasy Spoon.
It wasn’t long before the Deuces was NEW SELMER
packed nightly with jazz musicians
(the Deuces had been their hangout
as far back as the speakeasy days),
dance band musicians, and classical Flexi-Mute
musicians. Everyone marveled at Ta-
tum’s improvising genius. E bi aa
THE YEAR-OLD music publication, FOR JAZZ IN CHICAGO
Down Beat, reparted, “Tatum hoes his it’s a it‘sa
row of chords as carefully and as dili- tune
gently as a gardener cultivating the STRAIGHT MUTE CUP MUTE
“Waxing Hot"
soil,” a statement typical of writing
on jazz in those days. with
The Beat went on %o tell how Art ALL IN ONE!

never used manuscripts or read music. Mr. Dick Buckley

He worked out chords and experiment-
ed with the melody in the privacy of 7—9 PM
his room. When Art’s arrangement of
a melody was complete, he had mas monday — friday
tered every conceivable chord relation- WNIB 97.1 on FM
ship, and the theme had been so
masterfully interwoven into intricate
rhythmic passages that it was breath
taking.
George Duning, today a prominent There's JAZZ in the air
the Hollywood arranger, but in 1935 Kay
laxy! Kyser’s arranger, described Tatum’s on Diagrams show Flexi-Mute installed in Trumpet Bell
flat-finger technique for Down Beat
the readers as follows: Yes—a combination of straight and cup
head “The backs of his hands are fat and BALLANCE 'N' RECORDS mutes all in one handy unit! The only
pudgy, but the fingers are long and mute you'll need for most jobs. Takes
out- starring Bill Ballance but a second to switch from cup to
taper to slender tips. Instead of the
reta- customary high wrists and curved fin- straight, and back again, with only a
gers of the legitimate pianist, Tatum’s 6:00 - 9:30 a.m. & 8:00 - 10:00 p.m. simple twist of the wrist. You don’t
end! even have to lower your horn from
hand is almost horizontal, and his fin-
urns gers seem to actuate around a hori Monday thru Saturday playing position to make the change!
and zontal line drawn from wrist to finger Precision made of hand-spun alumi-
tip.” KFWB Los Angeles 980 on dial num; cup lined with red flocking.
but
MUSICIANS WOULD gather around Cutaway view
tem- the bar at the Deuces and argue the
relative merits of Tatum and Ear] shows the simple
rphy slide and lock
‘hm,’ Hines. It usually ended up with an Jimmy Lyons mechanism that
agreement that Tatum had a faster holds mute in cup
Like and more interesting “right hand,” position with just a
| In- while Hines had a more versatile “left "The West's Leading Jazz Jockey” slight turn of the
hand.” wrist. Spring
rphy When Tatum himself was asked WEDNESDAY THROUGH SUNDAY loaded for avto-
ong about his approach to music, he would matic switch to
answer, “There’s no technique or any- Midnight to 2 A.M. straight.
thing special about it. I just want to
play modern piano and strive for some-
thing different because that is what KNBC, 680 ON THE DIAL ON SALE AT BETTER MUSIC STORES
the public wants.” He also stated he 50,000 Watts Clear Channei
had great admiration for Horowitz’
concert piano, Fats Waller’s popular naa. SUUMET inc.
brand of melodic outpourings, and was AUDIBLE FROM CANADA TO MEXICO ELKHART, INDIANA
= very fond of Louis Armstrong.

» Beat January 9, 1957

 high fidelity d|5
No Piano Roll
London—There was a seven-foot
By Robert Oakes Jordan piano abandoned at the Camden
Town stop of the subway system B
PERHAPS THERE had been some here one night when a train con- auth
worry about what would happen when ductor ordered the instrument and and
the public didn’t believe the claims three students off a crowded train. worl
made for high fidelity anymore. But The students explained they were (Ha
such worries probably have been dis- taking the piano to a rock and roll $5).
pelled now, for party, but the conductor wouldn’t been
Stereophonic Sound budge. Neither, it turned out, would plific
is here to act as the the piano. Slon
savior. Stereophonic The students left it on the plat- exar
Sound in all its 3-D form and disappeared. his
glory! mus
Perhaps I should sion
have seen the possi- confusion over the terms binaural and ture
bilities for disillu- stereophonic. In fact, some manufac- tries
sionment when Web- turers use both terms in their adver- and
cor put three small tising. the |
loudspeakers into its By the time the 1956 high fidelity cept
tape recorder and shows are a thing of the past, the pub- jazz
called it a “stereo- , lic acceptance of stereophonic tapes of k
phonic” recorder. At the time, I didn’t will be large-scale. If you want to see impc
realize the value of other equipment, true stereophonic equipment, take a earl:
such as the late, great Permo-Flux look at Ampex, V-M, Berlant, Bell, A
stereophonic type of system for making RCA, and the others I have seen tested sic §
er old-style records sound like the track and found to be good equipment, each Fort
—, — from Cinerama. in its own price and quality class. (Bu
JENSEN NEEDLES, too?” The most recent wide-open, tell-’em- TO GIVE THE public less than true lege.
long - enough - and - they’Il - believe - any- stereophonic sound while calling it The
thing pitch is the billboard ad by such, is to allow any equipment man- wor]
Grundig-Majestic, which the firm has ufacturer to produce junk and label it Cop]
spread throughout Chicago. This way- stereophonic just as he may have done enbe
out ad says you should hardly miss the with his “high fidelity” sets. It is to thre
new Grundig-Majestic Stereophonic 3-D allow any record producer or manufac- ed
phonograph combination. turer the opportunity to gimmick-up grou
old masters and put them on the mar- knov
ONCE THE VALUE of the term hi-fi ket as stereophonic tapes. dilig
had worn thin, the world of money- There will be enough good tapes to exci
making turned gloomy—until someone spur the public’s interest at first until Cha
latched onto the term stereophonic. the ads and promotion men have con- (Me
Watch and see where they take this vinced us that faked masters are real best
one; before many months go by, there’ll stereo. But if it is to be a true stereo- cert:
be “stereophonic face powder”—and phonic recording, it must be recorded the
millions ef cheap radios and phono- that way originally in a special record wan
graphs trading on the word. session. own
Now, before someone figures out a There are many of these true stereo- whic
new term with which to lure the pub- phonic tapes on the market. Listen to WwW
lic, let’s see what can be done about those by Concertapes, RCA, Omega, ica:
the flagrant misuse of a word describ- Livingston, and don’t be fooled into the
ing a recording technique that can pro- accepting the gimmicked tapes which $4),
vide musicians a new source of income are bound to appear. If you haven't from
from the millions of new recordings heard stereophonic sound, go to your pres
that will be produced. This new art is dealer and ask for a demonstration, inde’
the technique of recording in stereo- but be prepared to be dissatisfied with It’s
phonic sound. your existing high fidelity setup. It’s on t
Horace Silver It is an old idea, first proposed in no where without stereo. cade
the 1920s. The movies have made great selec
on Blue Note strides in its use in Cinerama and Ball
Todd-AO. 112
His Latest, It's Great: But the newest and best means for a lis
Metronome In Sweden
BLP 1539 HORACE SILVER QUINTET most persons to enjoy this device is subj:
with Donald Byrd, Hank Mobley, Doug magnetic tape, recorded commercially Renews Mercury Contract phy
Watkins, Louis Hayes. using true stereophonic sound. This Terr
An outstanding set of performances. New, ex- technique has opened a new phase in New York— Metronome Records of tor’
citing compositions by the most talked about the art of recording. Sweden has renewed its contract with to a
pianist of the year. COOL EYES, SENOR Mercury Records for distribution of Ular
BLUES, SHIRL, ENCHANTMENT, etc. MANY NEW PIECES of good equip-
BLP 1518 HORACE SILVER and THE the Mercury catalog in Sweden, Fin-
ment have appeared on the market land, Iceland, and West Germany. The
JAZZ MESSENGERS. With Dorham, which are true stereophonic tape play- Swedish firm also will handle distri-
Mobley, Watkins, Blakey. back machines. There are no commer- bution in Denmark and Greenland when
DOODLIN’, CREEPIN' IN, ROOM 608, THE cially packaged, disc phonograph ster-
PREACHER, etc. present commitments expire next year.
eophonic devices, such as advertised Metronome presently represents Pres-
BLP 1520 HORACE SILVER TRIO with by Grundig-Majestic. The Webcor tape
Art Blakey—Sabu. tige and Atlantic, Nixa of England and
ECAROH, OPUS DE FUNK, HOROSCOPE, recorder, which has been advertised as Festival of Australia. Metronome rec-
ART'S MESSAGE, etc. stereophonic, is not stereophonic only ords in all categories have appeared in
COMPLETE FREE CATALOG ON REQUEST because it has three speakers. this country on ercury, EmArcy,
The reproduction of stereophonic Capitol, RCA Victor, Prestige, Cadence,
sound is not a matter of the number and other labels. EmArcy is preparing
note Dp) of speakers; it is a completely different Metronome sets by Roy Eldridge, Quin-
necorruds Y) concept from, and far better than, ex- cy Jones, Roy Haynes, Jimmy Raney,
767 LEXINGTON AVE. oe NEW YORK 21 isting hi-fi techniques. George Wallington, and Swedish trum-
It is true that there is some word peter Rolf Ericson.

Down Beat
 the devil's advocate

By Mason Sargent
Books: The late Hugo Leichentritt,
author of the important Music, History,
and Ideas, now is represented by a final
work, Music of the Western Nations
(Harvard University Press, 324 pp.,
$5). The volume has
been edited and am- = eo . ®
plified by Nicholas
Slominsky, and is an Ue EO
examination of the
history of western
music “as an expres- = OU J =
sion of natural cul-
l and ture in various coun-
ufac- tries” from Greece
dver- and the Hebrews to — re € | ®
the present here. Ex-
delity cept for a section on OU A
pub- jazz that is innocent = elel-jane e
tapes of knowledge of that field, this is an
oO see important book, particularly for its
early chapters. e perte oj ojare
Bell, A volume of particular value for mu- e}lel-ma re = O
ested sic students and professionals is Allen
each Forte’s Contemporary Tone-Structures qa Pe A oS
(Bureau of Publications, Teachers Col-
true lege, Columbia University, 194 pp.). 4 Ol =m 1010) gel ad
g it The book contains intensive analyses of
man- works by Stravinsky, Milhaud, Sessions, O e 2 a =e
bel it Copland, Bartok, Hindemith, and Scho- = ener: ejene
done enberg. The complete scores to all but
is to three of the works analyzed are includ- =holel a= S
ufac- ed in the text. If you have some back-
*k-up ground in music theory (a reading
mar- knowledge of music is essential) and
diligence, the book is extraordinarily
es to exciting ... There is a new edition of
until Charles A. Culver’s Musical Acoustics
con- (McGraw-Hill, 305 pp., $6), one of the
real best single volumes on the subject and
ereo- certainly one of the most readable for
yrded the nonspecialist. If you have been
cord wanting to study this subject on your
own, this is an excellent book with
ereo- which to begin.
n to Walter Terry’s The Dance in Amer-
lega, ica: from the Days of the Minuet to
into the TV Spectacular (Harper, 248 pp.,
rhich $4), is a concise, lucid short history
ven’t from before colonial America to the
your present. There are illustrations and an
tion, index but infortunately no bibliography. The unidirectional dynamic Unidynes
It’s a good place to start your reading pest
with on the subject, however ... Ballet De- jhe now more than ever your best choice
It’s cade (Macmillan Co., 224 pp., $5) is a those installations where feedback i
selection from the first 10 issues of The
Ballet Annual with four color plates, problem, and for all fine-quality pu
112 largely excellent photographs, and address, theatre-stage sound syste
a list of expert contributors who cover magnetic recording and remote bro
subjects ranging from The Choreogra-
phy of George Balanchine (Walter casting—where critical standards call
act Terry), Ballet Music from the Conduc- the finest-quality microphone operatio
s of tor’s Point of View (Geoffrey Corbett)
with to articles on Fonteyn, Markova, and Another example of the continuous
1 of Ulanova. There is also a year-to-year
Fin- diary of events. A very good buy... creativity of the Shure Research and
The And from the same publisher comes Development Laboratories.
stri- the llth issue of The Ballet Annual
vhen itself, edited by Arnold L. Haskell 55S Unidyne List Price $7
rear. (Macmillan, 152 pp., $5). Aside from
’res- its value as a record of the interna- 556S Broadcast Unidyne
and tional ballet world during the 1955-56
season, the annual contains more than List Price $12
d in 100 photographs and a collection of
rey, intriguing articles, including Simeon’s IN ELECTRONICS SINCE 1925
nce, scenario for La Chambre.
ring Finally, classical record collectors
uin- will be interested in Compton Macken-
ney, zie’s My Record of Music (Putnam’s,
Th
e M
k
f
QD

