The

FIFTY CENTS

Volume One, Number Two December, 1958

Including:

Jazz
Review
lATS N A V A R R O by B i l l C r o w ; J E L L Y
Extended Improvisation and F o r m

by Martin Williams

R O L L M O R T O N by G u y . W a t e r m a n ; Du Cote de Chez Basie

MARY ANN McCALL by Glenn
C o u l t e r ; M U G G S Y S P A N I E R by L a r r y by Andre Hodeir
G u s h e e ; J A M E S P . J O H N S O N by D i c k
Wcllstood; B E N N Y C A R T E R and A R T
T A T U M by J u l i a n Adderley. A L L T O O
S O O N bv Stanley D a n c e . A selection o f T h e N e g r o C h u r c h : Its I n f l u e n c e o n M o d e r n J a z z , II
Blues L y r i c s ; J A Z Z I N P R I N T by Nat
Hentoff. by M i m i Clar
 great artists...
great jazz...
great sound...
on

C O N T E M P O R A R Y sonny
CONTSMPORARY

a great catalogue! ROLLINS H H W r s t T * ... mi Samr .

everybody l i k e l
H A M P T O N HAWESS

the modern tenor "colossus" with the

nation's poll-winners: Shelly Manne on
' H i e drums; Ray Brown, b a s s - i n , to quote the
C u r t i s New Yorker, " a fascinating new tour de
force from the Coast" C3530
C o u n c e
G r o u p

contemporary C3523
the vital young Jazz pianist in his third
great CR album. "He plays with driving
abandon!"Metronome Yearbook. Red
a n d c h u c k T h o m p s o n >

Contempio r f y C 3 5 2 6

"Shelly Manne & his Friends (Andre Previn, and

i Leroy VinnegarH Modern jazz performances of their first recording, " a n d everything
songs from |J^ cooked!" Counce on bass; Jack Sheldon,
trumpet; Harold Land, tenor sax; Carl

Barney Kessel, g u i t a r ; Shelly Manne,

drums and Ray Brown, bass 1956 and
1957 top stars in the 3 major polls: Down
Beat, Metronome, and Playboy! Billboard
says: "consistently fine performance tabs
this package a m u s t . . . o n e of the best
small group works in many a moon"
C3535

Contemporary C35JJ:; each

the nation's #1 drummer, Shelly Manne, 12" hi-fi

with Andre Previn, piano and Leroy V i n -
negar.bass, in a wonderful follow-up hit
to t h e i r best-selling " M y F a i r L a d y " ! long-playing
" . . . j u s t about the last word in modern
romantic Jazz piano playing." Saturday album $U.98
ReviewC3533
at dealers
spontaneous combustion! T h e West
Coast's great alto star meets the East and distributors
Coast's great R h y t h m Section (Paul
Chambers, bass; Red G a r l a n d , piano; everywhere,

sri^EorSsS a n u n i n h l b
- or write

C O N T E M P O R A R Y R E C O R D S 8 4 8 1 m e l r o s e p l a c e , los a n g e l e s 4 6 , California
In F u t u r e Issues:

Ella Fitzgerald by Bill Russo

Fletcher Henderson by Gunther Schuller
T h e Style of D u k e E l l i n g t o n b y M i m i C l a r
T h e Blues J u m p e d A R a b b i t : T r u e Stereo b y T o m Dowd
G a r v i n B u s h e l l a n d N e w Y o r k Jazz i n the 1920s b y N a t Hentoff
E l l i n g t o n ' s Black, Brown and Beige by Gunther Schuller and A r t Farmer
L e o n a r d F e a t h e r ' s The Book of Jazz b y B e n n y G r e e n a n d R a l p h B e r t o n
Anita O'Day, June Christy and Chris Connor by Glenn Coulter
T h e J a z z C o m p o s i t i o n s of A n d r e H o d e i r b y B i l l R u s s o
H o w to W r i t e a R e c o r d L i n e r b y H s i o W e n S h i h
Cecil Taylor by Gunther Schuller
Charlie Parker by D i c k Katz
E r r o l l Garner by M i m i Clar
Jazz i n Italy by A r r i g o P o l i l l o
Some H a r d Bob Reedmen by Bob Wilber
K i n g Pleasure and A n n i e Ross by Hsio W e n S h i h
An I m p r e s s i o n of J a z z i n N e w Y o r k b y J o s e de M e l l o
The Miles Davis Ouintet Recordines bv B o b Brookmever
T h e S c h o o l of J a z z b y B o b B r o o k m e y e r and J i m m y Giuffre
T h e S u b s i d i z a t i o n of Jazz on G e r m a n R a d i o b y J o a c h i m Berendt

. J p ,je yno ,uue, i us, a

George Russell by John Benson Brooks

A n d The Regular Departments.

Reviews
Reconsiderations
The Blues
Jazz i n P r i n t

1
P l e a s e e n t e r a s u b s c r i p t i o n to T h e J a z z R e v i e w : 0
E a c h i s s u e o f T h e J a z z R e v i e w i s $.50. A y e a r ' s s u b s c r i p t i o n , 12
issues, is $ 4 . 5 0 ; t w o y e a r s ' s u b s c r i p t i o n , $8.00.

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T h e Jazz R e v i e w , V i l l a g e S t a t i o n , P . O . B o x 128, N . Y . 14, N . Y .

T H E J A Z Z REVIEW is a monthly edited by Nat Hentoff and Martin Williams.
T H E J A Z Z REVIEW covers all schools and styles of jazz. It is written for listeners and
musicians (professional and amateur) who have felt a need for a publication that deals
with jazz on a level other than that of a "fan" or news magazine.
T H E J A Z Z REVIEW is a forum for musicians, musicologists, critics, historians and
specialists in fields like psychology and sociology who have contributions toward the fur-
ther and deeper appreciation of jazz by listeners and jazzmen.
T H E J A Z Z REVIEW has the largest staff of contributing reviewers and critics of any
jazz publication. The editors do not - and in fact, could not - impose their views on any
contributor. This magazine is not a single channel for any one person or school. A wide
range of opinions is represented - opinions of qualified writers.
T H E J A Z Z REVIEW'S contributors include Gunther Schuller, Frank Driggs, Mimi Clar,
William Russo, Dick Katz, Glenn Coulter, Bob Brookmeyer, George Russell, Bill Crow,
L a r r y Gushee, Art Farmer, Guy Waterman, Hsio Wen Shih, Orrin Keepnews, Benny
Green, Andre Hodeir, Bob Wilber, Dick Wellstood, Stanley Dance, Julian Adderley,
Ralph Berton, Joachim Berendt, Horst Lippmann, Arrigo Polillo, Tupper Saussy, and
others.
T H E J A Z Z R E V I E W S coverage of books and records includes both new releases and
those previously issued but worth re-examination. The same recording, for example,
may be reviewed by more than one reviewer in more than one issue.
T H E J A Z Z REVIEW'S regular features include Reconsiderations of celebrated r e c o r d -
ings; selections of blues l y r i c s ; and Jazz in Print (a critical report on the press) by Nat
Hentoff.
T H E J A Z Z REVIEW'S initial issues have included analyses of Sonny Rollins and Theolo-
nious Monk by Gunther Schuller; the stories of Walter Page and Buddy Tate as told by
them to Frank Driggs; a continuing series by Mimi Clar on The Negro Church: Its Influ-
ence on Modern Jazz; an appraisal of the Count Basie band by Andre Hodeir; the first
analytical study of the music of E r r o l l Garner - by Mimi Clar - to have appeared in
print; reviews in depth and at length of the work of Miles Davis, Billie Holiday, John
Lewis, Horace Silver, Jimmy Giuffre, King Oliver, Blind Lemon Jefferson, Jimmy
Rushing, Mudd Waters,MuggsySpanier, Louis Armstrong, Duke Ellington, Jelly Roll
y

Morton, Willie "The L i o n " Smith, and many others. There have also been interviews
with Miles Davis, Garvin Bushell, and John Coltrane.
T H E J A Z Z REVIEW will print the work of internationally known musicians and writers,
but will also introduce - as it already has - several new names in jazz criticism and
historiography who have new insights.
The
Jazz
Review Volume 1, N u m b e r 2, December
Contents:

1958

D u C o t e de C h e z B a s i e b y A n d r e H o d e i r 6
A n A f t e r n o o n w i t h M i l e s D a v i s by N a t HentofT 9
Extended Improvisation and F o r m : S o m e Solutions by M a r t i n W i l l i a m s 13
A l l Too Soon by Stanley Dance 16
M y S t o r y b y B u d d y T a t e as t o l d to F r a n k D r i g g s 18
T h e N e g r o C h u c h : Its I n f l u e n c e o n M o d e r n J a z z . R h y t h m ,
p a r t 2, by M i m i C l a r 21
T h e C u b a n Sexteto by R o g e r P r y o r D o d g e 24
O n B i g B i l l B r o o n z y a n d the B l u e s b y S t u d s T e r k e l 28
The Blues 29
Reviews: Recordings
R e d A l l e n by L a r r y Gushee 30
Louis Armstrong by M . W . 30
Dave Brubeck by Julian Adderley 32
Billy Eckstine by M i m i Clar 33
W . C. H a n d y J a m e s P . Johnson by D i c k Welstood 34
M a r y A n n M c C a l l by Glenn Coulter 35
Jackie M c L e a n by Bill C r o w 35
Jelly R o l l M o r t o n by G u y W a t e r m a n 35
Fats N a v a r r o by B i l l C r o w 38
W i l l i e "the L i o n " S m i t h by G u y W a t e r m a n 39
M u g g s y Spanier by L a r r y Gushee 40
Benny Carter by Julian Adderley 42
Ragtime by Guy Waterman 42
Reconsiderations 2 by E d w y B. Lee 43
Reviews: Books
Count Basie and his Orchestra by Hsio W e n Shih 44
Jazz In P r i n t by N . H . 45

Editors: Nat Hentoff, Martin Williams

Publishers: L e o n a r d F e l d m a n , Israel Young
Art Editor: Hsio Wen Shih
Advertising Manager: Richard Joseph

T h e J a z z R e v i e w is p u b l i s h e d m o n t h l y by

T h e Jazz Review, Inc.,

Village Station, P . O . B o x 128, New Y o r k 1 4 , IN. Y .

E n t i r e contents copyrighted 1958.

Du Cote de Chez Basie
An Appraisal
by Andre Hodeir
It has taken more than twenty
years f o r C o u n t B a s i e ' s o r c h e s t r a to
d e v e l o p i t s s t y l e . T h a t i s n ' t so l o n g .
M a n y others, n o lesser m u s i c i a n s ,
never got that f a r .
I f we c o m p a r e B a s i e ' s p r e - w a r rec-
o r d s to h i s recent ones, a shift i n
the center of interest is o b v i o u s .
Lester Y o u n g , B u c k Clayton, D i c k i e
Wells, H a r r y Edison, and Hershel
E v a n s h e l d o u r interest t h e n ; n o w
we l i s t e n t o the o r c h e s t r a as a w h o l e .
Works l i k e Doggin Around and
Swinging the Blues, dazzling strings
of solos w i t h the ensemble a p p e a r i n g
only i n i n t r o d u c t i o n a n d support, not
f o r its o w n sake, have been replaced
b v a m o r e Durel'v o r c h e s t r a l c o n c e p -
tion w h i c h is most h i g h l y developed
i n the fine F r a n k F o s t e r a r r a n g e -
m e n t Shiny Stockings. N o w the solo
h a s b e c o m e a n i n l a y f i r m l y set i n t h e
a r r a n g e m e n t - i t seems c a l l e d u o b v
the a r r a n g e m e n t r a t h e r t h a n c r e a t i n g
it t h o u g h i t i s a c t u a l l v n o t so w e l l
integrated as t h e best s o l o s by
Cootie Hodses or Risrard with
Ellington. ' h a r m o n i z e d versions of f a m o u s solos
T h e q u a l i t y of the solos t h e m -
selves, let's a d m i t i t , doesn't j u s t i f y
serious study of the B a s i e orchestra.
B u t that i n itself suggests a q u e s t i o n
that lies o n the b o r d e r of m y s t e r y .
T h e question is t h i s : h o w can twelve
m e n ( l e a v i n g out the r h y t h m section)
three-quarters of w h o m cannot p l a y
a s w i n g i n g s o l o , c o m b i n e to b e c o m e
the most m a g n i f i c e n t w i n d section,
a n d the m o s t s w i n g i n g one, i n the
6 THE
of the
h i s t o r y of j a z z ? H o w c a n X the saxo-
p h o n i s t o r Y the t r o m b o n i s t p r o v e
i n o n e s o l o t h a t he i s i n c a p a b l e o f
p r o j e c t i n g the r h y t h m i c excitement
that a l l great j a z z m e n breathe ( a n d
w h i c h H a m p t o n a n d Jacquet, despite
their l i m i t e d invention, have forged
into a tool for creation) and five
m i n u t e s later, i n the c o m p a n y of other
X s a n d Y s , s u d d e n l y c o m e to l i f e i n
an e x t r a o r d i n a r i l y s w i n g i n g ensem-
ble?
T H E MASSIVE PHRASE
B a s i e a n d h i s a r r a n g e r s seem rec-
o n c i l e d to a s c h i s m i n f o r m , i f n o t
actually i n style; their conception is
b a s e d o n a p e r e n n i a l c o n t r a s t be-
tween two w o r l d s . Phrases scored for
b i g b a n d ensembles have always been
t a i l o r e d differently f r o m those that
soloists p l a y ; a n d arrangers have a l -
w a y s h a d to t r y to b r i d g e the g a p -
s o m e t i m e s g o i n g as f a r as to s c o r e
( t h o u g h this o n l y w o r k e d f o r the
section of the o r i g i n a l solo i n s t r u -
ment a n d never helped the w r i t i n g of
t u t t i ) . T h e present Basie b a n d shows
its o r i g i n a l i t y b y g o i n g i n e x a c t l y t h e
opposite direction, w h i c h appears i n
t h e i r best a r r a n g e m e n t s I m i g h t a l -
most say the o n l y g o o d a r r a n g e m e n t s
i n t h e i r b o o k . Shiny Stockings, after
a labored opening e x p l o i t s t o the
u l t i m a t e the static q u a l i t y of the
Count Bash
o r c h e s t r a u s i n g the seven brass a n d
five s a x o p h o n e s , t h r o u g h o u t t h e c l o s -
i n g e n s e m b l e , as o n e s i n g l e w i n d
section.
T w o f a c t o r s w o r k t o g e t h e r to r e -
i n f o r c e the i m p r e s s i o n o f l a c k o f
m o t i o n I m i g h t almost say of i m -
m o b i l i t y ; the c h o i c e o f t e m p o a n d
the density of the w r i t i n g . T h e t e m p o
i s h a r d to p i n d o w n : i t l i e s b e t w e e n
m e d i u m slow a n d slow. B u t the tempo
( J = 68) permits a perfect balance of
t h e t r i p l e t s a n d t e r n a r y figures, s o m e -
times syncopated, w h i c h Basie never
gave up, and w h i c h his influence has
d o n e m u c h to restore to a p l a c e of
honour i n m o d e r n jazz. T h e strong
t w o - b e a t p u l s e a l s o h e l p s to r e i n f o r c e
the s t a t i c q u a l i t y . O v e r t h i s f o u n d a -
t i o n the p h r a s i n g c o u l d not a v o i d be-
i n g open a n d a i r y i n its h o r i z o n t a l
u n f o l d i n g n o r t i g h t a n d d e n s e i n its
v e r t i c a l v o i c i n g . A n d the s o l o i s t m u s t
free h i m s e l f o f t h i s s t r a i g h t - j a c k e t
a n d make a try for greater m o b i l i t y
by j u m p i n g into double time in a
s e e m i n g d e n i a l o f the i n f r a - s t r u c t u r e .
T h e result is an absolute contrast.
S t i l l , let's t r y t o i m a g i n e a s w a p .
W o u l d the p h r a s e t h a t F o s t e r g a v e
t o a l l the w i n d i n s t r u m e n t s , w h i c h
t h e y c a r v e o u t so n e a t l y , s o u n d l i k e
g o o d jazz if it were played by a
s o l o i s t ? A b s o l u t e l y n o t ! W i t h o u t its
s p e c i f i c g r a v i t y i t l o s e s its f u l l m e a n -
i n g , a n d that w e i g h t c a n ' t be p r o -
d u c e d b y less t h a n ten o r t w e l v e
h o r n s . It w o u l d s e e m f e a t h e r - w e i g h t
w i t h e v e n t h r e e b r a s s a n d t h r e e saxes.
JAZZ REVIEW
Orchestra

It d e s e r v e s to be c a l l e d the massive
phrase.
H e r e we have esthetic evidence that
f o r c e s us t o r e - e x a m i n e the m e r i t s o f
the b i g - b a n d c o n c e p t i o n s o f K e n t o n ' s
b a n d ( B i l l H o l m a n ' s ) a n d the c u r -
rent E l l i n g t o n b a n d (Billy Stray-
h o r n ' s ) w h i c h are still i n the e x p e r i -
m e n t a l stage, a n d w h i c h have never
m a n a g e d , to m y k n o w l e d g e , a c o m -
plete t e c h n i c a l a n d esthetic success.
Contrapuntal writing for b i g bands,
especially when such w r i t i n g reduces
the specific g r a v i t y of the w i n d i n -
struments, a n d therefore dilutes the
phrase instead of d e n s i f y i n g it, c a n
a l r e a d y be c o n s i d e r e d a d e a d - e n d
c o n d e m n e d b y h i s t o r y , as m u c h as the
old fashioned scoring " b y sections".
T h a t k i n d of c o u n t e r p o i n t has no
p l a c e , i t seems, e x c e p t i n m i d d l e -
s i z e d ( s i x to t e n h o r n s ) g r o u p s ; t h e
b i g b a n d s h o u l d c o n c e n t r a t e o n the
massive phrase, though an intermedi-
ate s o l u t i o n i s p o s s i b l e f o r b a n d s t h a t
can be b r o k e n d o w n i n t o s e v e r a l
smaller groups of musicians in con-
t r a s t t o the e n s e m b l e . T h a t w a s the
s o l u t i o n o f the s e v e n t e e n t h c e n t u r y
I t a l i a n c o m p o s e r s i n t h e i r "Concert]
G r o s s i " , adopted by E l l i n g t o n , how-
ever t i m i d l y , i n Jam-a-Ditty.

CIVIL S E R V I C E SWING

The i d e a o f the m a s s i v e p h r a s e
suggests the a n s w e r to o u r o r i g i n a l

DECEMBER 7
 question. T h e musicians i n Basie's
orchestra, u n q u e s t i o n a b l y v i c t i m s of
deficiency i n r h y t h m i c i m a g i n a t i o n
( t h a t ' s t r u e of m o s t o f t h e m a n y w a y ) ,
who s w i n g o n l y moderately i n solo,
are perfectly c a p a b l e of performing
accurately a different k i n d of phrase
w h e n they have been c o n d i t i o n e d b y
m a n y r e p e t i t i o n s a n d they m a n a g e to
produce a nearly mechanical surface.
W h o has not been s t r u c k b y the
s m o o t h o p e r a t i o n of the B a s i e o r -
chestra, that jazz m a c h i n e the
phrase is not n e w , but have we ab-
sorbed its h u m a n m e a n i n g ? w h i c h
c a n p r o d u c e intense s w i n g , n i g h t after
n i g h t , but a l w a y s the same a m o u n t
without ever exceeding itself? A l l
signs of o r i g i n a l i t y , of freshness, of
d i s c o v e r y m u s t t a k e a b a c k seat i n
t h e l i f e o f these m u s i c i a n s w h e n t h e y
p l a y n e a r l y the same t h i n g s every
t i m e . T o place the same accent i n the
s a m e p a s s a g e w i t h the s a m e f o r c e i n
the s a m e c o n t e x t i s a j o b f o r .super-
civil-servants with a patience and a
passivity that r i v a l s that of s y m p h o n y
orchestra musicians. ( B u t really they
go f u r t h e r : whoever h e a r d a s y m -
p h o n y orchestra that d i d n ' t have a
more v a r i e d r e p e r t o r y t h a n C o u n t
Basie?) I n spite of the g e n e r a l l y
accepted i d e a that a j a z z m a n must
be s o m e h o w a creator j a z z now h a s
m u s i c i a n s who are purely performers
w h o a r e n e v e r t h e l e s s g e n u i n e jazz
men.
If' they c a n s w i n g then they must
be j a z z m e n , n o o n e c a n d e n y t h a t .
B u t i f t h e y h a v e n o creative powers
then, h o w e v e r m u c h they s w i n g , the
whole question is open again. I think
that's the w r o n g a p p r o a c h . T o say
creation is to say change, experience,
sorties i n t o the u n k n o w n . N o n e of
t h a t a m o n g the B a s i e m u s i c i a n s : t h e y
l i v e i n f r o z e n p e r f e c t i o n , a l w a y s the
same. B u t d i d they create that per-
fection? N o m o r e t h a n the m a s o n
creates the b u i l d i n g . T h e y didn't
t h i n k it u p t h e m s e l v e s : s o m e b o d y , the
arranger, d i d that; and Basie's care-
ful supervision played a perhaps
e q u a l p a r t . P r o b a b l y a l l the w o r k was
d o n e i n a d v a n c e , a n d t h e first p u b l i c
p e r f o r m a n c e w a s as finished as the
latest.
F r o m there o n the m u s i c i a n s just
perform, like their symphonic col-
leagues. T h e r e ' s o n l y one difference
between the w o r k of a B a s i e r e e d m a n
a n d a c o r n e t i s t i n the o r c h e s t r e de l a
S u i s s e R o m a n d e : the l a t t e r " r e c r e -
a t e s " D e b u s s y a c c o r d i n g to t h e m e n -
tal picture of Ernest A n s e r m e t while
the f o r m e r recreates w o r k s of F r a n k
F o s t e r o r E r n i e W i l k i n s u n d e r the
guidance of Basie a n d his arrangers.
T h a t g u i d a n c e u n d o u b t e d l y m u s t be
s t r i c t a n d d e f i n i t e ; o u r m a n i s left
w i t h no r o o m f o r i n i t i a t i v e . H e has
8 THE
t o m a k e s w i n g t h r o u g h s o m e o n e else's
ideas a n d sensibility, like w e a r i n g a
u n i f o r m n o t just a tunic but a coat
of a r m o u r or a d i v i n g s u i t : he can't
be recognized as an individual
t h r o u g h it. H e is consecrated to the
a n o n y m o u s a n d endless r e p e t i t i o n of
the s a m e p i e c e s w i t h the s a m e effects
e v e r y n i g h t , a n d e v e r y n i g h t he p u t s
o n the same u n i f o r m l i k e a n actor
m a k i n g up f o r the t h o u s a n d t h per-
f o r m a n c e of the same p a r t . O f course
spontaneity has no place i n this l i f e :
t h e j o b c o m e s first. The job of swing-
ing! T h e r e a r e p a r a d o x e s i n j a z z , t o o .
F O R C E S H E L D IN R E S E R V E
O f course this is not an attempt
to m a k e l i g h t of i n s t r u m e n t a l i s t s w h o
w o r k at s u c h a h i g h l e v e l o f j a z z a n d
of m u s i c . O n l y p e r f o r m e r s , but w h a t
performers! The extraordinary pre-
c i s i o n o f Shiny Stockings can only
be t h e w o r k o f m a s t e r c r a f t s m e n . B u t
the even m o r e e x t r a o r d i n a r y i d e a be-
h i n d t h e m , the a s t o n i s h i n g l y m o d e r n
w o r k , so r e s t r a i n e d i n e x p r e s s i o n ,
m u s t be c r e d i t e d to F r a n k F o s t e r
( a n d p e r h a p s also to B a s i e ) . H e r e
Basie's band breaks through f r o m
n e o - c l a s s i c i s m to h a m m e r o n t h e d o o r
of m o d e r n jazz. T h i s force held i n
reserve was b o r n i n 1950 i n " c o o l "
j a z z : w i t h o u t t h i s t h e first t r e m o l o
of the w i n d s w o u l d have been p l a y e d
f o r t e , as i n " h o t " e x p r e s s i o n i s m , a n d
w e w o u l d h a v e lost the final i m p r e s -
s i o n of a g r a d u a l b u t effective l o o s e n -
i n g of the a c c u m u l a t e d energy.
T h o u g h he i s g e n u i n e l y c r e a t i v e
with pen and manuscript, Frank
Foster showed little d a r i n g when he
soloed with Basie's orchestra d u r i n g
a r e c e n t s t a y at B i r d l a n d . T h e c i v i l
service j o b - h o l d i n g attitude i n the
b a n d has infected a l l the soloists ex-
cept Joe N e w m a n a n d T h a d Jones.
N o t o n l y d o the soloists r a r e l y t r y
to d o s o m e t h i n g n e w , b u t e v e n w o r s e
t h e y a r e so c a r e f u l t o a v o i d r i s k s t h e y
a r e s a t i s f i e d w i t h the m e d i o c r e . T o
hear solos repeated note for note
o v e r a n d o v e r seems a n i n s u l t f r o m
s u c h a fine b a n d . T h e n t o o J o e W i l -
l i a m s seems to h a v e p e r f e c t e d t h e a r t
of r o u t i n e i n t e r p r e t a t i o n . T h e r e is
n o t h i n g more like his performance of
Every Day t o n i g h t t h a n l a s t n i g h t ' s
p e r f o r m a n c e , unless it's the one he is
g o i n g to d o t o m o r r o w n i g h t . T h e
most obviously spontaneous touches
i n Every Day, l i k e a t o u c h o f h o a r s e -
ness o n t h e w o r d " m e " i n h i s f o u r t h
chorus, reappear every day with
deadly sameness. Joe W i l l i a m s , a
m o d e l B a s i e a s s o c i a t e , seems t o s i n g
o n l y to r e p r o d u c e h i s r e c o r d s . C l o s e
y o u r e y e s q u i c k , is it W i l l i a m s i n
p e r s o n o r is it the r e c o r d s p i n n i n g ?
B u t h e ' l l get a l o n g ; he h a s a great
d e a l o f t a l e n t , a n d y o u d o n ' t get b o r e d
with that.
A p p a r e n t l y B a s i e ' s o r c h e s t r a has
t r o u b l e finding n e w w o r k s to a d d to
t h e b o o k . P e r f e c t i o n o f style i s a
h a r d t h i n g to m a i n t a i n ; i t depends
o n m a n y c i r c u m s t a n c e s , a n d besides
t h e w o r k s a r e n o t the w o r k of a
s i n g l e p e r s o n . B u t p e r f e c t i o n of style
is t h e m o s t i m p o r t a n t t h i n g . T h e c u r -
r e n t b o o k i s n o t a l l o n the same l e v e l .
S o m e p i e c e s a r e r e a l l y b a d , l i k e April
in Paris, w h i c h i s B a s i e ' s biggest
c o m m e r c i a l success s i n c e Every Day,
b u t w h i c h h a s n o m u s i c a l m e r i t . It
is s a d t h a t t h e u s u a l l y d i g n i f i e d B a s i e ,
one must a d m i r e his s m i l i n g com-
posure, allows himself, while playing
a " b a l l a d " o n w h i c h the a r r a n g e m e n t
d o e s n o t fit t h e t h e m e , n o r the theme
h i s o r c h e s t r a , t o flatter the p u b l i c : i t ' s
h a r d t o see t h e p o i n t of, l i k e L o u i s
A r m s t r o n g , re-doing "one more once"
the last b a r s of a n a r r a n g e m e n t , an
u n w o r t h y t r i c k . L e t u s h o p e t h a t the
C o u n t w i l l give u p such easy empty
s u c c e s s e s a n d t h a t he w i l l a g a i n p r o -
g r a m h i s p e r f o r m a n c e s as s e r i o u s l y
as he d i d d u r i n g h i s last P a r i s i a n
visit i n October 1956.
A t t h e r i s k o f m o n o t o n y , let m e
repeat that Basie's orchestra s h o u l d
only p l a y blues or arrangements
strongly saturated i n blues feeling.
F r a n c y B o l a n d has written some for
B a s i e , a n d t h e r e m u s t be m a n y o t h e r
a r r a n g e r s w h o don't feel that the
blues are a d e a d letter. P e r h a p s we
s h o u l d a l s o h o p e f o r the e l i m i n a t i o n
of fast t e m p o s w h i c h the o r c h e s t r a
has t r o u b l e i n s u s t a i n i n g : doesn't it
s w i n g most on m e d i u m slow pieces
l i k e Shiny Stockings a n d Every Day?
T h e best h o p e o f t h e B a s i e o r c h e s t r a
s h o u l d n o t be t o e x t e n d its r a n g e ;
it s h o u l d be t o t a k e t h e g r e a t e s t p o s -
sible advantage of the p o s s i b i l i t i e s
a v a i l a b l e w i t h i n its l i m i t e d range,
w i t h i n w h i c h it has no peer.
T o e x p e c t B a s i e to p r o d u c e the
m o d e r n b i g b a n d we have a l l been
awaiting, and w h i c h neither Stan
K e n t o n nor D i z z y Gillespie have given
us, w o u l d be a m i s t a k e . T h e C o u n t
and h i s o r c h e s t r a are g i v i n g us a
m a g n i f i c e n t lesson i n c l a s s i c i s m ; even
more, they are still e v o l v i n g and even,
on a purely instrumental level, i m -
p r o v i n g . T h a t is a unique situation.
T h e revitalization of b i g b a n d jazz
w i l l take place elsewhere: we'd like
t o bet t h a t t h e s p i r i t o f D u k e E l l i n g -
ton, i n h i b e r n a t i o n n o w f o r fifteen
years, w i l l play a m a j o r role.
(This article is reprinted from
J a z z - H o t , November, 1957 by per
mission of the author and of
Charles Delaunay, directeur. It is
translated by Hsio Wen Shih.)
JAZZ REVIEW
A n Afternoon with Miles Davis

by Nat Hentoff M i l e s lives i n a relatively new

b u i l d i n g on T e n t h A v e n u e near 57th
Street. T h e largest area i n his apart-
ment is the l i v i n g r o o m . L i k e the
o t h e r r o o m s , i t is u n c l u t t e r e d . T h e
f u r n i s h i n g s h a v e been c a r e f u l l y se-
lected a n d are spare. M i l e s has a
particular liking for " g o o d wood"
a n d e x p l a i n s t h e r e b y w h y h i s Down
Beat p l a q u e s a n d even his F o u r
Roses A w a r d from the R a n d a l l ' s
Island " f e s t i v a l " a r e all displayed.
Don Hun*! c o u r t e s y of C o l u m b i a R e c o r d s
H e h a s a g o o d p i a n o a n d a n ade-
quate non-stereo record p l a y e r .

T h e i d e a o f t h e a f t e r n o o n t h e first
of a s e r i e s o f o b s e r v a t i o n s b y M i l e s
to be p r i n t e d at r e g u l a r i n t e r v a l s i n
t h i s m o n t h l y w a s to p l a y a v a r i e t y
of r e c o r d i n g s f o r h i m a n d t r a n s c r i b e
his reactions. T h i s was not a b l i n d -
fold test, f o r w h i l e I find those
a d v e n t u r e s i n skeet s h o o t i n g e n t e r -
t a i n i n g I doubt i f thev serve m u c h
purpose except t r a n s i t o r y t i t i l l a t i o n .