um- 280 pp., $5) in which the novelist tells

SHURE BROTHERS, INC.
January 9, 1957 Microphones ~~ Electronic Components
Beat
226 HARTREY AVENUE © EVANSTON, ILLINOIS
of hig life in music, an avocational pas- loden’s, Fairey’s, and Morris Motors,
sion that was especiaHy productive by England, in a resonant mixture from
virtue of Mackenzie’s founding in 1923 Introduction to Act 3 of Lohengrin Back Home
of The Gramophone, perhaps the most through Spanish Gypsy Dance, and
important record publication in the 1812 Overture ... And if you have, as Memphis, Tenn.—W. C. Handy’s
world for classical collectors and one I, become addicted to Caribbean steel cornet and piano took their place
that has been among the most influen- bands, Cook has newly provided the in the restored three-room frame
tial. prize-winning Katzanjammers (Steel- house where he was born at near-
Vox Spotlights: As a sequel to Spot- band with Velvet Gloves) with unusu- by Florence. Final touches on the
light on Percussion, Vox has now made ally rich arrangements by Percy dwelling were being rushed in or-
available two more elaborately prepar- Thomas (1047); Music to Awaken the der to open the Handy shrine to
ed, carefully detailed examinations: Ballroom Beat: calypsos, meringues, the public by the first of the year.
Spotlight on Brass (DL 300) and Spot- sambas, tangos, and pops by the Brute Handy, who celebrated his 83rd
light on Keyboard (DL 362). Both have Force Steelband of Antigua (1048), birthday Nov. 17 in Yonkers, N.Y.,
illustrated booklets, prepared by R. D. and a thoroughly delightful all-star personally arranged delivery of the pas
Darrell, that will make good reference package: The Champion Steelbands of horn and piano after a meeting sia
texts. Each booklet may be obtained Trinidad (1046), six different combos, with Mayor Walter Harrison and tim
separatety for $2. ineluding the Girl Pat Steelband (the the Florence chamber of commerce. ent
Performing the illustrations of the Almost All-Girl Oildrum Orchestra). Harrison said Florence considered the
various instruments and their usages We who are sedentary by vocation or the blues composer “one of our
for the brass set are Roger Voisin, lack of courage or both are indebted most famous citizens.” con
Harold Meek, and Joseph Orosz. For to Emory Cook for bringing this plan- sev
the keyboard volume, Vox was able to gent exotica to our living rooms.
obtain permission to present for the Two unusually expansive orchestral ar)
first time on records the Belle Skinner sets of recent issue are the original Sharon, Wife Combine che
collection of old musica] instruments version of Bruckner’s Symphony No. the
of Holyoke, Mass. The illustrations are 9 coupled with the oddly appropriate On New Bethlehem LP
played by Bruce Simonds, Claire Coci, Beethoven Fantasia in £ Minor (Decca abi
Walter Kraft, Martin Hohermann, and DX-139), and a superbly colored re- New York—Pianist Ralph Sharon
Harold Thompson. Both volumes are an cording of the entire Iberia of Albeniz was joined by his wife, Susie Ryan, for
enjoyable and highly informative course with Carlos Surinach having completed five tracks of his new Bethlehem LP Th
in instrumental history. the series of orchestrations begun by cut here late in November. Among the
Big Bands: Strongly recommendable Arbos, who did the first five of the 12 tunes she sang wag an slain by
and considerably varied band sets are piano pieces (Columbia M2L-237). The Johnny Frigo entitled Nothing at All.
Soviet Army Chorus and Band (Angel Bruckner is spaciously performed by Sharon’s sextet cut six tracks, one
35411) in a program comprising, smong Iugen Jochum and the Symphony Or- of which was an original entitled That
other idioms, Russian folk songs and chestra of the Bavarian Radio while Goldblatt Magic, for artist Burt Gold-
even Tipperary; the Carabinieri Band the Albeniz fortunately is played by an blatt. On the session were Sharon, pia-
of Rome (Angel 35371), with marches orchestra with the capacity for the full no; Jo Jones, drums; Milt Hinton, bass;
from various operas as well as from the range of and richness of sounds called J. R. Monterose, tenor; Joe Puma, gui-
parade ground, and Men of Brass (Lon- for by the score, the Philadelphia un- tar, and Eddie Costa, vibes. Album is
don LL 1456), massed brass bands of der Ormandy. scheduled for February release.

A emslieng V i NAME TO REMEMBER IN FLUTES anv PICCOLO’

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Down Beat
 test,
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Ernest Talk
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By Leonard Feather
Tommy Dorsey was a good friend of Count Basie and an im-
passioned admirer of the Basie band. He expressed his enthu-
siasm in many ways: by visiting the band almost nightly every
time it played at Birdland, by presenting new instruments to the
entire trombone section, and by using regularly, since early 1955,
the services of the Count’s arranger, Ernie Wilkins.
Because of Ernie’s closeness to the Dorsey organization (he has
continued to write for the band since Tommy’s death), I ineluded
several records that had a direct or indirect connection with TD.
Nos. 2, 3, and 7 featured bands led by past or present Dorsey
arrangers; No. 8 featured one of these arrangers’ tunes ag reor-
chestrated by someone else, and No. 10, which fittingly received
the highest rating, was by Tommy’s own band.
Ernie was given no information, before or during the test,
about the records played.
aron
, for
The Records 4. Ted Heath at the Palladium. The Great I’m quite sure. As you know, I’ve al-
’ the 1, Johnny Richards. Band Aide (Bethlehem). Lie (London). ways loved Sy’s singing and personality
| by Richie Kamuca, tenor; Buddy Childers, I thought that was a rather com- along with Joe Thomas and Willie
All. first trumpet solo; Maynard Ferguson, mercial big band thing. For what it Smith and those guys. Naturally, I
second trumpet solo; Marty Paich, pia- is, it’s good, but there’s not much jazz. like the original Lunceford recording
one The arrangement is not sensational, but better because of its freshness, but I
That no; Stu Wiliamson, Frank Rosolino, it’s well played and has good balance like the tune. I’ll give it four stars,
rold- trombones. and blend. The rhythm section was
pia- Gee! I know that was a big band. I’m loose. I’ll give it 2% stars.
ASS; trying to figure out who it could be. I 8. Pete Rugolo. Fawncy Meeting You (Em-
do like the arrangement—it’s a little Arcy). Russ Freeman, piano; Shelly
5. Bill Russo. The First Saturday in May Manne, drums; Dave Pell, tenor; Pete Can-
mn is different from the usual big band ar- (Atlantic). Russo and Bill Porter, trom-
rangements ... has a lot of imagina- doli, trumpet; Neal Hefti, composer; Pete
bones; Sandy Mosse, tenor; Eddie Baker, Rugolo, arranger.
tion. I liked the trombone solo and the piano; Israel Crosby, bass; Mickey Sim-
tenor very much. I started to say it I know that was Neal Hefti’s Fawncy
onetta, drums. Meeting You by Neal’s own band. I like
was Richie Kamuca, but I really don’t That sounded like a West Coast
know who it is. The solos were swinging the arrangement he wrote for Basie a
group to me. The trombone solo and lot better because it hangs together bet-
—good ideas. tenor solo didn’t show too much origi-
I think this was made on the west ter. I don’t know who the piano soloist
nality—sounded the way most guys was, but I think it was Gus Johnson
coast. I don’t know who the piano sound these days. There wasn’t much
player was. I thought it was competent on drums. . . He played better on the
fire to the over-all thing. I thought the Basie version. The recording balance
but not outstanding. I think the first piano was underrecorded in comparison
trumpet solo was Shorty. The second wasn’t too good, either.
to the bass and drums. Sounds like he’s That was Seldon Powell on tenor.
trumpet that came in later was May- way out in left field somewhere. The
nard. I like the way he spotted in this He’s talented, but I believe he needs a
arrangement was pleasant but nothing lot more experience. The trumpet play-
arrangement to produce excitement. to get excited about. Give it 2% stars.
There’s no doubt that Maynard is a er was nice—sounded on a Dizzy kick.
very fine player. I remember how I Neal is one of my favorite arrangers,
6. Duke Ellington. My Funny Valentine (Beth- but I just don’t really get this. I'll give
enjoyed him when I worked with him lehem). Arr. Billy St-ayhorn; Jimmy Ham-
at Birdland in that “dream band.” I’d it 2% stars.
like to get this record. Give it four ilton, clarinet; Ray Nance, trumpet;
Quentin Jackson, trombone; Harry Car- 9. Count Basie. Seventh Avenue Express
stars. ney, baritone. (Victor). Buddy Tate, tenor; Harry Edi-
2. Paul Weston. Body and Soul (Columbia). Leonard, I think the recording could son, trumpet; Dickie Weils, trombone;
Babe Russin, tenor. have been a lot better. It sounded very Buck Clayton, composer.
I’ll take a wild guess and say that’s shrill in spots—in fact in most spots— That’s one of the good old Basie
Georgie Auld. I thought the arrange- especially the clarinet. I don’t know things. The band was so busy on that
ment was nice—it didn’t get in his way. whether it was the engineer or what,
but the balance in the record is not up tune! Buddy Tate on tenor, and I’m
However, I’m a little spoiled. I got the quite sure it was Harry Edison on
album Coleman Hawkins did for Victor to par. It sounds like Duke’s band or trumpet. I think that’s one of Buck
that Billy Byers wrote for that big some fellows out of the band for a Clayton’s things, but I’m not sure. I
band with strings. Coleman is still the date. Duke usually gets very good re- don’t think it’s really one of the things
only one who can play Body and Soul cording and balance for his band. It that is best representative of the old
for me. This performance sounded sin- could have been a Strayhorn arrange- Basie band. Dickie Wells on trombone
cere, though, and it was nice. I’d say ment. —he kills me... he’s one of the great-
three stars. I like the way Carney sounded when est. Ill give this three stars.
he came in, and it must have been
3. Neal Hefti. Saha.a's Aide (Coral). Don Quentin Jackson on trombone with that
Lamond, drums. growl which I still like. I didn’t like the 10. Tommy Dorsey. Falling in Love with
That was reminiscent of Les Brown, trumpet solo—he sounded shaky . Love (Decca). Billy Butterfield, trumpet;
in a way. The introduction was also I think it must have been Ray Nance. specially assembled vocal group; Neal
reminiscent of TD’s Song of India. I I hate to think that if it’s Duke’s band, Hefti, arranger.
like the first chorus after the introduc- I have to say something like this about I like the trombone and trumpet solo
tion with the trumpets and Harmon the record. I’ll give it three stars be- —I wish I knew who they were. Every-
mutes. The trombones were open, I cause there are a lot of things in the body sounded very good, I thought. I
think. I also liked the reed chorus. I music that I really appreciated. think the vocal group is a group that
didn’t particularly care for the tom- has worked together for a long time—
tom beat—it’s been used a lot. Over-all, 7. Sy Oliver. Four or Five Times (Decca). I’ll say it’s the Ray Charles singers.
it’s a good dance arrangement. Give it That was Sy Oliver with a studio This whole record was good. I’ll give
three stars. band and a comparatively recent thing. it 4% stars.
Seat January 9, 1957 33
 when we played the Strand. He liked to converse with, a slave driver to
Dorsey Tributes the sound of the section. It’s not the work for. He expected others to follow
note, it’s the sound that’s music. It his pattern. The greatest thing you can
(Jumped from Page 14) was Tommy and Claude Jones who say about him is that he was eager,
made me sound-conscious. ambitious, and determined.”
kind of inspiration that won him legions “Tommy was also very much con-
of followers; it was this same kind cerned with breath control. I remember Jo Stafford: “I wish that every girl
of inspiration that won him many he once advised me: ‘Tyree, get a glass vocalist starting out her career could
friends.” of water, put a straw in it, and then have the opportunity of working with
ration your breath and see how long a band such as the Tommy Dorsey or-
Guy Lombardo: “It’s hard to believe you can keep blowing through that ganization I joined as a member of may
that he’s passed on. Tommy was just straw into the glass of water.’ It was the Pied Pipers. I’m certain that Tom- the
about the strongest pillar in the music because of his breath control, because my’s trombone style must have had an of e
business. He always seemed too much he breathed from the diaphragm, that effect on every singer who worked with
alive to die. We’ll all miss him very he could play four and eight and even the band,
much. He certainly was one of the 16-bar phrases. “I know that in my case I learned a
greatest musicians and showmen this “Tommy knew what he wanted to great deal about phrasing and breath
country ever saw.” hear. He had the chops, he had the control while sitting on the bandstand
technique, he had the heart. If you listening to him play. In addition, he
Dick Haymes: “What can | say? I’ve don’t have the heart, you might as gave me my first opportunity to step ‘
\
lost a great friend. I came to Tommy well as throw the instrument away. He out of the group to perform and record
as a nobody, and he made me a some- poured his heart into that instrument. as a soloist.”
body. On .the bandstand he was my He had everything to go with the trom-
boss, but off it he was like a father to bone. It’ll be a long time before we get Ziggy Elman: “My fondest memories
me.” another one like him. Just say he was of Tommy are of the times when we
a trombonist!” used to switch horns to open or close
Pee Wee Russell: “I came up with the shows. He loved to play trumpet
Tommy into the music world more than Matt Dennis: “Always the perfection- and did so very well, while I studied
35 years ago. When you know a man ist, T. D. would never sacrifice a good trombone for years. We sure had a lot
like him for that many years, it really song, arrangement, or a vocal rendition of fun with me out front with his horn
hurts when he leaves you.” just to meet any current fad or market and Tommy blowing in my trumpet
for inferior music which unfortunately chair. I guess I was his right-hand
many others have seen fit to do by man; used to conduct the band in his
Willard Alexander: “The band busi- absence. We roomed together, played
ness has lost one of its strong and today’s standards (or lack of stand-
ards). tennis together. What can you say
moving forces. Tommy Dorsey was un- when you lose such a friend?”
doubtably one of the giants that have “Tommy Dorsey left us all an ideal
come along in the creative field of dance to follow—that of always maintaining
honesty and integrity in our efforts to Jack Leonard: “The influence Tommy
music in the past 25 years. His con- Dorsey has left on popular music and
tribution as a musician and his in- produce the best in us no matter what musicians wil] be with us always. His
terpretation of American music will part we play in this fabulous music loss will always be felt by me.”
establish him for all time as one of the business, whether it be singer, instru-
really great musicians of our era.” mentalist, songwriter, publisher, disc
jockey, or record supervisor. My asso-
Tyree Glenn: “The trombone is like ciation with Tommy was a rich musical
experience and education for which I'll lron Curtain
the human voice. You can do anything always be grateful.”
with it that you can do with the human (Jumped from Page 19)
voice — if you know the instrument there will be a freer flow of such ma-
thoroughly. And Tommy Dorsey did. Benny Goodman: “Tommy was one of terial.
He had it. He made the trombone rec- the great trombone players and had For many years, Garda had sought
ognizable; he knew how to reach the one of the great orchestras of his time. to find a way to get to the United
masses of people. It’s really tragic to lose one of the States. This desire was motivated, to
“For me, he did on trombone what pioneers of American popular music. a great extent, by the appeal of jazz.
Lionel Hampton does for me on vibes— We were both in Sam Lanin’s radio “I told the club members I was going
listening to him gave me the inspira- orchestra back in the late ’20s, and we to escape,” Garda says. “They told me
tion to play, to keep studying, to seek recorded together in 1930. Tommy was to tell our story to Down Beat when I
further. As for how well he knew the very gregarious all the time and al- got to America. I always wanted to
trombone, the trombone is made to be ways on the go. That’s how I want to come to America and to have the op-
remember him.” portunity to tell Down Beat about jazz
played in the open positions. You can
do more if you play in A and E and D in Hungary. Now I have that oppor-
and all those keys, and Tommy very Howard Christensen (former Jimmy tunity.”
often did; he played in those brilliant Dorsey manager and friend of both THE OPPORTUNITY, however, came
keys more than most trombonists do. Dorsey brothers) : “Tommy had a great in the face of great sacrifice. Garda’s
His theme song was in D natural, and imagination. He was a tireless worker. parents remained in Budapest. He left
his masterpiece for me was Melody in He’d get up in the middle of the night his drums and other possessions there,
A. Another of his records I’ve got put to get things done. He lived an un- too.
away is On the Alamo—he also played scheduled, hectic life. He always had He is faced with the task of finding
that in A natural. to have something going for him, and employment as a jazz musician, without
“In those keys, you can do whatever it had to be the best. He was a perfec- the funds to finance any of the initial
you want to do—you can use hand vi- tionist. expenses. Currently, he’s awaiting an
brato, etc., more freely. But you’ve got “The squabbles he had with Jimmy, answer to a letter to the American
to know your positions to play in those which might have seemed bitter, were Federation of Musicians requesting a
keys. always their affair. There was a basic waiver on membership fee payment
foundation of love. I remember when until he can earn some money ag a
“Tommy liked to play jazz and al- Jimmy was ill, with a booking to fill musician. He’s eagerly searching for a
ways wanted to play more of it. I in Philadelphia, Tommy took over. He set of drums he can use or borrow until
appreciated everything he did. What- rode a train in nightly to head the he can buy his own set.
ever he played was clean and in tune band. They always had a love and re- He comes to America with hope and
no matter how fast or slow; he played spect for each other. I have never heard ambition. He comes seeking to learn,
everything without stumbling. He hit a man who could equal him on trom- to grow, to contribute to the progress
each of the notes right on the head bone. He’ll be remembered long after of jazz. He says he feels that jazz is
like a trumpet. You don’t hear any others are forgotten, because he never America’s most vigorous propaganda
syrup going through the notes. had a bad band. And he had the respect weapon.
“When I was with Cab and the trom- of his musicians, too. “The young jazz lovers abroad can
bone section also included Claude Jones, “Tommy’s aggresiveness, his restless- create more pro-American propaganda
Quentin Jackson, and Keg Johnson, ness, made him a success. He worked. than 100 radio stations,” he says, “be-
Tommy used to sit down and talk a He was one to strive for that ‘just cause they feel that a country with such
lot with us. He’d often be in the wings right’ effect. He was a charming guy music must be a wonderful place.”
3S-m—
O=©=
34 Down Beat
P
 By Barry Ulanov
A VERY SPECIAL kind of artistry NSATIONAL
may have disappeared from music with |
the recent deaths, within a few weeks |
of each other, of Art Tatum and Walter is the
Gieseking. Both were
eg of course,
ut they were more word
than that, more than |
merely remarkable | for
examples of profi-
ciency on their cho- |
sen instrument;
both, beyond every- |
thing else, were su- |
ories perb exemplars of
the art of elegance
close in music, perhaps|
mpet the last two survi-
idied vals of a great but almost lost art.
a lot Usually, as I have understood, appre-
horn ciated, admired, and been awed by ele- |
mpet
hand gance in music, it has been a pianist
1 his who has had this quality. There have | See him and hear
ayed been others. The late Emanuel Feuer- |
say mann, the finest cellist of my time, had
it. A few singers, such as the German for yourself
soprano, Tiana Lemnitz, have had it.
mmy But more often than not it has been | his clear full tones
and a pianist, an extraordinary polished pi-
His anist like Serge Rachmaninoff, or Dinu
Lipatti or Gieseking or Tatum; elegant his superb playing style
all; now dead, all of them.
RACHMANINOFF HAD it when he his choice is the
played The Star-Spangled Banner at |
the beginning of a wartime concert;
he had it in his own music, even in
the all-too-familiar Prelude in C Sharp
ma- Minor; he had it in Bach and Chopin,
in Liszt and Schubert and Beethoven
ught and the considerably slight works of
Lited Johann Strauss and Fritz Kreisler.
|, to
Lipatti died young, younger even
oing than Tatum, at 33, before he had had
time to develop to their logical maturity
and inevitable depth the gifts displayed
in his recording of the Schumann and ~— SB concert
Grieg concertos, the Chopin waltzes,
and short pieces by Bach and Liszt and
Ravel. But elegance was fully his, un- TROMBONE
mistakably a central part, not simply
a surface shine, of those beautiful per-
formances which made their way to
recording permanence before he died a
few years ago.
And Gieseking? Was there ever more
exquisite, more elegant, more graceful, |
more tasteful playing than his as he
negotiated the piano works of Debussy
or the more subtle of the Mozart con-
certos? Did anyone ever find more of
the delicate inner structure of the
Beethoven G Major Concerto than he? |
Did anyone ever make Chopin seem less |
cloying, more significant, more like a
man, more like a meditative, contem-
plative, graceful, and quite thoroughly
masculine composer?
AND TATUM? Can one ever forget
how much he made of Massanet’s in- |
nda elegant Elegie? The sensitive frame-
work he imposed upon the vulgar
can Humoresque of Dvorak? The refine- 5225 SUPERIOR AVE.
ments of the art of keyboard playing— CLEVELAND 3,0HI0
nearly all that had been uncovered by
uch a dozen generations of keyboard artists
—with which he lighted up the best-
known melodies of jazz and lightened pes
January 9, 1957
the least well-equipped materials of But musicians, when they have ele- peace peaceful and your personalities
popular music? gance, are more kind about it, show graceful, sit down and play yourself
No, one forgets little of Tatum’s more of it on top and keep revealing some Gieseking and some Tatum and
achievement, because for all of his imi- more the more you work at their per- say a prayer or two of thanks at their
tators, no one has yet come close to formances, as everyone knows who has having been so much with us and of
that elegance which was his. played his Gieseking and his Rachmani- regret at their passing.
There have been suggestions: by Fats noff records, his Lipatti and his Tatum
Waller, in his more relaxed ballads, sides, again and again. BY
those that were not in any way bur- One can only be grateful, now, that a con
lesques; by Count Basie, in some of his Norman Granz recorded so much of Teddy Wilson, Eaton uct? .
rippling asides in a middle-tempo in- Tatum. And one can only insist—as all raw |
strumental or an occasional ballad ac- of us must—upon the reissue of all of form
companiment for such a singer as Tatum by everybody who owns the Signed For Concerts
positi
Helen Humes or in that most elegant rights to any of it, the small companies New York—Teddy Wilson and his print
of Basie assemblages, the seven-piece and the large. Not, I hasten to add, be- group were signed by Columbia Artists press
band of Cafe Society Uptown days in cause all of it is first-rate Tatum and Management and Johnny Eaton and his
New York. not, certainly, because much of it is group by National Concert & Artists We
There have been suggestions, too, of well-recorded Tatum, but rather be- Corp., each becoming the first jazz at- great
a Tatumesque elegance now and then cause this is an incomparable way to traction signed by the major concert of ba
by a Paul Smith or an Andre Previn; know an incomparable musician, who, bookers. sical
in Johnny Mehegan’s first record, years whatever his limitations, insistently Wilson’s concert package will be rema
ago, for Savoy; in Marian McPartland and persistently and consistently dedi- called Teddy Wilson’s Concert Jazz, and poste
on a special night; in Mary Lou Wil- cated himself to the preservation of will include his trio and a clarinet, disca
liams, most of all, in one particular the inner fires and outer graces of mu- trumpet, and trombone. A vocalist and phras
mood of hers, which is most clearly ex- sical elegance. dancer also may be included. The pack- dies,
pressed in her Zodiac Suite. WE MAY NOT HAVE such a man age will make a nine-week tour next A
BUT FORMIDABLE as some of these again, anything at alP like him, in jazz. fall starting Oct. 7. stein
suggestions are er have been, none does We may not have another like Tatum Eaton’s group will be booked immedi- in th
more than approximate Tatum’s art, or Gieseking, or the others I have men- ately for concerts. The pianist, who follov
Art’s really inimitable elegance. tioned as being in the same class, in headed the Princetonians at Princeton stein
It is a matter, I think, of attitude. any music at all in our time. until graduation recently, probably will skete]l
And it is an attitude that does not This sort of value, this sort of high tour with a trio. Eaton’s concerts may and
often find expression in conversation. esteem for taste, for grace, for polish be pegged on his classical approach to of th
Poets achieve it in a kind of indirection and order, for precision and refinement jazz. we ni
that requires severe analysis, deep dig- as virtues in themselves, may not ap- of th
ging beneath the surface; when it is pear in music again for several genera- IT
on the surface, it is usually mere ur- tions. It is not the sort of concern that Gil Fills The Bill Beet]
banity, swank, pretentiousness, or one can expect of a fearfully bloody his ¢
pomp, not elegance as I understand it, world in which peace is more and more New York—Gil Fuller became Gil befor
elegance which comes from inside an indistinguishable from war and hostili- berto to lead the Musicubana orchestra final
artist, which bespeaks a profound inner ty has become the hallmark of the for two Mercury albums here recently.
grace. Painters, too, make you work to human personality. The sets feature cha-cha-cha and mer- Th
find it. But just in case you prefer your engueg. Beet]
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and |
beati
drink
ings.
Ur
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these
what
ingt
of B
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Down Beat
 used, even though I retain some doubt formance of the work which he seems
whether the fragment which he assumes to have analyzed so thoroughly? Is a
urself classics d@5 to have gone into the coda was really Bernstein-Walter ticket so essential for
n and meant to fit there. this record to sell?
their It should be mentioned that Bern- Whatever commercial strategy may
nd of stein first did this illustrated back- have been responsible for Walter’s con-
By Imanuel Willheim ground study of Beethoven’s Fifth on ducting the symphony in its entirety, I
one of his brilliant Omnibus television should like to report that the reading
BY WHAT CREATIVE process does programs. I then thought that the pro- is deliberately expansive, in spots
a composer arrive at his finished prod- gram was by far too good to go the rather percussive, and for my personal
fon uct? Does he struggle with the musical way of all TV productions. I am, there- taste somewhat too heavy.
raw material in search of a concrete fore, very glad that this Beethoven I prefer Kleiber’s more dynamic ap-
rts form for his ideas? Or does the com- study has now acquired a more per- proach. Furthermore, the balance of
position flow from his pen ready for manent form. the instruments is slightly bottom-
d his print, ready to be played, ready to be heavy. Whether my inability to hear
rtists pressed on records? THE REVERSE SIDE of the record clearly the various inner voice parts
nd his brings a complete performance of the is due to the recording technique or to
rtists We are safe to assume that each Beethoven symphony by Bruno Walter.
great composer fought a different type Walter’s conception, I cannot say.
Zz at- Why Walter? Isn’t Bernstein more than Still, I should like to hear what Bern-
yncert of battle with whatever constitutes mu-
sical “matter.” Sometimes there even capable of conducting a complete per- stein would do with this work.
ll_ be remains signs of such struggles for
z, and posterity to behold with awe. They are
inet, discarded musical sketches, crossed-out
t and phrases, amputated or enlarged melo-
pack- dies, slashed orchestrations.
next A new recording by Leonard Bern-
stein puts us now, for the first time,
medi- in the position where we can actually
who follow the course of such a battle. Bern-
iceton stein has looked through the extant
y will sketches to Beethoven’s Fifth Symphony
} may and tried to piece together on hand
ich to of these scribblings the growth of what
we now recognize as the first movement
of this work.
IT IS GENERALLY known that
Beethoven, unlike Mozart, wrestled with
his compositions, often waiting years
Gil before shaping his material into its
estra final form.
ently. ~ be
mer- There are numerous anecdotes on
Beethoven’s manner of composing. Stor- Model FHCB
ies are told of how he would pace up |
and down in his study, screaming and for GUITARS
beating time, how he would ignore food,
drink, and his entire physical surround-
ings.
Until now those who lacked access to
Beethoven’s sketches could only read
these accounts and idly speculate on
what went on in Beethoven’s mind dur-
ing these inner battles. With the issuing
of Bernstein’s record, the average mu-
sic lover can now hear some of these
sounds of battle.
When these sketches come to life When newer, more modern Production Techniques
under Bernstein’s baton, we gain an
insight into the uncompromising mind show the way for improvement or betterment of the /
of a genius and receive a master les-
son in the practice of artistic self- ,
discipline. To the musician, the un- DeArmond line of microphones, they are /
folding of these sketches becomes a ‘
lesson in composition by Beethoven him- . . ° f
incorporated just as soon as practical—and /
self. 4s
HE SHOWS FIRST a simple, rather usually ‘at no additional cost to the musician.
ordinary melody. Then he enlarges a
motive here, cuts out another one there,
expands the entire melodic are and sud- Be assured that you own the finest
denly, or rather slowly, since it took
Beethoven eight years and 14 versions, microphone that you can buy.
there emerges the theme of the second \
movement of the Fifth Symphony. New colorful
folder gives
Or we hear a final cadence. It seems full details
perfectly sound. But no— Beethoven of DeArmond Microphones also available
changes it. Now it is much more im- Microphones. for Mandolins, Bass Viols,
agtnative. Yet again Beethoven discards Write today! Violins, and Ukuleles.
it. Why? Seemingly because this new
expansive quality is unsuitable to the
character of the movement. And so we
end up with a terse, unadorned cadence ‘
which, upon comparison, proves infinit-
ely more effective than the others. < ° 1702 WAYNE ST.
Bernstein must be particularly com- PII lil» dustries TOLEDO 9, OHIO
mended on the imagination with which
he reconstructed the sketches which he
January 9, 1957 37
Beat
 for his wonderful] television show which
hit just the right note.
Sy “He was nothing but good for the
whole idea of music,” Woody said. “And
with his wild, gay abandon, he fought
By Ralph J. Gleason them all and got it all done, too.” He
was a big chunk of American music,
A MAN DIES on the other side of that miner’s son from Pennsylvania,
the continent, a man with whom you’ve and they’ll be playing his records yet
exchanged perhaps 50 short sentences when the rest of us have gone.
in 20 years and yet you feel you’ve lost YOU DIDN’T HAVE to know Tommy
an old, old friend. to miss him. All you have to be is over
It was like that 30 with a love for the good times and
when the story said the autumn nights with the radio on
Tommy Dorsey was in the car and dates at the Astor Roof
dead at the age of and the Palm room and all those crazy
51. records. He may have been a hard guy
in many personal relations, but he was
I didn’t know al] music. All the way.
Tommy Dorsey. But This is a sentimental piece you say?
like thousands of —you who never felt that glow and
other teenagers in who don’t miss him now. That’s all
the ’30s, I grew up right. He was the Sentimental Gentle-
with his music and man, and [’ll bet for all his strength,
it was, and remains, he would have been touched to know
a personal thing. We he would be missed so much.
all started out to- .
gether, so to speak. First when we
would see him sitting in with the band
at a 52nd St. joint. Then when he
formed his own band and broke it in
at the Club Fordham. And then when ‘feather's nest “4
he played one of his first big college
dates at the Columbia junior prom.
By Leonard Feather
That was in 1936—Feb. 28, to be
exact—and Red McKenzie was vocalist THE ARTIST’S reaction to adverse
for the night. Columbia jazz fans were criticism betrays one of three emotions.
particularly fond of that band because The first and likeliest is sheer torrential
Freddie Stulce lived in the dorms and anger, a gust of disgust, expressed in
because Paul Weston, then a Juilliard such terms as “Where the ---- does he
student and a resident of Livingston get off writing that way? How much
hall where he used to play piano in the horn can he blow? He doesn’t know
lobby sometimes, was writing arrange- B flat from a hole in the wall.”
ments for the band. Sometimes these reflections are C
WE USED TO HAVE a standing or- couched in more gentlemanly or lady-
der at the Bookstore for the Dorsey like terms, but their purport is the
records as they were released, and it same: that the criticism was an un-
was a big topic at all-night record ses- justified attack on the part of one who
sions whether Bunny or Pee Wee Irwin cannot practice what he preaches.
blew a particular bit. THE SECOND TYPE of reaction is
Then there was that wonderful pe- the rationalization: the artist has every
riod at the Palm room of the Commo- excuse at his fingertips. That perform-
dore when everybody went down two ance was the day his sinuses were act-
or three times a week and beat the ing up, and the mike wasn’t working
cover rap by never sitting down. And right, and the rhythm section was bug-
the time when Earl Hagen played the ging him, and someone had just served
Dorsey solos on the radio every night him a summons before he went onstage,
when T.D. went off on a quick one to and he had a leaky valve. Besides,
... was it Bermuda? ... and nobody he hadn’t played in almost 48 hours,
but the boss, the patrons, and the band and his aunt was seriously ill that
knew it for two weeks. day, and they released the wrong take
anyway.
Woody Herman put it vividly when To this artist, the possibility of a
he said that—the last of the glamour faulty performance is not to be denied,
of the band business went with Tommy. but the idea that the fault might lie in
The complete end of the whole thing. the artist’s own incompetence is un-
His was the great period, when you thinkable and, invariably, unthought.
could make money and keep it. And he
did, for I read he died fat after a full THE THIRD REACTION is that of
life for 51. the artist who frankly admits the criti-
cism is justified and even tries to act
Drum IT’S STILL HARD to believe he’s on any constructive pointers in the
gone. Everyone of us who grew up in review. This third category is so rarely
those years listening to him on records found in its pure form—unmixed with
and on the radio or dancing to the choler, spleen, or bile—that it becomes a
Heads band lost something personal, a little heartwarming experience to run into
bit of our own mémories. The radio has a sample. That’s why I fell in love with
been blaring his records night and day June Christy (pardon me, Bob) the
since he died, and a lot of it has been moment I saw her interview with John
Amrawco by guys who hadn’t played a Dorsey Tynan in the Oct. 31 Beat.
record in years. June said of her intonation, “I know
Del Courtney, though, the former it’s faulty. I’ve always known and
bandleader and now a KSFO disc jockey haven’t really minded when I’ve been
in San Francisco, did a wonderful show criticized . . . I don’t think I swing
THE ONLY THICKNESS-GAUGED of all the good old good ones spiced very good either.” (Wonder whether
DRUM HEADS IN THE WORLD! with memories—and not the least bit she’d mind comments on her grammar?)
maudlin. And God bless Jackie Gleason And she adds, “Just one set of Ella’s