First was B i l l i e H o l i d a y ' s 1937 /

Must Have That Man w i t h W i l s o n .
Clayton, Goodman, Young, Green,
P a g e a n d J o Jones. " I love the way
B i l l i e sings," M i l e s began. " S h e sings
like Lester Y o u n g and L o u i s A r m -
strong p l a y , but I don't like a l l that's
g o i n g o n b e h i n d h e r . A l l she needed
was L e s t e r a n d the r h y t h m . T h e p i a n o
was a d l i b b i n g w h i l e she was s i n g -
i n g , w h i c h l e a d s to c o n f l i c t , a n d the
" u i t a r w a s t o o l o u d a n d h a d too m u c h
accent on every b e a t . "

M i l e s was a s k e d w h e t h e r he agreed
w i t h m o s t o f the w r i t e r s o n j a z z t h a t
the B i l l i e o f 2 0 y e a r s a g o w a s the
" b e s t " B i l l i e a n d t h a t she i s n o w i n
decline. " I ' d rather hear her now.
She's become m u c h m o r e mature.
Sometimes v o u can sine w o r d s everv
n i g h t f o r five y e a r s a n d a l l o f a
s u d d e n i t d a w n s o n y o u w h a t the
sone means I n l a v e d My Funny
Valentine for a long t i m e a n d didn't
like it a n ( J H
a 0 f a s u d d e n it m e a n t
something. So with Billie, you know
s h e ' s n o"tL t" h
' ii"n"k- <
i nr5r n o w uwnai
/W S M P was
=nc was
in 1937 a n d she's p r o b a b l y learned

DECEMBER 9
m o r e a b o u t d i f f e r e n t t h i n g s . A n d she
still has c o n t r o l , p r o b a b l y m o r e con-
trol now than then. N o , I don't think
she's i n a d e c l i n e .
" W h a t I l i k e about B i l l i e is that
she s i n g s i t j u s t the w a y she h e a r s i t
a n d t h a t ' s u s u a l l y t h e w a y best s u i t e d
for her. She has more feeling than
E l l a and more experience i n l i v i n g
a certain way than E l l a . Billie's pretty
wild, you know.
" S h e sings w a y b e h i n d the beat
a n d t h e n she b r i n g s i t u p h i t t i n g
r i g h t o n the b e a t . Y o u c a n p l a y be-
h i n d the beat, but every once i n a
w h i l e y o u h a v e to c u t i n t o t h e r h y t h m
section o n the beat a n d that keeps
e v e r y b o d y together. S i n a t r a does it
b y accenting a w o r d . A lot of singers
t r y to s i n g l i k e B i l l i e , b u t just the
act o f p l a y i n g b e h i n d t h e b e a t d o e s n ' t
make it sound soulful.
" I don't think that'guys like B u c k
C l a y t o n a r e t h e best p o s s i b l e a c c o m -
panists for her. I'd rather hear her
w i t h B o b b y T u c k e r , t h e p i a n i s t she
u s e d to h a v e . S h e d o e s n ' t n e e d a n y
horns. S h e sounds like one a n y w a y . "
M i l e s ' r e a c t i o n to C l i f f o r d B r o w n ' s
Joy Spring as p l a y e d b y the O s c a r
P e t e r s o n T r i o o n The Modern Jazz
Quartet and The Oscar Peterson Trio
at the Opera House (Verve M G - V
8269) was intensely negative. " O s c a r
m a k e s m e s i c k b e c a u s e he c o p i e s
e v e r y b o d y . H e e v e n h a d to learn h o w
t o p l a y the b l u e s . E v e r y b o d y k n o w s
t h a t i f y o u flat a t h i r d , y o u ' r e g o i n g
to get a b l u e s s o u n d . H e l e a r n e d t h a t
a n d r u n s it i n t o the g r o u n d worse
t h a n B i l l y T a y l o r . Y u d o n ' t h a v e to
0

do that.
" N o w t a k e t h e w a y he p l a y s the
song. T h a t ' s not what C l i f f o r d meant.
H e passes r i g h t o v e r w h a t c a n be d o n e
w i t h the c h o r d s , " a n d here M i l e s
d e m o n s t r a t e d o n t h e p i a n o , as h e d i d
frequently d u r i n g the afternoon. " I t ' s
m u c h p r e t t i e r i f y o u get i n t o i t a n d
h e a r the c h o r d w e a v i n g i n a n d out
like B i l l Evans and R e d Garland
c o u l d d o i n s t e a d o f b e i n g so h e a v y .
O s c a r i s i a z z v he i a z z e s u d t h e t u n e
A n d he sure has devices, like certain
s c a l e p a t t e r n s , t h a t he p l a y s a l l t h e
time.
" D o e s he s w i n g h a r d like some
people say? I don't know what
they mean when they say ' s w i n g
h a r d ' a n y w a y . N e a r l y e v e r y t h i n g he
p l a y s , he p l a y s w i t h the same degree
of force. H e leaves n o holes f o r the
r h y t h m section. T h e only t h i n g I ever 1
h e a r d h i m play that I l i k e d was his
first r e c o r d of Tenderly.
" I love R a y B r o w n . A s for H e r b
E l l i s , I don't l i k e that k i n d of t h i n g
with guitar on every beatunless
y o u p l a y i t &e F r e d d i e G r e e n does
now. Y o u listen and y o u ' l l hear how

10 THE JA
 much Green has lightened his sound
t h r o u g h the y e a r s . I f y o u w a n t to see
h o w i t feels w i t h a h e a v y g u i t a r , get
up to p l a y sometimes w i t h one of
them behind you. H e ' l l drive y o u nuts.
" B a c k to O s c a r . H e p l a y s p r e t t y
g o o d w h e n he p l a y s i n a n A r t T a t u m
f o r m of b a l l a d a p p r o a c h . A n d I heard
him p l a y s o m e b l u e s o n c e at a
m e d i u m tempo that sounded pretty
g o o d . B u t for p l a y i n g l i k e that w i t h
a g u i t a r I p r e f e r N a t C o l e . I feel
t h o u g h t h a t i t ' s a waste to use a
<*uitar t h i s w a v I f v o u t a k e t h e g u i t a r
and have h i m play l i n e s l i n e s like
Georee Russell G i l E v a n s or J o h n
two c h o r d s for a l l of that. A n d i n
Summertime, there is a l o n g space
w h e r e we d o n ' t c h a n g e the c h o r d at
a l l . It j u s t d o e s n ' t h a v e to be c l u t -
tered u p . "
F r o m the same V e r v e O p e r a H o u s e
L P , I p l a y e d the M o d e r n J a z z Q u a r -
tet's v e r s i o n o f Now's The Time. "If
I w e r e J o h n , " M i l e s b e g a n , " I ' d let
M i l t p l a y m o r e t h i n g s h e ' d l i k e to
get l o o s e o n a n d t h e n p l a y these
t h i n g s . It w o u l d be a l l the m o r e effec-
t i v e b y c o n t r a s t . Y o u c a n d o a lot b y
setting up for contrast. Sometimes
I ' l l s t a r t a set w i t h a b a l l a d . Y o u ' l l be
s u r p r i s e d at w h a t a n effect t h a t i s . "
tato Head Blues of 1 9 2 7 w i t h L i l
Armstrong, K i d O n , Johnny Dodds,
J o h n n y St. C y r , Baby Dodds. and
Pete B r i g g s o n tuba. " L o u i s has been
t h r o u g h a l l k i n d s of styles." M i l e s
b e g a n . " T h a t ' s g o o d t u b a , b y the w a y
. . Y o u know you can't play any-
t h i n g o n a h o r n that L o u i s hasn't
p l a y e d I m e a n even m o d e r n . I love
h i s a p p r o a c h to the t r u m p e t ; he n e v e r
s o u n d s b a d . H e p l a y s o n the beat a n d
v o u c a n ' t m i s s w h e n v o u n l a v o n the
beatwith feeling. That's another
p h r a s e f o r s w i n g . I a l s o l o v e the w a y
he s i n g s H e a n d B i l l i e n e v e r m a d e a
record d i d t h e y " M i l e s was i n -
9

Lewis could m a k e t h e n a trio can T h e conversation turned on p i a n - f o r m e d t h e y h a d b u t the m a t e r i a l w a s

sound wonderful. ists. " B o y , I ' v e s u r e l e a r n e d a l o t nanr ir f R i l lie's Thj> Rlup<! Arp
T h e next r e c o r d was a t r a c k f r o m f r o m B i l l E v a n s . H e p l a y s the p i a n o Brewin 7
Decca D L 8707)
Kenny Clark Plays Andre Hodeir t h e w a y i t s h o u l d be p l a y e d . H e p l a y s " T h e r e ' s f o r m there, a n d y o u take
( E p i c L N 3 3 7 6 ) . It w a s M i l e s ' o w n all k i n d s of scales; can play i n 5 / 4 ; s o m e o f t h o s e e a r l y f o r m s , p l a y it
Swing Spring a n d these a r e H o d e i r ' s and a l l k i n d s of fantastic things. today, and they'd sound g o o d . I also
n o t e s o n the a r r a n g e m e n t : "Swing T h e r e ' s such a difference between h i m l i k e a l l those little stops i n h i s solo.
Spring i s a l s o t r e a t e d as a c a n o n , and R e d G a r l a n d w h o m I also l i k e a W e s t o p , b u t we o f t e n let t h e d r u m s
after an i n t r o d u c t i o n f e a t u r i n g an lot. R e d c a r r i e s the r h y t h m , b u t B i l l lay out altogether. If I h a d this rec-
e l a b o r a t i o n o f the m a i n e l e m e n t o f u n d e r p l a y s , a n d I l i k e that better." ord, I'd play i t . "
the t h e m e , t h e s c a l e . M a r t i a l S o l a l ' s M i l e s w a s at the p i a n o a g a i n , i n -
Before f o u r bars of A h m a d J a m a l ' s
b r i l l i a n t solo is f o l l o w e d b y a para d u l g i n g one of his p r i m a r y pleasures
But Not for Me o n A r g o L P 6 2 8 ,
phrase with integrated d r u m i m p r o - h e a r i n g what can be done w i t h
M i l e s s a i d h a p p i l y , " T h a t ' s the w a y
visations. Both Armand Migiani v o i c i n g s , b y c h a n g i n g a note, s p r e a d -
to p l a y t h e p i a n o . I f I c o u l d p l a y l i k e
( b a r i t o n e sax. ) a n d R o g e r G u e r i n i n g o u t the c h o r d , r e s h a p i n g i t . " Y o u
A h m a d and Bill Evans combined with
(trumpet) take a short solo." k n o w , y o u can play chords on every
o n e h a n d , t h e y c o u l d t a k e the o t h e r
M i l e s h a d n ' t l o o k e d c a r e f u l l y at n o t e i n the s c a l e . S o m e p e o p l e d o n ' t
off. J a m a l o n c e t o l d m e he's b e e n
the l i n e r n o t e s a n d w a s p u z z l e d f o r s e e m to r e a l i z e t h a t . P e o p l e l i k e B i l l ,
p l a y i n g i n n i g h t c l u b s s i n c e he w a s
t h e first f e w b a r s . " T h a t ' s m y t u n e , Gil Evans and George Russell know
e l e v e n . L i s t e n to h o w he s l i p s i n t o
isn't i t ? I forgot a l l about that tune. w h a t c a n b e d o n e , w h a t the p o s s i -
the o t h e r k e y . Y o u c a n h a r d l y t e l l i t ' s
God d a m n ! K e n n y Clarke can swing, bilities are."
h a p p e n i n g . H e doesn't throw his tech-
can't he? T h a t boy S o l a l can play, M i l e s r e t u r n e d to t h e M J Q r e c o r d -
nique around like Oscar Peterson.
but the p i a n i s t I l i k e i n E u r o p e is ing. " J o h n taught a l l of t h e m , M i l t
T h i n g s flow i n t o a n d o u t o f e a c h
Bengt Hallberg. D a m n ! Y o u know, c o u l d n ' t r e a d at a l l , a n d P e r c y h a r d l y .
other. A n o t h e r reason I like R e d
I f o r g o t I w r o t e that. T h a t ' s the w r o n g A l l J o h n h a s to d o i s let M i l t p l a y
G a r l a n d a n d B i l l E v a n s is that when
middle i n the p i a n o s o l o w h y does w i t h j u s t a sketch of a n arrangement.
t h e v n l a v a c h o r d t h e v n l a v a tnund
he d o t h a t ? B e c a u s e i t ' s e a s i e r , I T h a t ' s w h a t w e d o a l l the t i m e . I
more than a chord.
suppose. T h e arrangement is terrible. never have anybody write up any-
It w a s n e v e r m e a n t to be l i k e t h a t . t h i n g too difficult for us, because then " L i s t e n to the w a y J a m a l uses
It s o u n d s l i k e a t i r e d m o d e r n p a i n t - musicians tighten up. s p a c e . H e lets it g o so t h a t y o u c a n
ing wj t nskeletons i n it H e writes " I love the w a y J o h n p l a y s . I've feel the r h y t h m s e c t i o n and the
p r e t t y g o o d i n s p o t s , b u t he o v e r - g o t t o get t h a t r e c o r d w h e r e he p l a y s r h y t h m s e c t i o n c a n feel y o u . It's n o t
c r o w d s it. K e n n y a n d S o l a l save it by himself. I usually don't buy jazz crowded. Paul Chambers, inciden-
I t h i n k I ' l l m a k e a n o t h e r r e c o r d of r e c o r d s . T h e y m a k e m e t i r e d a n d de- t a l l y , h a s s t a r t e d to p l a y a n e w w a y
t h i s t u n e It w a s m e a n t to be j u s t l i k e pressed. I ' l l b u y A h m a d J a m a l , J o h n w h e r e b y he c a n s o l o a n d a c c o m p a n y
Lewis, Sonny Rollins. Coltrane I hear h i m s e l f at the s a m e t i m e b y u s i n g
the n i a n o a n d n i r p dv ZtLZTlJt e v e r y n i g h t . A n d I l i k e t o h e a r the space well.
l v "itt k3r z rrr^ things that M a x R o a c h writes h i m - " A h m a d is one of m y favorites.
and w b W n w v n 5n thlt self. A d r u m m e r m a k e s a v e r y g o o d I live u n t i l he makes another r e c o r d .
1P nrl I n n Tin l!i At w r i t e r . H e h a s a sense o f s p a c e a n d I gave G i l E v a n s a couple of h i s
W n t H a 1f LTth , t R A k n o w s w h a t i t feels l i k e to be p l a y i n g a l b u m s , a n d he d i d n ' t g i v e t h e m b a c k .
TW1I h A V 1 T i l A around an arrangement. Philly Joe Red G a r l a n d knew I liked A h m a d and
timl" p l a y s tenor a n d p i a n o , a n d he's start- at t i m e s I u s e d t o ask h i m t o p l a y
M i l e s started to t a l k a b o u t h i s i n g to w r i t e . " l i k e t h a t . R e d w a s at h i s best w h e n
strong preference for w r i t i n g that T h e t a l k "came to C o l t r a n e . " H e ' s he d i d . B i l l p l a y s a l i t t l e l i k e t h a t b u t
isn't overcrowded, especially over been w o r k i n g on those a r p e g g i o s a n d he s o u n d s w i l d w h e n he d o e s a l l
c r o w d e d w i t h chords. H e f o u n d some p l a y i n g c h o r d s that lead into c h o r d s , those little s c a l e s . "
acetates o f h i s f o r t h c o m i n g C o l u m b i a p l a y i n g t h e m fifty d i f f e r e n t w a y s a n d M i l e s b y n o w w a s b a c k at the
/'orgy and Bess L P w h i c h G i l E v a n s p l a y i n g t h e m a l l at o n c e . H e ' s b e g i n - piano, talking with gathering intensity
had a r r a n g e d but f o r the s c o r i n g of n i n g to leave m o r e space except w h e n about the need f o r m o r e space a n d
w h i c h M i l e s h a d made a n u m b e r of h e gets n e r v o u s . T h e r e ' s o n e frantic- les c h o r d - c l u t t e r i n g i n j a z z . " W h e n
suggestions. H e p u t / Love You t e n o r i n P h i l a d e l p h i a , b y the w a y G i l w r o t e t h e a r r a n g e m e n t o f / Love
Porgy on the m a c h i n e . Jimmy Oliver." You, Porgy, h e o n l y w r o t e a scale
" H e a r that passage. W e o n l y used T h e n c a m e L o u i s A r m s t r o n g ' s Po- f o r m e to p l a y . N o c h o r d s . A n d that

DECEMBER
11
other passage w i t h just two chords
gives y o u a lot m o r e freedom a n d
s p a c e to h e a r t h i n g s . I've been l i s t e n -
i n g to K h a c h a t u r i a n c a r e f u l l y f o r s i x
m o n t h s n o w a n d the t h i n g that i n -
t r i g u e s m e a r e a l l t h o s e d i f f e r e n t scales
h e uses. B i l l E v a n s k n o w s t o o w h a t
c a n be d o n e w i t h scales. A l l c h o r d s ,
a f t e r a l l , a r e r e l a t i v e to scales a n d
c e r t a i n c h o r d s m a k e c e r t a i n scales. I
wrote a tune recently that's m o r e 3
scale t h a n a l i n e . A n d I was g o i n g
to w r i t e a b a l l a d for C o l t r a n e w i t h
just two chords.
" W h e n y o u go this w a y , y o u can go
o n f o r e v e r . Y o u d o n ' t have to w o r r y
about changes a n d y o u can do more
w i t h the l i n e . It b e c o m e s a c h a l l e n g e
t o see h o w m e l o d i c a l l y i n v e n t i v e y o u
are. W h e n you're based on chords,
y o u k n o w at t h e e n d o f 3 2 b a r s t h a t
the c h o r d s have r u n out a n d there's
n o t h i n g to d o but repeat w h a t y o u ' v e
just d o n e w i t h variations.
" I t h i n k a movement i n jazz is
b e g i n n i n g a w a y f r o m the conven-
tional string of chords, a n d a return
to e m p h a s i s o n m e l o d i c r a t h e r t h a n
harmonic variation. There will be
fewer chords but infinite possibilities
as t o w h a t t o d o w i t h t h e m . C l a s s i c a l
c o m p o s e r s s o m e of t h e m h a v e been
w r i t i n g this way for years, but jazz
musicians seldom have.
" W h e n I w a n t J . J . J o h n s o n to h e a r
s o m e t h i n g o r he w a n t s m e t o , w e
phone each other a n d just p l a y the
m u s i c o n t h e p h o n e . I d i d t h a t the
other d a y w i t h s o m e of the K h a c h a -
t u r i a n scales; they're different f r o m
the u s u a l W e s t e r n scales. T h e n we got
to t a l k i n g a b o u t l e t t i n g the m e l o d i e s
12
a n d scales c a r r y t h e t u n e . J . J . t o l d
m e , ' I ' m not g o i n g to w r i t e a n y m o r e
c h o r d s . ' A n d l o o k at G e o r g e R u s s e l l ,
H i s w r i t i n g is m o s t l y scales. A f t e r a l l ,
y o u c a n f e e l the c h a n g e s .
" T h e m u s i c has gotten t h i c k . G u y s
give m e tunes a n d they're f u l l of
chords. I can't play them. Y o u know,
w e p l a y My Funny Valentine like
w i t h a scale a l l the w a y t h r o u g h . "
T h e n e x t r e c o r d w a s Ruby, My
Dear w i t h T h e l o n i o u s M o n k , C o l e m a n
Hawkins, W i l b u r Ware and A r t Blakey
( f r o m Monk's Music, Riverside R L P
12-242).
" I learned h o w to p l a y ballads f r o m
C o l e m a n H a w k i n s . H e p l a y s a l l the
c h o r d s a n d y o u c a n still hear the
ballad. Who's p l a y i n g bass? He
doesn't k n o w that tune. A s f o r the
performance as a w h o l e , t h e t u n e
w a s n ' t m e a n t to b e p l a y e d t h a t w a y .
I g u e s s H a w k i n s figured t h a t w i t h
y o u n g cats, he s h o u l d p l a y ' y o u n g - '
It's a very pretty b a l l a d a n d s h o u l d
be played just even. T h i s w a y y o u
can't hear it the w a v it i s - I ' d d a v
it m o r e flowing. M o n k writes such
Drettv melodies and then screws them
up.
" Y o u h a v e t o g o d o w n to h e a r h i m
to r e a l l y a p p r e c i a t e w h a t he's d o i n g .
I ' d l i k e to m a k e a n a l b u m of h i s tunes
i f I c a n e v e r get h i m u p h e r e .
" M o n k has really helped me. W h e n
I c a m e to N e w Y o r k , he t a u g h t m e
c h o r d s a n d his tunes. A m a i n i n -
fluence h e h a s b e e n t h r o u g h t h e y e a r s
h a s to d o w i t h g i v i n g m u s i c i a n s m o r e
f r e e d o m . T h e y feel t h a t i f M o n k c a n
d o w h a t he d o e s , t h e y c a n . M o n k h a s
been u s i n g space f o r a l o n g t i m e .
FTP*
" T h e t h i n g that M o n k must realize
i s t h a t h e c a n ' t get e v e r y b o d y to p l a y
his songs right. Coltrane, M i l t Jack-
son a n d m a y b e L u c k y T h o m p s o n are
t h e o n l y o n e s I k n o w t h a t c a n get t h a t
f e e l i n g o u t o f h i s s o n g s t h a t he c a n .
A n d he needs d r u m m e r s l i k e D e n z i l
Best, B l a k e y , S h a d o w , R o y H a y n e s ,
and Philly.
" I love the w a y M o n k plays a n d
writes, but I can't stand h i m behind
me. H e doesn't give y o u any s u p p o r t . "
T h e final r e c o r d w a s B e s s i e S m i t h ' s
Young Woman's Blues, 1926, with
Fletcher Henderson, Joe S m i t h and
Buster Bailey.
" L i s t e n to J o e S m i t h ' s t o n e . H e ' s
got s o m e f e e l i n g to i t . " M i l e s l a u g h e d
w h i l e l i s t e n i n g t o t h e l y r i c s (c.f. t h e
first i s s u e o f The Jazz Review).
" T h e y ' r e p r e t t y h i p . T h i s i s t h e first
time I've h e a r d this r e c o r d . I haven't
h e a r d m u c h of Bessie, but I l i k e her
e v e r y t i m e I h e a r h e r . S h e affects m e
l i k e L e a d b e l l v d i d the w a v s o m e of
P a u l Laurence D u n b a r ' s poetry d i d .
I read h i m once and almost c r i e d .
T h e N e g r o southern speech.
" A s for those l y r i c s , I k n o w w h a t
she m e a n s a b o u t n o t b e i n g a h i g h
yellow a n d being a % b r o w n or some-
t h i n g l i k e that. I n those d a y s h i g h
y e l l o w w a s as c l o s e t o w h i t e as y o u
c o u l d get. I t ' s g e t t i n g m o r e a n d m o r e
m i x e d though and pretty soon when
y o u c a l l s o m e b o d y a n m.f., y o u w o n ' t
k n o w w h a t k i n d to c a l l t h e m . Y o u
m i g h t h a v e t o c a l l t h e m a g r e e n m.f.
" I ' d love to h a v e a little b o y s o m e
d a y w i t h r e d h a i r , green eyes a n d a
black facewho plays piano like
Ahmad Jamal."
THE JAZZ REVIEW
n
Extended Improvisation and Form:
Some Solutions
by
Martin
Williams
I
I n 1939 i n a d i s c u s s i o n of J i m m y
Y a n c e y ' s style, W i l l i a m R u s s e l l said,
"the usual ending, with an abrupt
m o d u l a t i o n a n d final d i s s o n a n c e , n e e d
not surprise anyone who remembers
that N e g r o i m p r o v i s e d folk music
h a s n o fixed b e g i n n i n g n o r d e f i n i t e
e n d , a n d its f o r m a l l e n g t h of no m o r e
consequence t h a n the title. S u c h a
d a n c e as Yancey Stomp [The Fives]
c o u l d p r o b a b l y go on a l l n i g h t w i t h -
out decrease i n effectiveness." F o r m ,
i n other w o r d s , is a q u e s t i o n of
length a n d length is almost entirely
a m a t t e r o f t h e e m o t i o n a l c l i m a t e of
t h e m o m e n t w h i c h m a y e v e n be i n -
dicated on a physical level.
H o w e v e r , w r i t i n g at a b o u t t h e s a m e
time, Russell could praise Meade
" L u x " L e w i s ' s Bass on Top o n t h e
basis of its " m o t i v a l d e v e l o p m e n t . "
" T h e g e r m m o t i v e itself is d e r i v e d
f r o m the bass a c c o m p a n i m e n t figure.
It i s t r e a t e d b y e x t e n s i o n ( c h o r u s 2 )
by d i m i n u t i o n and inversion (chorus
4 a n d 6) twisted about u n t i l its pos-
sibilities of e l a b o r a t i o n are seemingly
exhausted. F i n a l l y , i n the eleventh
chorus there begins a l i q u i d a t i o n i n
w h i c h not o n l y the m e l o d i c but the
rhythmic motive and accompanying
bass figure, as w e l l , a r e r e d u c e d t o
their most essential features."
B e h i n d R u s s e l l ' s first s t a t e m e n t , o f
course, l i e the " r o m a n t i c " s t a n d a r d s
of i m a g i n a t i o n , inventiveness, emo-
tional projection, power, etc.even,
perhaps, of endurance. B e h i n d his
second, " c l a s s i c a l " standards of f o r m ,
inner cohesion, development, struc-
ture.
Jimmy Yancey at Home
T h e s e t w o a t t i t u d e s a r e n o t neces-
s a r i l y o p p o s i t e s . It s e e m s t o m e t h a t
o n e o f Y a n c e y ' s best r e c o r d i n g s i s t h e
one c a l l e d (after the fact b y the rec-
o r d c o m p a n y ) How Long #2; it has
a d i s c i p l i n e of f o r m . E a c h c h o r u s is
based on a separate a p p r o a c h to the
simple eight-bar blues melody, a n d
the w a y Y a n c e y handles the i m p r o v i -
sation makes it clear that his unit is
a p a i r o f c h o r u s e s . T h e first b a s s
figure is the " f o u r - b e a t w a l k " ( l i k e
the one " L u x " L e w i s used i n h i s
Bear Cat Crawl). A t the t h i r d c h o r u s ,
Y a n c e y begins a m o r e elaborate base
l i n e , o b v i o u s l y i m p r o v i s e d , as a n i n -
t e g r a t e d r e s p o n s e t o w h a t he i s b u i l d -
i n g i n his treble. T h e right h a n d
c o n t i n u e s to b u i l d i n c o m p l e x i t y , t h e n
i n t e n s i o n , a n d b y c h o r u s five t h i s
tension has p r o d u c e d a series of b y
n o w s i m p l e trills a n d the m a i n i m p r o -
v i s a t i o n is i n t h e bass l i n e . B y c h o r u s
eight, Y a n c e y a b r u p t l y breaks the
m o o d , descends to the m i d d l e of the
k e y b o a r d , decreases his d y n a m i c ten-
s i o n b u t he h a s p r e p a r e d f o r t h i s
descent p r e v i o u s l y b y g r a d u a l l y s i m -
p l i f y i n g t h e b a s e l i n e u n t i l he h a s
r e d u c e d i t t o t h e figure he b e g a n
w i t h . A t the e n d , this pensive m o o d is
c h a n g e d : t h e b r i l l i a n t flash of t h e
m i d d l e of the piece returns m o m e n -
t a r i l y to the treble, but w i t h the open-
i n g bass figure s o l i d l y a n c h o r i n g t h e
u n i t y , a n d the piece ends suspended
on an odd-numbered chorus which
e c h o s t h e t o n e he h a d set i n t h e b e g i n -
n i n g . T h u s , by a reiteration and over-
l a p p i n g of m o t i f s , Y a n c e y m a i n t a i n e d
a continuity.
l'hoto by William Russell
M y s u b j e c t is the p r o b l e m o f f o r m
i n e x t e n d e d s o l o s . I b r i n g i t u p be-
cause (aside f r o m a rather classic
bent of m i n d of m y o w n ) c e r t a i n
h o r n - m e n have n o w d i r e c t l y faced it
a n d it seems to me that i n the w o r k
of b o t h M i l e s D a v i s a n d S o n n y R o l -
l i n s , we hear m e n a t t e m p t i n g u n i q u e
s o l u t i o n s to i t , w i t h a n awareness of
continuity and inner-structure. I think
t h a t a n a c c o u n t o f t h e i r efforts w i l l
have m o r e m e a n i n g if they are placed
i n t h e c o n t e x t of t h e p a s t i f o n l y t o
support m y c o n t e n t i o n of t h e i r value.
I do not i n t e n d w h a t f o l l o w s to be
exhaustive, but I hope it w i l l i n c l u d e
s o m e e x e m p l a r y s o l u t i o n s to the p r o b -
l e m . I h a d best a d d t h a t I d o n o t
i n t e n d to discuss f o r m a l c o n c e p t i o n s
w h i c h s e e m t o m e to be i m p o s e d f r o m
w i t h o u t . T h a t is, if the p r o b l e m of
f o r m does not arise after the " r o m a n -
t i c " facts of inventiveness a n d con-
v i c t i o n , then it does not really arise
at a l l . L i k e " s t y l e " i n p r o s e , i t m u s t
u l t i m a t e l y be a c o n s e q u e n c e o f h a v i n g
s o m e t h i n g t o s a y . It c a n n o t be a k i n d
o f m o l d w h i c h needs o n l y t o be filled
out f o r a m a n to have p r o d u c e d s o m e -
t h i n g of value.
T h e m a n w h o has l o n g been f a c e d
w i t h t h e p r o b l e m of e x t e n d e d i m p r o -
v i s a t i o n is, of course, the solo p i a n i s t ,
a n d he f a c e d t h e p r o b l e m of c o n -
t i n u i t y quite e a r l y . O n e of the reasons
f o r this is that i n his i m m e d i a t e back-
ground lay both a vocal tradition and
the c o m p o s i t i o n a l a p p r o a c h of r a g -
t i m e , a n d it w i l l help i f we briefly
review ragtime.
13

R a g t i m e is a s o p h i s t i c a t e d a n d for-
m a l m u s i c , f u r t h e r r e m o v e d , i n sev-
eral respects, f r o m the basic blues
t h a n i s t h e p l a y i n g of, s a y , C h a r l i e
Parker or M i l t Jackson. Today, it
may seem a tangental movement
w h i c h , h o w e v e r s t r o n g l y it c o n t r i b u t e d
to jazz ( a n d still contributes i n d i -
r e c t l y ) a n d h o w e v e r m a n y fine i n -
d i v i d u a l p i e c e s i t p r o d u c e d , w a s , as a
movement, a k i n d of b l i n d alley.
P e r h a p s one of the reasons for its
u l t i m a t e f a i l u r e was its f o r m a l r i g i d -
ity a n d its c o m p o s i t i o n a l removal
f r o m the folk-blues.
I t h i n k t h a t t h e f i r s t of t h e g r e a t
r a g s , S c o t t J o p l i n ' s Maple Leaf, i s
t y p i c a l e n o u g h f o r us i n i t s f o r m ,
b u t I h o p e I c a n be f o r g i v e n i f a n
exposition of this w e l l - k n o w n piece
f o r c e s m e to repeat a few t r u i s m s .
R a g t i m e is a multi-thematic, com-
positional music with rather limited
r h y t h m i c resources, frequently d o m i -
nated b y o n l y one k i n d of syncopa-
t i o n . A l t h o u g h there is evidence that
i m p r o v i s a t i o n ( o r at least e m b e l l i s h -
m e n t ) w a s at l e a s t s o m e t i m e s a p a r t
! of r a g t i m e p e r f o r m a n c e s , neither i m -
p r o v i s a t i o n n o r w r i t t e n v a r i a t i o n is
essential to i t . T h e f o r m of Maple
Leaf is b a s i c a l l y A , B , A ( a l l i n A
flat), C ( a m o d u l a t i o n to D flat), D
( a r e t u r n t o t h e o r i g i n a l k e y ) . It gets
its f o r m , its f e e l i n g of completeness
f r o m the thematic a n d t o n a l relation-
s h i p s . T h e m e C is m e l o d i c a l l y related
to B a n d b o t h are a k i n d of cake-
walk-like strut. T h e m e A falls into two
p a r t s : t h e first i s a k i n d o f i n t r o -
ductory " c a l l " (again suggesting B
i n q u a l i t y ) a n d the second a " r e -
s p o n s e " r a t h e r l i k e the r o m p i n g , a l -
most s w i n g i n g , D theme. B u t D almost
c o m b i n e s t h e q u a l i t y of a l l t h e t h e m e s .
I f one w a n t e d to d e s c r i b e t h i s piece,
a l m o s t m e t a p h y s i c a l l y , as a k i n d o f
thesis, antithesis, deliberation, syn-
thesis, I w o u l d t h i n k the d e s c r i p t i o n
v a l i d ; at a n y r a t e , i t s h o u l d be c l e a r
t h a t , as i n s e v e r a l W e s t e r n f o r m s ,
some k i n d of statement a n d resolution
of opposites is i n v o l v e d i n its e x p o -
sition.
When the ragtime movement
waned, it was replaced by a "blues
c r a z e " , a n d w h e n we r e m e m b e r that
W . C. Handy's publications announced
i t , i t s h o u l d be o b v i o u s t h a t at least
t h e public face of this m o v e m e n t was
i n s o m e w a y s as f o r m a l l y c o m p o s i -
t i o n a l as t h a t of r a g t i m e . H a n d y ' s
best blues are, like rags, multi-
t h e m a t i c a n d d e p e n d o n i n t e r n a l con
trast a n d p a r a l l e l , chiefly of melodies,
for their form. L i k e many ragtime
men, H a n d y began by w r i t i n g down
a n d m o r e o r less f o r m a l i z e d t h e m u s i c
around h i m . W e might almost call
h i m a ragtime-blues writer, and I
i n t e n d that d e s c r i p t i o n to m e a n that
the m u s i c a l s e n s i b i l i t y that chose a n d
j u x t a p o s e d the themes of Memphis
Blues, Beale St. Blues, a n d St. Louis
Blues was an excellent one. W h a t
such a description of "ragtime-blues
w r i t e r " m i g h t not i n c l u d e is i m p o r -
tant h o w e v e r : there are r h y t h m i c a n d
h a r m o n i c d e v i c e s t o be f o u n d i n t h e
w o r k of H a n d y a n d his followers that
a r e at least r a r e i n r a g t i m e a n d , m o r e
i m p o r t a n t , t h e r e c a n be a d e e p p a s -
s i o n , even i n the most r i g i d l y c o m -
p o s i t i o n a l blues, that r a g t i m e seldom
captured.
Ill
T h e next d o m i n a n t movement was
w h a t c a m e t o be c a l l e d t h e " j a z z " o f
N e w O r l e a n s . I n this context, i t is
v a l i d to say that t h i s m u s i c represents
a c o m b i n a t i o n of elements i n two
previous movementsa combination
o f r a g t i m e a n d b l u e s c o n c e p t i o n s . It
seems t o m e t h a t J e l l y R o l l M o r t o n ' s
w o r k reflects t h e m a t u r i t y o f an
e a r l i e r stage i n t h i s s t y l e I m e a n
earlier t h a n the w o r k of K i n g O l i v e r ' s
Creole Jazz B a n d a n d it is the one
we s h a l l e x a m i n e .
O b v i o u s l y there are some
t h i n g s : there is a developed
new
poly-
p h o n y ; there is a great extension of
rhythmic resources (undoubtedly
a d a p t e d a n d a s s i m i l a t e d directly from
f o l k b l u e s a n d c h u r c h m u s i c , as w e l l
as t h e " L a t i n " r h y t h m s i n t h e m u s i c s
of t h e c i t y ) , t h e r e a r e s o m e w h a t d i f -
ferent k i n d s of m e l o d i e s (of F r e n c h
a n d S p a n i s h o r i g i n s ) , etc. M o s t i m -
p o r t a n t t h e r e is v a r i a t i o n a n d i m p r o -
v i s a t i o n . E v e n i f we were, t h r o u g h a
c o m p a r i s o n of v a r i o u s r e c o r d i n g s a n d
p r i n t e d scores, to subtract e v e r y t h i n g
f r o m M o r t o n ' s music that c o u l d con-
c e i v a b l y be i m p r o v i s a t i o n , w r i t t e n
v a r i a t i o n w o u l d s t i l l be a p a r t o f i t s
s u b s t a n c e . F u r t h e r m o r e , these v a r i a -
tions are o n theme a n d they are not
embellishments or decorations; in
M o r t o n ' s compositions, even his most
rag-like m u l t i t h e m a t i c pieces, there is
at least o n e c h o r u s o f m e l o d i c v a r i a -
tion. If such a conception is extended,
it o b v i o u s l y raises the p r o b l e m of
o v e r - a l l f o r m . It i s q u i t e p o s s i b l e ,
s i n c e these v a r i a t i o n s a r e m e l o d i c , t o
d r o p t h e p r o b l e m of f o r m at t h e l e v e l
of a chorus-by-chorus conception
w i t h o u t t a k i n g u p the question of the
d e v e l o p m e n t a l r e l a t i o n s h i p o f these
choruses. B u t M o r t o n d i d not stop
there a n d it is a great t r i b u t e to h i s
m u s i c a l s e n s i b i l i t i e s t h a t he d i d n o t .
An e x p l i c a t i o n of the r a g - l i k e
Kansas City Stomps i n t h e l o n g v e r -
s i o n on the L i b r a r y of Congress
r e c o r d i n g s w i l l s e r v e as g o o d t r a n s i -
t i o n to h i s most a m b i t i o u s p e r f o r m -
ances. A s p u b l i s h e d , the piece consists
of three themes, t h u s : A , A (an exact
r e p e a t ) , B , B ( a r e p e a t ) , A (as b e -
f o r e ) , C , C (a v a r i a t i o n ) . A a n d B
a r e e a c h s i x t e e n - b a r t h e m e s i n E flat.
C has a n u n u s u a l twelve-bar structure
w i t h " b r e a k s " i n bars one a n d t w o ,
seven a n d eight ( m a k i n g t w o s i x - b a r
p a r t s ) , i n A flat. W h e n M o r t o n e x -
t e n d e d t h i s , he p l a y e d A , A ' ( a m e -
lodic v a r i a t i o n ) , B , B ' (a v a r i a t i o n ) ,
A " (another v a r i a t i o n ) , C , C (a v a r i -
a t i o n ) , A ' " (a t h i r d v a r i a t i o n ) . N o t
o n l y is the r o n d o c o m p l e t e d ( i n the
final r e t u r n t o A h e uses t h e " t u n e u p "
i n t r o d u c t i o n t o t h e p i e c e as a t r a n s i -
tional and modulational interlude),
b u t i n e a c h r e t u r n t o e a c h t h e m e he
plays a v a r i a t i o n on that theme. T h i s
effort t o h a n d l e i m p r o v i s a t i o n o n
m u l t i t h e m a t i c m a t e r i a l seems t o m e
surpassingly successful, and, of
course, i f a y o u n g m u s i c i a n were even
t o u n d e r t a k e s u c h a t h i n g t o d a y he
w o u l d be h a i l e d as a n " e x p e r i m e n t o r "
or " s e a r c h i n g i n n o v a t o r . "
O n the other h a n d , a p e r f o r m a n c e
l i k e the p i a n o v e r s i o n of Hyena
Stomp, based o n one f a i r l y s i m p l e
theme, reveals another k i n d of struc-
tural ingenuity.
There are eight choruses, one
theme a n d seven variations. The
theme-statement is gently m e l o d i c a n d
carefully harmonized, played i n time
but w i t h the pulse almost i m p l i e d .
T h e first v a r i a t i o n i s a m o r e r h y t h m i c
a n d b o t h the m e l o d i c l i n e a n d the
h a r m o n y are drastically s i m p l i f i e d i n
a k i n d of b a r r e l h o u s e " d e s t r u c t i o n "
of a l l the elements of the piece, w h i c h
are subsequently rebuilt i n v a r i o u s
ways. W e next hear an elaborately
l y r i c t r a n s f o r m a t i o n of the theme,
l i g h t l y d a n c i n g after the p r e c e e d i n g
and singing by complexity i n both
e c h o of a n d c o n t r a s t t o t h e w a y t h e
o p e n i n g statement h a d s u n g b y s i m -
p l i c i t y . F r o m this p o i n t o n , we g r a d u -
a l l y r e t u r n to a n d b u i l d o n the pulsat-
i n g r h y t h m of the second v a r i a t i o n ,
with an increasing melodic simplifica-
tion and dynamic building. The
f o u r t h v a r i a t i o n is an excellent stroke
f o r it t r a n s f o r m s the t h i r d , b y s i m -
plification, and makes a two chorus
unit w i t h it. A l s o i n the latter part
of it, M o r t o n begins a p o l y p h o n i c
bass figure. T h i s p r e p a r e s f o r v a r i a -
t i o n f o u r w h i c h is a c o n t r a s t i n g i m -
p r o v i s a t i o n i n the bass. T o w a r d its
end, M o r t o n introduces simple brass-
like figures. I n the final chorus,
M o r t o n ' s r i g h t h a n d not o n l y lays
down more simple brass-like " c a l l "
riffs but also reed-like " r e s p o n s e s " ,
a l s o r e m i n d i n g us o f t h e w a y h i s left
a n d r i g h t h a n d s h a d p r e v i o u s l y con
versed.
The performance reveals more
s t r u c t u r a l p r i n c i p l e s . T h e c h o r u s is
sixteen bars i n a sequence c o m m o n
i n r a g t i m e . A s w e h a v e s e e n , these a r e
often m a d e into d o u b l e choruses:
THE JAZZ REVIEW
 v a r i a t i o n s f o u r a n d five, a n d the t w o
final " b r a s s " c h o r u s e s . H o w e v e r , e a c h
chorus may readily fall into two
e i g h t - b a r u n i t s a n d e a c h o f these, i n
turn, into two four-bar units. Then
there is a n i n i t i a l fact of which
M o r t o n was well a w a r e : the basic me-
l o d i c m a t e r i a l is a t w o - b a r phrase.
M o r t o n t a k e s a d v a n t a g e , m a k e s these
facts (which another m a n might
see as a m e l o d i c l i m i t a t i o n ) p r i n c i p l e s
of his architectonics a n d chief virtues
of h i s p l a y i n g . T h e final c h o r u s c o n -
sists o f a c o n t i n u o u s e i g h t - b a r l i n e
followed by two four-bar units w h i c h
contrast melodically. T h e t h i r d v a r i a -
t i o n (the most m e l o d i c a l l y c o m p l e x )
is based o n a p a r a l l e l r e p e t i t i o n of
t w o - b a r u n i t s , w h i l e its " s i s t e r " v a r i a -
t i o n (the f o u r t h ) begins w i t h c o n -
trasting two bar units. Etc.
The performance may sound rigid
u n d e r s u c h s c r u t i n y , but it is not.
T h e s c r u t i n y serves to b r i n g out
p r i n c i p l e s of s t r u c t u r e i n a d e v e l o p i n g
i m p r o v i s a t i o n , a n d the p r i n c i p l e s are
t h e r e , h o w e v e r t h e y m a y be a p p l i e d
spontaneously.
A n o t h e r post-ragtime s c h o o l of m u -
sicians, the E a s t e r n " s t r i d e " pianists,
a l s o u s e d t h e p r i n c i p l e o f sets of
m e l o d i c v a r i a t i o n s . It s e e m s t o m e
t h a t t h e w o r k o f s e v e r a l o f these m e n
is i n c l i n e d to be almost d e c o r a t i v e
at t i m e s a m a t t e r o n l y o f r e p e a t i n g
melody with various embellishments
imposed on it. A n d a performance
l i k e W i l l i e " T h e L i o n " S i m t h ' s The
Boy in the Boat (Squeeze Me) c l e a r l y
depends on rather m e c h a n i c a l changes
of tempo to compensate. "Fats"
W a l l e r c a r r i e d the " s t r i d e " concep-
tion further. I n an early blues like
Numb Fumbling we c a n h e a r W a l l e r ' s
excellent melodic inventiveness com-
p l i m e n t e d b y a fine sense o f i n t e r n a l
contrast and echopowers which
c o u l d i n f o r m even his loosest i m p r o -
visations. In Waller and in E a r l Hines
w e see, o f c o u r s e , t h e b e g i n n i n g s o f
the t r a n s i t i o n a w a y f r o m m e l o d i c v a r -
i a t i o n s p l a y e d o n theme to v a r i a t i o n s
w h i c h create entirely new melodies
out of c h o r d structures.
The melodic approach continues
i f it no l o n g e r d o m i n a t e s . W e h e a r it
today i n E r r o l l G a r n e r w h o , despite
his limitations, his sentimentalities
and his mannerisms, can show a
genuine (often reductive) feel f o r
the n a t u r e of a m e l o d y . A n d i n
T h e l o n i o u s M o n k ' s a p p r o a c h to a
" s t a n d a r d " we hear a c o n t i n u a t i o n of
the s t r i d e a p p r o a c h : there is the same
interest i n u n u s u a l sequence of h a r -
monies that we can hear i n " T h e
L i o n " , the same emphasis on m e l o d y .
Indeed since M o n k ' s p r i m a r y em-
phasis is t h r o u g h r h y t h m , metre, a n d
accent, he has p r o d u c e d choruses
w h i c h are little m o r e than direct
DECEMBER
r h y t h m i c variations on theme, and i n ,
s a y , Just You, Just Me, a set o f m e -
l o d i c v a r i a t i o n s of a k i n d no c o n t e m -
p o r a r y pianist even attempts.
IV
I don't t h i n k that the o r i g i n of the
h a r m o n i c v a r i a t i o n w h i c h has g r a d u -
a l l y d o m i n a t e d j a z z is difficult to t r a c e
w i t h i n the m u s i c : l i k e the r h y t h m i c
changes w h i c h have t a k e n place i n the
last t h i r t y years, it comes f r o m the
b l u e s . L o n g e r a g o t h a n we k n o w ( a n d
p r o b a b l y ever s h a l l k n o w ) , p l a y i n g
the blues c o u l d m e a n freely i m p r o v i s -
i n g i n an h a r m o n i c frame. A n d this
is t r u e w h e t h e r t h e s o l o i s t i s a w a r e o f
an i m p l i c i t h a r m o n i c frame or not,
w h e t h e r he uses o n e c h o r d p e r c h o r u s
(or just one t h u m p ) t w o , three, o r
w h a t e v e r , a n d w h e t h e r he l i m i t s h i m -
self t o " r e g u l a r " e i g h t , t w e l v e , o r
s i x t e e n b a r c h o r u s e s o r lets i n s p i r a -
t i o n d i c t a t e c h o r u s l e n g t h . It w a s
evident that a m a n c o u l d take this
c o n c e p t i o n a n d a p p l y i t to a n y c h o r d
and chorus structurewhether it
came f r o m his grandfather or the
radio.
T h e question is, once this concep-
t i o n h a s d o m i n a t e d the m u s i c , w h e t h e r
a soloist can structure a l o n g i m p r o v i -
sation a n d , i f so, h o w .
If one understands L o u i s A r m -
strong's way of stating a melody with
the s l i g h t shifts of accent a n d altera-
t i o n s of l i n e w h i c h d i s c o v e r b e a u t y
a n d p a s s i o n i n t r i t e n e s s , he s h o u l d
have no t r o u b l e , despite the differ-
ences o f t o n e , r h y t h m i c a n d h a r m o n i c
c o n c e p t i o n , a n d q u a l i t y of e m o t i o n a l
projection, with M i l e s Davis's open-
i n g statements of f a m i l i a r melodies.
F r o m such statements D a v i s g r a d u a l l y
departs f r o m m e l o d i c line, often b y
a k i n d of i n g e n i o u s d i s i n t e g r a t i o n ,
i n t o d i r e c t use of h a r m o n i c m a t e r i a l ,
c r e a t i n g a n e n t i r e l y n e w melody out
o f c h o r d s t r u c t u r e . S i n c e he i s a
l e a d e r t o d a y , it f a l l s t o h i m t o b o t h
open and close a performance, and
his closing chorus o r choruses fre-
quently take the same a p p r o a c h , con-
d e n s i n g the process i n t o b r i e f e r f o r m .
I do not say that t h i s w a y is an
entirely new one, but I do t h i n k that,
at h i s best, D a v i s m a k e s s o m e t h i n g
u n i q u e o u t of i t . T h e first t h i n g t o
notice is that one does not often feel
that u s u a l a b r u p t a b a n d o n m e n t of
m e l o d y a f t e r the first s t a t e m e n t . M i l e s
c a n m a k e the t r a n s i t i o n g r a d u a l l y a n d
his u n i q u e presence a n d l y r i c gifts
o b v i o u s l y are i n v a l u a b l e i n m a i n -
t a i n i n g a s u s t a i n e d flow o f l i n e . W h i l e
i t m a y n o t be h i s best p e r f o r m a n c e
i n o t h e r r e s p e c t s , When Lights Are
Low i s a n e x c e l l e n t e x a m p l e o f h i s
conception. B y the e n d of his l o n g
o p e n i n g solo, M i l e s has t u r n e d a
chord structure and a sustained lyric
m o o d over to h i s s i d e m e n a n d , w h e n
he r e - e n t e r s at t h e e n d , he t a k e s t h e
changes a n d g r a d u a l l y and logically
r e b u i l d s the i n i t i a l m e l o d y . E v e n i f
he h a d n o o t h e r v i r t u e s , D a v i s ' s w o r k
c o u l d p r o v i d e s o m e o f t h e best i n t r o -
d u c t i o n s to w h a t the h a r m o n i c v a r i a -
tion means i n m o d e r n jazz that can
be f o u n d .
S o n n y R o l l i n s does not have such a
g e n t l e l y r i c q u a l i t y , n e i t h e r as D a v i s
d o e s n o r as P a r k e r d i d . N o r d o e s he
h a v e t h e h a r m o n i c sense o f D a v i s o r
P a r k e r . B u t he d o e s h a v e s o m e t h i n g
that P a r k e r h a d a n d that D a v i s has
l e a r n e d t h a t he d o e s n o t : he h a s a
t e c h n i c a l v i r t u o s i t y a n d he i s l e a r n -
i n g to use it w i t h d i s c i p l i n e .
R o l l i n s ' i m a g i n a t i o n a l t h o u g h it is
c o n s t a n t i s n o t so d a r i n g i n l i n e a n d
h a r m o n y as P a r k e r ' s . A l s o , u n l i k e
D a v i s , R o l l i n s has, I t h i n k , p r o d u c e d
hardly any balanced single or double
choruses of r e a l l y m e m o r a b l e q u a l i t y .
W h a t R o l l i n s c a n d o at h i s best i s
f a c e d i r e c t l y t h e p r o b l e m of l o n g
s o l o s w i t h a n o r d e r e d use o f t h e
e q u i p m e n t he d o e s h a v e . A n d i n a
milieu w h e r e so m a n y m e n g u s h o u t
a l l t h e i r r e s o u r c e s a n d t r i c k s i n sec-
o n d a n d t h i r d choruses i n the belief
that they are f o l l o w i n g i n P a r k e r ' s
steps, h i s a p p r o a c h i s e x e m p l a r y .
I have heard R o l l i n s plav long
solos w h i c h are better t h a n a n y t h i n g
he h a s r e c o r d e d ( I h a v e a l s o h e a r d
h i m e x p l o i t h i s talents, but that is
another q u e s t i o n ) , but w i t h the basis
o n w h i c h he o p e r a t e s i n m i n d , we
c a n h e a r at least a g o o d s k e t c h o f h i s
a p p r o a c h o n s u c h L P ' s as Saxophone
Colossus a n d Way Out West. H e b e -
gins, like D a v i s , with melody, gradu-
ally departs f r o m it i n t o a relaxed
h a r m o n i c v a r i a t i o n w i t h simple short
lines and s i m p l e note values. G r a d u -
a l l y he b u i l d s i n t o l o n g e r l i n e s , s h o r t e r
note values, double-time r u n s a l l the
P a r k e r - d e r i v e d resources of the m o d -
ernistic virtuositythen gradually
reverses the process f r o m this peak,
r e t u r n s to s i m p l e r h a r m o n i c v a r i a -
tions a n d then to the m e l o d y itself.
T h e basic a p p r o a c h m a y seem rather
o b v i o u s i f it i s e x p o s e d t h i s w a y , b u t
it seems to m e that t h i s g r a d u a l
revelation of the soloist e q u i p m e n t
t a k e s a d v a n t a g e of t h e l o n g s o l o p a s -
s a g e i n a w a y t h a t c a n m a k e t h e less
o r d e r e d efforts o f m a n y y o u n g m o d -
ernists sound like an a n g l y reaction
to t h e i r h a v i n g been i n t i m i d a t e d b y
the task.
T h e w a y to h e a r a g o o d s o l o b v
R o l l i n s is to t r y to h e a r it w h o l e , not
c h o r u s b y c h o r u s . T h e e x p o s i t i o n is
n e v e r so pat as m y a c c o u n t i s b o u n d
to m a k e it seem. I n the m i d s t of the
second or t h i r d comparatively simple
chorus, a rapid run may appear; in
the m i d d l e of a v i r t u o s o c h o r u s , s i m -
(Continued on Page 49)
15
 A L L T O O SOON
T o saw a w o m a n i n half is, pro-
fessionals insist, a t r i c k d e m a n d i n g
finesse. T h o u g h j a z z was s a w n i n h a l f
after W o r l d W a r II w i t h a notable
l a c k of finesse, a f a r m o r e m a g i c a l
result was achieved. T h e arms a n d
legs r e m a i n e d , b u t the t o r s o d i s a p -
peared.
S u d d e n l y , there seemed to be noth-
i n g but D i x i e l a n d and B o p , or
depending where you l i v e d T r a d i -
tional a n d M o d e r n . H o w to account
for this spectacular dismemberment?
W h a t h a d h a p p e n e d t o a l l t h e fine
music that lay between? The m u -
sicians that made it were alive and
mostly i n their p h y s i c a l and tech-
n i c a l p r i m e , but w i t h the collapse of
the b i g bands a n d i n c r e a s i n g d i s i n -
terest i n t h e i r i d i o m , w o r k f o r t h e m
b e c a m e h a r d t o find. D u k e a n d B a s i e ,
a l m o s t a l o n e , c o u l d c o n t i n u e to p r o v e
that there was still an audience f o r
jazz that emphasized swing and
warmth.
I n E n g l a n d , w h e r e a neat b a l a n c e
of power existed for a considerable
time between T r a d i t i o n a l a n d M o d -
e r n , it was possible to reassert the
values of w h a t is n o w k n o w n there
as M a i n s t r e a m J a z z . ( S i n c e a l l g o o d
j a z z t h e o r e t i c a l l y s w i n g s , S w i n g be-
came both inadequate and ridiculous
as a d i s t i n g u i s h i n g l a b e l . ) J o h n H a m -
m o n d ' s series of V a n g u a r d Jazz S h o w -
cases c o i n c i d e d very conveniently
w i t h t h i s m o v e m e n t , a n d it has n o w
carved out f o r itself a comfortable
place between the other two.
The English record companies soon
f o u n d they h a d a demand for M a i n -
T h e B u d d y Tate Band
stream Jazz w h i c h was not b e i n g met
f r o m A m e r i c a . Instead, they were
being surfeited with jazz described
as M o d e r n , C o o l o r Progressive,
m u c h of w h i c h t u r n e d out to be, i n
fact, I m m a t u r e , P u r i t a n i c a l or P r e -
t e n t i o u s . I n these c i r c u m s t a n c e s , a n d
o n the p e r s o n a l i n i t i a t i v e of the h e a d
of B r i t i s h D e c c a , M r . E . R . L e w i s ,
I w a s sent t o N e w Y o r k e a r l i e r t h i s
y e a r to attempt a r e c o r d e d cross-sec-
t i o n of the " m a i n s t r e a m " scene.
I w a s u n d e r n o i l l u s i o n s as t o w h a t
I w o u l d find. T h i s w a s m y f o u r t h
v i s i t to N e w Y o r k since 1937, a n d
each time a deterioration i n the c o n -
d i t i o n of jazz was u n d e n i a b l e . N o one
s h o u l d be d e c e i v e d t o d a y b y t h e f a c t
that m o r e jazz records are m a d e a n d
s o l d t h a n ever, n o r by that of the
p u b l i c i t y obtained for s u m m e r festi-
vals that last o n l y a few days. T h e
h e a l t h o f j a z z c a n b e s t be d e t e r m i n e d
b y t h e n u m b e r a n d duration of oppor-
t u n i t i e s o p e n t o j a z z m e n t o w o r k as
jazzmen.
In 1937, i n three weeks, I h e a r d a
dozen b i g bands of q u a l i t y ( D u k e
Ellington, J i m m i e Lunceford, Fletcher
Henderson, Chick Webb, Earl Hines,
Count Basie, T o m m y Dorsey, Benny
Goodman, Artie Shaw, L u c k y M i l -
linder, Willie Bryant and Luis Rus-
s e l l ) . I n 1958, i n six weeks, I h e a r d
o n l y two, b o t h of w h i c h were assem-
bled solely for r e c o r d i n g purposes.
A s for s m a l l groups, I need not list
what there was a l o n g 5 2 n d Street
i n 1937. T h i s year there was just
Wilbur DeParis. Uptown and down-
t o w n , too, there was s h r i n k a g e rather
by Stanley Dance
t h a n e x p a n s i o n . E v e n at t h e S a v o y ,
jazz was i n f u l l retreat.
M a n y of the greatest j a z z m u s i c i a n s
were existing on week-end gigs a n d
r e c o r d i n g , but the r e c o r d i n g often
consisted of r o c k V r o l l a n d back-
g r o u n d s to v o c a l s , a l l c a l c u l a t e d to
stultify rather than ennoble their tal-
ents. M u s i c i a n s of the c a l i b r e of C o l e -
man Hawkins, Roy Eldridge, Vic
D i c k e n s o n a n d Buster B a i l e y were
p l a y i n g at t h e m u c h - m a l i g n e d M e t r o -
p o l e , a f i s h b o w l t h a t at l e a s t p r o v i d e s
r e g u l a r w o r k . T h e S t y g i a n g l o o m of
B i r d l a n d w a s as d e p r e s s i n g as i t s
music and forlorn audience-
T h e r e was just one r e g u l a r l y con-
stituted g r o u p that was consistently
a p l e a s u r e to h e a r , a n d that was
B u d d y T a t e ' s septet at t h e s p a c i o u s
C e l e b r i t y C l u b o n 125th Street. T h i s
c o m b i n a t i o n has been p l a y i n g a r o u n d
N e w Y o r k for several years, and
B u d d y h a s b e e n r e c o r d e d as a s o l o i s t
o n C o l u m b i a a n d V a n g u a r d , yet r e -
cently an item was p r i n t e d i n the
n e w s s e c t i o n o f Down Beat e n q u i r i n g
w h e t h e r B u d d y w a s e n g a g e d as a
chauffeur in Hollywood. Prophets
m i g h t seem to be w i t h o u t h o n o r i n
New York.
T h e v i r t u a l demise of the old-style
j a m session d u r i n g recent years has
been a severe b l o w to j a z z . T h e
" s t a g e d " j a m s e s s i o n h a s as l i t t l e i n
c o m m o n w i t h i t as m o s t o f t h e " b l o w -
i n g s e s s i o n s " that take place i n re-
c o r d i n g s t u d i o s . I n e a c h case t h e r e i s ,
i n v a r y i n g d e g r e e s of d e s p e r a t i o n , a
n e e d t o a s t o u n d , w h i c h i s n o t at a l l
c o n d u c i v e to g e n u i n e l y a r t i s t i c cre-
Photo by Olivier Keller
THE JAZZ REVIEW
 Gene Ramey, V i c Dickenson, H i l t o n Jef-
ferson. H e r m a n A u t r e y Phi by OHvi Keller
a t i o n . N o r , of course, are w a r n i n g
lights, t i c k i n g clocks a n d the r i g o u r s
of stereophony.
Inspiration i n a recording studio
can never be guaranteed, but I have
l o n g felt t h a t t h e m o s t r e w a r d i n g j a z z
experience is the s w i n g i n g solo above
a s w i n g i n g r h y t h m section plusmost
important spontaneous-sounding
riffs f r o m two or three other h o r n s .
E v e n i f the solo itself is not p a r t i c u -
u a r l y i n v e n t i v e , t h e t o t a l effect w i l l
be i n v i g o r a t i n g a n d e x c i t i n g .
In the 1930s, w h e n the p u b l i c was
i n t e l l i g e n t e n o u g h to d e m a n d that its
j a z z b e d a n c e a b l e as w e l l as l i s t e n a b l e ,
t h i s w a s a s u r e , i m m e d i a t e l y com
m u n i c a b l e f o r m u l a . It s t i l l p r o v i d e s
one of the m o r e v a l i d f o r m s o f j a z z
expression, but it requires an affinity
a m o n g the p a r t i c i p a t i n g m u s i c i a n s
that extends to b o t h style a n d t e m p o .
( A feeling for tempo was an early
c a s u a l t y i n the b o p r e v o l u t i o n . ) A t
its best, it w a s h e a r d f r o m m u s i c i a n s
w o r k i n g r e g u l a r l y t o g e t h e r , as o n , f o r
example, the s m a l l - b a n d records m a d e
by Johnny Hodges when Cootie
W i l l i a m s was also a m e m b e r of the
Ellington band.
I f o u n d there were plenty of jazz-
m e n i n N e w Y o r k still, who not only
c o u l d , but l o v e d to p l a y i n t h i s i d i o m .
B u c k C l a y t o n has helped keep it alive
on records under his name (on
Columbia and V a n g u a r d ) , and Buddy
Tate's g r o u p plays it a l l the t i m e ,
but several other studio combinations
proved, to my mind, successful.
Among these, I would mention,
Buster Bailey with H e r m a n A u t r e y ,
V i c D i c k e n s o n , H i l t o n Jefferson, R e d
R i c h a r d s , Gene R a m e y and J i m m i e
C r a w f o r d . A u t r e y has h a r d l y been
h e a r d o n records since the d a y s of
Fats W a l l e r a n d it was a great sur-
p r i s e t o find t h a t h e s o u n d e d b e t t e r
t h a n ever. B u d d J o h n s o n , w i t h C h a r l i e
Shavers, V i c Dickenson, A l Sears,
Bert Keyes, Joe B e n j a m i n and Jo
Jones, also p r o d u c e d the k i n d of
s w i n g i n g ensemble I wanted. G r o u p s
including ex-Basieites like Dicky
Wells, B u d d y Tate, Buck Clayton, E a r l
W a r r e n a n d R u d y R u t h e r f o r d , nat-
u r a l l y fell w i t h i n the scope of m y
p r o g r a m m e , but D i c k i e W e l l s also led
DECEMBER
a t r o m b o n e q u a r t e t c o n s i s t i n g of h i m -
self, V i c D i c k e n s o n , B e n n y M o r t o n
and George Matthews that sounded,
as J o J o n e s p u t i t , " l i k e a m i l l i o n -
dollar trombone section".
It i s t h e n e g l e c t o f m e n l i k e D i c k i e
W e l l s t h a t c a u s e s so m a n y o f u s i n
E u r o p e t o l o o k a s k a n c e at t h e A m e r i -
c a n j a z z scene. H e r e is one of the
outstanding trombones i n jazz his-
t o r y , one w h o has c o n t r i b u t e d m u c h
b u t h a s n o n e e d t o rest o n past
achievements. D i c k i e ' s c o n t r o l , tone
and range are still i m p r e s s i v e ; his
style is completely i n d i v i d u a l ; h i s
conceptions are imaginative, d a r i n g
a n d h u m o r o u s a c c o r d i n g to m o o d . S o
w h e n w e r e a d yet a n o t h e r a r t i c l e i n
Down Beat o r Metronome about
D a v e B r u b e c k or A n d r e P r e v i n , we
t h i n k first about c r i t e r i a a n d then
about ethics.
W e believe that r e a l l y homogene-
ous, s w i n g i n g groups, like that n o w
p l a n n e d to t o u r E u r o p e u n d e r B u c k
Clayton's leadership, should hold an
i m p o r t a n t a n d regular place on the
j a z z s c e n e . T h i s o n e , as at p r e s e n t p r o -
jected, will comprise B u c k a n d E m -
mett B e r r y ( t p ) , D i c k i e W e l l s ( t b ) ,
Earl W a r r e n (as), B u d d y Tate (ts),
Sir Charles Thompson (p), Gene
Ramey (b), and Herbie Lovelle (d).
M u s i c a l l y , it cannot help but be
m o r e s a t i s f y i n g t h a n the c o n t e m p o -
r a r y c o m b i n a t i o n s of m a i n s t r e a m m u -
s i c i a n s w h o are c o m p e l l e d to p l a y a
b a s t a r d k i n d of D i x i e l a n d .
T h e post-war generation has been
f e d a lot of nonsense about the stag-
n a t i o n o f jazz p r i o r to the l i f e - s a v i n g
act o f M e s s r s . P a r k e r a n d G i l l e s p i e .
Jazz was not standing still before
t h e m , n o r w o u l d i t h a v e d o n e so w i t h -
o u t t h e m . It i s q u i t e p o s s i b l e t h a t i t
m i g h t have t a k e n a different, better
road. The absurd demands for jazz
to c h a n g e , change, to h u r r y , h u r r y ,
are merely i n d i c a t i v e of b a d nerves.
T h e pace of m o d e r n life is sometimes
r e f e r r e d t o as t h o u g h i t a c c o u n t e d f o r
the r a p i d changes i n j a z z . B u t e n n u i ,
" a d i s e a s e o f m o d e r n l i f e , " as P . A .
Sheehan wrote m a n y years ago, " i s
s i m p l y the repletion of those who
have tasted too speedily, or too fully,
at t h e b a n q u e t o f l i f e . "
T h i s d i s e a s e , w i t h its i n s a t i a b l e d e -
m a n d f o r n o v e l t y at a l l c o s t s , c a n o n l y
l e a d to the e a r l y decease of a n e n -
trancing music. A s some character-
istics are torn a w a y a n d discarded,
others twisted a n d t o r t u r e d , a p o i n t '
m u s t s u r e l y be r e a c h e d w h e n j a z z w i l l
n o l o n g e r be r e c o g n i z a b l e as a n e n -
t i t y . E v e n n o w , the outsider c o u l d not
h o l d an art of m u c h account whose
most-acclaimed products are denied
as d a t e d a n d o u t c l a s s e d w i t h i n a
decade. Geniuses a n d real artists
emerge but seldom. T h e l o n i o u s M o n k
and D i z z y G i l l e s p i e , i n 1958, are not
g r e a t e r as artists t h a n E a r l H i n e s a n d
L o u i s A r m s t r o n g i n 1928. T h e y have
n o t h i n g of greater value to c o m m u n i -
cate, no s u p e r i o r stories, o n l y differ-
ent w o r d s .
A y o u n g m u s i c i a n m i g h t w e l l be
wary of entering jazz today. W h i l e
he i s s t i l l m a s t e r i n g h i s h o r n he w i l l
be a c c l a i m e d . I n h i s t w e n t i e s he w i l l
be a p p r o v e d . I n h i s t h i r t i e s h e m u s t
e x p e c t t h e s n e e r s o f t h e avant garde.
I n h i s f o r t i e s , he w i l l b e c o m p e l l e d
to repeat the successes of h i s twenties.
T h e r e a f t e r , h e s h o u l d be p r e p a r e d t o
quit m u s i c . I n r e f u t a t i o n of Mose
A l l i s o n ' s s o n g , the o l d m e n of jazz
don't have a l l the m o n e y . T h e y o u n g
m e n , o n t h e o t h e r h a n d , s e e m t o be
e s c a p i n g the f o r m a t i v e p e r i o d i n the
garret.
A k i n d of p u r i t a n i s m is i n vogue
today. The inner beauty m a y be
t h e r e , b u t t h e o u t e r b e a u t y , t h e easiest
g i v e n , is s h u n n e d . T h e y o u n g m u s i -
cians mostly sound like tired, doomed
m e n . T h e o l d e r m e n s o u n d as t h o u g h
they still savoured the challenge a n d
j o y s o f l i f e . A m u s i c i a n s h o u l d be
m a t u r e at f o r t y , n o t e x h a u s t e d . T h e
premiere of V a u g h n W i l l i a m ' s N i n t h
S y m p h o n y took place on A p r i l 2 n d
this year. W i l l i a m s was i n his m i d -
eighties. Because the a u d i e n c e was
f a m i l i a r w i t h W i l l i a m s ' " s t y l e " , there
were no hoots of d e r i s i o n , no sugges-
t i o n s t h a t he s h o u l d i n c o r p o r a t e t h e
t r i c k s of y o u n g e r m e n .
T h o s e c r i t i c s a n d that part of the
jazz audience whose appetite f o r " n e w
s t y l e s " is so i n s a t i a b l e , o b e y a c o m -
m e r c i a l p r i n c i p l e as o b v i o u s as t h a t
w h i c h determines the y e a r l y f a s h i o n
c h a n g e s o f P a r i s . I n so d o i n g , i n f a i l -
i n g to realize that n o v e l t y a n d q u a l i t y
are not s y n o n y m o u s , they do jazz a
great disservice.
V i c Dickenson, Benny M o r t o n , D i c k i e W e l l s
17
MY STORY
by Buddy Tate
. . . M y b r o t h e r was a saxophonist,
y o u k n o w , a n d 1 used to l i s t e n to h i m
because I a l w a y s w a n t e d to p l a y the
sax myself. H e was w i t h T r o y F l o y d
i n the e a r l y years b e f o r e T r o y r e a l l y
got s t a r t e d . H e u s e d t o s i t i n w i t h
A l p h o n s o Trent's b a n d for rehearsals
and things like that. M y aunt h a d a
r o o m i n g house a n d most of the g u y s
f r o m T r e n t ' s b a n d used to stay there.
M y b r o t h e r bought me a n alto a n d
I stayed a r o u n d the house for about
a year before I started t a k i n g lessons
on i t . There weren't m a n y people i n
m y h o m e w h o c o u l d give m e lessons
a n d m y b r o t h e r w a s i n D a l l a s at t h e
time . . .
A f t e r I'd been r e h e a r s i n g , I j o i n e d
a b i g brass b a n d a r o u n d S h e r m a n
and played with them for a while. M y
cousin, R o y M c C l o u d , was a t r u m -
peter, a n d just about a l l m y relatives
c o u l d p l a y s o m e t h i n g , so w e f o r m e d
a f a m i l y b a n d a n d put it i n his
name . . . McCloud's Night Owls.
W e ' d go a n d listen whenever T r e n t or
T r o y F l o y d c a m e to t o w n , a n d after
w e r e h e a r s e d f o r a w h i l e we got t o be
quite a g o o d little b a n d . W e started
g e t t i n g c l u b dates a n d got good
e n o u g h t o be b o o k e d o u t a r o u n d t h e
different territories. W e stayed to-
g e t h e r a b o u t t h r e e y e a r s [see p e r -
sonnel]. R o y M c C l o u d and myself
w e r e t h e c a u s e of t h e b a n d b r e a k i n g
u p because we went to W i c h i t a F a l l s
a n d j o i n e d a n o t h e r b a n d c a l l e d the S t .
Louis Merrymakers. They weren't
f r o m St. L o u i s , they were an o r i g i n a l
T e x a s b a n d . I first m e t H e r s c h e l
E v a n s w h e n he w a s w i t h t h e b a n d a
l i t t l e e a r l i e r . W h e n I g o t t h e r e he h a d
g o n e to S a n A n t o n i o a n d j o i n e d T r o y
F l o y d . I met h i m i n 1926 when I
m a d e m y first p r o f e s s i o n a l e n g a g e -
ment away f r o m m y home town.
H e r s c h e l h a d also been w i t h " T . N . T . " .
T r e n t N u m b e r T w o , w h i c h was also
a T e x a s b a n d . T h e y h a d g o n e to N e w
O r l e a n s to b r i n g D o n A l b e r t b a c k .
T h e y patterned themselves after T r e n t
a n d t h e y h a d a g o o d b a n d , a b o u t 12
pieces.
18
as told to Frank Driggs
. . . T h e St. L o u i s M e r r y m a k e r s
w a s n ' t a n y h e l l as a b a n d so I s t a y e d
a r o u n d t h e r e f o r s i x m o n t h s o r so
then j o i n e d T r o y F l o y d . T h i s was
after they made the records of
" S h a d o w l a n d B l u e s " a n d the " D r e a m -
l a n d B l u e s " . D o n A l b e r t h a d left t h e
b a n d t h e n , b u t i t w a s s t i l l t h e best
b a n d a r o u n d there after T r e n t . H e r -
s c h e l u s e d t o t e l l T r o y t o let h i m off
w h e n e v e r T r e n t w a s i n t o w n , so he
c o u l d go hear H a y e s P i l l a r s p l a y . H e
w a s s o m e t h i n g i n t h o s e d a y s . . . so
was the b a n d . . .
. . . They would come up and play
f r o m 9 to 12 every S u n d a y after they
g o t finished t h e i r d a t e at t h e A d o l p h u s
H o t e l , a n d , m a n , y o u c o u l d n ' t get
in when they played. T h e y used
to make as m u c h as $ 7 5 . 0 0 a second b a n d , after A n d y K i r k h a d
n i g h t a m a n , t h e y w e r e so p o p u l a r .
T h e y h a d a l l that a i r t i m e over W F A A
i n D a l l a s , a n d they were h e a r d a l l the
w a y t o C a n a d a . I h a t e d t o see t h a t
b a n d b r e a k u p , t h e y h a d so m u c h , a n d
t h e y w e r e so f a r a h e a d o f t h e i r t i m e .
Trent wasn't m u c h of a business m a n
a n d he l e f t t h a t e n d t o G e n e C r o o k . I n
those days, they were outplaying
D u k e . . . I r e a l l y t h i n k so. H e q u i t
the b a n d i n 1932 a n d went b a c k to
F o r t S m i t h . If they h a d kept g o i n g
w i t h h i m t h e y w o u l d h a v e b e e n as b i g
as D u k e o r a n y o f t h e m . . .
T h e r e were a lot of great m u s i c i a n s
a r o u n d T e x a s i n those years. C l a u d e
K e n n e d y , they called h i m " B e h n o " ,
was a terrific trumpet player. H e was
v e r y f a r a d v a n c e d o v e r e v e r y o n e else
t h e n , a n d he left e a r l y t o g o to C a l i -
fornia. H e took a Texas band called
the Oleanders and went to Los
Angeles. I believe they m a d e some
pictures out there. B u c k [ C l a y t o n ] re-
m e m b e r e d h i m a n d s a i d he w a s a
wonderful trumpet player. H e died
some years ago.
I used to l i s t e n to B u d d J o h n s o n
a lot w h e n h e w a s a r o u n d . H e l e f t
e a r l y w i t h Jesse S t o n e a n d w e n t t o
K a n s a s C i t y to j o i n G e o r g e L e e . H e
was v e r y a d v a n c e d , even then, a n d
he's s t i l l g r e a t t o d a y .
Frenchy? D o I remember h i m ? H e
was a wonderful person, f r o m N e w
Orleans . . . a real Frenchman. H i s
name was P o l i t e C h r i s t i a n , a n d talk
about a b i g , pretty tone on t r u m p e t !
H e used to c o m e to m y h o m e t o w n
every week w i t h a different b a n d , a n d
I t h i n k just about every m u s i c i a n i n
D a l l a s p l a y e d w i t h h i m at o n e t i m e
or another. H e h a d a nice reputation
and always h a d a nice band with h i m .
H e could play louder and longer than
a n y trumpet p l a y e r y o u ever h e a r d i n
y o u r l i f e . H e c o u l d be h e a r d a l l t h e
w a y f r o m here to the A p o l l o [ f r o m
1 4 5 t h & A m s t e r d a m to 125th &
B ' d ' w a y ] . I stayed with T r o y about six
m o n t h s o r so a n d t h e n j o i n e d T .
H o l d e r . H e was just r e f o r m i n g his
t a k e n o v e r h i s first b a n d i n T u l s a .
Jesse S t o n e t o o k t h e rest o f t h e m a n d
w e n t to K a n s a s C i t y a n d T r e f o r m e d
again.
W e just h a d about eight pieces w i t h
S a m m y P r i c e on p i a n o . W e were play-
i n g at t h e F a n n i n C o u n t y S t a t e F a i r
in B o n h a m , Texas when this band
f r o m Austin, Texas came through.
T h e y were called the D e L u x e M e l o d y
B o y s . W h e n w e finished o u r d a n c e ,
we went over a n d listened to t h e m .
T h e y were a nice outfit a n d T l i k e d
t h e w a y t h e y s o u n d e d , so he s a i d ,
" I ' m g o i n g to take over t h i s b a n d " .
H e h a d a b i g reputation i n that part
of t h e c o u n t r y , so he m a n e u v e r e d
h i m s e l f i n t o the l e a d e r s h i p of that
b a n d . J u s t he a n d I w e n t i n w i t h
t h e m , b e c a u s e T d r o p p e d t h e rest o f
t h e c o m b o [see p e r s o n n e l ] .
W h e n w e got b a c k t o D a l l a s , w e
went out to M i d l a n d a n d rehearsed
f o r a m o n t h a n d c a m e to S a n A n g e l o
a n d went o n l o c a t i o n a n d i n three or
f o u r m o n t h s t h i s b a n d w a s t h e best
he e v e r h a d . H e c o u l d b u i l d a b a n d
better a n d faster t h a n a n y o n e I ever
saw. H e was a w o n d e r f u l person a n d
i f y o u d i d w h a t he s a i d , e v e r y t h i n g
w o r k e d out r i g h t . H e c o u l d b u i l d a
b a n d i n three weeks w i t h k n o w l e d g e
of m u s i c , a n d he s h o u l d have been
THE JAZZ REVIEW