38 Down Beat
Jan
which
r the
“And
)” ht
e
nusic,
rania,
s yet
mmy
over
; and
io on
Roof
crazy
| guy
. was

say?
and
s all
ntle-
ngth,
know

Ss i
|
. BIOWN

i DANCE BAND

verse
sions.
ntial
ad in
2s he
much
know
are
lady-
Basi
our BASIC

the
un- JAZZ BAND
who

on is
very
orm-
act-
‘king
bug-
rved
tage,
ides, a Clliott

ours,
that MISCELLANEOUS INSTRUMENTS
take

of a
nied,
ie in
un- Conn extends congratulations to the great names selected
nt. as outstanding favorites in DOWN BEAT’S popularity poll.
it of We are proud that to help achieve their superb musical
‘riti- effects so many winners play Conn—"‘Choice of the Artists!"’
. act It is particularly significant that in the two winning bands,
the Conn predominates. Why not be a winner too? A Conn in-
rely strument will help you reach the pinnacle of your musical
with
es a ability! CONN BAND INSTRUMENT DIVISION, C. G. CONN
into LTD., Department 171, Elkhart, Indiana.
with WORLD’S LARGEST MANUFACTURER OF BAND INSTRUMENTS
the
John

now
and
been
ving
ther
ar?)
lla’s

erat
January 9, 1957 39
 is enough to drive that point home.”
Drummers "Go Modern" It is plain to see that anybody who
Get Your Feet “Out Of The Jungle" can talk with such a disarming lack of
hypocrisy is a living doll. This kind
Buy CAMCO Flush Base Stands of thing makes one want to like June,
makes it a pleasure to reflect that
her last album (with those elegant,
mink-lined Rugolo arrangements) was
her best ever, that her intonation had
improved, and that she did swing.
I’m sure she made more friends,
among critics and fans, in that inter-
view, than if she’d explained that it’s
the rhythm section that doesn’t swing,
and that it was the piano, not her
voice, that was out of tune.
* * *
‘ y | AGENDA, CORRIGENDA: Hazel
<ogmergen,a Reet |Meccano Scott says that during her last incum-
bency at the Flamingo in Las Vegas,
| Negro patrons who were not celebrities,
just persons like me and thee, had ring-
side seats and were courteously treated.
Happy to report this, and I hope it
represents a trend in Vegas, but I’d still
like to know how much longer the over-
night customers’ complexions will have
to match the bedsheets.
* * *
“Dear Leonard: Since you were re-
sponsible for bringing George Shearing
to this country, I would be interested
in your opinion of the group as of
circa 1956. In my opinion the group
has deteriorated into a poor man’s
Three Suns with the sun just about
ready to set. Shearing was the man I
CAMCO DRUM ACCESSORIES CoO. first dug when I started hearing jazz
for the first time in 1951, and it’s too
9536 S. Tulley Avenue Oaklawn, Illinois bad he’s disintegrated.
Tom Hussey
a Providence, R. I.
Well, Mr. Hussey, I’ll tell you. Five
years ago I’d have got all worked up
about the commercialization of the
Shearing group. Today I say that as
long as we can dig the Messengers or {
Max Roach’s quintet or the Adderleys, \
and as long as George can have all
Tanks

the creature comforts to which his

(For the fifth straight year) velvet carpet has led him, then good
luck to him and to the Embers custom-
ergs and good luck to you and me who
have such a wondrous variety of jazz
Aot Bows } styles open to our ears.
If disintegration implies a loss of
Cy direction, a falling apart, then the
Latest Columbia Shearing combo has not disintegrated;
Record Album Release: PERSONAL REPRESENTATIVE George knows just where he wants it
to go, and in its own way, which is not
“The Art of Van Damme" JACK RUSSELL your way or mine, it is as integrated
(CL876) 203 NORTH WABASH, CHICAGO, ILL. | as a group can be. And now, if you'll
pardon me, I’ll go back to my turntable
—— ra and the new sides by Blakey.
LOEB EE EEE EH EEE EEE EEE EEE EHEEEEEE EL ESE OEEEEEEEEEEEE FOO
a SENSATIONAL NEW $
ee = ¢
100 In/ Reasons
$3 7 ~
o¢ SONG WRITING CONTEST ¢% ; :
€é In cooperation with K-Bee Music Corp. and the great band lead 52 New York—During a recent in-
$3 “- T P s wu terview on WABD-TV, Mike Wal-
$3 ONY PASTOR 3 lace asked Billie Holiday:
33 The great new TONY PASTOR ORCHESTRA recording of “Sunday 9% “Why is it that so many great
33 in Savannah,” “Rhumba-Tango,” “Strange Beguine” and “Jersey 3 musicians die at a young age?” He
oe Bounce,” an Extended Play 45 record, has all information on the $$ mentioned Tatum, Waller, Tesche-
33 sleeve of the record. $1.49 value for $1.00 3 macher, ete.
o¢ Send $1 for your record and rules ¢ “The reason,” said Billie, “is
$3 Winners’ Songs Will Be Recorded «--- Sleeve of record is your entry 3 they try to live 100 days in one
@® by Futuramic Records and Pub- blank for one song in contest—no 6 day. Most of them have had so
. Pte 2 other charges. Send cash or money ¢% little when they were young, that <
2 nee OF uturamic. order to Futuramic Records, P.O. 3 when they do get something, they
oo Box 634, Silver Spring, Md. é try to cram it all in. I’m like that,
990 0000000000000000000000000000006000000000000000000008 too.”
Feeeeeeoeeoeee oo Coeooe (5765)
40 Down Beat anu
le.
y who
ack of
; kind
June,
; that
egant,
) was
n had
ng.
riends,
inter-
at it’s
swing,
it her

Hazel
ncum-
Vegas,
rities,
| ring-
eated.
ope it
'd still
-over-
| have

re re-
aring
rested "| AT FIRST GLANCE, the music at the top might throw
as of ee the average clarinetist. But it’s really very simple.
group
man’s aii es The solution is at the bottom of the page,
about iwhere the same four bars are written the easy way.
nan I
y jazz Our point is that the obvious is often overlooked .. .
’s too
~ and that some musicians make their work unnecessarily
y strenuous and fatiguing, while others seem to play
m 1
. Five their jobs the easy way.
ed up Perhaps you’re a reed man who doubles. Maybe you're
f the
at as a “legit” clarinetist or oboe soloist. Whatever your
ars or musical field, you'll find that Martin Freres woodwinds
rleys,
ye all relieve you of tone and mechanical problems,
h his
good let you concentrate on technique and interpretation.
stom- They make your job easier.
> who
* jazz Ask your dealer to arrange trial of a Martin Freres
soprano clarinet, alto clarinet, bass clarinet or oboe—soon.
ss of
1 the Literature and name of your nearest Martin Freres
‘ated; dealer on request.
nts it
is not
‘rated
you'll
itable
NOW TRY IT THE EASY WAY!

be = == = => >— SSS > SS =

in- The same music is written here the easy way. It’s a
‘al- simple Chromatic Scale! Try this one on your friends . .
and try a Martin Freres woodwind.
eat
He
he-
“ig SOPRANO CLARINETS * ALTO AND BASS CLARINETS * OBOES
one
so LaMONTE
hat CoupeT * JEAN MarTIN MARTIN FRERES WOODWINDS
hey MARTIN FRERES
lat, Buegeleisen & Jacobson, Inc.—5 Union Square, New York 3, N. Y.
(5765) In Canada: 720 Bathurst Street, Toronto 4, Ontario