Courtesy Frank Driggs
a big-time leader. He's over 60 n o w
a n d still p l a y i n g wonderful horn. He's
been w i t h N a t Towles a long time
now, i n O m a h a and on location i n
B i l l i n g s , M o n t a n a . T h a t T h a d every-
thing . . .
W e s t a y e d t o g e t h e r f o r n e a r l y five
y e a r s a n d m a d e i t . It w a s a h e l l o f a
b a n d . T c o u l d p l a y first, get-off, p a r t s ,
a n y t h i n g . E a r l Bostic was i n the b a n d
then, a n d really w a i l i n g . W e h a d three
l i t t l e v i o l i n s t h a t p l a y e d t r i c k y stuff
just l i k e the sax section w o u l d , a n d a
tuba player, Leslie Sherrifield, who
c o u l d p l a y get-off t u b a l i k e E p p i
J a c k s o n i n Trent's b a n d . W e used to
b o o k ourselves then, a l l over the
S o u t h , before the b o o k i n g agents
c a m e i n . W e were called T . H o l d e r ' s
12 C l o u d s of J o y . W e a l w a y s w a n t e d
to b a t t l e T r e n t ' s b a n d , b u t i t n e v e r
c a m e off. W e d i d b a t t l e T r o y F l o y d
a n d t h a t u s e d to b e s o m e t h i n g .
A f t e r we closed the W i n t e r G a r d e n
i n O k l a h o m a C i t y i n the s u m m e r , T
w o u l d j u m p i n a c a r a n d g o off to
C a l i f o r n i a . T h i s w o u l d b r e a k u p the
b a n d , m o r e like a vacation, because
we a l l saved up some m o n e y a n d some
o f u s h a d n ' t seen o u r f a m i l i e s f o r
quite a while. Gene C o y came into
Seminole, Oklahoma with Clyde Hart,
Ben Webster, S l i m M o o r e , Joe K e y s
a n d those guys. S o m e of his m e n h a d
left a n d j o i n e d J a p A l l e n a n d he
needed some replacements. Wesley
a n d I j o i n e d h i m for three months
o r so u n t i l T c a l l e d u s f r o m S a n A n -
DECEMBER
t o n i o a n d got a b u n c h of us together.
T h i s w a s i n 1 9 3 1 . T h e n w e w e n t to
California with T and played i n Los
Angeles for a week a n d then o n l o c a -
tion i n Bakersfield for about six
m o n t h s a n d t h e n c a m e b a c k to S a n
A n t o n i o . C a r l " T a t t i " S m i t h j o i n e d us
then.
T a t t i h a d a fine t o n e a n d c o u l d
always read. H i s father was p r i n c i p a l
o f W i l e y C o l l e g e a n d I first h e a r d h i m
i n 1 9 2 5 w h e n he r a n a w a y w i t h a
r o a d show. H e was hot tempered but
I r e m e m b e r once w h e n we were i n
D e l R i o , M e x i c o on a j o b , w h e n he a n d
J a c k R a n s o m , a n o t h e r b a n d l e a d e r got
h i g h on tequila a n d started fighting
over g a m b l i n g . Tatti pulled a pistol
o n J a c k a n d he h a d a k n i f e . T a t t i
p u l l e d three times a n d the g u n d i d n ' t
g o off, so he w e n t o u t s i d e a n d t h r e w
it d o w n o n t h e street, a n d I s w e a r i t
m a d e a h o l e i n the p a v e m e n t . I ' d l i k e
to see h i m a g a i n , b e c a u s e I u n d e r -
s t a n d he's i n S o u t h A m e r i c a s o m e -
where.
W e also h a d a g u y c a l l e d H u g h
Jones who was a hell of a solo m a n ,
but c o u l d n ' t r e a d , a n d w h e n it c a m e
to p l a y i n g p a r t s , h e ' d m i s s a l l o v e r t h e
place. H e h a d some chops then, he
c o u l d p l a y so h i g h , b u t he n e v e r m a d e
i t . H e u s e d to s l i p off o n t h e j o b a l l
the t i m e . Y o u ' d l o o k a r o u n d f o r h i m
a n d h e ' d be g o n e . H e ' d g o b a c k t o
Kansas City.
T's b a n d broke up a r o u n d 1933,
a n d a s m a l l g r o u p of us l e d b y W e s l e y
S m i t h f o r m e d an eight-piece b a n d to
p l a y f o r a n o p e n - a i r t h e a t r e . It w a s
a w a i l i n g little b a n d , a n d we stayed
t o g e t h e r a b o u t s i x m o n t h s o r so be-
f o r e t h i n g s got t o u g h . T h e n A l J o h n -
s o n , one of the t r u m p e t p l a y e r s , N a t
Towles a n d myself went to Little R o c k
and w o r k e d a r o u n d there f o r about
a year for a lady named Ethel M a y s .
W h i l e I was i n Little R o c k , this
b a n d a n d Chester L a n e ' s were the top
outfits. H e h a d a w o n d e r f u l band
with guys like A u b r e y Yancey and
Forrest Powell i n it. I remember h i m
as f a r b a c k as 1 9 3 1 . H e ' s o u t o n t h e
coast n o w .
C o l e m a n H a w k i n s left F l e t c h e r to
join Jack Hylton in England, and
F l e t c h e r sent f o r L e s t e r Y o u n g to
j o i n h i m . B a s i e c a m e t h r o u g h t o fill
a j o b , because he h a d just taken over
Bennie Moten's band, a l l except
Herschel and Jack Washington. I
j o i n e d h i m there i n Little R o c k a n d
stayed u n t i l the g u y s left one b y one
to g o b a c k t o K a n s a s C i t y t o J o i n
Bennie. Lester joined Basie i n Little
R o c k , because H e r s c h e l w o u l d n ' t leave
Bennie. T h e r e wasn't any f a l l i n g out,
b e c a u s e B e n n i e t o l d B a s i e to t a k e t h e
j o b a n d see w h a t he c o u l d d o w i t h i t .
It d i d n ' t l a s t t o o l o n g b e c a u s e B a s i e
d i d n ' t h a v e a n a m e t h e n a n d he d i d n ' t
h a v e a n y r e c o r d s . B a s i e w a s t h e last
m a n to go b a c k , even t h o u g h B e n n i e
wanted h i m to c o m e back.
N a t T o w l e s got a g u y i n D a l l a s
w h o o w n e d a s t r i n g of n i g h t c l u b s ,
and Buster S m i t h , Joe K e y s and my-
self w e n t to D a l l a s w i t h h i m . B u s t e r
q u i t a n d w e n t b a c k to B a s i e , s t i l l
t r y i n g to m a k e i t . M e a n w h i l e J o J o n e s
sent f o r J o e K e y s to c o m e t o M i n -
n e a p o l i s to j o i n R o o k G a n z ' b a n d , a n d
L e s t e r left F l e t c h e r a n d went i n that
b a n d too. I got a t e l e g r a m to j o i n
A n d y K i r k and I walked around with
it f o r a l o n g w h i l e , b e c a u s e I d i d n ' t
w a n t to l e a v e D a l l a s t h e n . I d i d j o i n
h i m after a w h i l e , a n d h e ' d been after
m e e a r l i e r to j o i n h i s b a n d . I r e p l a c e d
Ben Webster i n A n d y ' s band. Basie
h a d g o n e b a c k to B e n n i e t h e n a n d
they h a d a b i t c h of a b a n d . T h e y were
s u p p o s e d to g o i n t o t h e G r a n d T e r -
race b e h i n d E a r l H i n e s , but the deal
fell t h r o u g h .
A n d y got t h i s little break before
that a n d went East w i t h M a m i e S m i t h
w h o h a d c o m e t h r o u g h . W e w e r e at
the V e n d o m e i n B u f f a l o the n i g h t
B e n n i e d i e d on the o p e r a t i n g table.
Someone called from Kansas City and
told P h a T e r r e l l . A f t e r that B i g ' U n
[ W a l t e r P a g e ] t r i e d to t a k e t h e b a n d ,
a n d B u s M o t e n t r i e d to m a k e i t , b u t
B a s i e w a s r e a l l y t h e o n l y o n e to
survive.
W e played some dues w i t h A n d y ,
m a n , things really were b a d , y o u have
no i d e a . I q u i t a n d went back to
19
i

Courtesy Frank Driggs
Dallas. A n d y hadn't gotten his break
yet. I w e n t b a c k t o W i l e y C o l l e g e a n d
played w i t h their b a n d for a while.
T h a t s u m m e r N a t T o w l e s h a d gotten
some good territorial work around
O m a h a a n d he t o o k o v e r t h e W i l e y
Collegians. I worked with h i m until
I j o i n e d Basie i n 1939. W e h a d a hell
of a good b a n d , a n d when we came
to t o w n , we j u s t t o o k over, i n the face
of established c o m p e t i t i o n , because
w e w e r e so m u c h b e t t e r m u s i c - w i s e .
T h e y h a d as m a n y as five b i g n a m e s
g o i n g at t h a t t i m e , R e d P e r k i n s , L l o y d
Hunter, The N i g h t Owls and a couple
of others. T h e D r e a m l a n d b a l l r o o m ,
where a l l the names still p l a y today,
was the spot a r o u n d there a n d we h a d
it sewed u p . B e f o r e we c a m e to
O m a h a we were w o r k i n g out of
D a l l a s , a n d u s e d to B a t t l e M i l t L a r -
k i n s b a n d i n H o u s t o n a l l the t i m e .
Arnett C o b b a n d Illinois Jacquet were
i n that b a n d , a n d they used to battle
u s e v e r y S u n d a y at t h e H a r l e m S q u a r e
in Houston.
Basie didn't have any organized
b a n d like ours then, and ours was
definitely the better b a n d . A n d y K i r k
called m e w h e n H a m m o n d was c o m -
i n g to K a n s a s C i t y , because we were
p l a y i n g a dance i n T r e n t o n , M i s s o u r i .
N a t a n d I d r o v e to K a n s a s C i t y a n d
contacted J o h n , a n d the o n l y reason
he c o u l d n ' t c o m e u p to O m a h a a n d
h e a r o u r b a n d w a s t h a t he w a s j u s t
s t o p p i n g over before g o i n g out to
California for Benny Goodman's
o p e n i n g at t h e P a l o m a r . H a m m o n d
w a n t e d to h e a r s o m e g o o d j a z z that
n i g h t a n d he w e n t t o t h e R e n o C l u b
a n d s i g n e d B a s i e o n the spot, a n d that
was that. T a t t i S m i t h was p l a y i n g
t r u m p e t w i t h Basie then, because
Lips had signed with M C A . Nat had
a l o t m o r e t o o f f e r , b e c a u s e he h a d
five a r r a n g e r s , a n d a l l o f u s w e r e
w r i t i n g , a n d m a n y t i m e s w e h a d sev-
20
eral different arrangements o n one
t u n e , l i k e Marie. W e rehearsed every
d a y w h e n we weren't p l a y i n g . B a s i e
couldn't have touched our b a n d . W e
c a u g h t h i s b r o a d c a s t w h e n he o p e n e d
at t h e G r a n d T e r r a c e , a n d w e w o u l d
have torn his band apart. O u r b a n d
was s w i n g i n g a l l the t i m e , c o u l d en-
tertain, and play pretty. W e played
a l l t h e best t e r r i t o r y w o r k a n d a l l t h e
college proms. J o h n H a m m o n d picked
u p E r n i e F i e l d s b a n d out of T u l s a a
couple of years later, a n d I'm telling
y o u , there was no comparison. S i r
Charles T h o m p s o n was i n that b a n d ,
F r e d Beckett, H e n r y C o k e r (with
Basie n o w ) , Archie Brown, who
played like T r i c k y S a m ; C. Q. Price
who was t e r r i f i c alto m a n a n d c o u l d
write some wonderful things. N . R .
Bates was really s o m e t h i n g on t r u m -
pet, he c o u l d p l a y first t o o , a n d w a s
c o m p a r e d to B u c k i n style. H e q u i t
over some w o m a n , and P a u l K i n g
r e p l a c e d h i m , a f t e r he q u i t A n d y K i r k
i n early 1937. T h a t was a b a n d that
really s h o u l d have made it. I replaced
H e r s c h e l when he d i e d a n d stayed
w i t h B a s i e u n t i l 1949, a n d then went
w i t h R u s h ' s g r o u p , then into the
S a v a n n a h C l u b , a n d i n t o the C e l e b r i t y
C l u b w i t h m y o w n b a n d w h i c h I've
h a d a b o u t five y e a r s n o w . . .
A . G . G o d l e y was the top d r u m m e r
all a r o u n d i n those e a r l y years, a n d
A l v i n B u r r o u g h s was great then too.
T h a t ' s one t h i n g about B a s i e , he
k n o w s h o w to p i c k d r u m m e r s .
W e u s e d to h e a r S u g a r L o u a n d
E d d i e out o f T y l e r w h e n w e h a d the
f a m i l y band, but they never d i d any-
thing. They had a wealthy guy who
owned a r a d i o station a n d he used
to g i v e t h e m a l l the a i r t i m e , a n d that
built their reputation up. KWKH
Blues a n d n u m b e r s l i k e t h a t d i d i t .
L i p s u s e d t o w o r k w i t h t h e m at o n e
time.
N a t Towles. Orihestm
191A Spr.n* Ss Olml Nfc.
Clarence Love came from Kansas
C i t y a n d I met h i m i n M u s h o g e e i n
1 9 2 9 . H e d i d n ' t h a v e as g o o d a b a n d
as T . H o l d e r o r N a t T o w l e s , b u t he
was established.
F o r m y m o n e y t h e best t r u m p e t
player a r o u n d was E d d i e T o m p k i n s .
I n fact he was the o n l y t r u m p e t
player L u n c e f o r d ever h a d . H e d i d n ' t
stay a r o u n d K a n s a s C i t y m u c h , a n d
w a s w i t h T . H o l d e r g r o u p t h a t Jesse
Stone took back w i t h h i m to K a n s a s
C i t y . I t h i n k he w e n t w i t h e i t h e r
G r a n t M o o r e or E l i R i c e i n the e a r l y
30's, before L u n c e f o r d grabbed h i m .
H e went to a l l the colleges a r o u n d
t h a t p a r t of t h e c o u n t r y a n d w a s j u s t
short of b e i n g a doctor. H e was
t e r r i f i c , he c o u l d p l a y first, get-off,
h a d a h e l l o f a r a n g e , a n d h e h a d to
p l a y some h a r d m u s i c i n those days.
H e d i e d i n the A r m y .
I remember Boots and H i s Buddies.
T h e y didn't have m u c h of a band,
a n d d i d n ' t get s t a r t e d u n t i l 1 9 3 5 o r s o ,
b e c a u s e w h e n I f i r s t s a w h i m , he w a s
playing with Johnson's Joymakers.
T h e r e were the M c D a v i d B r o t h e r s
w h o h a d a b a n d a r o u n d there i n the
e a r l y y e a r s , a n d t h e y w e n t to C a l i -
fornia.
I ' l l tell y o u one t h i n g about the
S o u t h , they'll recognize y o u r talent,
b e c a u s e w e p l a y e d a l l t h e best w h i t e
dances a n d the best l o c a t i o n s a n d
broadcast a l l the t i m e , but up N o r t h
t h e y ' l l tell y o u " w e ' d l i k e to put y o u
o n a c o m m e r c i a l p r o g r a m , but the
S o u t h w o n ' t accept y o u " . T h a t ' s t h e i r
w a y of t e l l i n g y o u they won't h i r e y o u .
T h e y d o n ' t w a n t y o u t o get w h e r e
the r e a l m o n e y i s . I k n o w it isn't t r u e
because T r e n t p l a y e d the A d o l p h u s
Hotel every day for a year and h a d
a r a d i o w i r e , a n d B a s i e just got i n t o
the W a l d o r f last y e a r .
(Continued on Page 27)
THE JAZZ REVIEW
 The Negro Church:

Its Influence on Modern Jazz

by Mimi Clar

Rhythm Part 2
O n e of the most f a m o u s breaks i n tempo. Oscar Peterson's Tenderly striking resemblance to each other
jazz is executed by Charlie Parker w i t h its florid, rhapsodic first chorus when actually heard performed. This
during a performance of Night in proceeding to a succession of cho- k i n s h i p is fostered b y the e m o t i o n a l
Tunisia. T h i s break contains around ruses " i n the g r o o v e " is a g o o d ex- d r i v e a n d i n s p i r a t i o n r e f e r r e d to i n
s i x t y - f o u r notes i n just t w o b a r s . A a m p l e . A d u p l i c a t i o n of t h i s i d e a i n the paragraphs dealing with swing
more concise drum break is taken Negro gospel music is the Radio land t o be d i s c u s s e d i n m o r e d e t a i l
by A r t B l a k e y on H o r a c e Silver's re- Four's An Earnest Prayer, which in a future section).
c o r d i n g of Quicksilver: opens with a beseeching, melismatic Similar patterns may be found
supplication and closes with a toe- most abundantly in the repetitive
( M u s i c a l E x a m p l e 7: d r u m break)
tapping call-to-prayer sung and swung ostinato figures p l a y e d i n the accom-
B r e a k s are part of N e g r o c h u r c h m u -
mightily. p a n i m e n t of a r e n d i t i o n to e s t a b l i s h
s i c , t o o . O n Heaven by Mahalia Jack-
son, the guitar has the following Moving from the general to the a s w i n g i n g beat. T h e s e p a t t e r n s a r e
break: m o r e specific, we find a strong simi- most effectively presented by p l a c i n g
l a r i t y a n d close r e l a t i o n s h i p between them in parallel columns and pro-
(Musical Example 8: guitar break)
m a n y of the i n d i v i d u a l r h y t h m i c m o - c e e d i n g to c o m p a r e t h e m .
Negro church music and modern
tifs a n d figures i n modern jazz and (Musical Example 9: Jazz
j a z z share the concept of d e l a y e d ac-
Negro church music. While differing Negro Church)
t i o n . I n j a z z t h i s is f o u n d c l e a r l y i n
in notation, these patterns bear a S i m i l a r patterns are also apparent
the m u s i c of E r r o l l G a r n e r . H e often
p l a y s l o c k e d - h a n d s s t y l e at a steady
tempo w i t h o u t e x p l i c i t l y stating the
b e a t . H e d o e s so b y w a y o f i n t r o d u c -
t i o n to a n u m b e r or t h r o u g h o u t the
entire first chorus, thus creating a
tension i n t h e l i s t e n e r as he waits
for t h e beat to c o m m e n c e . A guest r J $ tyrftf i t \
s p e a k e r at t h e S o u t h e r n M i s s i o n a r y
Baptist C h u r c h of Los Angeles did
the same t h i n e i n a Draver recently 8

A s h e i n t o n e d h i s s u p p l i c a t i o n , h e re
Jazz: Church Music:
peated the i n his sentences:
1. Thelonius M o n k B y e - Y a 1. Sammy L e w i s I ' m Heaven B o u n d
Art Blakey; drums: piano and organ accompaniment:
"Lawd, youyouyouyou
y o u t o l d me . . . " 2. St. Paul's C h u r c h , KFWB, Sunday,
and 2. Horace S i l v e r S a f a r i
Oct. 14, 1956, 10:30 P.M.
tambourine: $ J | &JJ J J
"Weweweweknow A r t B l a k e y ; stick on cymbal:
that y o u . . . " 3. Alex B r a d f o r d L o r d , Lord, Lord
organ (left hand) :
This r e p e t i t i o n has the same effect 3. Bill DavisOoh Ah!
u p o n t h e l i s t e n e r as G a r n e r ' s d e l a y e d organ: rj J
C r j j | ^ 4. Pres DixonI Made a Step in the '

m a n i f e s t a t i o n of the r h y t h m i c pulse. Right Direction

piano: 1 JJlrjlJ* j /] J] - |
W e complete the s u r v e y of rhyth-
4. Curtis Counce Quintet at The Haig 5. White Rose C h u r c h of G o d in Christ,
mic frameworks and forms common
August 31, 1956 K F O X , Sunday, J u l y 29, 1956, 9:30
to modern jazz and Negro church Frank Butlerdrum
P.M. <2 JJ J J J
music by n o t i n g the concept of an figure behind sustained notes:
c J.J>J J \Jt*_.
ad-libbed section i n a piece b e i n g fol-
lowed by a section with a steady J 7 3 J 7 3 - T O J73

DECEMBER 21
 in the rhythmic interplay between M a r i e K n i g h t ' s / ' / / Tell It Wherever For Me a n d i n t h e w o r k o f d r u m m e r s
instruments i n j a z z a n d between hand I Go, a n d o n T h e D a v i s S i s t e r s ' Jesus s u c h as A r t B l a k e y a n d F r a n k B u t l e r .
claps a n d foot-stomps i n the c h u r c h . Steps Right In When I Need Him Triplets are also used i n breaks a n d
In Alex Bradford's / Don't Care Most as o s t i n a t o p i a n o r h y t h m s . I n fill-ins. The guitar on M a h a l i a Jack-
What the World May Do, I'm Gonna the jazz field, triplets occur on the s o n ' s Heaven has this b r e a k :
Praise His Name, the drum plays M o d e r n J a z z Q u a r t e t ' s Willow Weep (Musical Example 18: Heaven)
four q u a r t e r notes per m e a s u r e , ac-
centing beats two and four; over I
this, hand-claps enter o n the second x
10
and fourth beats:
(Musical Example 10: hands, drum) t t f r :

The Comeback by C o u n t Basie fea-

> 1
y

if n n
tures the pattern just illustrated in
d i m i n u t i o n . H e r e , the g u i t a r
function in parallel fashion
chords
to the
n
n
i i r
church drum; the brushed snare
drum now
church
occupies
hand-claps:
the place of the
t
(Musical Example 1 1 : drums, guitar)
Repeated notes are often
the e n d of phrases f o r fill-ins i n b o t h
used at 12
sI n mi |
jazz and N e g r o c h u r c h music. These
repeated notes frequently fall into
similar patterns when they are placed n r r p p n
side b y side. F o r example, the fill-in
b e l o w , used b y the p i a n i s t i n a S o u t h - 13 4 4 It 44 44-
e r n M i s s i o n a r y Baptist C h u r c h serv-

u
-4-4 4-f-
' U I u u
ice, 9
and extremely popular among
gospel i n s t r u m e n t a l i s t s
(Musical Example 12: fill-in)
i s q u i t e r e m i n i s c e n t of the fill-ins
employed by K e n n y D r e w on Talkin' m m u i p 7 p n - f f i \

f
and Walkin' and by G e r r y Wiggins on
Night and Day (Zoot Sims Quartet) : L x. x < y ->r v: * v- >

j J.
(Musical Example 13:

On the
Drew, Wiggins)
recording of Count Your
14 c
Many Blessings by T h e F o u r Interns,
the p i a n o enters w i t h a repeated note
motif: 15
(Musical Example 14: motif)
which is d u p l i c a t e d i n most of the
recordings by Oscar Peterson, who
applies it w i t h i n the f r a m e w o r k of an r> J w 3 1 r 3 i
octave:
(Musical Example 15: Peterson)
16
m T * * * 4 * I . ; i

A final figure of s i m i l a r i t y exists S a l - va-+.n is Jfrte Lw<JI Sa\

i n E r r o l l G a r n e r ' s There Is No Greater
Love a n d M a h a l i a J a c k s o n ' s I'm So
Glad Salvation Is Free. I n the latter,
4 4^44
Miss Jackson holds a syllable on a 17
repeated note a n d f o l l o w s it w i t h a n
accented descending triplet which
ends before the downbeat:
(Musical Example 16: Jackson) 1r
In the Garner record, the note is
tremoloed instead of repeated, then t
18
proceeds to the accented descending
figure:
(Musical Example 17: Garner)
M a n y motifs in Negro church m u - 2v> _
sic a n d m o d e r n jazz are i d e n t i c a l . I n
both i d i o m s , triplets are sometimes 19
utilized for accompaniment purposes.
In the gospel field, they occur on

22 THE JAZZ REVIEW

w h i l e the p i a n o o n the S o u l S t i r r e r s '
r I
Nearer My God To Thee fills a gap
with: 20
( M u s i c a l E x a m p l e 19: triplets)
v-v-v- - y - ^ -h-f-t- -+
The piano on West Coast Blues by
Sonny C r i s s r e p l i e s to a h o r n
ment i n this m a n n e r :
state-
a
(Musical Example 20: piano) 21
Further rhythmically identical fill-
i n s m a y be o b s e r v e d i n a comparison
of a Sister Rosetta T h a r p e perform-
ance (title u n k n o w n )
Hampton Hawes and
with records by
Kenny Drew.
22
1 $1
The Tharpe pianist plays:
(Musical Example 2 1 : Tharpe)
p i a n i s t H a w e s p l a y s (Hump's Blues) :
(Musical Example 22: Hawes)
and pianist Drew plays (Drew's
Blues) :
(Musical Example 23: Drew)
Notice how a l l these patterns begin
and end on upbeats. 23
Gospel a n d jazz percussionists oft-
times k e e p the beat g o i n g i n exactly
the same w a y . T h e h a n d - c l a p p i n g pat-
tern ( f j t<m
the m o s t c o m m o n i n \
Negro ^ u r c l T e s today, is an exact
replica of the cymbal accents used 24
by A r t B l a k e y and other f u n k y d r u m -
mers. A hand-clapping pattern heard
i n the W h i t e R o s e C h u r c h of G o d i n
Christ is d u p l i c a t e d b y the muted

s $
1 0

brass section repeating a note b e h i n d

the melody on the Duke Ellington
r e c o r d , Boo-Dah: C J > J V > / / etc.
A later W h i t e Rose C h u r c h service 1 1

y i e l d e d a d r u m pattern w h i c h is i d e n -
tical to the drum patter on Gene
QnorW. 4 t W man-/ + i m
1^
A m n i o n s ' Great Lie: jtfJJJJ / etc. .^f-< . f -
25

1
P e r h a p s the most prevalent of the
drum figures i n the gospel field (ex-
e m p l i f i e d o n Life Is a Ball Game by
W y o n a C a r r a n d In That Day by Joe
May) is a perfect d u p l i c a t i o n of E r -
roll Garner's left-hand chord pattern:
26
C A l l l / J J SI J / - Erroll Gar-
ner provides instance of s i m i -
larity w i t h the Negro church when v ^
he i n t r o d u c e s the u n e x p e c t e d rest at
the b e g i n n i n g of a measure preceding
an accent on beat t w o i n Will You
Still Be Mine ?
(Musical Example 24: Garner)
8
Southern M i s s i o n a r y Baptist C h u r c h , K P O P , Sunday, Dec. 30, 1956,
10:15 P . M .
The same rest and accent situation
prevails i n the Ward Singers' How
Many Times?: D
KPOP, 10:30 P . M . , S u n d a y , Oct. 14, 1956
(Musical Example 2 5 : W a r d Singers)
and i n Jesus Gettin Us Ready For
That Great Day f r o m a s e r v i c e at L o s 1 0
K F O X , S u n d a y , A p r i l 29, 1956, 9:30 P . M .
Angeles' Temple of the H o l y Ghost
and School of Instruction: 1 2

(Musical Example 26: H o l y Ghost) 1 1

KFOX, S u n d a y , A u g u s t 5, 1 9 5 6 , 9 : 3 0 P . M .
This is the second in a series.
Future installments will deal with
Harmony and Emotion. 1 2
K G E R , S u n d a y , O c t o b e r 14, 1956, 1 1 : 3 0 P . M .

DECEMBER
 THE CUBAN S E X T E T O
by Roger Pryor Dodge
It w a s b a c k i n t h e m i d d l e t w e n t i e s
t h a t I h e a r d m y f i r s t C u b a n sexteto
record. T h e n , like most novices, I
was s t r u c k m a i n l y b y the a s t o u n d i n g
d r u m m i n g , b u t as t h e y e a r s w e n t b y
I c a m e t o a p p r e c i a t e t h e s i n g i n g as
something e x t r a o r d i n a r y i n itself and
c o n t a i n i n g the most g l o r i o u s music.
N o w R i v e r s i d e has issued the only
r e c o r d I k n o w of that gives a n y i n -
t i m a t i o n o f t h e c h a r a c t e r of t h i s m u s i c
to present-day A m e r i c a n listeners.
Festival in Havana is a r e c o r d i n g of
a m u s i c that preceded a n d gave b i r t h
to the C u b a n sextetos.
In the notes o n the R i v e r s i d e
r e c o r d O d i l i o U r f e speaks of the later
b a s t a r d i z a t i o n a n d d i s t o r t i o n of this
m u s i c b y p o p u l a r taste. H e r e I h a v e
to d i s a g r e e w i t h h i m u n l e s s h e e x -
cludes f r o m this blanket dismissal
t h o s e e a r l y sexteto r e c o r d i n g s o f t h e
twenties. A l o n g w i t h the present w a v e
o f e t h n i c r e c o r d i n g s we a r e t r e a t e d
t o m u c h t a l k a b o u t t h e s u p e r i o r i t y of
p r i m i t i v e f o l k m u s i c over its u r b a n
development. W h i l e I ' m a l l for the
a v a i l a b i l i t y of ethnic r e c o r d i n g s , I
c a n n o t go a l o n g w i t h the f u r t h e r -
back-we-go-the-better conception of
folk m u s i c . M a y b e I feel this w a y
because I b e l o n g to a d a y w h e n we
played our jazz records until they
were t r u l y " b e a t . " O u r enthusiasm
was c e r t a i n l y not f o r t h e i r f o l k i n -
tegrity alone.
M o r e o v e r , I s t i l l find i n t h e u r b a n
g r o w t h of j a z z a n a d v a n c e m e n t c a r r y -
i n g b e n e f i t s n o t f o u n d i n its p r i m i t i v e
prototype. A n attitude of contempt
for its u r b a n development w o u l d dis-
miss a l l the i n s t r u m e n t a l jazz we
k n o w : O l i v e r , D o d d s a n d L o u i s , a l l of
boogie-woogie piano, together w i t h
Bunk's glorious band. A n d I will
r e m a r k right here that m y listening
pleasures h a v e g r a v i t a t e d to c e r t a i n
jazz records made d u r i n g a short
p e r i o d i n the twenties, a n d extending,
o f course, to those later d i s c o v e r i e s
i n the same v e i n , r a t h e r t h a n to a n y
s i n g i n g , solo or ensemble, that pre-
ceded this m u s i c . In C u b a d u r i n g the
twenties there was a short c o m p a r a b l e
p e r i o d w h e n t h e sextetos w e r e o f t h e
most listenable character before they
sank into banality. B y listenable I
m e a n that the m u s i c is not o n l y
charged with good melody, brilliant
i n t o n a t i o n a n d p l a y i n g style but that
the development of its m a t e r i a l is
made i n t r i g u i n g and exciting.
24
H e r e let m e i n s i s t a g a i n o n a p o i n t
I have often m a d e b e f o r e : it is m y
theory that m u c h of o u r great clas-
sical m u s i c has its roots i n c e r t a i n
r a r e fertile periods of h i g h l y - d e v e l -
oped f o l k - m u s i c . I n line w i t h this, the
C u b a n sextetos, I h o l d , h a v e r e a c h e d
t h i s stage o f d e v e l o p m e n t a n d l i e
r e a d y f o r the n o t a t i o n - c o m p o s e r ' s use.
M y interest i n b o t h j a z z a n d the
sextetos g o e s b e y o n d t h e d e e p p l e a s -
u r e I take i n l i s t e n i n g to t h e m ; I a m
concerned with discovering and
b r i n g i n g to notice t h e i r m a n y i n -
herent qualities characteristic of a n
a r t r i p e to be t a k e n o v e r b y c o m -
posers i n the c l a s s i c a l t r a d i t i o n .
F u r t h e r , I feel that s h o u l d t h e i r po-
t e n t i a l t i e s be n e g l e c t e d w e w o u l d be
m u c h the p o o r e r f o r t h e i r loss. T h i s
t h e o r y of m i n e has slanted a l l m y
criticism, causing many of my
readers, whose interest i n jazz stems
f r o m w i d e l y different reasons t h a n m y
o w n , to m i s u n d e r s t a n d m y a p p r o a c h .
B u t i f t h e y w i l l c o n s i d e r t h a t I see
j a z z as a p a r t o f t h e w h o l e b o d y o f
W e s t e r n m u s i c a n d find m y deepest
pleasure i n the e a r l y w o r k s of the
classical periods, I t h i n k that they w i l l
c o m e closer to m y m e a n i n g .
W h i l e m o d e r n jazz still retains the
m e t h o d of i m p r o v i s a t i o n of e a r l y j a z z ,
t h e C u b a n m a m b o i n its s y n t h e t i c
development grows f r o m no such i n -
digenous roots. T h e only musicians
with any improvisational freedom i n
C u b a are the s m a l l e r g r o u p s s e x t e t o s
and t r i o s w h o s e m u s i c a l practices
were never emulated by performers
on more conventional instruments.
O n e e x c e p t i o n , however, is the t r u m -
p e t ; its best e x a m p l e c a n b e h e a r d
on the R i v e r s i d e release. P e r f o r m -
ances on c o n v e n t i o n a l i n s t r u m e n t s
taken over f r o m the m i l i t a r y b a n d s
a n d danzon orchestras always show
the h a n d of the a r r a n g e r , whether i n
a s s i g n i n g to the v a r i o u s pieces t h e i r
h a r m o n i c a n d r h y t h m i c roles or i n
creating more ambitious compositions
l i k e those by o u r o w n b i g b a n d a r -
r a n g e r s . A s the sextetos, u n l i k e the
N e w Orleans improvisers, never e m -
ployed conventional instruments they
c o u l d not develop a school of i n s t r u -
m e n t a l i m p r o v i s a t i o n r e a d y to be
taken over b y the p o p u l a r b a n d s .
T h e most infectious part of C u b a n
m u s i c i s t h e montuno. B y concentrat-
i n g on this infectious section certain
m u s i c a l leaders of p o p u l a r bands i n
f a s h i o n a b l e m u s i c a l spots o f H a v a n a
established the m a m b o . T h e i r proto-
t y p e w a s t h e montuno of t h e danzon.
T h e p e c u l i a r character possessed b y
t h e s t y l e a n d f o r m o f a danzon gave
w a y to a m o r e p o p u l a r a n d m o d e r n
approach, utilizing amongst other
o l d e r types, the m u s i c of the sextetos.
H o w e v e r , it w o u l d have taken the
integrity of a revivalist's fervor to
establish a n y t h i n g of s o l i d m e r i t .
T h e m a m b o as p l a y e d i n N e w Y o r k
consists of n o t h i n g m o r e than a
C u b a n r h y t h m section together w i t h
large choirs of trumpets, trombones
a n d saxes p l a y i n g a n a r r a n g e m e n t
d e r i v e d f r o m m o d e r n j a z z . It i s c o m -
p l e t e l y w r i t t e n o u t a n d as c h a r a c t e r -
less as i s b i g b a n d s c o r i n g i n j a z z .
T h e r e have been some indications
that C u b a n r h y t h m s are c r e e p i n g into
A m e r i c a n jazz. T o do what Gillespie
d i d w i t h C h a n o P o z o is m e r e novelty.
A n y great d r u m m i n g E a s t I n d i a n or
A f r i c a n c o m b i n e d w i t h the m e l o d i c
virtuosity of jazz w o u l d always prove
exciting. W h e n two types of m u s i c
are near n e i g h b o r s i n the same c i t y
m a r r i a g e is i n e v i t a b l e . B u t the g l o r y
of C u b a n r h y t h m cannot be fused
w i t h A m e r i c a n jazz merely by seating
a Cuban drummer i n a jazz band any
m o r e t h a n j a z z c o u l d be i n j e c t e d i n t o
C u b a n m u s i c b y the reverse process.
T h e r e w o u l d be no real u n i o n . O n
the l o w e r level, i f C u b a n a n d jazz
p l a y e r s were to sit d o w n together
year after y e a r i n s m a l l H a r l e m joints
t h e o u t c o m e w i l l c e r t a i n l y be m o -
mentous for the Cuban-jazz amalga-
mation. But imagine a snare d r u m -
bass d r u m type of d r u m m i n g i n
C u b a n m u s i c ! I n t h e U n i t e d States
o n l y B a b y D o d d s h a s g i v e n us a s t y l e
that seems to b e l o n g b y r i g h t i n a jazz
b a n d . T h e fact that o u r snare d r u m -
bass d r u m outfit has never been r e a l l y
i n t e g r a t e d i n t o j a z z p l a y i n g leaves
r o o m f o r a s t y l e o f d r u m m i n g t h a t fits
as n a t u r a l l y i n t o i t s c o n t e x t as d o t h e
d r u m s of a C u b a n b a n d .
B u t to c o m e b a c k to the t w o m u s i c s
o f o u r s u b j e c t . M y a t t a c h m e n t to t h e m
as w e l l as t o c l a s s i c m u s i c d e r i v e s
f r o m t h e p e r e n n i a l i n t e r e s t I find i n
t h e m , a n i n t e r e s t I d o n o t find i n
other folk musics. A s an example, the
dance music of Chambonnieres, w h i c h
is c e r t a i n l y c l a s s i c a l , n o t f o l k m u s i c ,
is a genre m a d e possible b y the status
of the e a r l i e r i m p r o v i s e d m u s i c of
THE JAZZ REVIEW
 h i s t i m e . It s e e m s t o m e , m o r e o v e r ,
that h a d this i m p r o v i s e d m u s i c been
notated it w o u l d appear v e r y little
d i f f e r e n t , i f at a l l , f r o m C h a m b o n -
nieres!
T h e sextetos are d e f i n i t e l y a m u s i c
of professionals. T h e y were c o n c e r n e d
w i t h c r e a t i n g a f o r m o f m u s i c to be
listened a n d danced to, a n d w i t h
the necessity of s t a y i n g w i t h i n the
confines of a m o r e compact ensemble,
than d i d their predecessors. O f a l l the
pre-sexteto records that I have h e a r d
I find t h a t n o n e o f t h e m g i v e s t h e
completely relaxed and pleasurable
effect o f t h e s e x t e t o s , n o r d o e s t h i s
relaxation ever lead to a n y let-down
of interest a n d v i r i l i t y . In consistency
of f o l k tune i n t e g r i t y , the R i v e r s i d e
release is p r e e m i n e n t . B u t t h i s u n -
s p o i l t state i s c h a r a c t e r i s t i c o f m o s t
p r i m i t i v e art a n d does not neces-
sarily make for satisfactory d a i l y fare.
T h e g r e a t i m p o r t a n c e o f t h e sextetos
lies i n what they h a v e d o n e w i t h t h i s
folk m a t e r i a l , a n achievement that
far outweighs any compromise they
h a v e m a d e w i t h p o p u l a r taste. T h e
e n s e m b l e b a l a n c e w i t h i n a sexteto a n d
a N e w O r l e a n s jazz b a n d d i d not
e x i s t i n t h e i r p r o t o t y p e s . It i s t h e
specific n a t u r e o f the i n s t r u m e n t s a n d
their p a r t i c u l a r duties when w o r k i n g
w i t h i n a t r a d i t i o n a l f o r m a n d ac-
cepted style, that transforms basic
m a t e r i a l i n t o a h i g h e r w o r k of art.
F o r e x a m p l e , t h e C u b a n danzon is
a f o r m with e x c i t i n g possibilities but
i t s e v o l u t i o n o u t of a sedate past
never g a v e b i r t h to a n y t r u l y great
m u s i c . A great deal of m a t e r i a l out
o f t h e sextetos c a n be seen i n i t b u t
the w h o l e c h a r a c t e r of m e l o d y a n d
treatment is that o f a w r i t t e n c o m -
p o s i t i o n i n a p o p u l a r v e i n . If we c a n
forget the p a u c i t y of its m e l o d i c
c o n t e n t , w e w i l l find t h a t t h e s t y l e s
p e c u l i a r to its different sections a n d
their specific sequence, are h i g h l y
intriguing. One or two ballad-type
s e r t i o n s f o l l o w e d b y a montuno, each
of w h i c h is i n i t i a t e d b y a n i n t r o d u c -
t i o n a b a c a d a c i s the s t r u c t u r e o f
t h e danzon. But it was not destined
t o flower i n t o t h e g r e a t m u s i c f o u n d
i n t h e son o f t h e sextetos.
The Cuban rumbas and congos on
Riverside have a l u x u r i a n t sound due
t o t h e m a n y v o i c e s w h i c h , p l a y e d at
fast tempos w i t h f e r v i d d r u m m i n g ac-
companiment, g r i p our attention. T h i s
is m u s i c f o r a festive g a t h e r i n g -
musicians and spectatorseither i n a
p a c k e d r o o m o r i n t h e o p e n a n d its
w h o l e spirit grows out of t h e i r back-
c o u n t r y cult rites. B u t w h e n we are
n o t o n t h e scene a n d a r e n o t b r o u g h t
out of ourselves b y the s p i r i t of the
occasion, a subtler and somewhat
m o r e i n v o l v e d a p p r o a c h wears better
f r o m d a y to d a y : s o m e t h i n g l i k e
what H a m l e t told the players, " . . . for
i n t h e v e r y t o r r e n t , t e m p e s t , a n d , as I
m a y say, the w h i r l w i n d of p a s s i o n ,
y o u m u s t a c q u i r e a n d beget a t e m -
perance that m a y g i v e it s m o o t h n e s s . "
It i s t h e i n e v i t a b l e n e s s a n d r e l a x e d
m o m e n t u m of the s o l i d r h y t h m section
of m a r r a c a s , g u i t a r , tres a n d s t r i n g
bass b e h i n d t h e s i n g i n g a n d b o n g o
p l a y i n g t h a t g i v e s these sextetos a
s t a b i l i t y not f o u n d i n the p r e v i o u s
m u s i c . T h o u g h the sextetos t o o w e r e
p a r t o f t h e l i f e of t h e c a n t i n a s a n d
dance-halls they achieved a style that
is s e l f - s u f f i c i e n t a p a r t f r o m t h i s c o n -
text. M o s t ethnic r e c o r d i n g s s t r i k e me
m o r e as r e p o r t s o f h a p p e n i n g s I w a s
not fortunate enough to " witness
r a t h e r t h a n a p r e s e n t a t i o n of a p i e c e
o f m u s i c i n its o w n r i g h t .
I c a n n o t c l a i m t o be a n a u t h o r i t y
o n the sextetos a n d d o n o t h a v e t h e
k n o w l e d g e to p o i n t out the differences
b e t w e e n t h e t u n e g e n r e s . T h e sextetos
of the earliest r e c o r d i n g s called their
m u s i c " s o n e s . " W h e t h e r the difference
is i n m e l o d y or treatment I do not
k n o w . T h e w o r d " r u m b a " I never
heard used for this m u s i c . T h e groups
consisted of s i x m e n g u i t a r , tres
(three stringed g u i t a r ) , claves, bongo,
a n d bass. T h r e e o r f o u r of the players
sang. T h e s i n g i n g on the sexteto
records is a m i x t u r e of solo a n d en-
s e m b l e . It i s l o o s e l y k n i t , s o m e w h a t
a n a l o g o u s to t h e f r e e d o m o f t h e m e l -
ody instruments (trumpet, clarinet
a n d t r o m b o n e ) of a j a z z b a n d . T h e
tunes l e n d themselves to f u l l t h r o a t e d
and r i c h s i n g i n g either i n complete
solos or injected breaks, giving,
t h e r e b y , a r h y t h m i c o u t l i n e to the
m e l o d y . T h e b o n g o acts as a free
voice, p o i n t i n g u p the m u s i c where
t h e p l a y e r feels it i s n e e d e d r h y t h m i -
cally.
T h e different g r o u p s u s u a l l y have
their own particular introduction
a f t e r w h i c h t h e t h e m e m a y be s t a t e d
b y the tres. T h e voices enter easily
w i t h the r h y t h m section c a r r y i n g i n -
c e s s a n t l y o n . A f t e r finishing t h e first
p h r a s e the v o i c e s e n t e r a g a i n at w h a t
appears some seemingly a r b i t r a r y
point. T h e incessant m a r c h of r h y t h m
m a k e s these i n t e r v a l s b e t w e e n v o i c e
entrances interesting and a b s o r b i n g
w i t h a n effect o f a r t i s t r y o n l y at-
tained i n a most advanced classical
m u s i c . A l t h o u g h the f o l k t u n e s t h e m -
selves a r e as s h o r t as m o s t E u r o p e a n
folk tunes, the specific setting g i v e n
b y a C u b a n r h y t h m s e c t i o n a v o i d s the
usual t e r m i n a t i o n s of the E u r o p e a n
treatment w h i c h does no m o r e than
e x h i b i t the little tune. M a n y of the
tunes have phrase endings which
i n s p i r e a l o n g h e l d t o n e o f n o ap
p a r e n t d e f i n i t e n e s s . A s s u n g w e get a
smooth impressive composition with-
out a t t e n t i o n b e i n g d r a w n to the
briefness of the theme. T h e tune i n
a f e w i n s t a n c e s a p p e a r s t o be c u t u p
and laid on a r h y t h m i c webbing. The
interdependence of the t w o forestall
a n y f e e l i n g o f b r e v i t y a n d t h e effect
e x c e e d s i n g r a n d e u r a n y t h i n g pos
s i b l e to t h e l i t t l e t u n e i t s e l f . T h e
p r o t r u d i n g r h y t h m between the me-
Iodic sections makes for a most ideal
f o r m o f e a r l y c o m p o s i t i o n . La Mujer
Podran Desir b y t h e S e x t e t o N a c i o n a l
is an e x q u i s i t e e x a m p l e of t h i s l a i d on
choral singing with protruding rhvthm
D o " o J
b e t w e e n s e c t i o n s a n d is b u t o n e o f
t h e m a n y w a y s of p r e s e n t i n g m a t e r i a l
o f c o m p o s i t i o n a l s t a t u s . It g o e s be-
y o n d the mere r e p e t i t i o n of the tune.
A f t e r the first t u n e h a s b e e n s u n g
a few times the o r i g i n a l c h o i r s go
into a repetitive c o d a that has b e c o m e
i n m a n y instances the g l o r y of the
C u b a n s e x t e t o s , t h e montuno, and a
c o n t r i b u t i o n o f g r e a t i m p o r t a n c e . It
 gives the son a most balanced p r o p o r -
t i o n . W e a p p r e c i a t e the c o n t r i b u t i o n
o f t h e montuno, i f we c o m p a r e the
sextetos w i t h t h e s m a l l t r i o s t h a t
a b o u n d i n H a v a n a , p l a y i n g at t a b l e s
s i n g i n g p o p u l a r a n d folk tunes s i m i -
l a r to those used b y the sextetos. T h e
s o l i d i t y given the whole piece b y the
sexteto style is t e l l i n g l y different
f r o m the m e r e s i n g i n g of f o l k o r
p o p u l a r tunes. T h e t r a n s i t i o n f r o m
o p e n i n g s o n to the m o n t u n o is often
a most i n s p i r e d i n d i c a t i o n of great
delight to c o m e . T h e r e is a c o n t r o l l e d
l i f t of t e m p o , e s p e c i a l l y at t h e i n t r o -
d u c t i o n of the m o n t u n o that i m p e r -
ceptibly accelerates to the e n d w i t h o u t
g i v i n g the least i m p r e s s i o n of b e i n g
hurried.
T h e sextetos h a d a great v o g u e
t h r o u g h o u t the twenties. J u d g i n g by
t h e i r r e c o r d s t h e t w o greatest g r o u p s
were the Sexteto H a b a n e r o a n d the
Sexteto N a c i o n a l . T h e r e were some
e x c e l l e n t r e c o r d s b y s u c h g r o u p s as
the Septeto M a t a m o r o s , E s t u d i a n t i n a
O r i e n t a l de R i c a r d o " M a r t i n e z , a n d
the S o n o r a M a t a c e r a , but I c o u l d not
j u d g e t h e i r c o n t i n u e d w o r t h b y the
few discs a v a i l a b l e . J u s t as the
c o u n t r y dance m u s i c of the 16th
century became fashionable a n d was
subsequently used by composer-
i m p r o v i s o r s to be g l o r i f i e d a n d p r e - Guiterrez, Jimenez, Cabrera, Martinez, Castillo, Godinez
s e r v e d i n t h e d a n c e s u i t e s we k n o w ,
so t h e p r i m i t i v e m u s i c o f t h e p r e -
sexteto d a y s b e c a m e p o p u l a r . We
m a i n t a i n t h e i r i n t e g r i t y , find t h e m - able but a little goes a l o n g w a y o n
must remember that the popular
selves so o u t m o d e d t h a t t h e y r a r e l y r e c o r d s a n d i s best as a n i n g r e d i e n t
" t a k i n g u p " of a m u s i c is not the
w o r k . E x c e p t i n times of r e v i v a l of a c o m p o s i t i o n r a t h e r t h a n a t h i n g
s a m e as a p o p u l a r i n f l u e n c e b e i n g
these p l a y e r s b e c o m e t h e s a d cases i n i t s e l f . T h e m e l o d i e s the N e g r o e s
exerted on a music. F o l k musicians
we read o f K i n g O l i v e r , J o h n n y h a v e e v o l v e d out of W e s t e r n a n d
w h o find t h e m s e l v e s " t a k e n u p " a n d
D o d d s , J i m m y Y a n c e y a n d the Sex- African music are beautiful and
then become professionals, d e r i v i n g
teto H a b a n e r o . simple with a richness than can only
their l i v i n g f r o m their art, have no
be d e s c r i b e d as p u r e g o l d . I t h a s n o t
desire to p a r t i c i p a t e i n the c u r r e n t T h e m u s i c of C u b a differs e n t i r e l y b e c o m e o v e r l y f i x e d as h a s t h e f o l k
p o p u l a r m u s i c t h e y m a y be d i s p l a c - f r o m jazz. W h a t happened to i n s t r u - m u s i c of E u r o p e , but a l l o w s the s i n g e r
i n g . T h e c o n d i t i o n s o f t h e i r n e w set- mentation i n this country is unique t o s i n g o n a n d o n w i t h o u t e v e r be-
u p m a y p r o v e so b e n e f i c i a l t h a t t h e y a n d resembles n o other m u s i c deriv- coming monotonous.
a r e e n a b l e d to create a n a r t w h i c h ing from Africa. In African music
even out of context of its o r i g i n a l m e l o d y has been the p r o v i n c e of the A l t h o u g h there m a y be f o u n d b o t h
locale is s t i l l s e l f - c o n t a i n e d . singer a n d r h y t h m the p r o v i n c e of f o l k a n d n o n - f o l k t u n e s i n t h e sexteto
W h a t e v e r the p o p u l a r i t y of a folk strictly rhythmic instruments. The records, we c a n be assured that on
m u s i c , its w i d e a p p e a l is n o t b e c a u s e r h y t h m s i n the s u n g melodies never the R i v e r s i d e release we a r e l i s t e n i n g
of its d e p t h of m e a n i n g f u l n e s s . I m i t a - showed the freedom a n d inventiveness to t r u l y great folk music. F r o m the
tors w i t h o u t the a b i l i t y of its i n - so c h a r a c t e r i s t i c o f j a z z . T h e few scanty specimens of C u b a n cult m u s i c
novators will naturally appropriate melody instruments either played that I have h e a r d , o n l y i n the A b a k w a
m o r e a n d m o r e of the p o p u l a r element rhythms h a r d l y more extended than Song by male chorus and drums
u n t i l a new genre has been created. the voice or p l a y e d r h a p s o d i c a l l y ( r e c o r d e d b y C o u r t l a n d e r ) d i d I find
T h i s new genre will strike a c h o r d a r o u n d t h e v o i c e . T h i s A f r i c a n ele- a n y i n d i c a t i o n of what m a y have been
in a larger public who will respond ment remained basically unchanged the prototype of the m u s i c on R i v e r -
t o i t as a m u s i c a f t e r i t s o w n h e a r t . i n C u b a . O n the R i v e r s i d e release we side. M u c h o f the cult m u s i c appears
Then g r a d u a l l y the o r i g i n a l folk hear both solo a n d ensemble voices A f r i c a n i n c h a r a c t e r , but the A b a k w a
artists f i n d their p o p u l a r i t y w a n i n g s i n g i n g simple tunes w i t h a r h y t h m i c S o n g is c e r t a i n l y a n e a r l y e x a m p l e of
u n t i l they themselves start i n c o r p o r a t - lilt i n the tune itself. T h e soloists w h a t e v e n t u a l l y flavored t h e sexteto
i n g s o m e o f the m o r e saleable ele- participate i n a semi-declamatory sones w i t h t h e i r A f r o - C u b a n c h a r -
ments i n t o t h e i r m u s i c . A t first they m a n n e r t h a t h a s its o w n r h y t h m i c a n d acter. T h e f o r m of the m u s i c does not
so t r a n s f o r m t h e s e e l e m e n t s t h a t t h e y r h a p s o d i c style. W e also f i n d t h i s i n k e e p to a definite n u m b e r of b a r s -
lose n o n e of t h e i r d e l i g h t ; eventually Flamenco and Cuban Punto Guajiro twelve, t h i r t y - t w o a n d t h r o u g h v a r i -
they degenerate into something no a n d i n t h e S p a n i s h S a e t a s . It i s e i t h e r a t i o n g i v e us w h a t a p p e a r s to b e a
different f r o m the cheapness of t h e i r s t r i d e n t o r t e n d s t o m o n o t o n y . I n its continuous creation. Blues and gospel
competitors. O r , i f the performers p r o p e r s e t t i n g I find i t m o s t e n j o y - singers f o l l o w the tune, their inflec-