Beat anuary 9, 1957 Vi

 of the “nature, habits and preferences
Book Review of the typical jazz fan,” particularly
with regard to his and her record buy-
ing. Between 500 and 1,000 answers to
a detailed set of questions form the
Valuable Tome material for the charts and subsequent
LEONARD FEATHER, like Jane’s commentary. There is also a brief sec-
Fighting Ships, has become an annual. tion on the jazz Disc Jockeys in which
His first sequel to the Encyclopedia of the most astute opinions are by Willis
Jazz is the Encyclopedia Yearbook of Conover although all have something
Jazz (Horizon Press, $3.95, 190 pp.). pertinent to say.
Though naturally containing fewer The most absorbing new feature of
pages than the parent tome, the Year- the book is the Musicians’ Musicians
book is in the same clear, spacious Poll in which 101 leading jazzmen
format. voted for “the greatest” ever and also
The introduction by Benny Goodman «“new star” in 18 categories. This is
is rather innocuous and much less pro- the first time a large number of musi-
vocative than Duke Ellington’s last cians have voted for all-time choices
year. Feather next sums up the past as well as new stars. Feather is to be
year in What’s Happening in Jazz, a congratulated for conceiving and exe-
useful but somewhat surface account cuting the idea and for the diligence it
that should have contained more do- must have taken to get the 101 ballots.
mestic details and at least a survey of I would point out, however, that of
the considerable jazz activity abroad. the 101 voting, between 60 and 70 by
This summary chapter contains two my count could be loosely classified as
most debatable assevtions. In mention- modernists so that the results, while
ing the jazz activities of the Rev. extremely interesting, are not as com-
Norman O’Connor, the Rev. Alvin Ker- prehensive as they might have been in
shaw, and the CBS-TV religious series, a more extended poll including more
Look Up and Live, Feather opens the traditional and swing era jazzmen.
paragraph with: “The strangest and WERE BALLOTS sent, for example,
least logical step taken by jazz was its to Baby Dodds, Vie Dickenson, Pee
PAUL DESMOND - Se/mer (PARIS) Saxophone sudden involvement with religion.” Wee Russell, Red Allen, Buster Bailey,
WHY? WHAT IS illogical about a Art Hodes, Zutty Singleton, Milt Hin-
priest or a producer for the National ton, Wilbur and Sidney DeParis, Omer
Council of the Churches of Christ in Simeon, Kid Ory, Willie (The Lion)
the U.S.A. feeling that jazz deserves Smith, Miff Mole, Joe or Marty Mar-
Play a Selmer—and enthusiastic study and a wider disper- sala, Max Kaminsky, Jack Teagarden,
you'll play better, too. sal of its message? Edmond Hall, Ralph Sutton, Danny
Find out why—see your The Kershaw case is somewhat am- Barker, George Lewis, Albert Nicholas,
bivalent, but he too accomplished more Paul Barbarin, Wild Bill Davison, Don
Selmer dealer good than harm, and I believe his basic Byas, Bill Coleman, Dicky Wells, Harry
motivation to have been honest. Any- Edison, Jimmy Crawford, Trummy
way, why imply an unbridgable chasm Young?
between jazz and religion? Jazz is for It is nonetheless a fascinating poll,
Knewing whoever feels it, for secularists or for particularly because Feather has print-
Father Huddleston, a jazz partisan ed the complete ballots of all but 15
who has been trying to enlist jazz in voters who preferred their choices to
HARMONY his fight against South Africa’s apar- be secret.
MEANS theid system. This is illogical? Among Bob Brookmeyer’s selections,
The second and more serious misap- for example, are Louis Armstrong, Pee
Opportunities prehension by Feather is: “Extended Wee Russell, Jelly Roll Morton, Harry
forms, used by John Lewis, Gunther Carney, and Sid Catlett along with
in Schuller, and other musicians both Bird, Mulligan, and Konitz. Miles Da-
from inside and outside jazz, combined vis picks Louis, Roy, Dizzy, Hackett,
RADIO with the increasing frequent use of Harry James, Clark Terry, and Fred-
atonalism and 12-tone rows, reduced die Webster.
and the line between jazz and other music Both Buck Clayton and J. J. Johnson
forms almost to invisibility.” select the late Fred Beckett on trom-
This conclusion just isn’t true. There bone, and J. J. explains that the for-
TV is a clear, instantly audible difference mer Harlan Leonard and Lionel Hamp-
in rhythmic and melodic character and ton sideman “was the very first trom-
tonal color between the best jazz work- bonist I ever heard play in a manner
Train for TV with a great Home Study ers in advancing forms—such as Lewis, other than the usual sliding, slurring,
organization. Recognized over 50 years. Schuller (in his jazz works), Giuffre, lip trilling or ‘gut bucket’ style. He
Study in your spare time. Send today for Mingus, Charles (in his jazz works),
Gil Evans, on one side, and Nono, Dal- had tremendous facilities for linear
— Sample Lessons. Check subject, improvisation.”
elow. lapiccola, Carter, Sessions, Riegger,
See neue eueuaes Hovhaness, Stockhausen, Frank Mar- Armstrong selects Berigan and Hack-
tin, on the other. There has been some ett with Braff as new star while Diz-
UNIVERSITY EXTENSION blurring but thus far not in any sig- zy picks Louis, Miles, Roy, Hackett,
CONSERVATORY nificant works on either side. and Freddie Webster with Clifford beer
Dept. E-676 2000 S. Michigan Chicago 16, Ill. It is, therefore, misleading for Feath- Brown as new star. hea
er to state, “The demarcation between Pres
DANCE BAND ARRANGING HARMONY A FURTHER SECTION lists, side by affin
History and Analysis of Music Guitar jazz and classical] music was fading.” side, the polls held in the last year
Cornet - Trumpet [] Voice Mandolin It is not, and I do not think it ever will este
Professional Trumpet Violin for and by the readers of Down Beat, ack1
Piano, Beginner's [] Teacher's [] Clarinet in any important sense. Each language Metronome, Melody Maker, Jazz-Hot,
is best suited for different musical pur- ence
PUBLIC SCHOOL MUSIC Saxophone and Jazz Echo, plus the aforemention- Cru
0 Beginner (7) Supervisor (1)Choral Conducting poses, and the increasing interest in ed Yearbook Musicians’ poll as well as
(} Double Counterpoint Adv. Composition more diverse and challenging formal clud
0 Ear Training & Sight Singing — most recent Down Beat Critics’ neit.
devices from within modern jazz need poll.
Name Age. not and does not mean that jazz is sing
losing or will lose its own essential The biographical section, of course,
Addr self-identification. each year will be the most important a Si
Clty. State. part of the Yearbook for reference reac
AN INTRIGUING section is The Jazz purposes. Feather eventually hopes to for
Music Experience Fan, an expansion of an analysis include “every active” figure in jazz.
Segeeeseeseaes ww Feather first made in this magazine I hope, too, that he also will devote
Jans
eseseaseeeeeaauag
3 Down Beat
srences more space to historical figures whom |
cularly he has omitted from both the main |
‘d buy- Encyclopedia and this first annual—
vers to persons active and inactive, who may
‘m the not have been “major” contributors to
equent jazz but who certainly had some vital
ef sec- meaning in the living course of the
which music and who belong in a book of
Willis this scope.
ething To cite several examples of omissions
as excerpted from a longer list in a
ure of letter in the March, 1956, issue of
Jazz Journal: OFFERING
sicians
Aazzmen Bernard Addison, Cuba Austin, Louis
id also Bacon, Eddie Dougherty, Stomp Evans,
Charlie Green (an inexplicable slight), © A curriculum devoted exclusively to music
This is | is
* musi- Alex Hill, Manzie Johnson, Ulysses Berklee Schoe e A simple approach to Schillinger
Livingston, Jimmy O’Bryant, Lucky authorized to
choices prepare stu oe ““@ Professional coaching in solo, combo and
3 to be Roberts, Floyd Smith (another essen-
id exe- tial), Buster Smith, Don Stovall, Ted- for ananeeaaiee big band Jazz
dy Weatherford, Albert Wynn, and, I
ence it might add, the aforementioned Fred " institutions. ® Intensive first semester arranging courses
ballots. Beckett. ® Professional engagements to
I’M SURE THERE are other hon- qualified students
orable historic names that readers of PO NDENCE
this magazine might suggest, and I CO RR ES
while INSTRUCTION or ACCREDITED FACULTY OF TOP-FLIGHT PROFESSIONALS,
s com- know Feather would appreciate your 2e
sending him lists during the next year @ The four-year collegiate level diploma course may be
een in Per eeaction in completed in two years by students with superior
r more in care of Down Beat. aptitudes, ability and experience.
1en. The biographical section in the Year- @ No knowledge of harmony or counterpoint required
book is nonetheless of value. The for- for entrance.
‘ample, mat is the same as in the Encyclopedia
n, Pee except that still-active names who al-
Bailey, ready have been covered biographically
it Hin- in the first book are just brought up For the top jobs in music. Over 1500 of
, Omer to date in this volume with news of
Lion) their live activities and recordings dur- our former students are earning top sal-
y Mar- ing the last year. There are 575 of aries with Name Bands, Radio and T.V, Stations,
rarden, these updating entries. The only error Motion Picture Studios, Vocal Groups and Schools
Danny I discovered was the statement that the — as Musicians, Arrangers, Vocalists and Teachers.
cholas, Dizzy Gillespie big band played at the
n, Don Newport festival.
Harry Concluding sections of the Yearbook Be sure to hear the outstanding piano work and original compositions of
rummy comprise an announcement and descrip- Berklee student, Toshiko Akiyoshi . .. New Release
tion of Decca’s forthcoming series of TOSHIKO and Her Trio on STORYVILLE RECORDS #+912—
g poll, four 12” LPs prepared by Feather (The
| print- Encyclopedia of Jazz on Records) and
but 15 Leonard’s choice of 52 Best Records
ices to of the Year. et ses BEGIN cepTEMBER
A more valuable substitute for the e Finst SEME: SA ‘
ctions, latter chapter in annuals to come would
ig, Pee be a simple list of all the jazz LPs, PWHUMSME
Harry including reissues, put out during the oll Pog
yr with previous year, preferably with person- = sh ye reuk
es Da- nel and titles. Another chapter—Fav-
ackett, ite Versions of Favorite Tunes—is in-
Fred- teresting to dedicated record collectors DIRECTOR
of particular songs but seems expend-
ohnson able to me. xy
trom- FEATHER ALSO includes the Down APPLY NOW TO INSURE ACCEPTANCE |
ne for- Beat list of where to hear jazz in
Hamp- night clubs around the country; a list e APPROVED FOR KOREAN VETERANS j
. trom- of jazz organizations and record com-
nanner panies; a list of the major booking
urring, agencies, along with a roster of the
le. He musicians and singers each handles,
linear and a generally good selection of some
100 photographs.
| Hack- I do not especially object, incident-
le Diz- ally, to the inclusion of Elvis Presley ~~ =
#4) iP,
ackett, in the biographical sections. I have Se
been in danger of being banished from Ree ie ORSR OKOKOAS ST2 eer
‘lifford Win. &. Haynes Co. a
hearth and local office for stating that SOUID SUVER FLUTES — PICCOLOS
Presley at times indicates an honest 12 Piedmont Street, Boston 16, Mass
side by affinity with the blues, and I am inter-
t year ested to note in his entry here that he
. Beat, acknowledges as his two major influ-
2z-Hot, ences Joe Turner and Bill Crudup. And
ention- Crudup, by the way, has yet to be in-
well as cluded in either of these books and
Critics’ neither has many an important blues
singer, alive and dead.
course, These two volumes, in any case, are Estimates for engraving
portant a solid beginning; and they will be
ference read, consulted—and argued about— and printing gladly furnished - Any publisher our
ypes to for decades. reference + Highest rated in the United States
n jazz. —nat | 2801 WEST 47TH STREET + CHICAGO 32, ILLINOIS
devote
January 9, 1957 43
n Beat
 “Of course 1 USE |
strictly ad lib d -

VIBRATOR Reeds

(Jumped from Page 8)

basis . . . For stay-up-late weekenders,
.». they're the Finest!" | NBC radio inaugurates Marathon, a
program of records featuring the out-
put of a single star from the music or
Cag Ds theater scene. First show was. all-
RCA-Victor Recording Artist... Down Beat’s Jazz Critics Sinatra, with Sammy Davis Jr. the
Poll Winner 1955-1856... Down Beat's Jazz Critics Poll commentator. Marathon starts at mid-
1956-1957 (Secend Place—Benny Goodman First Piace) night Saturdays and runs to 6 a.m.
Sundays.
RECORDS: The Record Industry As-
sociation of America made its pitch
late in November before a house ways
and means sub-committee for repeal
of the current excise tax on records.
Members returned from Washington
with hopeful outlook that the 10 per-
cent tariff would be dropped ... Ann
Blyth signed to portray Helen Morgan
in the Warner Brothers biofilm, The
Helen Morgan Story . .. In London,
Ted Heath just cut an album titled A
Yank in Europe, featuring works by
Raymond Scott.

Chicago
JAZZ, CHICAGO-STYLE: Duke El-
lington’s traditionally pertinent band is
at the Blue Note, entrancing customers
with sounds of the past, present, and
future. Ellington will be in residence
until Jan. 6. John B. Gillespie brings
his exciting band to the Note Jan. 9 for
two weeks. The Oscar Peterson trio and
Rolf Kuhn’s quartet follow Diz on the
23rd ... Toshiko, currently fascinating
London House fans, will be succeeded
by the Barbara Carroll trio on Jan. 2.
“Insist on VIBRATORS" Billy Taylor’s trio follows Barbara’s
Sold by ALL BETTER DEALERS! . . At Mister Kelly’s, the precise
MADE IN counterpoint of Jackie and Roy and the
H. CHIRON CO., Inc. © I1650BROADWAY © NEW YORK 19,N. Y. FRANCE hip calypso of Maya Angelou will rule
for SAXOPHONE and CLARINET until ’56 is history. Kelly’s first quarter
’57 lineup looks like this: January,
1956 Down Beat’s Readers Poll Winner for Clarinet | Georgia Carr and Hamish Menzies;
February, Anita O’Day, and March,
INA RAY HUTTON’S NEW WESTLAKE PIANIST Billie Holiday. New talent will be used
Jo Ann Castle joins Ina Ray Hutton Coast-to-coast TV show 3 wks after to supplement this roster, according to
graduating from Westlake. Full time 2 yr course includes 2 priv. /essons the sound Kelly’s policy . . . The dec- Gr
ao, y ty oe ~~ plus daily band. Appr. for vets. Sch. orators departed their gig at the Pre- Co:
> estiake Colle tét just view’s Modern Jazz Room. Tony Scott you
Pro. bands took six students ‘a hen Ob fannie Aenean Bd $300.00 the
=~. .pemeaaes classes for H.S. graduates. For illus. Catalog and info brought his group in at Christmas time.
He’ll fill the room with modern sounds anc
WESTLAKE COLLEGE OF MODERN MUSIC until Jan. 14, when the Modern Jazz orc
Quartet takes over. ney
7190 Sunset Bivd., Hollywood 46, Calif. 081957 HO 2-2387 Red Arrow patrons are having a ball
on Sundays, when two New Orleans- pla
style groups hold forth. The groups me
in
are headed by Franz Jackson and Ernie
Gollner. Gollner’s group appears nightly try
rs the Arrow, except Monday and Tues-
BAND LEADERS ay.
MODERN JAZZ ORIGINALS SCORED FOR GROUPS OF 8 TO 17 MEN INCLUDING Pianist Dick Marx and bassist-violin- Sel
LATIN — AMERICAN STYLED ARRANGEMENTS. Also, TENOR BAND SPECIALS ist John Frigo, currently the Monday- now
and arrangements styled for your particular group. All types of musical material Tuesday duo at Mister Kelly’s, recently ma
written to order. (Copying, Piano Scores, Lead Sheets, etc.) For information and cut an LP for Coral. The LP, scheduled be
price lists write: you
for release early in ’57, includes Satin bet
METRO ARRANGEMENTS Doll, Fugue for Tin Horns, Sleighride,
P.O. Box 471 Times Square Station New York 36, N. Y. I Love Paris, and I Hear Music. The
latter two tunes will be released ds a
big band single, with Jack Montrose a
possibility to direct the band... The
Exclusive Photos S.R.O. club, a new jazz room at 201 W.
SHORTY ROGERS Goethe, opened Dec. 14 with the Fred
BANDS IN ACTION
Action pictures of all name leaders, musicians, Outstanding Trumpet Student of Kaz trio, featuring Kaz, piano; Lee
vocalists. Exclusive candids! Guaranteed to TAL Harvey, bass, and Dick Tyler, drums.
please or money refunded. 25c each; 5 for $i ‘oof CHARLES COLIN DePaul university conducted its third
76 ARSENE STUDIOS Charles Colin now accepting a annual jazz festival Dec. 17, with pro-
— 7th Avenue, N. Y., N. Y. : limited number of students. ceeds being used to provide Christmas
Glossy, 8x10. Unobtainable elsewhere. food baskets for needy local families.
CHARLES COLIN ™yi4ts: nx360 Dise jockey Daddy-O-Daylie mc-ed the
tt Down Beat
 concert, which featured the Johnnie
Pate trio, singer Lucy Reed, Hal Otis,
Sam Most, Franz Jackson’s Dixieland
group, singer Abbey Lincoln, Ramsey
Lewis’ trio, singer Bill Henderson, and
comedian Leo DeLyon.
ADDED NOTES: Jerry Lewis cur-
rently is conquering patrons of the
Chez Paree as a comedian-vocalist. Jer-
ry will be in command until Jan. 10,
when Roberta Sherwood and Myron
Cohen move in. Liberace will occupy
the Chez for most of February, until
Sammy Davis Jr. comes on like Mr.
Wonderful on Feb. 26 .. . Reports have
it that the Black Orchid is about to
close negotiations for appearances by
Mel Torme, in April, and the Hi-Lo’s,
in May. Leo DeLyon, Abbey Lincoln,
and the Tune Tattlers are now at the
Orchid, with the Mello-Larks and comic
Jimmy Ames coming in Jan. 17 for a
month, Pianist-singer Ace Harris joined
Buddy Charles in the Orchid’s Junior
room ... Chet Roble recently entered
his sixth year at the Hotel Sherman’s
pianobar.
Hollywood
JAZZ JOTTINGS: Red Norvo, who-
never-took-a-lesson-in-his-life, is study-
ing with musician-philosopher Dr.
Wesley LaViolette, teacher of Jimmy
ce El- Giuffre, Shorty Rogers, and others.
and is Norvo’s quintet, at Zucca’s on Foothill
omers Blvd., with Bill Douglass on bass, is
t, and the first interracial jazz group to work Play a Selmer—and
idence the San Gabriel valley club circuit ... you'll play better, too.
brings Rolf Ericson’s returned from a date at
9 for Find out why—see your
io and Birdland with the Dexter Gordon group.
Birdland, Seattle, this is John Selmer dealer
yn the Graas has a swinging thing going with
lating his “Jazz-Lab” sessions featuring Jack
eeded Montrose every Sunday afternoon at the
an. 2. 3. WITH A
bara’s Hat & Cane on Lankershim in the
BETTER NEW valley . . . Bop pioneer Sir Charles
recise acclaimed for
id the Thompson, who’s been on the coast for
1 rule about a year, is seriously considering DEPENDABILITY and
turning golf pro.
larter
ary, NITESCENE: Pete Vescio has the PERFORMANCE
nzies; blasting Maynard Ferguson band
larch, booked into his Peacock Lane for the
used Ow holidays. Ferguson shares the bill with
ng to Carmen McRae .. . Across the street,
» dec- Great stars of the music world play CONN Jazz City has Billie Holiday onstand
Pre- Connstellation and Victor instruments... till Jan. 3, a crazy way to ring in
Scott you'll find enthusiastic Conn users in all 1957 . . . A swingin’ New Year’s eve
time. the great bands (Count Basie, Stan is scheduled with the Buddy Collette
ounds Kenton, Les Brown, Duke Ellington, etc.) quartet at Huntington Park’s Rendez-
Jazz and in the top radio and television studio vous, Buddy opens stint the 28th...
orchestras. Why don’t YOU trade up to a The tenor man with Jack Millman’s FLUTES & PICCOLOS
a ball new CONN and see how much better you group at the Topper is a young Texas > SUPERB TONAL
play —even with less effort! Conn instru- QUALITY
eans- ments are actually easier to blow, better wailer, James Clay . . . Holidays at the EXCEPTIONAL CONTROL
roups in tune, and have finest tone. Prove this 400 club are the wildest, with Teddy AND RESPONSE
Ernie to yourself... visit your Conn dealer and Buckner and band romping into a two- » STURDY
htly try a new Conn—for the thrill of your life! beat New Year. CONSTRUCTION
ues- Bud Shank’s return to the Haig sig- FINEST MATERIALS
PLAY NOW-—PAY LATER AND CRAFTSMANSHIP
iolin- Select the CONN you really want... then play naled a rapid upturn in cash register SMART, MODERN
now—pay later! Your old instrument in trade receipts. In fact, he may be in for a CASES
nday- long stay. The Giuffre three did a one-
ently may make full down payment... balance can
be arranged in SMALL monthly payments. See weeker there last month . . . Christmas
duled your dealer at no obligation. Start playing season at the Lighthouse was the
Satin better, with a better new CONN! swingingest, with Howard Rumsey and
iride, CONN BAND INSTRUMENT DIVISION, gang finding much to be happy about in
The C. G. CONN Ltd., Elkhart, Indiana the festive crowds . . . Next door, in D. & J. ARTLEY, INC.
as a the Dixieland department of the groovy ELKHART INDIANA
bse a beach town, Tom Riley’s Saints are
building a steadily increasing fan fol-
1 W. lowing at the Hermosa Inn.
Fred “Charley'’ WILCOXON presents
Lee ADDED NOTES: Talented singer- The ALL-AMERICAN DRUMMER
ns. guitarist Sheila Moore winds up a plush 150 Smart Rudimental-"Swing™ studies in
third stint the 28th at Allison’s Hacienda, SOLO FORM. Develops reading and execu-
Houston, Texas. Sheila’s another prod- tion to a high degree of drumming skill.
pro- $250 P.P.
tmas uct of Westlake college . . . Dick Palmer, “Charley” Wilcoxon Drum Shop
ilies. trombonist from Massachusetts, is now 349 The Arcade Cleveland 14, Ohio
1 the WORLD’S LARGEST MANUFACTURER west coast disc promotion chief for
OF BAND INSTRUMENTS
Beat 45
 Decca. Off hours, he sits in with local
jazz groups.
—tynan Not For Ours f
SLIP FRONT ORCHESTRA STANDS San Francisco
TODD2

New York—NBC-TV will pre-

St2 There’s still free speech in the jazz sent a “jazz” concert on the Rob-
world. Drummer Sonny Wayne won't ert Montgomery Presents program
New Year’s eve with the follow- FI
let anyone take the following inscrip- ing artists: Caro
tion off the wall of the men’s room at Pete
The Cellar: “Jazz has absolutely no Hugo Winterhalter, his orches- atte
practical value; Asthetically speaking it tra and chorus, Dorothy Olsen, the melo
is worthless, and as a form of com- Nightcaps, Eddie Heywood, Eddie have
munication it is of almost no value.” Dano, Henry (Hot Lips) Levine, com]
Wayne says “Look, the cat has a right Teddi King, and Ann Gilbert. The Ben)
to his opinion!” program of “jazz” offerings will
be called Music for Your New TI
Dick Oxtot’s Polecats are currently Year's Eve. wom
1225 LILAC BOAD @ CHARLOTTE 3.N playing Monday through Thursday at is re
Burp Hollow (isn’t that a_ lovely of L
name?) on Broadway, and Friday and with
When in CHICAGO Saturdays at Reno’s in Oakland. Per- Mario’s, Marino’s, and a variety of into
sonnel is R. C. H. Smith, trumpet; Bill other names in press releases — has Quil
And Needing REPROS Shay, clarinet; Bob Mielke, trombone; given up jazz and settled into a turn
Oxtot, banjo; Lee Sharpton, bass... rhythm-and-blues-plus strippers groove D
See PHOTOMATIC Virgil Gonzalves took his group into Ralph Flanagan’s band is at the that
the Cable Car village for a two-nights- Shoreham hotel’s Blue room . . . Wild as t
a-week-jazz policy, Sundays and Thurs- Bill Davison took on the local “Wild a be
PROMPT Service days, with hopes of making it a full Bill,” name of Whelan in one of their goo
week later ... The Cellar is considering periodic encounters early in December espt
a program of nights devoted to playing at the Rustic Cabin ... Lester Young, an |
the compositions of local San Francisco ably backed by the Bill Potts trio, by ‘
PROTOMATIC co. jazz writers. proved he’s still the President in a
53-59 E. Illinois St. Chicago I!, til. but
Despite all the protestations, the week at the Patio ... Earl Swope and has
Phone: WHitehall 4-2930 Fairmont’s Venetian room is not clos- Jack Nimitz are in demand for gigs fres
ing permanently. They will shut down around the town. (Mi
in January but will open later with —paul sampson cod
bill russe Georgia Gibbs, followed by Eartha Kitt sou
composer-erranger for stan kenton . Benny Goodman’s two concerts in New Orleans titl
offering @ correspondence course the Bay Area were bombs. He drew less C
than 2,000 paid at San Francisco’s Sam Butera and the Witnesses, a roc
writing for the jazz Opera House for a low gross of $3,300 contingent from Louis Prima’s Las Ve- Sa)
orchestra and in Berkeley, the situation was only gas band, followed Al Belletto’s sextet at
slightly better. The concert was dull for into the Dream room. Skip Fawcett, 26, ad
* complete basic course everyone except for confirmed preter- Belletto’s bassist, apparently fell asleep sta
*® advanced material also ists, and you couldn’t hear BG through at the wheel while driving from Buffalo, the
available the ensemble. It was also the worst Y., to Youngstown, Ohio, and was reg
publicized pair of promotions in recent killed when his car left the road and the
1312 ritchie court history here . . . The Macumba may crashed. He is survived by the widow, ne:
go dark during the week and operate who lives in Youngstown . . . The Club tio
chicago 10, illinois Louisiane at Baton Rouge drew large
only on weekends . . . Business very he
bad in all clubs during December... crowds for the one-niter appearances Co
—ralph j. gleason of the Les Brown and the Woody Her-
te kollywood man bands . . . Skinnay Ennis’ band
was followed into the Blue room of
it's Boston the Roosevelt hotel by Jan Garber’s.
“CALL NINA" Mort Sahl is at Storyville for all of Show headliner was Rusty Draper.
December, sharing honors with an as- The Mints vocal group opened at the
The Musicians Exchange sortment of straight men... Joey Safari lounge after Johnny Desmond
Masters with a local quintet was the completed his schedule there...
For Complete 24 Hour Phone Service Flutist-tenorist Bob Hernandez relin-
first; currently Sahl is flanked by Wild
HOliywood 2-3311 Bill Davison, Vic Dickenson, and asso- quished his place at the helm of the
1570 N. Gower, Hollywood 28, Caiif. ciates . . . At Christmastime, present Tribesmen to join the troupe of strip-
and accounted for, will be Don Elliott per Lily Christine. It wasn’t known
“Through Our Switchboord Speak the and Teddi King . . . WGBH-TV pre- whether the Tribesmen will seek a re-
Nicest Peopie in the Worid’ placement or disband Paul Bar-
sented the first in its new Friday night
series, Jazz, with emcees the Rev. Nor- barin’s Dixieland band is ‘spelling Al
man J. O’Connor and John McLellan. Hirt’s sextet at Pier 600. Hirt recently
FOR SALE Premiere guests were Arnold Gurwitch, reorganized with pianist Roy Zimmer-
Coleman Hawkins, and Dinah Wash- man and trombonist Bob Havens.
AMERICA'S JAZZ RECORD CENTER ington. Father O’Connor is also writing —dick martin
One of the most unique and complete JAZZ
RECORD SHOPS in America. Known all a weekly jazz column for the Boston
over the world. Retail & Mail Order. Estab- Sunday Globe, as is George Wein for Cincinnati
lished 9 years in the Chicago Loop. the Sunday Herald .. . Crystal Joy has
SEYMOUR'S RECORD MART a trio at Eddie’s on Huntington Ave. Localite Jerri Adams in town re-
439 S. Wabash Ave. Chicago 3, Ill.
WEbster 9-9808 —cal kolbe cently plugging her new Columbia LP,
It’s Cool Inside . Artur Rubinstein
Washington, D. C. is set for a guest ‘appearance with the
Bop Glasses Cincinnati Symphony orchestra Jan.
$2.25 Pair Frankie Condon’s band at the Spot- 11-12 ... Tiny Bradshaw’s band rocked
Clear or lite room is keeping 14 musicians em- the Dude Ranch club in Hamilton dur-
ployed every week, a considerable feat ing a week’s stay there ... The Nine-
en
int ayes in this day. Roy "Eldridge blew with teenth Hole cafe has been swinging
Case Free Brown or Black Frames these past few months with Popeye
Hand Make Optical Frame Bop Glasses $3.50 the band for a week . The holiday
Bop & String Ties. $1. ayea. season has slowed booking pace of the Maupin’s quartet, with Bill Jennings
seers SALES CO. D major jazz spots here. The Patio on guitar, and Leo Cornett’s quintet,
1165 E. 14th Grosttep 30°Ke Y. lounge had inked no one for the weeks featuring Alex Nelson on baritone sax.
O.D.'s accepted in U. S. only —dick schaefer
at presstime .. . The Marina—miscalled

46 ° Down Beat
 filmland upbeat d5

By Jack Mabley
By Hal Holly
IF YOU DIDN’T LISTEN carefully to the verbiage in
FILMS IN REVIEW: The Wild Party (Anthony Quinn, Jackie Gleason’s television tribute to Tommy Dorsey, you
Carol Ohmart, Nehemiah Persoff; soundtrack piano solos by might have thought everybody from Bix Beiderbecke to
Pete Jolly; Buddy DeFranco quartet) is one of the best John (Dizzy) Gillespie played with Dorsey at one time
attempts so far to combine a jazz flavor with a movie or another.
melodrama and is just about the first time the moviemakers _ A group which played the first music on the show was
have caught up with the fact that the music is no longer introduced with “the Clambake Seven kind of music,” and
completely synonymous with New Orleans, Dixieland, or if the viewer thought this was the Clam-
Benny Goodman, bake Seven Alumni association, he could
The story in this case deals with an upper-crust young be forgiven. But I saw Bobby Byrne,
woman whose liking for jazz leads her into visiting what Russ Morgan (Russ Morgan!!!) Howard
is referred to in the synopsis as a “dive in the sordid section Smith, Eddie Condon, Max Kaminsky,
of Los Angeles” to hear Kicks Johnson (Nehemiah Persoff, Pee Wee Irwin, Joe Venuti, Bud Free-
with sound by Pete Jolly) play the piano. This leads her man. Most of them seem to be losing
into a very bad night with a onetime football star (Anthony their hair.
Quinn) who develops an urge for the young woman that Gleason junked his scheduled show to
turns him into something of a sadist. devote the full hour to Dorsey music.
Despite shaky premises in the story, including the one Critical reaction was mixed. I thoroughly
that good jazz musicians nowadays work in dives as sordid enjoyed the hour but suppose much of
as those found in this picture, The Wild Party comes off as it must be chalked up to nostalgia. I
a better-than-average movie of this type, thanks mainly to was wild about both Dorsey bands in the
good direction and good performances by the principals, 30s, and it was fascinating to see many of the former
especially Quinn. The musical background is very definitely Dorsey musicians.
an asset, not only because of the very satisfying solo work , GLEASON GOT OFF ON THE right foot by shunning
by Jolly, plus a good sequence featuring the DeFranco unit, banality. He even dispensed with the “and here he is now”
but also because up-and-coming young Buddy Bregman ~~ a and those handsome females who herald this and
has come up with a neatly tailored underscore with some that.
fresh ideas. Example: a final fade-out to a soaring trumpet “This is a tribute to Tommy Dorsey from the people of
(Maynard Ferguson) instead of the usual psuedo-symphonic the music world,” said Gleason. “Tommy Dorsey was always
ampson coda. And musicians will be pleased to note that unseen straight as a baton. I don’t think he’d want us to get
soundtrack pianist Jolly receives screen credit on the main sentimental over him.”
title. This opened the way for the rather joyous Clambake
Seven contribution, Royal Garden Blues. Here was my only
ON AND OFF THE BEAT: Universal-International’s real objection to the show—a failure to clarify that the
SS€s, a rock ’n’ roll opus, Rock, Pretty Baby! (Sal Mineo, John many musicians performing were not former Dorsey play-
4as Ve- Saxon, Luana Patton) received such a tremendous reception
| sextet ers. I seem to remember strings and harps in the band
at the first sneak preview—teen-agers went wild and even at one time or another, but I don’t ever recall a fiddle in
ett, 26, adults found it entertaining—that at this typing U.-I. was
asleep the Clambake Seven, Joe Venuti or no.
staging more “sneak previews” with camera crews catching CONNIE HAINES, MATT DENNIS, and Axel Stordahl,
3uffalo, the audience reaction for use in exploitation trailers, It’s a
id was legitimate alumni, combined on Will You Still Be Mine?
real sleeper and is figured to make young Saxon, who plays Jo Stafford made what I thought was the first mistake by
ad and the role of guitarist to soundtrack by Barney Kessel, the singing her first recording with Dorsey, something called
widow, next teen-age rage ... Kim Novak is taking vocal instruc-
ie Club Little Man with the Candy Cigar which had a line about
y large tion from Harriet Lee and plans to do her own singing in little laddy you’re so like your daddy. It was brutal.
irances her upcoming co-starrer with Frank Sinatra, Pal Joey, at Embraceable You was much better.
y Her- Columbia ... Burt Lancaster and associates, in New York Bob Crosby, who was leading some great Dixieland musi-
’ band at this deadline, were discussing production of a Louis cians and fogging the air with his own vocals at the time
om of Armstrong biofilm . . . Sunset Productions, with Shake, the Dorsey band was most prominent, was hired to sing
irber’s. Rattle, Rock (Fats Domino, Joe Turner, et al) ready for Dinah. It was mercifully short, interrupted by some solos
er, release, so sure of a rock ’n’ roll film cycle that the firm by Charlie Barnett, Red Nichols, Joe Bushkin, and Jack and
has signed Buck Ram (The Great Pretender) as musical Charlie Teagarden.
at the consultant for a series of r&r movies. The deal includes use Vic Damone, June Hutton, and the Modernaires combined
smond of units for which Ram writes material—Platters, Penguins, on I’ll Never Smile Again, and Haines-Damone and Crosby-
ar Flairs, They’re set for Sunset’s follow-up to Shake, Rattle, Stafford ganged up on Look at Me Now, and it didn’t sound
relin- Rock, as yet untitled and unwritten but due to start in much like it did Son ery ago when, to the best of my
of the a couple of weeks. memory, Miss Stafford and Sy Oliver did it with Oliver’s
strip-
known Sinatra, prerecording his songs for The Joker, Joe E. arrangement,
a re- Lewis biofilm at Paramount, included three solid standards, THE HEART TUGGER OF Gleason’s hour was saved
| Bar- I’ll Cry for You, At Sundown, and If I Could Be with You. for last and was teed off by Paul Whiteman, who testified
ng Al There also will be new songs by Jimmy Van Heusen and that Tommy Dorsey was one of the music world’s most
cently Sammy Cahn... Ghost pianist for actor Louis Jourdan in sterling characters. Then a band, led by brother Jimmy,
mmer- the currently showing Doris Day starrer, Julie, is Leonard played a group which came closest to the old Dorsey
Pennario of Capitol’s classical catalog. He also doubled as arrangements. The performers included Louie Bellson,
nartin composer on that stint . . . Universal-International and Charlie Shavers, Jack Leonard, Sy Oliver, and Count Basie
Jean (Lonesome Gal) King are at odds over her projected taking one chorus on the piano.
biofilm, Jean’s side of the split: “They want to present me Perhaps the finest tribute to Dorsey’s musicianship was
as a sexy character—and I’m not.” ... And the latest addi- unconscious. The trombone solos in this group were played,
tion to Hollywood’s long list of upcoming musical biofilms as far as the TV cameras were concerned, by a giant shadow
is The Happiness Boys, the story of the team only old-timers projected on a screen behind the band. The shadow re-
will remember from the early days of radio, Billy Jones and sembled the late band leader, and the tromboning, while
Ernie Hare. Ernie’s daughter, Marilyn, who has been active excellent and probably as close to T.D.’s as could be found,
in Hollywood television, will have a principal role... But was unmistakably not the old master.
we understand Gene Austin’s daughter, Charlotte, though The show wasn’t the smoothest Gleason has done. (Glea-
fairly active in the movies—she’s currently doing the femi- son forgot to introduce Rudy Vallee, which was tragic to
nine lead in Columbia’s The Man Who Turned to Stone— Rudy Vallee but kind of funny otherwise.) But it was good
will have no part in, or of, her pop’s biofilm, The Lonesome showmanship in its timeliness. It was not trapped into
Road... Alfred Newman, 20th-F'ox musichief, stepped in sloppiness. And very logically, and very like Gleason, it
and took over the baton on an album of film music Victor was almost all music.
Young was preparing for Decca at the time of his death. The next thing we’d like to see is Gleason or someone of
The album will be completed as planned by Young and under his stature putting together a show like this honoring a
his name, with Newman taking no credit. musician who 1s still around to appreciate it.