26 THE JAZZ REVIEW

 tions are more subtle than bold, and
it is o n l y f r o m the w o r d s alone that
w e get a n y r e a l c o m p o s i t i o n a l p r o g -
ress. T h e s a m e c a n be s a i d o f the
inflection of C u b a n s i n g i n g , except
t h a t t h e b o l d n e s s of j a z z i n s t r u m e n -
t a t i o n is here r e a l i s e d b y a f r e e d o m
i n l a y i n g out the c o m p o s i t i o n . T h e
i n t e g r a t i o n of C u b a n r h y t h m i c i n s t r u -
ments does m o r e t h a n m e r e l y p r o v i d e
a s o l i d web of c h o r d a l r h y t h m ( g u i t a r ,
tres a n d bass); it is i n t e g r a t e d
throughout. This contribution, which
I feel to be s i g n i f i c a n t , n o d o u b t w a s
made b y the sextetos. T h e e a r l y
sextetos w e r e n o t m u c h m o r e t h a n
copies of the c h o i r s we hear on
R i v e r s i d e , but w i t h fewer m e n . In the
earliest r e c o r d I k n o w , the g u i t a r
f a m i l y was present w h i l e the o l d
m a r i l b o l a h a d already been displaced
b y the s t r i n g bass. I f i n d the montuno
o n t h e sexteto r e c o r d s m o r e r e l a x e d
a n d a m o r e i n t e g r a t e d part of the
w h o l e r a t h e r t h a n the f r e q u e n t l y used
h u r r i e d e n d i n g c o n s i s t i n g of a repeti-
tious phrase.
T h e p e r s o n n e l of the Sexteto H a b a -
n e r o c h a n g e d at t i m e s b u t I b e l i e v e
t h e l i n e - u p as seen i n t h e a c c o m p a n y -
i n g p i c t u r e r e p r e s e n t s i t at i t s best.
The director Geraldo Martinez (3rd
voice) p l a y e d the bass, Jose J i m e n e z
(1st v o i c e ) p l a y e d the claves, F e l i p e
N e r i C a b r e r a ( 2 n d v o i c e ) p l a y e d the
m a r a c a s , C a r l o s G o d i n e z p l a y e d the
tres, G u i l l e r m o C a s t i l l o p l a y e d the
g u i t a r a n d A u g u s t i n e G u i t e r r e z the
b o n g o s . W h e n we h e a r a t r u m p e t it
is n o d o u b t Jose I n t e r i a n . E x c e p t for
M a r t i n e z , Guiterrez and Interian they
are a l l dead. M a r t i n e z a n d Castillo
d i v i d e d most of the solos between
t h e m . M a r t i n e z is still c a r r y i n g o n
with his Conjunto T i p i c a H a b a n e r o
de G e r a d o M a r t i n e z . C a s t i l l o ' s v o i c e
is one of the most w o n d e r f u l o f its
k i n d . It i s d e e p b u t w h e n he s i n g s
s o l o s he r a i s e s i t a l i t t l e , g i v i n g t h e
i m p r e s s i o n of r e a c h i n g f o r t h e t o n e s .
Jose J i m e n e z , a l t h o u g h he s a n g no
solos, h a d the most celestial voice.
In the ensembles his voice always
t r a i l e d a n d l i n g e r e d o n at t h e e n d of
a phrase. T h a t w o n d e r f u l a b i l i t y to
ease i n t o an ensemble a n d f a d e out
at t h e e n d t h e y h a d t o p e r f e c t i o n .
T h e i r s i n g i n g has the b e a u t i f u l
relaxed drag found i n Bunk's band.
C o m b i n e d w i t h the r h y t h m i c sections
it gives a f e e l i n g of s o l i d i t y that
makes all other types seem t h i n . T h e i r
d e l i v e r y of the p o p u l a r tune Mama
Inez i s a r e v e l a t i o n . C o m p a r i s o n o f
t h e i r v e r s i o n o f Mama Inez w i t h t h a t
of another i n s p i r e d g r o u p , Ignacio
P i n e i r o ' s Sexteto N a c i o n a l , o n l y em-
phasizes their supremacy and makes
us realize the heights s i n g i n g c a n rise
to: while further comparisons be-
tween the Sexteto Habanero and
DECEMBER
others t r e a t i n g the same tune reveal
T A T E
that besides t h e i r s u p r e m a c y i n q u a l -
ity they are superior i n their extraor- (Continued from Page 20)
d i n a r y i m p r o v i s a t i o n s of solo i n c i -
McCloud's Night Owls (Sherman,
dentals.
Texas, 1927-29).
Because the beauties of s i n g i n g are
Roy M c C l o u d , t p ; B u d d y Tate, alto;
n o t e a s i l y h a n d e d o n , t h e sextetos o f
Hazel Jones, p f ; Bernice Douglas,
s e c o n d a r y i m p o r t a n c e never h a d the
b j o ; R a l p h Atterbury, dms.
i n t e r e s t of t h e f e w g r e a t o n e s , s o m e -
St. Louis Merrymakers, 1928 (short
t h i n g not true of the e a r l y jazz
while o n l y W i c h i t a Falls, Texas).
groups. S i n g i n g depends m o r e on rare
Troy Floyd Shadowland Orchestra
v o c a l q u a l i t y t h a n b a n d p l a y i n g does
(1929 San Antonio, Texassix
on rare instrumental ability. Thus,
months only).
the f o l l o w e r s o f M a R a i n e y a n d Bessie
S m i t h are extremely l i m i t e d , a n d u n - Willie Wagner, A l Johnson, tps; Bert
less w e g o t o t h e m o r e s t a r k s c h o o l Johnson, tb; Hershel Evans, Buddy
of s i n g i n g s t e m m i n g f r o m a L e a d - Tate, t n r ; Siki Collins, alto; Allen
belly or a B l i n d L e m o n Jefferson, the V a n , pf; John H . Braggs, bjo; John
c o n t e m p o r a r i e s a n d f o l l o w e r s of the Humphries, dms; Charlie Dixon,
R a i n e y - S m i t h h i g h point are n o b o d y sousaphone a n d tb.
to a d u l a t e t r u l y . T h e f u l l - t h r o a t e d T. Holder's 12 Clouds of Joy (1930
s i n g i n g q u a l i t y of the C u b a n N e g r o e s 33, D a l l a s , T e x a s ) .
both i n ensemble a n d i n m a n y of the T. Holder, Wesley Smith, Reginald
solos usually do not have the p e c u l i a r Corley, tps; George Corley, t b ; W a l -
f o l k q u a l i t y of a blues singer, t h o u g h lace M e r c e r , B u d d y T a t e , E a r l B o s t i c ,
m a n y of t h e i r voices do possess a reeds; L l o y d Glenn, p f - a r r ; Leslie
nasal folk i n t o n a t i o n . G e n e r a l l y speak- Sherrifield, t u b a ; Joe L e w i s , dms.
i n g , however, their songs sound more A d d C a r l S m i t h , t p ; H u g h Jones, t p ;
like lusty Western s i n g i n g but without J . K . M i l l e r , t p i n 1 9 3 1 , 3 2 , 3 0 re-
t h e b a d effects o f a c a d e m i c a l l y t r a i n e d spectively.
voices. Ethel Mays Band ( 1 9 3 4 , L i t t l e R o c k ,
C u b a n t r u m p e t p l a y i n g is a m o s t Ark.)
beautiful off-straight style that either A l Johnson, t p ; B u d d y Tate, t n r ; Nat
plays the tune i n s i m p l e f a s h i o n i n T o w l e s , bass.
a n s w e r to the s i n g e r s o r i n d u l g e s i n
Count Basie Orchestra (1934, Little
w h a t m a y best b e c a l l e d c a s c a d i n g
R o c k ) several months i n later 1934.
c a d e n z a s . W h e n these c a d e n z a s a r e
Joe K e y s , Dee Stewart, L i p s Page,
s i m p l e a n d n o t o v e r - d o n e , as w i t h so
tps; D a n M i n o r , t b ; Buster Smith,
m a n y players, they are a most useful
Jesse W a s h i n g t o n , a l t o s ; B u d d y T a t e ,
a d j u n c t to the m u s i c . I n the c h o i r s
t n r ; Basie, pf; Cliff M c T i e r , gtr;
the trumpets are most v i r i l e . T h e
Walter Page, bs; Jo Jones, dms.
sextetos, w h e n they a d d a t r u m p e t
Nat Towles Orchestra (1935-early
p l a y e r , a c t u a l l y have seven m e n , but
1939, Dallas, Texas and Omaha,
as a rule they keep the name
Nebraska).
"sexteto."
N . R . Bates, H a r o l d " M o n e y " J o h n -
A l t h o u g h the n u m b e r of sexteto
son, W e l d o n Sneed, tps; F r e d Beckett,
records m a d e d u r i n g the twenties is
Henry Coker, A r c h i e B r o w n , tbs; C.
s m a l l , these f e w p r e s e r v e f o r u s a r i c h
Q. P r i c e , S i k i Collins, altos; Lemuel
store of m u s i c . W h e r e a s the R i v e r s i d e
Talley, B u d d y Tate, tars; Charles
r e c o r d stands u p amongst the w o r l d ' s
T h o m p s o n , pf; Casey S m i t h g t r ; T o m
ethnic records i n q u a l i t y a n d esteem,
Pratt, bs; Little Nat Williams, d m s ;
I a m i n c l i n e d to b e l i e v e t h a t b e c a u s e
D u k e Groner, vocals, and director.
these s e x t e t o s superficially appear
N a t T o w l e s , director. P a u l K i n g re-
s i m i l a r t o t h e c h e a p m u s i c of t h e
placed N . B. Bates i n 1937.
thirties, they are not appreciated by
Count Basie Orchestra (New York,
the casual listener l i k e the older
1939-49) personnel i n discographies.'
music. T h e same situation holds with
Jimmy Rushinei Kansas City Spvpn
j a z z . O n e w h o likes the c h u r c h re-
( N . Y . , 1950-52).
v i v a l m u s i c of the 1900s m i g h t c o n -
sider the m u s i c of O l i v e r ' s b a n d Buck Clayton, tp; Dickie Wells, tb;
i n f e r i o r , especially i n the pop tunes. R u d y P o w e l l , alto, B u d d y Tate t n r -
A l t h o u g h s o m e C u b a n s c o n s i d e r these Sir Charles Thompson, pf; Walter
e a r l y r e c o r d s to be c o l l e c t o r s ' i t e m s , Page, bs; Jo Jones, dms.
on the whole they have no great Buddy Tate Orchestra (1953 until
s t a n d i n g . L e t us h o p e t h e R i v e r s i d e present) C e l e b r i t y C l u b , S a v o y P a l m
r e l e a s e s t a r t s a r e v i v a l o f C u b a n sex- G a r d e n s , etc., etc.
teto i n t h e U n i t e d S t a t e s , n o w t h a t Pat Jenkins, t p ; E l i Robinson, tbs;
we have such a large audience for Ben Richardson, alto-clt-bari; B u d d y
Latin-American music. Enthusiasm Tate, tnr-clt; Sadi H a k i m (Argonne
f o r t h e m c o u l d l e a d to a n l p re-issue T h o r n t o n ) , pf; electric brass; C l a r -
f r o m V i c t o r ' s vast store. ence " F a t s " D o n a l d s o n , dms.
27
 On Big Bill Broonzy
and the Blues
by Studs Terkel

Courtesy Studs Terkel

If the blues is a poetic remem- Big B i l l , porter. A s i d e f r o m w o r k i n choosing. H e has b o r n e his dignity
b r a n c e o f t h i n g s p a s t o r of today's railroad gangs, led by Sleepy John as g r a c e f u l l y as h i s g u i t a r .
trauma s m a l l wonder Big Bill Estes a n d L e a d b e l l y a m o n g others; / love you, baby
B r o o n z y is a m o s t n a t u r a l b a r d . H e plow h a n d ; cook; molder; preacher; But I sure ain't gonna be your dog.
has no forgettery. piano mover. M o v e r and Shaker.
Not j u s t a w o m a n he's s i n g i n g a b o u t .
/ was in a place one night
/ was born in Mississippi L i f e itself. A s f o r his feelings t o w a r d
They was all havin' fun
Arkansas is where I'm from members of the f a i r sex, L e p o r e l l o ' s
They was all buyin' beer and wine
"Madomina" could easily have ap-
But they would not sell me none. "Man I worked for in Arkansas,
p l i e d to the r o v i n g B i l l . O n e differ-
It w a s 1 9 4 7 . O r w a s i t ' 4 8 ? F o u r of all his k i d s went to college. Come
e n c e : the blues s i n g e r was f a r more
us i n a j a l o p y were p a s s i n g t h r o u g h home doctors, lawyers, g i r l a school
gentle than the Spanish Don. He
a pleasant I n d i a n a t o w n on our w a y teacher. I w i s h e d I c o u l d go to c o l -
evinces a genuine affection for wo
to Purdue. Lafayette, it was. We lege s o m e d a y . W e l l I d i d . I went to
men.
were thirsty. We saw a tavern, a college i n A m e s . " H e wasn't k i d d i n g .
w o r k i n g m e n ' s hangout. B i l l tossed a At I o w a S t a t e , h e l a n d e d a j o b as a My suitcase packed, my trunk's al-
casual glance, almost imperceptibly. campus janitor. ready gone
He smiled. "Uh-uh. They won't It's Big Bill's razor-whet, lovely Now you know about that, baby
serve me. Y o u guys go on i n . " He sense of i r o n y t h a t ' s e n a b l e d h i m t o Big Bill won't be here long . . .
outvoted. After all these were overcome. Cheated, euchred, gypped, No scenes, no recriminations. N e v e r
hard w o r k i n g guys decent m e n Bill triple-crossed most of his live-long has B i g Bill sung of bad women.
had n o r i g h t to j u m p to c o n c l u s i o n s . d a y s b y men and by fate-^he's i n - T h e y ' v e a l l been g o o d , w a r m - h e a r t e d .
As we entered all conversation v a r i a b l y c o m e u p w i t h a n ace. S o m e less t h a n o t h e r s . S o m e m o r e s o .
ceased Shot a n d a beer was the order On a v i s i t to h i s m o t h e r (born i n Willie Mae, don't you hear me
for four T h e n u d e v pent b e h i n d t h e slavery, died i n 1957 at t h e a g e of callin' you
bar was' eenial enoueh Politelv he 102), he d r o v e h i s b i g second-hand If I don't get my Willie Mae
murmured: "I can serve three of car into a filling station. Just out- I declare there ain't no other wo-
side Little R o c k . T h e red neck was man will do.
y
They said if you white, you all a b o u t t o get n a s t y . A black m a n i n
F o n d m e m o r i e s . S l y ones, t o o . Con-
right w h a t a p p e a r e d t o be a l u x u r y a u t o . . .
sider his w a y of k i d d i n g phonies a n d
If you brown, stick aroun " W h o s e c a r is t h i s , b o y ? " C a m e the
pretenders. O f t e n , he's tossed darts
But as you black deadpan retort: "Man I work for.
at c a s t e e v e n a m o n g h i s o w n p e o p l e .
Mmm, mmm, brother, get back, get My boss." T h e answer satisfied the
back, get back. white American. But if this black She said her mother was a Creole
The profane gibberish three of us man o w n e d that c a r boy! And an Indian was her dad.
m u m b l e d is of s m a l l matter. W e were Double-talk? Sure. Y o u must un- The dark-skinned singer remembers
l i c k e d as w e s l u n k o u t , x - r a y e d as w e derstand one thing, though. Bill b e i n g d e n i e d a d m i s s i o n to the c h u r c h
were by the hostile eyes of good, spoke t h e t r u t h , his truth. Always, to which his light-skinned grand-
solid workingmen. One man laughed Big B i l l h a s b e e n his own boss. No mother belonged. A n d so h e speaks
softly. It w a s Bill. We were losers, matter how h u m i l i a t i n g the c i r c u m - a universally ethnic truth. (How
the three of us without and the s t a n c e , h e n e v e r a l l o w e d h i m s e l f t o be often the nose of the German Jew
wretched clods within. O n l y B i l l was humiliated. A servant, often; servile, was out of j o i n t w h e n he e n c o u n t e r e d
the w i n n e r , a l a u g h i n g w i n n e r . never. N e i t h e r has he been belliger- the Polish Jew! Till M r . Shickle-
You know I can't lose ent. Just Bill T h e M a n , rich i n his g r u b e r refused to be selective i n this
Baby, I can't lose own secret h u m o r . S u r e , he's made matter. How the blonde Florentine
Not with this moppin' broom I use. adjustments, but they've been of his passed by the swarthy Calabrian!

28 THE JAZZ REVIEW

 The Blues
And i n what tone of voice did the
"lace curtain" Irish refer to the
"turkeys?")
U n f o r t u n a t e l y , i n his latter years,
Big Bill's poetry and mother-wit have
been less t h a n a p p r e c i a t e d in some
q u a r t e r s . T r v i n g t o h i d e h i s h u r t , he
has recounted the numerous times
Anatole B r o y a r d ' s hipsters have hoot-
ed h i m , w a l k e d out o n his blues. A n d
young jazz fans who should know THE MURDER BALLAD
better. C o o l c h i l d r e n of a cool eve-
ning c a n be awfully cold. "Place I S h e got i n t h e j a i l h o u s e , t h e y a s k e d h e r w h a t she's t h e r e f o r .
work for i n Buffalo, m a n pays me off H e r inmates i n the j a i l house, " W h a t are y o u here f o r ? "
first night. First set. He says they She s a i d . " I k i l l e d that b i t c h t h a t ' s what I ' m here f o r . "
don't like what you singin'. Who " Y o u ' r e a m u r d e r e r , that's why you're i n j a i l .
wants to hear that o l d time stuff? " Y o u ' r e a m u r d e r e r , that's why you're i n j a i l .
Nobody's gonna pay to hear that T h e y w o u l d have h a d y o u pretty s o o n ; they were on y o u r t r a i l . "
these days." H e r t r i a l c a m e u p , she w a s i n f r o n t o f t h e j u d g e ,
D u k e never w a l k e d out on B i g B i l l . H e r t r i a l c a m e u p , she w e n t i n f r o n t of t h e j u d g e ,
Nor did Count. They know. That's H e r a t t o r n e y t r i e d to g i v e the j u d g e a n u d g e .
w h y they're the artists they are. T h e j u r y said, " T h a t g i r l is here."
H e ' s lost t r a c k of t h e e x a c t n u m b e r T h e j u r y s a i d , " T h a t g i r l is here."
o f b l u e s he's w r i t t e n ; s o m e 3 6 0 , g i v e T h e j u r y s a i d , " T h a t m u r d e r i n g g i r l is h e r e . "
T h e prosecutor s a i d , " T o d a y we're d i s h i n g out y e a r s . "
or take h a l f a dozen. So m a n y he has
T h e prosecutor s a i d , " T o d a y , g a l , we're d i s h i n g out y e a r s . "
handed to others. "Why not? If it
S o be c a r e f u l , d o n ' t h a v e y o u r f e a r s . "
suits 'em better'n me, w h y shouldn't
they have it?" S h e s a i d , " I k i l l e d h e r b e c a u s e she h a d m y m a n . "
S h e s a i d , " I k i l l e d h e r b e c a u s e she h a d m y m a n . "
And he insists on keeping green
I k i l l e d t h a t b i t c h ' c a u s e she h a d m y m a n . "
the m e m o r y a n d s o n g of his f r i e n d s
I r a t h e r be d e a d i n m y g r a v e t h a n h e r e ( t h a t b i t c h h a d m y s w e e t m a n ! ) ,
no longer here. "Leroy Carr, he's
I r a t h e r b e d e a d a n d g r a v e d ' s t e a d o f h e r h a v i n g m y sweet m a n .
gone. Big Maceo, he's gone. Jim I ' d b e d e a d a n d g r a v e d ! L e t h e r h a v e m y sweet m a n !
Jackson, R i c h a r d M . Jones, o l ' L e a d ,
J u r y f o u n d h e r g u i l t y : she m u s t g o t o j a i l .
they're gone. If I don't sing their
J u r y f o u n d h e r g u i l t y : she m u s t g o t o j a i l .
blues, who w i l l ? M a y b e the b l u e s ' l l U p the r i v e r to B a t o n R o u g e is her t r a i l .
die someday. But I ' l l have to die J u d g e s a i d , " F i f t y years f o r the w o m a n that y o u k i l l e d l o v i n g y o u r m a n . "
first." J u d g e s a i d , " F i f t y years for the w o m a n that y o u k i l l e d l o v i n g y o u r m a n . "
And what of Tampa Red talking I w i s h I c o u l d help y o u , but I ' m not sure that I c a n . "
to himself? And Memphis Minnie
(Traditional, P e r f o r m e d by Jelly R o l l M o r t o n , Riverside R L P 9 0 0 8 .
s h o u t i n g somewhere i n the d a r k n e s s ?
Transcribed by M . W.)
D o e s a n y b o d y r e a l l y give a hoot out
there? W h o cares? I n the A g e of I n -
difference, of bland Ivy and Jivy
L e a g u e r s on the m a k e , jazz fans a l l ,
a c c o r d i n g to the G o s p e l of Playboy,
to c a r e deeply is a r c h a i c . M o l d y . T o
these c a r e f u l y o u n g m e n w h o c o u l d n ' t
LOSING HAND
care less, B i g B i l l s a y s : " I care."
He missed out on a critical ap-
I gambled on y o u r love, baby, I thought I ' d be y o u r k i n g , b a b y ,
pointment w i t h the doctor not long
A n d got a l o s i n g h a n d . Y e s . a n d y o u c o u l d be m y q u e e n .
ago. I gambled on your love, baby, I t h o u g h t I ' d be y o u r k i n g , b a b y ,
"What happened, Bill?" A n d got a losing hand. A n d y o u c o u l d be m y q u e e n .
"There's a k i d just come up from Y o u r ways keep c h a n g i n g But y o u used me for y o u r j o k e r
Mississippi. Gotta a lot of blues. L i k e the s h i f t i n g d e s e r t s a n d . 'Cause I thought y o u r deal was clean.
Went over to talk with 'im about
copyright so's he don't get gypped W h i l e I was p l a y i n g fair, baby, W a y y o u d i d me, pretty baby,
like I done." Y o u played a cheating game. I declare I ' l l never understand
To keep the blues alive . . . Big W h i l e I was p l a y i n g fair, baby, W a y y o u d i d me, pretty baby,
Bill Broonzy is dedicated. For they Y o u played a cheating game. I declare I ' l l never understand.
I k n o w y o u didn't care, I gambled o n y o u r love, baby,
are a piece of a m a n a n d he is some-
B u t I l o v e d y o u just the same. H e y , a n d got a l o s i n g h a n d .
t h i n g of a m a n . I n this P e r i o d of the
P i p s q u e a k , that's really something. ( B y " C h a r l e s C a l h o u n " (Jess S t o n e ) . C o p y r i g h t by Progressive M u s i c , Per-
(Published by permission of Studs formed by R a y Charles on A t l a n t i c 8006. T r a n s c r i b e d by M . W.)
Terkle, and Jack Tracy of Emarcy
Records.) ( C o n t r i b u t i o n s to t h i s d e p a r t m e n t are i n v i t e d . )

DECEMBER 29
 Reviews: Recordings

Red Allen: Ride Red Ride, RCA
Victor L P M 1509
A c c o r d i n g t o t h e n o t e s , t h r e e ses-
sions were r e q u i r e d to produce this
lp; I really can't imagine why.
There are no arrangements or en-
s e m b l e s t o s p e a k of, e v e r y t u n e b e -
gins w i t h the c o n v e n t i o n a l f o u r - b a r
p i a n o i n t r o , every tune has the same
show-band, grandstand ending, and
m o s t o f t h e t i m e is t a k e n u p w i t h s o l o
c h o r u s a f t e r c h o r u s , s o m e o.k., s o m e
completely dull or worse, i n rotation.
H e a r i n g R e d A l l e n p l a y i s , to m e ,
always a frustrating experience. H e
a m a z e s m e w i t h h i s sense o f p a t t e r n ,
h i s a b i l i t y to v a r y a s i m p l e , i n i t i a l
phrase (frequently by an ingenious
r h y t h m i c d i s l o c a t i o n ) , a n d to c o n -
s t r u c t a fine h a l f - c h o r u s f r o m i t . B u t
then he gives u p , a n d is p r o n e to p l a y
a n y one of a n u m b e r of stock figures,
o f t e n senseless a n d q u i t e o u t o f c o n -
t e x t . H e is w o n t t o t o s s i n a c h a r a c -
teristic short descending chromatic
r u n i n s u c h a w a y t h a t i t seems h e
j u s t c a n ' t b e a r t o l e a v e a f e w beats
or a measure of silence. Sometimes,
he ends a phrase early, a n d sustains
t h e final t o n e o v e r a c o u p l e o f m e a s -
u r e s ( f i r s t c h o r u s o f / Cover the
Waterfront). Other times, a bop lick,
o r a M i l e s i s h figure, m a k e s i t s a p -
pearance out of nowhere (third
c h o r u s o f Sweet Lorraine). W i t h less
finger twitching and more staying
power, R e d c o u l d lead the p a c k ; he
has a r i c h , p l u m p sound a n d g o o d
technical e q u i p m e n t . A s it is, t r u m -
peters l i k e H e r m a n A u t r e y a n d E m -
mett B e r r y outclass h i m .
H a w k is, of course, l a r g e l y re-
sponsible f o r the recent a n d belated
respect s h o w n t o w a r d s o l d e r j a z z m e n ,
a n d r i g h t l y so. H i s dense, h a r m o n i -
c a l l y s o p h i s t i c a t e d s t y l e c a n o n oc
casion become m o n o t o n o u s , because
it is b a s i c a l l y u n m e l o d i c , or unthe-
m a t i c i f v o u w i l l a n d a great deal
of the t i m e emplo'ys the same wave-
l i k e r h y t h m i c m o t i o n as a t r e l l i s f o r
the changes. T h i s r e c o r d shows h i m
in a vaeuelv bilious mood although
h i s SDOlTin Love Is lust Around the
Corner i s r e p r e s e n t a t i v e o f h i s best
playing.
I s h o u l d h a v e l i k e d to h a v e a v o i d -
ed comment on H i g g y and Buster
B a i l e y . W h a t e v e r the reason, H i g g y
h a s n ' t p l a y e d o n t h e l e v e l t h a t he
once d i d for some y e a r s ; a n d Bailey
k n e w his heyday some thirty years
ago. N o w he relies on a potpourri
of G o o d m a n l i c k s , freak noises, a n d
a t r u l y f a c i l e finger t e c h n i q u e , r a t h e r
than on cogent m u s i c a l ideas. H i g g y
surprises, however on a Bb blues,
Algiers Bounce, a n d o n St.
Infirmary. O n the f o r m e r , he is
eloquent, i n tune, and begins
s w i n g i n the f o u r t h c h o r u s . T h e suc-
c e e d i n g c h o r u s sees h i m at t h e e n d
of h i s rope, a n d the riffs b e g i n to
fly. B u s t e r d o e s d o o n e k i n d of t h i n g
better t h a n a n y c l a r i n e t i s t I c a n
t h i n k o f ; t h e c o c k - e y e d , r e a l l y witty
phrase is h i s forte, a n d the b a c k i n g
he g i v e s A l l e n ' s v o c a l o n Ain't
Sweet s h o u l d c o n v u l s e a n y o n e .
Frank
N o accusation of sluggishness c a n
be leveled against the r h y t h m . T h e y
do not always have the same end i n
view, apparently, j u d g i n g from fairly
frequent conflicts between, p a r t i c u l a r -
ly, piano and drums. Nevertheless,
their separate contributions are con-
s i d e r a b l e . C o z y C o l e seems gifted
with startling prescience when play-
i n g b e h i n d solos, a n d his brushes on
Ain't She Sweet swing elegantly.
M a r t y N a p o l e o n plays lightly, not
too politely, a n d his synthetic style
fits i n t h i s b a n d .
I listened to the title tune once.
F o r t u n a t e l y , the m i n d has r e m a r k a b l e
powers of recovery. E v e r y o n e , i n -
cluding onlookers i n the studio,
s o u n d s as i f h e w e r e h a v i n g a j i m -
d a n d y time, but w h y m a k e a record
out of i t ?
L a r r y Gushee
L o u i s A r m s t r o n g , Collector's Items.
Decca D18329.
Louis Armstrong, M y Musical A u -
tobiography. Decca D X M - 1 5 5 .
A p p a r e n t l y t h e m e t h o d of s e l e c t i o n
James
f o r t h e Collector's Items set w a s t o
pick "best s e l l e r s " w i t h no thought
to
a b o u t w h o m t h e r e c o r d s s o l d to o r
w h y . T h u s t h e v o c a l p e r f o r m a n c e of
the p s e u d o - s p i r i t u a l Shadrack (com-
plete w i t h " m i x e d c h o r u s " ) is p l a c e d
n e x t to t h a t s p l e n d i d s e r i e s of d i s -
p l a c e d accents i n the t r u m p e t c h o r u s
o n Jeepers Creepers, and it isn't long
a f t e r we h a v e m e t Brother Bill t h a t
She
we hear s u c h a m a g n i f i c e n t h a r m o n i c
v a r i a t i o n as t h a t o n t h e D e c c a v e r s i o n
o f / Can't Give You Anything But
Love, a n d not l o n g after we have
h e a r d a l l a b o u t Old Man Mose t h a t we
h e a r t h a t Confessin on w h i c h grand-
standing a n d art go h a n d i n h a n d i n
the w a y that o n l y A r m s t r o n g c a n
b r i n g o f f a n d A r m s t r o n g not often.
T h e A r m s t r o n g o n t h a t set i s t h e
A r m s t r o n g h e a r d i n the "Autobiog-
raphy" s e t a n d t h a t f a c t f o r c e s m e t o
repeat the t r u i s m that A r m s t r o n g the
s o l o i s t i s n o t t h e A r m s t r o n g o f Canal
Street Blues, Mandy Make Up Your
Mind, o r e v e n o f Muskrat Ramble.
T h a t is, L o u i s the s u b l i m e soloist ne-
c e s s a r i l y soon a b a n d o n e d L o u i s the
integrated lead ensemble voice and,
despite his h a v i n g p l a y e d a g a i n w i t h
s m a l l g r o u p s for over ten years now,
n e v e r r e - l e a r n e d t h a t r o l e . T h e loss
Stout
w a s a g a i n , t h e g a i n a l o s s , a n d a l l of
it necessary to A r m s t r o n g ' s g r o w t h .
T h e o m n i b u s has f o u r lps, has
f o r t y - e i g h t s e l e c t i o n s , a l l b u t s i x of
w h i c h (New Orleans Function, Musk-
rat Ramble, Struttin' With Some
Barbecue, My Monday Date, Basin
Street Blues, Sleepy Time Down
South) were redone especially for it,
a n d n o n e o f w h i c h dates e a r l i e r t h a n
1947. F u l l y t w e n t y - f o u r of those f o r t y -
eight selections were o r i g i n a l l y done
on records before 1929 ( A r m s t r o n g
f o r t h e t i m e b e i n g i s a p p a r e n t l y as
w i l l i n g as a r e c o r d c o l l e c t o r to p r e -
sent h i s a u t o b i o g r a p h y largely i n
terms of what happened i n r e c o r d i n g
studios before that d a t e ) .
T h e r e are further troubles. O n all
b u t s i x t i t l e s , w e a r e t r e a t e d to t h e
bouncy, monotonous, un-responsive
d r u m m i n g of B a r r e t t D e e m s d r u m -
m i n g to w h i c h the p r e s e n c e of K e n n y