January 9, 1957 47
Km HOLTON

ma
out
Stratodyne “67”
mil

Trombones

with

DORSEY BROTHERS

ORCHESTRA

The long-famous Dorsey Brothers’ Orchestra,

always among the leaders in dance band
popularity polls, have added recent laurels
with TV appearances on NBC “Bandstand”
and CBS “Jackie Gleason” shows. A tribute
to their leadership, excellent arranging and
solid musicianship is their latest choice as
number 3 Swing Band in this year’s
NBOA poll.

New Stratodyne ‘'67"’

A “revelation in thrilling speed and lightness
of action”, the entirely new Holton Stratodyne
“67” Trombone is a strictly professional
instrument in quality, design, beauty, tone
and response. Tone starts and develops with
little apparent effort, with a brilliance, flexi-
bility, easy high register and reserve of power
to delight the most demanding artist. Features
a new lightweight, smooth-acting solid nickel
epee silver slide, one piece bell, .485 bore, 714
geeee” bell, slide and bell lock.

Dorsey Brothers’ trombonists Billy

Ver Planck, Vinny (Forest) Forchetti,
and ‘Tak’ Takvorian with their rank HOLTON & Co.
new Stratodyne ‘'67'' Trombones.
324 N. CHURCH STREET e ELKHORN, WISCONSIN

. enWe
ees
&

mt
MO
=-6
PREFERRED INSTRUMENTS FOR OVER HALF A CENTURY _
48 Down Beat —_
 Full
Combo

Arrangement

Club Grows
Chicago Jazz
Of
University

“l’D LIKE to become another Nor- “DUE TO A DIFFICULTY in making The club’s most ambitious plan calls
7% man Granz. The only problem is to find connections, Powell wag delayed more for a national association of jazz clubs.
out how to do it.” than an hour. We were faced with the Last year, Broude attended the congress
Those words typify the promotion- necessity of keeping the audience satis- of the National Student Association in
minded approach of 18-year-old Frank fied or sacrificing everything we’d been Chicago. He discussed this plan with
Broude, director of the University of striving to achieve for jazz. A number delegates from schools throughout the
Chicago’s jazz club. In the face of of the musicians who are members of country. He discovered that many of
the failure of a previous jazz club on the club decided to jam until Bud ar- them volunteered aid in establishing
campus, and the apathy so often asso- rived,” Broude recalls. jazz clubs, in furthering a program of
ciated with participation in club activi- “At a crucial moment during this un- education in jazz, and in generally
ties, Broude has plunged forward in planned session, a thin, bearded gentle- assisting to raise the level of jazz
an effort to stimulate and maintain man arose and walked onstage. He acceptance.
interest in jazz at the university. asked if he could sit in on bass. He did Broude is intensely interested in the
and helped make the audience realize establishment of jazz clubs in schools
His efforts in behalf of jazz began in the Chicago area.
tS in October, 1955. Realizing that lethar- the vitality of improvised music.
Thanks to Percy Heath, the audience “We'd like to get 10 groups started
gy had destroyed the previous club, he in colleges here,” he says, “then go to
set out to interest and inspire members was well-prepared for Bud’s arrival and
the concert turned out to be a success,” the next National Student Association
of the student body. For four months meeting, in Ann Arbor next August,
he campaigned for jazz and a revita- he says.
with ideas on jazz clubs to present to
lized jazz club. He spoke with students, Last summer, the university’s jazz the delegates. We’d like to meet dele-
tra, faculty members, musicians, directors club joined forces with the Roosevelt gates who would return to their schools
of other jazz clubs. university jazz society and presented with the idea of beginning a jazz club,”
Is Gradually, his intensive efforts showed a series of sessions featuring such mu- he notes.
results. Three members of the univer- sicians as Miles Davis, Tony Scott, Red A NATIONAL ORGANIZATION
ind” sity staff expressed interest. John Mitchell, Sam Most, and local tenor would serve a variety of purposes, ac-
ite O'Meara, professor of humanities; John man Johnny Griffin. cording to Broude. It would provide
Netherton, associate dean of the col- In November, the U. of C. club spon- regular jazz club bookings for jazz
lege, and McCrea Hazlett, dean of stu- sored a concert by the Count Basie artists. A central fund could be main-
dents, shared Broude’s dream. band. More concerts are planned. tained for the publication of texts on
With faculty support and adequate Broude hopes to obtain the services of jazz. Such a cooperative venture would
student participation, the club pro- Duke Ellington and Gerry Mulligan for result in a cohesive, coordinated nation-
gressed. future sessions. In addition, he has al effort for jazz. The jazz club alliance
mee more auspicious, plans for the would inspire action, he feels. Finally,
“THE FIRST MEETINGS were de- club, such an organization would be potent
voted to record concerts,” Broude re- enough to attract non-collegiate jazz
calls. “We would compare saxophonists, “We’re planning a jazz workshop for
the musicians in the club,” Broude says. groups into the fold and lead the entire
for example, or compare periods in the group to grow accordingly.
yne evolution of jazz. Many meetings were “We want to give them the opportunity
to experiment, to immerse themselves in The jazz club, ag Broude sees it, must
devoted to providing the listeners with overcome two major obstacles, gross
a general background in jazz,” he adds. jazz. One of the members, who plays
tenor and piano, has a vast LP jazz pseudo-intellectualism and inadequate
vith Aware of the need for a firm, im- library and will direct the workshop. financing.
pressive footing, Broude went out in Several musicians, including Basie, “We’re fighting the jazz-is-beneath-
search of aid from prominent musi- have offered to coach when they get to my-dignity-attitude,” he states. “We
wer cians. Billy Taylor lauded the group’s town,” he adds. feel that if we could do it at the Uni-
aims and promised to age age in a versity of Chicago, we could do it any-
il panel discussion when he came to Chi- BROUDE IS IN the process of es- plaee, because of the great number of
cago. Max Roach offered to conduct a tablishing a club record buying service. snobs on this campus. We believe we’re
free concert, but plans for the concert Such a service would allow members in the process of fighting an effective
fell through for lack of auditorium to purchase sides at an appreciable battle in thig regard,” he adds.
space. Down Beat editor Jack Tracy, discount. The discount would be avail- Broude, obviously, is the major fac-
composer-arranger-musician Bill Russo, able on either classical or jazz records. tor in the success of the club. He has
and anthropologist Richard Waterman Broude feels that a 50-50 balance be- seen the club grow from a handful of
participated in a panel discussion for tween the two would be desirable. He interested fans to its current strength
club members. has been promised cooperation from of more than 100 students, several fac-
The first palpable university acknow]l- local retail and wholesale record deal- ulty members, and a regular flow of
NSIN edgement came in April, 1956, when the ers. guests. He conducts a weekly jazz show
school financed a jazz concert as a Naturally, Broude plans to continue on campus station WCB. He’s in the
part of its Festival of the Arts. The the regular record concerts for mem- process of studying jazz piano, after
concert featured Bud Powell, playing bers. He feels that the basic appeal seven years of classical training. A
and discussing jazz. Powell’s presence of records has drawn a good many stu- junior, with a pre-med major, Broude
and performance had a definite, potent dents into the club. He places a good plans to specialize in psychoanalysis.
impact on students and faculty alike. deal of emphasis on the discussions However, he doesn’t feel that his stu-
Broude likes to remember one particu- which are inspired by the record ses- dies will in any way hamper his atten-
larly noteworthy aspect of that concert. sions. tion to the club. —gold
Beat January 9, 1957 49
 A good indication of a player’s har-
Jazz monic knowledge is his use of broken
chords, both quantitatively and quali- Student Band
tatively. All other factors being equal, Piano
Off The Record
a player with extensive harmonic
By Bill Russo and Jerry Mulvihill knowledge will ordinarily use more
ART PEPPER’S playing on Jolly broken chords in an improvisation than Camp Slated
Roger igs rather reckless. However, this will a player without such knowledge. Chicago—A staff of well-known band-
recklessness is a good feature rather Of course, this does not mean that leaders and university instructors will
than a bad one, because it contributes his playing is therefore better. What conduct a national dance band camp
greatly to the rhythmic and melodic is more important is that, having more for students between the ages of 16
activity of the solo. However, Pepper harmonic knowledge, he will construct and 22 next summer in Indiana.
takes liberties with the harmonic struc- and use his chords more intelligently. During two four-week sessions, the
ture that are inadvisable to the student Pepper uses quite a few broken camp will provide students with classes
musician, so the chords behind the solo chords in this solo, including both the in individual instruments, voice, ar-
have been simplified in this transcrip- given chords and their substitutions. ranging, and theory, plus the oppor-
tion to avoid confusion. The triads (like GEC in measure 9) tunity to participate in section and
A close study of the solo will show and sevenths (like C A F D in measure band rehearsals.
these liberties to be evidence of knowl- 11) are easy to see, but some of the Bandleaders who have offered their
edge rather than of ignorance. substitutions bear discussion. services to date are Buddy Morrow,
ONE SUBSTITUTE for a major Ralph Marterie, Les Brown, Sam Don-
chord is a minor seventh chord built ahue, Ray McKinley, Ralph Flanagan,
on the third: A mi 7 for F in measure Richard Maltby, and Stan Kenton. A
Key To Solo 19. This is a F Maj 9 without the root. different band will be at the camp each
Another substitute for a major chord week, with the leader instructing stu-
Alto saxophone play as written. is a minor seventh chord built on the
Baritone saxophone transpose (25- dents daily, using his band’s manu- 2
Par
sixth: A mi 7 for Cin measure 31. scripts.
28) down an octave and play the This is an inversion of C6. One substi-
remainder of the solo as written. Present plans call for limiting the
Tenor saxophone transpose (25-28) tute for a dominant seventh type chord enrollment to 200 students a session.
down a perfect 5th and transpose is a leading-tone seventh type chord The complete price for the four-week
the remainder of the solo up a built on the third: B mi 7b5 for G 7 session will be $250. This will include
perfect 4th. in measure 24. This is the same as G 9 room, board, tuition, and a variety of
= transpose down a perfect without the root. A rather unusual sub- recreational facilities.
5t stitute for a dominant seventh type The camp has been designed to meet
Trumpet transpose (11-13) up a chord is a major seventh chord built a the needs of young students interested
perfect 4th and transpose the major second above: F MA 7 for Eb7 in utilizing summer vacation months to
remainder of the solo down a in measure 26. further ambitions in the dance band
perfect 5th. A melodic device that Pepper uses field. These students will be able to
Trombone transpose (11-13) down often in the solo is the “changing tone,” study, rehearse, and jam for four
a major 6th and transpose the which occurs when the upper neighbor- weeks, under the tutelage of profes-
remainder of the solo down an ing tone or passing tone resolves to the sionals.
octave and a major 6th. chord tone by way of the lower neigh- Music directors, students, and parents
Concert pitch instruments trans- boring tone. An example is found in desiring additional information on the
pose down a major 6th. measure 11, where Db moves to B and camp program may obtain it by writing
M.M, J = 246 then to C, the seventh of D mi 7. The to MUSIC, Box 2388, South Bend, Ind.
Records available: Stan Kenton, phrase beginning with Eb in measure
“Jolly Rogers,” Capitol 1043 26 contains no less than four changing
tones. _ The over-all contour of the melody
is clear when its highs and lows are
located. The lowest part is the first
Art Pepper Solo On Jolly Roger few measures, D in measure 11 being
the lowest note. Each eight measure
section has its high point. In the first
section it is C in measure 16, although
Bb in measure 13-14 receives more em-
phasis because of its duration and its
placement at the top of a long ascent.
In the second section the high point is
D in measure 17, In the last section the
high point, also the high point of the
solo, is E in measure 26. Its location,
roughly two-thirds of the way from
beginning to end, allows for satisfac-
tory tapering off. In fact, all these high
points are approached and abandoned
gradually.
THE FIRST EIGHT measures of this
chorus are occupied by an ensemble
passage (hence the rest) that builds
to a tense climax. The tumbling phrases
of eighth notes with irregular accents,
at the beginning of the solo, seem to 2
Par
break up this tension. These measures
are very active rhythmically, as is the
remainder of the solo. In general, the
solo is commendable for the exception-
ally vigorous and forceful way in which
it is played, without sacrificing clarity
of execution.
To gain the maximum benefit from
this solo it is necessary to listen to the
record, Otherwise such matters as tone,
time, and dynamics will be unappre-
ciated.
All records used in this column may
be obtained directly or by mail from
Gamble Music, 312 S. Wabash Ave.,
Copyright By Leslie Music Corp. Used With Permission Chicago 4, Il. Sax
Ten