30 THE JAZZ REV I E W

J o h n on two tracks and Cozy Cole on (S.O.L) Blues: t h e p o w e r f u l effects s o l o i s t h a s a b a n d o n e d a l l p r e t e n s e of
two others (even w h o p p i n g after (even i n the solos) of the o r i g i n a l b e i n g a n y t h i n g b u t t h a t . A g a i n , to
b e a t s ) , a n d , of course, S i d n e y Catlett records are i g n o r e d , misapprehended, d i s c u s s m o s t of these r e c o r d s i s t o
on one, is a n e n o r m o u s relief. gone, a n d a g o o d A r m s t r o n g solo on harp on detailsthe sublime way
A r m s t r o n g introduces the collection Wild Man Blues d o e s n o t s a v e a n A r m s t r o n g i n c o r p o r a t e s a fluff i n
with a pronouncement about "the otherwise t r i c k y , even superficial, per- Dear Old Southland; Billy Kyle's
m u s i c just the w a y it was p l a y e d i n f o r m a n c e . O f Strutin With Some Bar- e x c e l l e n t i n t r o d u c t i o n t o the v o c a l o n
those g o o d o l d d a y s . " H a r d l y . A n d , of becue w e s h a l l s p e a k i n a m o m e n t . Body and Soul; the fine v o c a l o n
course, impossible. / Surrender Dear; the b a n a l r i d i n g o n
O n Cornet Chop Suey, guitarist
J u d g e d against the o r i g i n a l r e c o r d s grandstand mannerisms on Exactly
G e o r g e B a r n e s , i n c o n g r u o u s l y present
the three O l i v e r C r e o l e Jazz B a n d Like You, Hobo You Cant Ride This
o n several of the s m a l l b a n d n u m b e r s
n u m b e r s are near travesties. Y a n k Train, a n d Sunny Side of the Street.
(imagine him taking Lonnie John-
L a w s o n m i g h t seem a g o o d choice (if O f Lazy River a n d Georgia on My
s o n ' s r o l e i n Hotter Than That; that's
o n e w e r e i n a h u r r y ) at first, b u t he Mind, l a t e r .
t h e w a y t h e y set i t u p ! ) , h a s a n i n -
p l a y s w i t h w h a t seems a m o n o t o n o u s nane g u i t a r solo that a l l but character- O u t of the research f o r the n a r r a -
affectation. Some effort, (by Bob izes t h e w h o l e p e r f o r m a n c e . (For tion, done by Milt Gabler and
H a g g a r t ) w a s m a d e to t a k e p a r t s off Heebie Jeebies, A r m s t r o n g , incident- L e o n a r d F e a t h e r , c o m e s the n e w s t h a t
of the 1920's r e c o r d i n g s but, i n every ally, scatted, this t i m e i n nonsense o n Gully Low Blues, Johnny Dodds
case, the o r i g i n a l c o n c e p t i o n is s o o n words "old fashioned" as those was too f r i g h t e n e d b y the r e c o r d i n g
a b a n d o n e d for a s t r i n g of solos M o r t o n u s e d . ) Muskrat is represented h o r n to speak the l i n e " O h , p l a y i t ,
f a i r l y c o n v e n t i o n a l ones r e a l l y a n d b y the " S y m p h o n y H a l l " v e r s i o n . O f P a p p a D i p " o f course, the story goes
t h e r e a r e s u c h d e t a i l s as t h e O l i v e r t h e a s t o n i s h i n g King of the Zulus, w i t h Gut Bucket Blues, h e a r d t w o L P
c h o r u s e s o n Dippermouth being re- a w o r d later. sides e a r l i e r . L o u i s A r m s t r o n g also
d u c e d to t w o , p l a y e d i n u n i s o n b y the i n f o r m s us w h a t " l e a d i n g t r u m p e t
t w o t r u m p e t s at t h e b e g i n n i n g a n d N e x t c o m e three f r o m the A r m -
m e n " Humphrey Lyttelton and Y a n k
then a b a n d o n e d for some of A r m - s t r o n g - H i n e s p e r i o d , o n e o f t h e m (A
L a w s o n are. H e is clear, however,
strong's f a m i l i a r current blues style. Monday Date) a r e a l l y fine 1 9 5 1 p e r -
a b o u t the f a c t t h a t t h e s i d e s for
E d m o n d Hall, a brick throughout f o r m a n c e b y p r o b a b l y t h e best p e r -
C l a r e n c e W i l l i a m s led groups were
a n d c e r t a i n l y t h e best c l a r i n e t L o u i s manent b a n d A r m s t r o n g has ever h a d
m a d e at s e p a r a t e s e s s i o n s w i t h d i f -
has h a d i n ten years, s h o u l d surely ( i n d i v i d u a l l y i f n o t c o l l e c t i v e l y ) wi'th
ferent personnels, but the l i n e r ( w h i c h
h a v e b e e n g i v e n a n o t h e r s h o t at High three m a j o r soloists i n T e a g a r d e n ,
l u m p s t h e m a l l as " t h e B l u e F i v e i n
Society. Canal Street i s t h e s i n c e r e s t H i n e s ( p l a y i n g especially w e l l ) , and
November and December, 1924") is
e f f o r t at r e - c r e a t i o n a n d i n i t the d e e p L o u i s . T h e Basin Street h e r e i s t h e
not. T h e l i n e r w i l l also tell y o u that
r o c k i n g s w i n g a n d i n t e g r a t i o n of one f r o m the " G l e n n M i l l e r " s o u n d -
o n Memories of You, E d H a l l i s r e -
p a r t s o f the O l i v e r b a n d i s t o t a l l y t r a c k : of it too, m o r e later.
p l a c e d b y H i l t o n Jefferson. Jeff m a y
absent. A t this p o i n t , we have entered the have been there, but i f that isn't E d ,
The Clarence W i l l i a m s R e d Onion p e r i o d w h e n A r m s t r o n g the g r e a t it's brother H e r b .
a n d B l u e F i v e dates a r e r e f e r r e d to
Courlesy Riverside Retords
o n l y b y u s i n g s o m e of the tunes m a d e
o n t h e m , a n d L o u i s ' s o l o a f t e r the
generally rejuvenated T r u m m i e Y o u n g
c h o r u s o n Everybody Loves My Baby
is very good current A r m s t r o n g .
N e x t c o m e f o u r blues n u m b e r s . A d -
mitedly V e l m a M i d d l e t o n is not a M a
R a i n e y o r a Bessie S m i t h o r even a
T r i x i e Smith or a Chippie H i l l . Actu-
a l l y she i s n o t a s i n g e r a n d i s a l m o s t
t o t a l l y i n s e n s i t i v e to the w o r k s done.
M o s t of L o u i s ' a c c o m p a n i m e n t s are
rather b l a n d a n d n e a r l y coast.
W e go b a c k to N e w O r l e a n s f o r
that 1950 n i g h t c l u b act " N e w O r l e a n s
F u n c t i o n " o n w h i c h L o u i s ' p l a y i n g of
Free As a Bird w a s f a i r l y s t r a i g h t a n d
f u l l of feeling. A n d what a relief this
Hines-Cole-Shaw r h y t h m section i s !
O n Gut Bucket, L o u i s ' r e c r e a t i o n of
that s u p e r b solo is a s h a d o w a n d the
performance ends on some light
rifling.
O n the t h i r d s i d e b e g i n s a s e r i e s
o f s e v e n m o r e n u m b e r s f r o m the H o t
F i v e - S e v e n p e r i o d , a n d one r i n g e r
a Snag It, s p o i l e d f r o m t h e s t a r t b y
the s u b s t i t u t i o n of a trite a n d silly
r i f f f o r t h e a n s w e r i n g b a s s figure i n
the o n c e p l a i n t i v e i n t r o d u c t i o n . S u f -
fice it t o s a y t h a t D e e m s p l a y s a l l
the w a y t h r o u g h t h e s t o p t i m e s e c t i o n s
o n b o t h Potato Head a n d Gully Low

DECEMBER
 T h e h a n d s o m e , not to say g a r i s h , D a v e B r u b e c k : The Dave Brubeck

feature/ p r o d u c t i o n begins with a b i o g r a p h i c a l

essay b y , o f a l l p e o p l e , t h a t c o l l e c t o r
Quartet in Europe, C o l u m b i a C L 1168
I u s e d to be o n e of the c r o w d t h a t
V V V o f p o e t r y a n d v e r s e f o r the A m e r i c a n just dismissed Brubeck. W h e n I
middle-brow, Louis Untermeyer. He started p l a y i n g with M i l e s , I found
HARDEN, quotes everyone f r o m c r i t i c W i l l i a m o u t M i l e s h a d a l o t of r e s p e c t f o r
JOHN
COLTRANE, R u s s e l l to d i s c j o c k e y G e n e N o r m a n h i m . M i l e s t o l d m e to l i s t e n t o h i s

MAN
I STREAM
MG 12127 to give L o u i s his c r e d e n t i a l s , a n d i n
Fleugelhorn stylist h a r m o n i e s a n d to w h a t he does w i t h
Harden Exciting a b u r s t o f p h r a s e - c o i n a g e , w i s h e s to a b a l l a d , a n d I ' v e c o m e to a p p r e c i a t e
tenor saxist Col-
trane blend with a d d " a l o u d a n d fervent A m e n . " T h e some of B r u b e c k .
Tommy Flanagan's
niano Done Wat-
essay i s a t e p i d , f a c i l e r e - h a s h o f s o m e
kns' bass and Louis o f the u s u a l b i o g r a p h i c a l sources. I ' m especially f o n d of his c o m p o s i -
Haves' drums in a
T h e r e f o l l o w s w h a t i s b i l l e d as " a n tions i n general. H e has a r e m a r k -
tncki a p p r e c i a t i o n " b y G i l b e r t M i l l s t e i n . It able w a y of c r e a t i n g m o o d s i n h i s
is s k i l l f u l l y s l i c k a n e c d o t a l prose, c o m p o s i t i o n s . O d d l y , these a r e m o o d s
i n i t i a l l y b u i l t on a s i m i l e between he can't e s t a b l i s h often i n his p l a y -
Armstrong and Charles G. Finney's i n g of h i s o w n w o r k s ; but give the
WHY-FI on SAVOY? Circus ( n . b . ) of Dr. Lao p l u s the w o r k s to s o m e b o d y else, a n d i t c a n
w o r k . I don't t h i n k , i n short, that h i s
A combination of the superb recording skills p r o p o s i t i o n that L o u i s is "beyond
of engineer Kudy V a n fielder, top mastering praise", and is, I think, quite imper- o w n fifrourj i n t e r D r e i s h i s m a t e r i a l
techniques, full 100% V i n y l Disc l'ressings
c e p t i v e a n d u n e n l i g h t e n i n g a b o u t the properly.
with noise-free, Oruye-fiard processing make
for the most superior Ja/.z record processing
m u s i c o r the m a n . N o w , when Brubeck plays his own
currently available on the market at the
price' ' A m I c a l l i n g t h i s a n u n - e v e n set, m a t e r i a l b y h i m s e l f , I get a d i f f e r e n t
a m i s t a k e , a b a d set w i t h a f e w g o o d and better i m p r e s s i o n . I wonder
Every Album features Full
Color Jacket and d e t a i l e d ' D e -
s c r i p t i v e L i n e r Notes.
m o m e n t s , a n effort to r e - c a p t u r e w h a t w h e t h e r P a u l D e s m o n d a n d the o t h e r
c a n n o t be r e - c a p t u r e d ? I d o n ' t k n o w , m e m b e r s o f t h e g r o u p feel w h a t D a v e
seal fa P o l y e t h y l e n e Dustproof
factory bag. quite honestly, w h a t it is o n the i s d o i n g . A n d I h e a r M i l e s p l a y In
NEW!
log and
Current complete cata-
discography ready!
w h o l e , except that o n the face of it, Your Own Sweet Way w i t h t h e f e e l -
W r i t e Dept. JR.
it i s a b i t i m b a l a n c e d i n f a v o r o f a n ing I think Brubeck intended.
A r m s t r o n g w h o now exists o n l y o n
A A A I n fact, B r u b e c k once t o l d m c he
important re-issue albums from
h a d a l o t o f o r i g i n a l s t h a t the g r o u p

LY
Brunswick, Columbia, and Riverside.
B u t a b o u t Struttin' With Some
NEWARK cue, Basin Street Blues, Lazy
a n d Georgia On My Mind a n d p a r t i c -
u l r a l y King of the Zulus I d o k n o w
J A Z Z PHOTOGRAPHS s o m e t h i n g o f w h i c h I w o u l d l i k e to
t r y to speak.
From a n extensive a n d unique I t i s v e r y w e l l to t a l k a b o u t A r m -
strong's r h y t h m i c conception, about
private collection, featuring pix his t r a n s f o r m a t i o n s of b a n a l melodies,
a b o u t the s u p e r b i m a g i n a t i o n o n a n
of the famous and obscure in h a r m o n i c v a r i a t i o n l i k e t h a t i n the
1 9 3 8 / Can't Give You Anything
jazz history. An interesting a d d i - Love, a b o u t " t h e first g r e a t j a z z s o l o -
i s t . " It i s a l s o a l l v e r y w e l l t o s a y
tion to any record collection, t h a t t h i s King of the Zulus i s n o t l i k e
t h e first. It h a p p e n s t o be b e t t e r . O n
trad, or modern. Sweet band it, a n d o n the other titles f o r w h i c h
I have reserved comment, A r m s t r o n g
pix too. is a s t o n i s h i n g a n d a s t o n i s h i n g because
he p l a y s what he p l a y s w i t h s u c h great
Examples: Dink Johnson, Chas. power, a u t h o r i t y , sureness, firmness
c o m m a n d i n g p r e s e n c e as to be b e y o n d
Creath, BG 1938, Waller, Bunny style, b e y o n d category, almost
they say of Beethoven's last quartets)
with TD, several Oliver bands, b e y o n d m u s i c . W h e n he p l a y s the
trumpet this way, all considerations
C. Christian, early Basie and of " s c h o o l s " , most other j a z z m e n ,
most other musicians s i m p l y drop
Moten, Oliver Cobb (100s more). a w a y as w e l i s t e n . T h e s h o w b i z p e r -
s o n a l i t y a c t , t h e c o a s t i n g , the f o r c e d
Old customers: greatly enlarged
jokes and sometimes forced geniality,
the p e r p e t u a l e m o t i o n a l content of
list now available. Send stamp
m u c h of A r m s t r o n g ' s m u s i c past a n d
present (that of a m a r v e l o u s l y e x u -
for free list to b e r a n t b u t c o m p l e x c h i l d ) a l l these
d r o p away, a n d we are h e a r i n g a sur-
Duncan P. Schiedt
p a s s i n g a r t i s t c r e a t e f o r u s e a c h of
2534 E. 68th St.
u s a surpassing art.
Indianapolis, Indiana
M .
doesn't p l a y because he has a p o l i c y
Barbe-
of not p l a y i n g a n y t h i n g the g u y s don't
River,
w a n t to p l a y .
A s for D e s m o n d , I've h e a r d some
people say P a u l is entirely o r i g i n a l .
I t s e e m s to m e t h o u g h t h a t h e ' s n o t
completely so. I hear a lot of A r t
P e p p e r ( i n the p e r i o d w h e n A r t was
with K e n t o n , although maybe Des-
mond influenced Pepper), some
K o n i t z and some Benny Carter. Des-
But m o n d ' s s o u n d is p r e t t y close to b e i n g
o r i g i n a l ; i t ' s n o t t h e k i n d of s o u n d
I l i k e . H e uses t h e e n d o f the h o r n
I don't l i k e a n d that coupled w i t h
t h e sweetness m i s s e s m e . I h e a r d h i m ,
f o r e x a m p l e , p l a y a figure a l o t of
the blues p l a y e r s use, but it sounded
so sweet
N o w Johnny Hodges or Scoops
C a r e y c o m e c l o s e r t h e g e t t i n g the
s o u n d I like. W i t h Hodges, that sound
(as
h a s n o t h i n g to d o w i t h h i s sweetness
b u t w i t h the basic s o u n d of his i n -
strument. I m e a n a strong sound that
is the same i n strength regardless
of the v o l u m e . W i t h P a u l , his s o u n d
c h a n g e s as t h e v o l u m e d o e s . I t gets
t h i n n e r as h e gets l o u d e r . I h a v e a
feeline b v the w a v it was S c o o p s '
s o u n d w i t h H i n e s that got to B i r d .
I n fact, B i r d d i d n ' t have that s o u n d
w h e n he W 3 S w i t h J a y M c S h a n n .
P a u l ' s time is very good. Dave's
depends o n the tempo. H e ' s O . K . o n
m e d i u m t e m p o s , b u t w h e n he's p l a y -
i n g his rhythmic things locked
W. hands o n faster tempos h i s t i m e

THE JAZZ REVIEW

 varies a little. T h a t v a r i a b i l i t y causes until he became the c a r i c a t u r e of h i m -
t h e s w i n g to f a l l off. self t h a t h e i s t o d a y . modern jazz begins on

PRESTIGE
T h e degeneration of the E c k s t i n e
Joe M o r e l l o added a sudden spark
s t y l e i s e a s i l y h e a r d o n Blues For
to t h e g r o u p . W h e n I h e a r d B r u b e c k .
Sale, w h i c h c o u p l e s s o m e o f B i l l y ' s
I think i n 1952, with Herb B a r m a n
fine N a t i o n a l r e c o r d i n g s w i t h s o m e
and W y a t t Ruther, I thought it was
v e r y p o o r sides made a r o u n d the
a swinging thing. But with Joe Dodge
time of h i s entrance into the p o p u l a r
a n d Bates, nothing was happening. VERY BEST WISHES TO THE
field ( n o t e s f a i l t o d e s i g n a t e o r i g i n a l
N o w Gene W r i g h t and Joe M o r e l l o EDITORS AND PUBLISHERS
r e c o r d i n g dates o r l a b e l s ) . A t i t s best.
make it sound more like anybody THE JAZZ REVIEW
B i l l y ' s was a potent, i n s p i r e d voice
else's r h y t h m s e c t i o n . Prestige Records, Inc.
that WHS g o i n g somewhere, that h a d
H a v i n g begun to p a y m o r e atten- s o m e t h i n g i m p o r t a n t to say a n d k n e w
t i o n to B r u b e c k , i t seemed to m e that e x a c t l y h o w to say i t . A n d the b a n d , The Top Modem Jazz Artists
there is a T a t u m influence o n h i s h a v i n g exactly the same message i n Are Available On Prestige LPs
h a r m o n i e s that I h a d n ' t n o t i c e d be- m i n d , helped h i m deliver it. In both
fore. I ' d a l w a y s been aware of h i s
MILES DAVIS
s i n g e r a n d i n s t r u m e n t a l i s t s w a s that
studies w i t h M i l h a u d , b u t n o w I ' m
SONNY ROLLINS
q u a l i t y o f tension that is like watch-
also aware of the t r a d i t i o n a l jazz
THE MJQ
i n g t h e flame s l o w l v c o n s u m e t h e l o n g
p i a n o influences i n h i s p i a n o con- fuse o n a l i g h t e d s t i c k o f d y n a m i t e
THELONIOUS MONK
ception.
RED GARLAND
and w
ouiu on
nu ud
u ec ri ii ini gg w
whi let n i t w i l l 5
g o o f f' il/
JOHN COLTRANE
it w i l l rm off and what will hannen
I s u p p o s e w h a t I l i k e best a b o u t GENE AMMONS
B r u b e c k i s the h a r m o n i c c r a f t s m a n - after the e v n l o s i o n T h e l u m o v lagged MOSE ALLISON
s h i p o f h i s c o m p o s i t i o n s . I ' m less r o u g h n e s s t h e free e x c i t e d n e w n e s s HERBIE MANN
impressed b y the g r o u p . I w o u l d go nf u
oi R im
l l vj cliiu
a n d ins
b i s biidiiu
and w e r e a fm
wcic a ir trir) v
to h e a r h i s g r o u p n o w , t o h e a r w h a t f T L _ r e s t r a i n e d n n i n s n i r p d inn plus many others
he's t h i n k i n g about. P a u l D e s m o n d lasses d r o o l e d o u t b y t h e s i n g e r l a t e r
is a v e r y n i c e g u y , a n d i t ' s h a r d on. Send For Free Catalog
to separate h i s m u s i c f r o m h i s per- T h e best t r a c k s i n t h i s p a c k a g e
sonality, but I have to because he is (It Ain't Like That No More, Long
not one of m y f a v o r i t e players. H i s Long Journey, Lonesome Lover Blues,
p l a y i n g is too prettv J o e M o r e l l o is All I Sing Is Blues) c o n t a i n that
a g o o d d r u m m e r , although he too is terseness o f p r o n u n c i a t i o n a n d p h r a s - PRESTIGE RECORDS INC.
not one o f m y favorites (I prefer i n g coupled with an intensely con- 203 S. Washington A v e , Bergcnficld, N . J.
let's s a y t h e A r t B l a k e y t r a d i t i o n ) ' trolled w a i l i n g deliberateness that
but M o r e l l o is a steady d r u m m e r w h o m a r k e d B i l l y ' s best efforts. T h e s i n g -
this
swings. i n g o n these s i d e s i s p r o u d , a l m o s t
defiantly so.
advertisement
B a c k to P a u l w h a t he p l a y s is
In the unsuccessful tracks (Blues
directed
k i n d of superficial. H e skims over the to the
For Sale, Blues, Jelly, I Do, Do You I,
s u r f a c e ; h e d o e s n ' t get i n t o t h e t h i n g
i t ' s as t h o u g h E c k s t i n e let h i s b e l t o u t Discographer-Hisrorian-
t h e w a y A r t P e p p e r d o e s . A n d as f o r
a few notches: the p h r a s i n g a n d i n - Collector
D a v e ' s p l a y i n g , I ' d l i k e it better i f
t o n a t i o n are r e l a x e d to the p o i n t o f Subscribe
h e ' d take the cute t h i n g s out of h i s
l e t h a r g y a n d m e r g e i n t o a n e v e n flow to . . .
p l a y i n g . L i k e H o r a c e S i l v e r is noted
of s y r u p y g o o ; the b e a u t i f u l voice i s
for funk, Dave has established h i m -
lost i n a m a z e o f s u g a r y v i b r a t o ; a l l R E C O R D
self b y cuteness. I t ' s h a r d to v e r b a l i z e .
the j a z z f e e l i n g h a s e v a p o r a t e d ; a n d RESEARCH
A n y w a y , this a l b u m i s one of the t h e s t y l i s t i c d e v i c e s e m e r g e as m e r e A bi-monthly journalistic endeavor,
best I ' v e h e a r d b y t h e m , m o s t l y b e - e n d s i n t h e m s e l v e s . Jelly, b y t h e w a y , now in its 4th year, devoted to sound,
cause of the r h y t h m section. is sacrilege. T o recut what w a s once accurate and interesting research into
all phases of Musical Americana (Jazz,
J u l i a n Addlerley perfect g e m w i t h the H i n e s b a n d
Vaudevillian, Personality, Folk, Popu-
w a s u n w i s e o f B i l l y , as h e i s f o r c e d lar . . . and the largest record auction
to c o m p e t e w i t h h i m s e l f a n d f a i l s in the world, in every issue.)
badly.
B i l l y E c k s t i n e : Blues For Sole, Em-
Blues, My Deep Blue Dream, and Record Research
A r c y M G 36029
/ Do, Do You a r e n o t e v e n b l u e s ; 131 Hart Street
the first t w o w e r e p r o b a b l y i n c l u d e d Brooklyn 6, N . Y .
Blues For Sale i s a s i g n i f i c a n t a l -
i n t h e set b e c a u s e t h e y h a v e m i n o r
b u m . It i s a v i v i d i l l u s t r a t i o n o f t h e Please start my subscription at once.
m e l o d i e s (Dream, otherwise, is good Here is $3.00 for your introductory offer
difference between jazz s i n g i n g a n d
Eckstine). A n d Blues is i n the of 12 issues.
pop singing.
twelve-bar f o r m b u t has that feigned
I n the eyes of this r e v i e w e r , B i l l y m e l a n c h o l y a n d lack of e m o t i o n a l Name
E c k s t i n e w a s at h i s p e a k w i t h E a r l c o n c e p t i o n w h i c h negates a n y t e c h -
H i n e s , never quite equaled his o w n nical frameworks. Address
efforts o n the N a t i o n a l sides o f h i s Blues For Sale i s a n a l b u m t h a t a
next p e r i o d w i t h h i s o w n band, a n d jazz listener w i l l n o t be able to take City State
b e g a n to b a c k s l i d e d u r i n g h i s tenure straight. H e w i l l have to s k i p the BONUS DIVIDEND!!!
w i t h M G M ( i n spite of f a i r l y accept- needle a r o u n d to the offerings w h i c h a periodic record bulletin to all sub-

4
a b l e b e g i n n i n g s w i t h t h i n g s l i k e Blue satisfy h i s standards of judgment. scribers, in addition to regular sub-
scription.
Moon, Caravan, What's My Name) Mimi Clar