Down Beat os= a Cc

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BRVSHES ane

52 Down Beat Janu:

 POLL WINNER'S SUCCESSFUL FORMULA

A new book just out titled Jazz Accordion reveals the inside
story about Art Van Damme and his Quintet. Tells how he
got where he is today, how you can get there too, and lots
more besides.
And there’s a special Columbia jazz record cut by the man
himself to go with the book which contains two original Van
Damme scores.
= The Jazz Accordion book, complete with jazz record, costs one
dollar. You may pick up your copy at any Excelsior dealer’s
or send in the coupon if you wish. Better hurry though, the
first edition is limited.

ull

Art Van Damme and

his electronic EXCELSIOLA
wT

o
« EXCELSIOR ACCORDIONS, INC.
° Dept. 317 333 Sixth Avenue, New York 14, N.Y
°
Lt * Here's my dollar. Please send Jazz Accordion
*” book and record postpaid.
. anos J —
* ADDRESS eee
> Gee... : scsi acelin
o
* STATE —_ a al - ; -
+

n Beat January 9, 1957 53

 the vaults on the part of Victor, of Dec-
ca, of Columbia (which has title to
Okeh and Brunswick sides, as well
oy-belo ma e)
eh a-s—tcb some on Columbia, under the direction
of the Dorseys). Let us hope that we
EXPLANATION OF SYMBOLS: b—baliroom; h—hotel; nc—nighi club; cl—cocktail lounge; r—restaurant; will be privileged soon to hear a proper
t—theater; cc—country club; rh—roadhouse; pe—private club; NYC—New York City; ABC—Associated selection of the best sides made by
Booking Corp. (Joe Glaser), 745 Fifth Ave., NYC; AP—Allsbrook-Pumphrey, Richmond, Va.; AT—Abe Tur- Tommy, but not simply to show off his
chen, 309 W. 57th St., NYC; G AC—General Artists Corp., RKO y= NYC; JKA—Jack Kurtze Agency, ”
N. Canon Dr., Beverly Hills, Calif.; McC—McConkey Artists, 1780 roadway, NYC; MCA—Music Corp. of skill as a selector of men and tunes,
America, 598 Madison Ave., NYC: GG—Gale-Gale a 48 W. 48th St., NYC; Ol—Orchestras, Inc., as top dog in a recording kennel. It is
c/o Bill Black, 332 S. Michigan Ave. Chicago 4, Ill.; RMA—Reg. Marshall Agency, 6671 Sunset Bivd., rather the musician I am interested in
Hollywood, Calif.; SAC—Shaw Artists Corp., 565 Fifth Ave.,or UA—Universal Attractions, 2 Park Ave.,
NYC; WA—Willard Alexander, 30 Rockefeller Plaza, NYC; WMA—William Morris Agency, 1740 Broadway, hearing, the individual, the trombonist.
NYC: NOS—Nationa!l Orchestra Service, 1611 City National Bank Building, Omaha, Neb It may not be entirely out of order,
really, that for millions of Americans
Albert, Abbey (Statler) Washington, D. C., h Donnegan, Dorothy (Embers) NYC, in 1/21, and not a few listeners outside this
Barlow, Dick (St. Anthony) San Antonio, ne country, Tommy is and will long remain
Texas, h Dukes of Dixieland (Thunderbird) Las Vegas, the trombonist.
Barnet, Charlie (On Tour—West Coast) MCA Nev., out 1/21, h
Barron, Blue (On Tour—Chicago Territory) Ellis, Bob (Community) Elmont, N. Y., rh
MCA Four Sounds (Tia Juana) Harrisburg, Pa., ne IT IS NOT my purpose here, under
Bartley, Ronnie (On Tour—South) NOS Gaines, Roy (On Tour—Chicago Territory) the influence of a recent death, senti-
Beecher, Little John (On Tour—South) NOS SAC mentally to inflate Tommy’s reputa-
Beneke, Tex (On Tour—East) MCA Greco, Buddy (Eden Roc) Miami Beach, Fla.,
Blade, Jimmy (Drake) Chicago, h out 1/30, h tion or to attempt to match, under any
Brandwynne, Nat (Waldorf-Astoria) NYC, h Haddock, Russ (Embers) NYC, out 1/206, ne such duress, his skills to his public
Butterfield silly (On Tour New Enel: ind) Herman, Lenny (Warwick) Philadelphia, Pa., Jazz |
MCA 1 reception. He was, I am trying to Holl
Byers, Verne (On Tour—New Mexico) NOS Kaye, Mary (Sahara) Las Vegas, Nev., h say, a commanding figure who set very No Ada
Calame, Bob (On Tour Midwest) NOS Kings, IV (Riviera) Las Vegas, Nev., h high standards of trombone and band
Cardona, Sammy €On Tour—Louisiana) Asso- wr Lloyd (P alms) Hallandale, Fla., performance in American music, in and
ciated Talent Agency out /lS, om
(layton Del (On Tour—South) NOS mene, Shelly (Secret Harbor) Santa Moni- out of jazz. Because of what he demon-
(‘ross Bob (Statler Hilton) Dallas, Texas, h ea, Calif... me strated, on his horn again and again,
DeHanis, Al (Brown Suburban) Louisville, Mason, Hob (Milla Villa) Sioux Falls, S. D.., the trombone was broadened far be-
Ky h ne
Donahue, Al (Persian Terrace) Syracuse McGill, Rollie (Cotton Club) Rochester, N, Y yond the guttural limitations of that
, out 1/17, r out 1/6, n« barrelhouse jazz from which he em-
(On Tour East Coast) MCA McNeely, Big Jay (On Tour-—East) SAC erged.
Les (On Tour—East Coast) MCA Mingus, Charlie (Birdland) NYC, out 1/24
znnis Skinnay (On Tour—West Coast) MCA ne Because of what he made others t
erguson, Danny (67 Supper Club) Muncie Newborn Phineas (Peacock Lane) Hollywood, demonstrate, over and over, in the sec- Hollywe
ind,, r or out 1/25, ne
sk, Charles (Palmer House) Chicago, h Note-A-Riots (B&B) Indianapolis, Ind., 12/10- tions of the bands he led, the dance rer
itzpatrick, Eddie (Mapes) Reno, Nev., h ork: (Van vat ws Graham) Blooming orchestra in this country became, much
oster, Chuck (Peabody) Memphis, Tenn,, out ton, Ind., 1/7-26, h of the time anyway, a musicianly or-
2/11, h Rico, George (Bancroft) Saginaw, Mich., h
Gingers, Wally (On Tour—Midwest) MCA salt City Five (Theatrical Grill) Cleveland ganization capable of a remarkable
(;ordon, Claude (On Tour—West Coast) GAC Ohio, out 1/20, ne elasticity, of a viable jazz, of a swing-
Howard, Eddie (Aragon) Chicago, out 1/27, b Smith, Jimmy (On Tour East) SAC ing ballad, of a high level of perform-
James, Harry (Beverly Hills) Beverly Hills, Stanton, Bill (Ka-See’s) Toledo, Ohio, ne
Calif., h Swinging Gentlemen (Small's Paradise) NYC ance in almost any kind of popular
Jones, Spike (Civic Auditorium) San Fran out 1/7, music. (Op
isco, Calif., out 1/13, t Three Jae m4 (Wheel Bar) Colmar Manor, Md.,
Kaye, Sammy (On Tour Chicago Territory) nc One may prefer a J. J. Johnson, a
MCA Three Sparks (El Cortez) Las Veras, Nev., h Kai Winding, a Jimmy Harrison, a
king, Henry (On Tour Texas) MCA Towles Nat (Elmo) Billings, Mont., ne J. C. Higginbotham, a Bill Harris, a Ten
King, Wayne (On Tour Midwest) MCA Troupe, Bobby (Keynoter) Los Angeles, nc 4 p.
Kirk, Buddy (Iroquois Gardens) Louisville Williams, Billy (New Frontier) Las Veras Bob Brookmeyer, to Tommy as a solo-
Ky ne Nev., out 1/27, h ist. One’s taste, if it is jazz-centered,
Laine, Buddy (Chevy Chase) Wheeling, I) naturally will incline far more to the
ce Ellington band of the ’30s and early
Lombardo, Guy (Roosevelt) NYC, h
Love Preston (On Tour— Midwest) NOS Tommy Dorsey ’40s than to any of Tommy’s organiza-
Mango, Dick (On Tour—Texas) Associated tions, or to one or another of the Her- Whitti
Talent Avency eae
McGrane Don (Radisson) Minneapolis, Minn., (Jumped from Page 15) man Herds, to a Basie band or two, or
h pous as a musician, as trombonist, or to 19837 Goodman or 1950 Kenton.
McKinley Ray (Statler) NYC, h One cannot deny, however, if one is
Martin, Freddy (Ambassador) Los Angeles, h bandleader.
Masters, Frankie (Conrad Hilton) Chicago, h musically oriented in any shape or APP
Munro, Hal (Milford) Chicago, b IT WILL TAKE a lot of hunting to fashion, that Tommy’s was a major
Neighbors, Paul (Shamrock) Houston Texas find the top sides of Tommy’s career.
h achievement on both counts, as leader BUD
Prado, Perez (On Tour—West Coast) MCA Those made with Goldkette and White- and sideman. One must not lose sight
*rice, Freddy (st Rocco’s Youth Center) NYC, man don’t offer much worthwhile evi- or—the record companies willing— 7012 P.
b dence, although surely a few measures sound of a major figure in the history
Ragon, Don (Magic Carpet) San Bernardino, of a few sides deserve to be rescued
Cali nm of jazz (yes, jazz), without whom the
Ranch, Harry (G olden Nugget) Las Vegas, from obscurity. Certainly, too, some of large percentage of jazz sounds in
Nev., ne the sides he made with Bix (Davenport today’s run-of-the-mill but not unpleas-
he; Billy (On Tour West Coast) MCA
Sands, Carl (On Tour Chicago Territory) As- Blues or Toddlin’ Blues, or the famous ant dance bands and studio orchestras
sociated Talent Avency Bix-Hoagy Carmichael Rockin’ Chair), would be much smaller. And the con-
Sauter Finegan (on Tour East) WA or the Travelers’ Breakaway, or the siderable musicianship absolutely de-
edlar Jimmy On Tour East Coast) MCA
Charlie (On Tour—South) MCA Chocolate Dandies’ famous Cherry, manded, quite taken for granted, of
straeter, Ted (Plaza) NY¢ h should be preserved in the Dorsey ar- trombonist, any trombonist, in any 2770 E
Sudy, Joe (Pierre) NYC, h chives as examples of Tommy’s early branch of popular music, would be V/;
Thornhill, Claude (On Tour West) WA
White, Pres (Ponce De Leon) Hornell, N. Y., achievements as soloist or ensemble unknown.
member.
Then there are all the Dorsey Broth- IT IS SHOCKING to me that the
ers’ dates on a variety of labels in the jazz purists, the righteous-minded who
late ’20s (Breakaway is an outstanding devote pages in their chronicles, in their
example of the music on one of these documentation and appraisal of jazz
dates led by Jimmy and Tommy), end- achievement to a Leadbelly or a Jells
ing with the engaging band of 1934 Roll can relegate Tommy to nothing
Brubeck, Dave (Zardi’s) Hollywood, Calif., and 1935 which recorded regularly, and more than a passing mention or two
1/11, 12, 18, 19, me often with distinction, for Decca. This or none,
Carroll, Barbara (London House) Chicago, last organization, compact and crisp at It is shocking because so much of
1/1-23, r what he was was shaped by his jazz
Charles, Ray (On Tour Midwest) SAC its best, offers a most attractive view
Chee ful Ear fuls (Otto's) Albany, N. Y. 12/24- of Tommy at his least pretentious, fea- background and shaped well. If you
Davis, Bill (Small’s Paradise) NYC, out 1/20, tured far less often than one might ex- want to take Tommy seriously at all—
pect of the impresario and_ boxoffice and I hope it is quite clear that I for
IDbavis, Miles (On Tour California) SAC personality of later years. one do—then it is in jazz that you must
loomino, Fats (On Tour New Orleans) SAC Let us hope that the death of Tommy take him and in jazz that you must
loominoes (Hacienda) Las Vegas, Nev., out Herm
will spur some effective examination of leave him,

Down Beat
,of Dec-
title to
well as
lirection
that we FOR ALL INSTRUMENTS
1 proper 518—THE AUTOMATIC MUSIC COMPOSER.
1ade_ by A mathematical jig-saw device that can
y off his New ones Jazz Nitely By The make up an unlimited number of original
World's Greatest Dixieland Musicians songs, melodies and chords complete
1 tunes, Featuring Sensational Trumpet Of Practical and educational. You ust
el. It is TEDDY BUCKNER see this to believe it!.......... 25
ested in *% Harvey Brooks, Piano ARRANGEMENTS
mbonist. %& Jesse Sailes, Drums FUTURISTS OF MUSIC!! Futurism is ‘12-TONE.” 43—CHORD CONSTRUCTION AND ANALYSIS.
f order, *& John "Streamline" Ewing, Trombone Get NEW musically correct 12-TONE Special How to use chords as fill-ins, background
% Joe Darensbourg, Clarinet Combo Arrangements or Background. Also ar- for correct improvising, etc $1 50
1ericans %& Art Edwards, Bass 57—HOW TO MEMORIZE MUSIC. A scientific
ide this 400 CLUB ranging instruction. Make 1957 your year to method with exercises that develop and
“SOUND!” Mary Dugan —9223 Rosehedge a the capacity for memorizing mu
remain 3330 W. 8th St. Closed Mondays DU 2-0330 Drive, Rivera, California. 50
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 BARNEY KESSEL RECORDS WITH HIS GIBSON

Favorite jazz guitarist, Barney

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