DECEMBER 33
r-jj]
jazz on
F O L K W A
K a t h r y n H a n d y Lewis sings
W. C. H A N D Y BLUES
in T r i u U l i o n u l Stylr-
Accompanied by
James P. Johnson
and Piano Solos
H a n d y ' s blues at their best, with piano
accompaniment and solos by James P . J o h n -
son. Includes M e m p h i s Blues, St. Louis
Blues, Joe T u r n e r Blues, Loveless Love, and
Blue Moods others. Notes by Charles E .
Smith. F6-3540
Samuel B . Charters
MUSIC O F N E W ORLEANS
MBM T H E M U S I C O F B M W
'I
V o l . 1 M u s i c o f t h e S t r e e t s , M u s i c of
M a r d i Gras. Includes dawn to dusk sound
record of " F a t s T u e s d a y , " M a r d i Gras day.
Notes F A 2641.
V o l . II M u s i c o f t h e E u r e k a B r a s s B a n d .
Titles include P a n a m a , T r o m b o n i u m , Just
a Little W h i l e to Stay Here, M a r y l a n d , M y
M a r y l a n d , etc. Illustrated notes. F A 2642.
Vol. I l l M u s i c o f the D a n c e H a l l s .
Includes B i g M a m o u , R o a d of Sunshine,
Anytime, M a r r i e d M a n Blues, Careless
Love, Shake it and Break it, Nellie Gray,
Blues, others. Illustrated notes. F A 2643.
Big B i l l Broonzy sings
COUNTRY BLUES
Big Bill's most memorable album, a monu-
mental work of the art of the real blues.
" T h e balance between voice and guitar,
form and content, and emotion and re-
straint is perfect. The New Yorker. In-
cludes, T r o u b l e i n M i n d , In the Evening,
D i g g i n ' M y Potatoes, South Bound T r a i n ,
others. Notes by Charles E . Smith. F S 2326.
AllF O L K W A Y S 1 2 " 33 1/3 l o n g -
play record list p r i c e . $5.95
Folkways Records & Service Corp.
117 W . 46th St.. N . Y . C .
34
W . C . H a n d y Blues. Sung by his
Daughter Katharine Handy Lewis.
Accompanied by James P . John-
Y son. Folkways FG3540
O n e of the most f a m o u s quotes of
1957 was the r e m a r k made by
Thelonious M o n k while he was listen-
i n g to the p l a y b a c k of one of h i s
solos: " T h a t sounds like James P .
Johnson". Strangely enough, M o n k
does s o u n d l i k e James P . f r o m time to
t i m e , a n d so d o F a t s , B a s i e , T a t u m ,
a n d D u k e (as w e l l as W i l l i e G a n t a n d
Q. Roscoe S n o w d e n ) . Since James P .
has h a d s u c h a s t r o n g influence o n so
m a n y well-known pianists, it is amaz-
i n g that most people have never h e a r d
of h i m . T h e average f a n confuses
h i m with Pete Johnson ( " D o y o u
r e a l l y like b o o g i e - w o o g i e ? " ) a n d t h e
average m u s i c i a n t h i n k s o f h i m af-
f e c t i o n a t e l y , i f d i m l y , as a n e a r l y
teacher of Fats W a l l e r .
James P . was not Pete Johnson,
nor a mere "teacher" of Fats W a l l e r .
He was a m u c h more interesting m u s i -
c i a n t h a n W a l l e r . H i s bass l i n e s a r e
better c o n s t r u c t e d , h i s r i g h t h a n d is
f r e e r a n d less r e p e t i t i v e , h i s r h y t h m
is m o r e a c c u r a t e , a n d h i s p l a y i n g i s
n o t so r e l e n t l e s s l y t w o - b e a t as t h a t o f
Fats. A l t h o u g h he l a c k e d the smooth
technique of T a t u m ( a n d of Fats)
and the s t r i k i n g h a r m o n i c i m a g i n a -
tion of E l l i n g t o n , he nonetheless
carved out a stvlp which was rich
enough i n general m u s i c a l resources
to h a v e r e c r e a t e d at W fragments
of itself I n d T i d n i n . of Mien .rnlike
m u s i c i a n s as M o n k a n d J o h n L e w i s
Unfortunately, James P.'s record-
ing career was a bit too long. H e was
p l a y i n g h i s best i n t h e t h i r t i e s , b u t
he i s c u r r e n t l y r e p r e s e n t e d o n r e c o r d
either b y recordings of his o l d piano
rolls, w h i c h sound exactly like piano
rolls, o r b y records f r o m the forties,
w h i c h were m a d e after h i s health h a d
b e g u n to f a i l . T h i s r e c o r d is f r o m t h e
forties.
T h e first s i d e i s a c o l l e c t i o n o f W .
C. H a n d y ' s b l u e s s u n g b y H a n d y ' s
daughter ("Accompanied b y James P .
Johnson and Piano Solos"). Miss
H a n d y approaches the melodies more
as a r t s o n g s t h a n a s b l u e s , a n d j a z z i -
cal art songs are not m y c u p o f tea,
b u t s h e s i n g s t h e m w i t h o b v i o u s affec-
t i o n , a n d s u c h a gesture of filial
devotion s h o u l d not be c r i t i c i z e d .
T h e r e a r e a f e w i n t e r m i t t e n t flashes
o f fire f r o m J a m e s P . b u t f o r t h e
m o s t n a r t he is c h a i n e d d o w n heneath
the m e l o d y .
T h e reverse contains " t h r e e " i m -
p r o v i s a t i o n s b y J a m e s P . T h e first
t r a c k , c a l l e d Blue Moods 1, c o n s i s t s
of s i x choruses o f blues, prefaced b y
one o f the little operetta-like i n t r o d u c -
tions for w h i c h James P . h a d a fond-
ness, a n d e n d e d b y a s h o r t c o d a . It
is n o t t h e best b l u e s p l a y i n g t h a t o n e
can hear. James P . ' s blues were not
too successful, except f o r Backwater
Blues a n d a f e w o t h e r s . H e c e r t a i n l y
was not a blues pianist i n the same
w a y that someone l i k e J i m m y Y a n c e y
was. H e plays blues m u c h i n the same
w a y that he plays a tune like Blue
Turning Gray Over You, a n d h i s
blues suffer f o r i t .
In a d d i t i o n , he was not i n g o o d
health w h e n he made this record a n d
his p h y s i c a l l i m i t a t i o n s a r e evident.
T h e bass l i n e w a v e r s u n c e r t a i n l y b e -
tween a dotted r h y t h m a n d straight
eights, a n d there is a rather tentative
feeling to the w h o l e p e r f o r m a n c e . It
is a m y s t e r y w h y h e m a d e so m a n y
records of blues a n d b o o g i e - w o o g i e
i n h i s last y e a r s , w h e n h e c o u l d h a v e
r e c o r d e d so m a n y o f h i s o w n w o n d e r -
f u l p i e c e s ( s u c h as After Tonight, a
gem of a tune w h i c h he made for
D e c c a i n the late t h i r t i e s ) .
T h e second a n d t h i r d tracks present
a unique problem. They are entitled
Blue Moods 2 a n d Blue Moods Sex
( ! ) , respectively, a n d are absolutely
i d e n t i c a l , except that t r a c k # 3 ends
with an eight-bar coda which is ab-
sent f r o m t r a c k # 2 . T h a t i s t o s a y ,
they are not t w o masters of the same
tune, but are congruent, interchange-
able, a n d precisely the same i n every
respect. S i n c e t r a c k # 3 is l o u d e r a n d
clearer than track # 2 , m y guess is
that track # 2 is m e r e l y a n i n c o m -
plete c o p y of i t . T h e a u t h o r of t h e
a l b u m notes e v i d e n t l y e x p e r i e n c e d a
f e e l i n g o f deja vu, f o r h e t r i e s t o
e x p l a i n a w a y what must have been a
mysterious inquietude indeed:
" W h e t h e r h e i n t e n d e d these t o
be t h r e e s e c t i o n s o f o n e w o r k o r
only t w o , w i l l have to r e m a i n a
m y s t e r y . T h e first t w o differ i n
m o o d but are close i n pattern.
T h e t h i r d section, also close i n
pattern, was clearly designated
b y J a m e s P . as s e p a r a t e . . .
W h a t w e h a v e , t h e r e f o r e , i s es-
sentially one theme, approached
i n t h r e e d i f f e r e n t m o o d s , t h e first
two only slightly d i s s i m i l a r . T h e
parallel between parts i s , how-
ever, the o n l y i n d i c a t i o n of a n
un-resolved concept . . . T h e
structure is w o n d e r f u l l y s o l i d ,
especially o n cuts one a n d three,
w i t h every note i n place, every
note m e a n i n g f u l . "
It s h o u l d b e n o t e d t h a t t h e r e i s n o t
the slightest s i m i l a r i t y between the
first t r a c k a n d t h e o t h e r " t w o " t r a c k s
except that " t h e c o m p o s e r " was play-
i n g blues. M i s s H a n d y o n her half of
t h e r e c o r d at least s e r v e s t h e u s e f u l
f u n c t i o n of e n a b l i n g jazz critics to tell
f r o m the l y r i c s whether she is repeat-
THE JAZZ REVIEW
 ing a previous number or singing a
different one.
T h e p l a y i n g on track # 3 (or track
# 2 , i f y o u p r e f e r ) is f a r s u p e r i o r to
that o n t r a c k # 1 . A g a i n there are
six choruses of blues, w i t h h a r m o n i c
substitutions of one sort o r another
i n t h e first f o u r b a r s o f e a c h c h o r u s ,
followed b y a 32-bar tune seemingly
patched together f r o m every hack-
neyed c l o s i n g p e r i o d that James P .
ever used. L u c k i l y , James P.'s v a l i d i t y
consists m o r e i n h o w he plays t h a n i n
w h a t he p l a y s . H e h a s a n a l m o s t
a r c h i t e c t u r a l w a y of h a n d l i n g r h y t h m ,
of p l a c i n g pulses like b u i l d i n g b l o c k s ,
a n d a w o n d e r f u l l y subtle m a n n e r of
a l l o w i n g different r h y t h m i c concep-
tions to exist simultaneously i n both
h a n d s . A l t h o u g h he h a s p l a y e d m u c h
b e t t e r t h a n he d o e s o n t h i s r e c o r d ,
there is c e r t a i n l y e n o u g h here to i n -
terest a n i n t e l l i g e n t l i s t e n e r i f h e
doesn't m i n d b u y i n g two solos for
t h e p r i c e of t h r e e . T h i s is m u s i c f o r
the m a n w h o e n j o y s l i s t e n i n g to
James P . Johnson.
Dick Wellstood
M a r y A n n M c C a l l : D e t o u r to the
M o o n , Jubilee V J L P 1078.
M a r y A n n M c C a l l is one of several
s i n g e r s w h o c a n b e r e c o g n i z e d as b e -
l o n g i n g to a school. T h e i r w o r k is
e a s i l y t o l d f r o m t h a t of c l a s s i c j a z z
s i n g e r s i n t h e i r a p p r o a c h to t h e t e c h -
n i q u e of s i n g i n g a n d i n t h e i r treat-
ment of grace notes, p a s s i n g tones,
and embellishments generally. The
v o i c e is not p l a c e d f o r w a r d ; it seems
to issue f r o m the r e g i o n w h e r e l o w
back vowels are p r o d u c e d (which
may explain how opaque their dic-
t i o n c a n b e ) , a n d f r o m there to be
r o l l e d a r o u n d o n the tongue l i k e a
t h i r s t y m a n ' s first s i p o f w a t e r . P r e -
s u m a b l y the tone that results f r o m
t h i s p r o c e d u r e i s m e a n t as a v o c a l
a p p r o x i m a t i o n of the s o n o r i t y a cool
instrumentalist strives for, t h o u g h i n
fact i t i s a c a v e r n o u s s o u n d as u n -
l i k e the a e r a t e d t o n e of. s a y , L e s t e r
Y o u n g as a n y t h i n g c o u l d b e .
T h i s u n u s u a l a p p r o a c h results i n a
m a r k e d loss of v o c a l a g i l i t y , there-
fore the second hallmark. Where
grace notes receive an accent, i n
b a r o q u e m u s i c , o r c o n v e r s e l y a r e let
u p o n , i n c l a s s i c a l j a z z , these v o c a l -
ists a c c o r d t h e m t h e s a m e stress as
the notes of the m e l o d i c l i n e , no
m o r e , n o less. T h e i n e v i t a b l e a b s e n c e
of a n y m a r k e d p r o f i l e , w h i c h i s t o
s a y t h e e s t a b l i s h m e n t of t h e i d e a o f
e q u a l i z e d s u r f a c e t e n s i o n i n p l a c e of
the o l d p r i n c i p l e of a l t e r n a t i n g waves
of excitement and repose this
m e t h o d s e e m s t o be t h e d e l i g h t o f
a u s e f u l a n a l o g y , b u t a better p a r a l l e l
DECEMBER
o u r t i m e . T h e actor's s t u d i o i d e a is
m i g h t be d r a w n between this k i n d of
s i n g i n g a n d what used to be c a l l e d
the p l a s t i c a r t s . N o w a d a y s we c a n
recognize the celebrated artists of
this century not only i n their can-
vases b u t i n t h e i r r u g s , t a p e s t r i e s ,
w a l l p a p e r , t e x t i l e s ; i n a l l cases t h e i r
w o r k is the same because it i g n o r e s
relief.
It i s e v i d e n t l y e a s y t o d e s c r i b e h o w
M a r y A n n M c C a l l w o r k s . It i s f a r
f r o m e a s y t o assess t h e r e s u l t s , a n d
v i r t u a l l y impossible to i m a g i n e a rea-
son for this elaborately incorrect
w a y o f s i n g i n g , except that it seems
to be w h a t great n u m b e r s of people
w i s h t o h e a r . O n e f a r less g i f t e d
singer t h a n M i s s M c C a l l has c a r r i e d
the m e t h o d to a p o i n t w h e r e a n y
l i s t e n e r m u s t w o n d e r i f she i s g r i p p e d
by nausea or a p h r o d i s i a ; Schwann
lists a dozen records b y her. E v i -
d e n t l y , j u s t b e c a u s e i t i s so s t u d i e d ,
it's got to be art.
Beneath the overlay, M a r y A n n ' s
v o i c e seems to h a v e a n i n d i v i d u a l
and touching quality, rather wistful
a n d r e s e m b l i n g , i f a n y b o d y ' s , that
of her onetime i d o l M i l d r e d B a i l e y ,
o r of that g o o d p o p u l a r s i n g e r Rose-
m a r y C l o o n e y . It i s t o be r e g r e t t e d
t h a t she feels c o m p e l l e d t o a b u s e i t .
I find t h e a c c o m p a n i m e n t s m o s t l y
i n a p p r o p r i a t e , even grotesquely so,
t o these m o d e s t s o n g s , b u t t h e y a r e
notable f o r t w o reasons. O n e is the
interesting combination of solo
strings ( v i o l a , cello, bass) pizzicato,
plus g u i t a r . T h e other is those same
strings bowed, entirely without v i -
b r a t o ; e v i d e n t l y this is one s o l u t i o n
t o t h e p r o b l e m of u s i n g t h e s t r i n g s
i n a t r u e j a z z setting w i t h o u t the
pulse of j a z z b e i n g frustrated by the
classical vibrato.
G l e n n Coulter
Jackie M c L e a n Quintet. Jubilee
V J L P 1064.
Jackie McLean's admiration for
C h a r l i e P a r k e r is o b v i o u s o n this
reissue a l b u m . H i s tone, conception,
a n d c h o i c e of m a t e r i a l are based o n
h e a r i n g t h i n g s the w a y B i r d m i g h t
have p l a y e d them. I n places, J a c k i e
manages to d i s c o v e r expressions that
c a n ' t be i d e n t i f i e d as d i r e c t q u o t e s f r o m
B i r d , b u t i n the m a i n he s o u n d s s a t i s -
fied w i t h b e i n g a b l e t o r e c r e a t e f o r
himself some of B i r d ' s beauty. Some-
where there is a conflict, t h o u g h , f o r
I don't hear the j o y of p l a y i n g some-
t h i n g w o n d e r f u l . If he really c o u l d
t h i n k of n o t h i n g m o r e b e a u t i f u l t h a n
to p l a y the w a y B i r d p l a y e d , w h y ,
w h e n he m a n a g e s t o c r e a t e s u c h a f a i r
copy of the style, does his p l a y i n g
s o u n d so g r i m ? H e p l a y s c l e a n l y ,
with energy, and with a certain
a m o u n t of i m a g i n a t i o n , b u t he d o e s n ' t
sound like it's any f u n .
H e h a n d l e s h i m s e l f best o n t h e
blues, but even there never expresses
h i m s e l f f u l l y . H e m i n i m i z e s the v a l u e
of his feelings, p l a c i n g m o r e i m p o r -
tance on f o r m a n d style. M a t u r i t y
m a y b r i n g more trust of his o w n
viewpoint, but on this a l b u m his facil-
i t y is f a r better developed t h a n h i s
a b i l i t y to m a k e a statement of h i s
own.
D o n a l d ' s p l a y i n g is b r i g h t , c l e a n ,
y o u t h f u l , a n d often c h a r m i n g , but it
m i g h t b e e a s i e r t o see d e e p e r i n t o i t
i f t h e s u r f a c e w e r e n o t so s h i n y . S o m e
of the same prettiness that existed i n
the e a r l y p l a y i n g of Chet B a k e r a n d
J o n E a r d l e y is present here, w i t h
h o p e for future development of a
s t r o n g e r sense o f t h e e a r t h .
W a l d r o n ' s c o m p i n g throughout the
a l b u m is listless, i n t e r f e r i n g w i t h the
flow o f t h e s o l o i s t r a t h e r t h a n a s s i s t -
i n g it. T h e s t r o l l i n g choruses where
D o n a l d p l a y s w i t h j u s t bass a n d
drums are m u c h more unified. M a i ' s
o w n c h o r u s e s a r e u n i n t e r e s t i n g be-
c a u s e he seems u n i n t e r e s t e d h i m s e l f .
R o n T u c k e r s o u n d s fine i n g e n e r a l ,
a l t h o u g h h e gets a l i t t l e p u s h y w h e n
he feels m o r e s h o u l d be h a p p e n i n g .
H e gets a g o o d s o u n d f r o m his i n s t r u -
ment a n d a g o o d feeling on each
tempo.
D o u g W a t k i n s i s t h e o n l y one o n
t h e a l b u m w h o s o u n d s l i k e he's get-
ting any real pleasure f r o m playing.
H e ' s not the facile soloist that J a c k i e
a n d D o n are, but his q u a l i t y t h r o u g h -
out b o t h h i s solos a n d h i s l i n e is
warm, thoughtful, and satisfying.
T h e choice of tunes is good. T h e
s t a n d a r d s It's You Or No One, The
Way You Look Tonight, and Lover
Man a r e r i c h s t i m u l i f o r i n v e n t i o n ,
a n d the o r i g i n a l s (two b y J a c k i e a n d
one by M a i ) are a l l interesting. T h e
a l b u m c o v e r is attractive, a n d the
notes by C h a r l i e M a c k give the per-
tinent i n f o r m a t i o n about the date a n d
the m u s i c i a n s , a f t e r a q u e s t i o n a b l e
essay a t t e m p t i n g to j u s t i f y J a c k i e ' s
d e v o t i o n to B i r d ' s c o n c e p t i o n .
Bill Crow
J e l l y R o l l M o r t o n : New Orleans
Memories, Commodore F L 30000
S i d e 1 h e r e c o n s i s t s o f the five
classic blues. F o r t r a d i t i o n a l jazz it
w o u l d h a v e b e e n d i f f i c u l t to select a
m o r e r e p r e s e n t a t i v e yet m o v i n g five:
the t w o t w e l v e - b a r n u m b e r s , Mamie's
Blues a n d T o n y J a c k s o n ' s Michigan
Water Blues a r e c o m b i n e d w i t h Don't
You Leave Me Here, Buddy Bolden's
35
 Blues, a n d the i n c o m p a r a b l e Winiri
Boy. P e r h a p s it is wise to r e f r a i n
f r o m c o m m e n t o n these b l u e s n u m -
bers o n the g r o u n d s that so m u c h of
the q u a l i t i e s w h i c h so u r g e n t l y a p p e a l
to t h e l i s t e n e r a r e d i r e c t i n n a t u r e
and almost personal.
S i d e 2 is susceptible to the m o r e
usual a p p r o a c h . F o r example, take the
fascinating lead number, the trans-
f o r m a t i o n of Scott J o p l i n ' s Original
Rags f r o m r a g t i m e i n t o J e l l y ' s j a z z .
( I n c i d e n t a l l y , the L P L a b e l errone-
o u s l y i d e n t i f i e s Original Rags a s a
c o l l a b o r a t i o n between Scott a n d J o p -
l i n - either that o r the h y p h e n is a
misprint.)
T h e most obvious indications of
Jelly's jazz a p p r o a c h stem, i n the
right h a n d , f r o m the i m p r o v i s a t i o n
a n d , i n t h e left h a n d , f r o m t h e a n t i c i -
pated downbeats a n d the octave r u n s
of four sixteenth-notes, Jelly's trade-
m a r k . A c t u a l l y , h o w e v e r , these d e -
vices do not e x p l a i n the f u l l trans-
f o r m a t i o n w h i c h Jelly brings about.
T h e g u l f w h i c h separates r a g t i m e , as
the e a r l y r a g c o m p o s e r s u n d e r s t o o d
it, f r o m j a z z as J e l l y e p i t o m i z e d i t
this gulf has to do more w i t h the type
o f beat w h i c h t h e t w o d e v e l o p a n d
the n a t u r e o f t h e m o m e n t u m w h i c h
b u i l d s u p . T h e difference is reflected
9 8 on F . M L
i n the entire o r g a n i z a t i o n of the tune.
in L O S A N G E L E S T h e whole a p p r o a c h to Original
Rags reflects J e l l y ' s b r e a k f r o m r a g -
time. J o p l i n , i n the o r i g i n a l w r i t i n g
o f t h e t u n e , p l a i n l y states t h e s t a n d -
a r d , vigorous opening theme. H e then
g i v e s t h e s e c o n d s t r a i n a l i g h t e r , float-
i n g q u a l i t y , a n effect h e i g h t e n e d b y
a l t o g e t h e r o m i t t i n g t h e left h a n d i n
JAZZ HIGHLIGHTS b a r one. T h e n i n the t h i r d theme,
J o p l i n c o m e s d o w n to c l a s s i c r a g t i m e
1941CHARLEY C H R I S T I A N and DIZZY
G I L L E S P I E in Hiitoric Session, at with the tvDical right h a n d phrases
Minions. C P T S48 of the i d i o m , M u s i c a l E x a m p l e 1.
1946- SONNY B E R M A N with the FIRST A l l three
HERD. C P T 532 themes are repeated. T h e n , after a re-
1947- W N E W S A T U R D A Y N 1 T E SWING t u r n t o t h e first s t r a i n , J o p l i n m o v e s
SESSION, with Roy, Ventura, Allan q u i c k l y t o t w o u n r e p e a l e d final s t r a i n s .
Eager, Fats Navarro, etc. C P T 549
T h e h a n d l i n g of Jelly, the jazz
1950-AL HAIG Jazz Will-O-The-Wisp
pianist, is quite different. D i s p e n s i n g
C P T 551
w i t h h a l f the i n t r o d u c t i o n , h e estab-
1 9 5 8 - S A L U T E T O BUNNYRusty D e d - lishes h i s m o m e n t u m very q u i c k l y
rick Ork. C P T 551
and moves f o r w a r d . H e rides over
J o p l i n ' s c r u d e a t t e m p t s t o set u p s o m e
STEREO AND MONAURAL DISCS
k i n d of variety of a p p r o a c h to the
P O R T R A I T O F P E E W E E , with Pee Wee, three different strains. Jelly forces
Ruby, Bud, Vic, and Nat Pierce Ork. a l l o f t h e first t h r e e t h e m e s t o b e
CPST 5561, C P T 565. i d e n t i c a l i n s p i r i t , fused together to
JU A N I T A H A L L SINGS T H E B L U E S , b u i l d u p h i s n e w j azz-type rnorncn-
with Hawk, Buster Bailey, Doc Cheatham t u r n H e gets t h e beat s w i n g i n g l i g h t -
and Claude Hopkins Ork.
ly experimenting w i t h sixths i n the
CPST 5556, C P T 564
left h a n d a r e s o u r c e w h i c h r a g t i m e
never tolerated but w h i c h become
For catalog write: m o r e a n d m ore frequently used i n
ESOTERIC & COUNTERPOINT RECORDS j a z z a s ; n H i n e s esneciallv o r the
3 3 3 Sixth A v e n u e , N e w Y o r k 14 L i o n (see, f o r e x a m p l e , Willie's Blues
the D o t L P ) o r A r t T a t u m
Nothing could more clearly indi-
c a t e the n a t u r e o f J e l l y ' s t r a n s f o r m a -
tion than bars four a n d twelve of the
C s t r a i n . R e c a l l that i n J o p l i n ' s o r i g i -
nal this is a full typical ragtime
s t r a i n . I n b a r s 4 a n d 5, t h e p h r a s e
could scarcely be more characteristic
(the r i g h t h a n d o n l v i s s i g n i f i c a n t f o r
the contrast here) E x a m p l e 2
B a r 1 2 reflects t h e c r u d e n e s s o f
early ragtime's harmonic changes.
T h e progression i s f r o m tonic to sub-
m e d i a n , the change w h i c h a l l of jazz
m a d e so r i c h a n d so v a r i e d . I t i s t h e
c h a n g e w h i c h " m a k e s " s u c h tunes as
Salty Dog, A Good Man Is Hard To
Find, Ballin The Jack, Jada, a n d
countless others. B u t the change w a s
not e x p l o i t e d i n r a g t i m e L a t e r rags
d i d somewhat better, thanks largely
to the m u s i c i a n s h i p o f l a m e s Scott
a n d J o p l i n ' s o w n late-developing in
terest i n h a r m o n y a n d e v e n t o n a l i t y .
But this is an 1899 r a g , a n d J o p l i n
r a n r o m e n n w i t h n o t h i n g better t h a n
t h e figure s h o w n i n E x a m p l e , 3.
In J o p l i n , of course, this strain is
r e p e a t e d v e r b a t i m ( a t least i n these
two b a r s ) .
N o w note J e l l y ' s r i g h t h a n d i n b a r
4. T h e p h r a s e d e p a r t s f r o m t h e J o p l i n
o r i g i n a l i n the slightest a n d yet most
i m p o r t a n t r e s p e c t . S e e E x a m p l e 4 , as
c o m p a r e d with E x a m p l e 2.
N o w note b a r 12. T h e first t i m e
t h r o u g h , the right h a n d merely "jazzes
u p " what is really the same phrase
as i n t h e o r i g i n a l J o p l i n v e r s i o n . B u t
the left h a n d d e p a r t s c o n s i d e r a b l y ,
w i t h one of those m a r v e l o u s progres-
sions f r o m tonic to sub-median w h i c h
a b o u n d i n jazz. Incidentally, the par-
t i c u l a r series o f s i x t h s , u s e d i n t h e
left h a n d , i s s e l e c t e d so' a s t o fit w e l l
harmonicallv both with Joplin's right
h a n d ( E x a m p l e 3) a n d even more
w i t h Tellv's s l i g h t m o d i f i c a t i o n o f it
See E x a m p l e 5 :
N o w the second time through, the
left h a n d c o n t a i n s b a s i c a l l y t h e s a m e
thoughts, simplified somewhat in
o r d e r to a v o i d dissonance w i t h the
new right h a n d phrase. T h e right
h a n d phrase is w h o l l y different n o w
a n d clearly pursues the ideas con-
t a i n e d i n t h e first 11 b a r s a p o s s i -
bility w h i c h h a d evidently escaped
J o p l i n . N o t e f o r e x a m p l e t h a t t h e last
five n o t e s a r e n o w i d e n t i c a l ( o r a l -
m o s t I ' m n o t at a l l s u r e I ' v e n o t a t e d
t h i s e x a c t l y as i t i s p l a y e d , s i n c e t h e
last note of the nhrase m a v be G
r a t h e r t h a t C ) t o t h e e q u i v a l e n t five
notes i n b a r f o u r . T h e p r o g r e s s i o n to
s u b - m e d i a n (instead o f the d o m i n a n t
f o u n d i n b a r five) i s m a d e q u i t e c l e a r
i n t h e l e f t h a n d i n t h e first b e a t o f
bar 13. Musical Example 6 .
T h i s i s the k i n d of t h i n g w h i c h
J o p l i n delighted i n d u r i n g later years
( w i t h i n the ragtime framework, of
THE JAZZ REVIEW
 c o u r s e ) . H i s m i s s i n g i t i s the k i n d of
missed o p p o r t u n i t y w h i c h is natural
e n o u g h to find i n t h i s m a i d e n flight
in r a g t i m e c o m p o s i n g .
J u s t one f u r t h e r t h i n g o n J e l l y ' s
h a n d l i n g o f b a r 12, a g a i n i n c o n t r a s t
to J o p l i n ' s : n o t e h o w i n both c h o r u s e s
t h e p h r a s e e s t a b l i s h e d i n b a r 12 i s
used f o r the w h o l e last f o u r b a r s .
A n d , since the second t i m e t h r o u g h
t h e p h r a s e o f b a r 12 i s t i e d to t h e
first 11 b a r s as w e l l , t h i s m e a n s t h a t
J e l l y has succeeded i n t y i n g the w h o l e
chorus together. T h e n by his h a n d l i n g
o f the D s t r a i n ( d i s c u s s e d b e l o w ) , h e
further p r o l o n g s the m o m e n t u m w h i c h
is w h a t h e i s s t r i v i n g f o r , as d i s -
t i n g u i s h e d f r o m the stop-and-go tech-
nicrues o f r a g t i m e J e l l y ' s m o m e n t u m
b u i l t u p as i t i s w i t h o u t a d e e p b r e a t h
a l l the w a v f r o m the b e g i n n i n g o f C
f i v e choruses all t o l d m a k e s his
a b r u D t final e n d i n g ( a l s o d i s c u s s e d
b e l o w ) a l l t h e m o r e effective.
T h i s c r e a t i o n o f b a r s 13 t h r o u g h
16 o n the b a s i s o f t h e s i n g l e p h r a s e
o f b a r 12 i s n o t to be g l o s s e d o v e r
l i g h t l y . T h i s w a y of t y i n g together a
piece, b y h a v i n g the p h r a s i n g o v e r l a p
the b o u n d s o f t h e f o u r - s q u a r e s t r u c -
ture is a splendid artistic achieve-
ment. I believe I a m correct i n say-
1
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A c t u a l l y i t w o u l d b e m o r e a c c u r a t e to s a y t h a t i t i s f o u n d w h e r e v e r g r e a t m u s i c a l m o m e n t s a r e f o u n d s i n c e s o m e
r a t h e r m e d i o c r e m u s i c i a n s s e e m to s t u m b l e o n t h e t h i n g s v e r y o c c a s i o n a l l y .
DECEMBER
i n g , f o r e x a m p l e , that this is the basic
resource of C h a r l i e P a r k e r ' s m u s i c a l
g e n i u s . I k n o w i t i s w h a t elevates
J . S . B a c h to h i s h i g h p l a c e . I n f a c t ,
it is f o u n d w h e r e v e r great not s i m p l y
g o o d m u s i c i a n s are found. 1
M o v i n g o n past the first t h r e e
strainswithout r e c a p i t u l a t i n g s t r a i n
A J e l l y r e v i s e s the D s t r a i n w h o l e -
sale, m a k i n g it a k i n d of b r i d g e
rather t h a n a separate theme of its
o w n . H e even ends it w i t h a s e m i -
cadence p r o p e l l i n g the m o t i o n i n t o E .
T h i s i s d e f i n i t e l y not i n J o p l i n ' s o r i g i -
n a l ; i n fact, note the decided stop i n
b a r ' 16 o f J o p l i n ' s s t r a i n D .
T h e E strain, w h i c h is played only
once i n the J o p l i n o r i g i n a l is repeated
i n Jelly's version, suggesting (but it
is o n l y a s u g g e s t i o n ) t h e " j a m m i n g
o u t " of a jazz tune.
B u t note h o w i n one respect J e l l y
does follow J o p l i n ' s pattern. Despite
the f a c t t h a t b o t h r i g h t h a n d a n d
left h a n d h a v e d e p a r t e d f a r f r o m t h e
o r i g i n a l i n the details, the p a t t e r n
r e m a i n s o f h o l d i n g off t h e final r e -
t u r n to h o m e t o n i c u n t i l t h e t h i r d b e a t
o f t h e last m e a s u r e , r a t h e r t h a n the
first b e a t as w a s J e l l y ' s u s u a l p r a c t i c e .
I n r a g t i m e , e n d i n g as l a t e as t h e
t h i r d beat of the last measure is fea-
rmj
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J Is
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: 7
sible because of v a r i o u s p e r m i s s i b l e
w a y s o f c l o s i n g t h e w h o l e t h i n g off
( o r g o i n g to t h e n e x t s t r a i n ) i n t h e
short space of two beats. J e l l y a n d
j a z z g e n e r a l l y w e r e n o t u s e d to these
confinements. I n the blues, f o r ex-
a m p l e , the p e r f o r m e r has t w o f u l l
m e a s u r e s to finish s o m e t h i n g off. A t
t h e e n d o f a j a z z t u n e , he f r e q u e n t l y
c a n d o w i t h o u t the final f o u r t h b e a t
e n t i r e l y h e n o r m a l l y does i n the
b l u e s a n d m u c h o t h e r j a z z . It i s a l -
m o s t c o r r e c t to s a y t h a t j a z z c h o r u s e s
are not tvDicallv sixteen whole bars
b u t r a t h e r a n u p b e a t p l u s 15 w h o l e
bars p l u s 3 beats of the sixteenth.
T h e h o m e t o n i c is u s u a l l y r e a c h e d
b v b a r 15 thp first bpat o f b a r 16
at t h e v e r y latest
J a z z i s n o t u s e d to f a c i n g t h i s
p r o b l e m of not r e a c h i n g the h o m e
t o n i c u n t i l t h e t h i r d beat o f the last
b a r a n d h a v i n g to s h u t u p s h o p i n
t w o b e a t s . N o w h e r e else i n t h e 10
tunes on this l p does J e l l y encounter
the p r o b l e m . A n y j a z z m u s i c i a n w h o
h a s t r i e d to e n d Save It Pretty Mama
o r You Can Be Kissed i n any but an
u n o r t h o d o x m a n n e r k n o w s w h a t the
p r o b l e m i s . S o i t i s i n t e r e s t i n g to
n o t e h o w l e l l v d o e s m a n a g e to p u l l
o u t . H e s o l v e s the i d e n t i c a l p r o b l e m
M *
r
1
1
j - U -
J
y T 7
37
r in identical fashion on The R e d Hot
P e p p e r s ' n u m b e r , CannonbaU Blues
there, of course, the p r o b l e m was
s e l f - i m p o s e d ) . T h e d e v i c e h e uses i s
so s i m p l e y e t gets t h e j o b d o n e w i t h
s t r i k i n g effectiveness. It is w o r t h not-
ing.
N o n e o f t h i s is t o s a y t h a t the
" t r a n s f o r m a t i o n " o f Original Rags i s
a l l net g a i n . W h i l e J e l l y ' s w a n d e r i n g
left h a n d s i x t h s a r e m o s t i n t e r e s t i n g ,
they must substitute for some very
p r e t t y l i t t l e left h a n d l i n e s i n the
J o p l i n o r i g i n a l , e s p e c i a l l y the e n d i n g s
o f t h e f i r s t a n d last s t r a i n s . T h e s e
a r e s h o w n i n E x a m p l e s 7 a n d 8, r e -
s n e c t i v e l v ( o m i t t i n g the c h o r d s w h i c h
go w i t h t h e m , of c o u r s e ) .
T h e rest o f s i d e 2 i n c l u d e s The
Crave, a S p a n i s h - t i n g e n u m b e r ; The
Naked Dance; a n d Mister Joe a n d
King Porter, the t w o t o u r s de f o r c e .
The Naked Dance i s h a r d l y a f i r s t
class J e l l y n u m b e r but one o r m o r e
p o i n t s a r e w o r t h d i g g i n g . F o r ex-
a m p l e , the poetic p h r a s i n g i n the
t h i r d c h o r u s (the f i r s t i n E F l a t ) i s
just delightful musical logic.
I n the s i x t h c h o r u s , w h i c h is the
s e c o n d B s t r a i n , l i s t e n f o r the left
hand. In J . Lawrence Cook's tran-
s c r i p t i o n he i n d i c a t e s m e r e l y a r e -
p e a t of the fifth c h o r u s . N o t h i n g c o u l d
be f u r t h e r f r o m t h e t r u t h . T h e left
h a n d a c t u a l l y t a k e s off i n a fine
m e l o d y o f i t s o w n , as s h o w n i n E x -
a m p l e 9. T h i s i s n o t a m e l o d y s u i t a b l e
f o r r i g h t h a n d h a n d l i n g but it is
d e c i d e d l y the l i n e w h i c h J e l l y has h i s
attention o n . T h e r i g h t h a n d is m e r e l y
a c c o m D a n i m e n t at t h i s r j o i n t I n l e l l v
o n e m u s t a l w a y s be c a r e f u l ' t o k n o w
where the lead is. In t r i o recordings,
f o r e x a m n l e he f r e o u e n t l v t o o k D i a n o
choruses w h i l e the c l a r i n e t was g o i n g
f u l l b l o w n . A n d i n m u c h of the R e d
H o t P p n n p r m a t e r i a l trip l e a d i s i n
some nhsnirp nlarp I for pxamnlp
P n n F o t p r ' h a s * i n trip h a n i o c h o r u s
i n Black Bottom Stomp)
A l s o n o t e t h a t c o n s i s t e n t l y i n the
A flat c h o r u s e s i n The Naked Dance,
Jelly hits the seventh (a t h i r d inver-
s i o n , i f y o u w i l l ) of the d o m i n a n t ,
w h e n the ear w o u l d expect ( a n d J .
L a w r e n c e C o o k notates) the root of
the c h o r d . I n E x a m p l e 9, the first
appearance of this unexpected D F l a t
i s s h o w n i n b a r s 13 a n d 1 4 . I n the
five c h o r u s e s w h i c h f o l l o w t h i s , a l l i n
a F l a t , the note c o n s t a n t l y substitutes
f o r E F l a t . I k n o w of no e x p l a n a t i o n
o f t h i s i n t e r m s o f t h e m u s i c a l effect
it creates. M o r e l i k e l y it was just
something Jelly had i n his fingers
t h a t he h a p p e n e d to g o a n o t e t o o ' l o w
e v e r y t i m e , b u t , s i n c e t h e D F l a t is
i n t h e c h o r d he felt n o g r e a t c o m -
p u l s i o n t o c o r r e c t the e r r o r A t least
this is m y guess. G u y Waterman
38
Fats N a v a r r o : Savoy M G 12119,
M G 12119, Blue Note 1531, 1532.
A n excellent g r o u p of a l b u m s has
been released c o v e r i n g most of the
r e c o r d e d w o r k of F a t s N a v a r r o . O n
B l u e N o t e The Fabulous Fats Na-
varro Volumes 1 and 2 contain his
r e c o r d i n g s w i t h the T a d d D a m e r o n
Sextet a n d Septet, the B u d P o w e l l
Quintet, a n d the M c G h e e - N a v a r r o
B o p t e t . O n S a v o y " O p u s de B o p " c o n -
tains f o u r sides he r e c o r d e d w i t h
D a m e r o n a n d L e o P a r k e r , a n d In
The Beginning . . . Bebop! has f o u r
t h a t he r e c o r d e d w i t h E d d i e D a v i s .
E a c h of the g r o u p s was assembled
f o r the p a r t i c u l a r r e c o r d date, a n d
t h o u g h the m u s i c i a n s are agreed on
their i d i o m a n d k n o w each other's
w o r k , the m u s i c lacks the u n i t y that
comes with longer association. M a n y
a g o o d t a k e w o u l d o b v i o u s l y h a v e be-
c o m e a n e x c e l l e n t one i f e v e r y o n e h a d
been m o r e comfortable w i t h the tune.
Fats plays well throughout, executing
the written parts b e a u t i f u l l y , w i t h
g o o d t o n e a n d a n easy a p p r o a c h t o
p h r a s i n g . H o w e v e r , he s e l d o m r e a c h -
es a n y r e a l d e p t h o f e x p r e s s i o n o n t h e
more unfamiliar numbers. H i s impro-
v i s i n g ranges f r o m competent run-
n i n g of t h e c h a n g e s a n d t h e i r scales t o
b r i l l i a n t m e l o d i c d i s c o v e r y . M u c h of
his concept is f r a n k l y taken f r o m
D i z z y Gillespie's w o r k of the same
p e r i o d , but occasionally a l y r i c a l
q u a l i t y of h i s o w n enters h i s p l a y i n g
s t r o n g l y , g i v i n g a g l i m p s e of the r i c h -
ness t h a t s u r e l y w o u l d h a v e d e v e l o p e d
h a d he l i v e d .
T h e solo work by everyone on
these records to v a r y i n g d e g r e e s
shows only moments of genuine
c o m p o s i t i o n w i t h i n the f r a m e w o r k of
n e w devices. T h e r e m a i n d e r of the
p l a y i n g lacks this depth, and, how-
e v e r f a s c i n a t i n g , seems t o s h o w o n l y
infatuation with new devices
se. O f a l l t h e m u s i c i a n s o n these
sides, B u d P o w e l l seems to h a v e h a d
t h e n t h e best i n n e r e r a s n of thp
i d i o m : his solos sound connected
a n d c n m n l p t p w i t h i n thpm<!plvp Dnp
to the u n f o r h m a ^
hi* r ^ r s o n a l l i f e LZ th h ^ r k
t o d a v T ^ n l v ^ mTld rPrn^nrlpr J t h P
I ' J n L t n witV, J, X nVnilv
e d o n Wail ' a n d Bouncing Wth B d
f o r e x a m p l e . B u t the other m u s i c i a n s ,
s u c h as S o n n y R o l l i n s , C h a r l i e R o u s e ,
Kenny Clarke, Ernie Henry, Milt
Jackson, have since absorbed the
fundamental revolutionary princi-
ples of the b o p p e r i o d to develop ex-
pressions of t h e i r o w n d u r i n g the
past t e n y e a r s . B i r d , D i z z y , M a x , a n d
B u d were then the p r i n c i p l e voices
of that i d i o m a n d were the most
i m i t a t e d ; n o n e of their i m i t a t o r s
a c h i e v e d t h e i r ease a n d s i m p l i c i t y i n
d e a l i n g w i t h the complexities of the
n e w f o r m . I feel sure that, h a d Fats
c o n t i n u e d to p l a y , he w o u l d have
gradually discarded certain imitative
facets o f t h e p l a y i n g w e h e a r o n
these r e c o r d s a n d w o u l d h a v e d e -
veloped more fully his own creative
i n d i v i d u a l i t y . P o s s i b l y w o r k i n g to-
gether over a l o n g p e r i o d w i t h a
g r o u p o f h i s o w n a n d finding s t i m u -
l a t i n g m u s i c i a n s to play w i t h steadily,
would have provided the proper
c o n d i t i o n s f o r the s m e l t i n g out of
this r i c h talent. S u c h an evolution
took place i n the w o r k of C l i f f o r d
B r o w n , w h o also began b y u s i n g
D i z z y ' s t o o l s , u n t i l he d e v e l o p e d a
set o f h i s o w n t h a t w e r e m o r e s a t i s -
factory for h i m . A n d Miles D a v i s '
m u s i c a l g r o w t h is an excellent i l l u s -
t r a t i o n of the results of steady p l a y -
i n g with stimulating groups.
A n interesting sidelight on the
events of the same p e r i o d is g i v e n
o n the r e m a i n i n g tracks of the two
S a v o y a l b u m s . T h e r e are f o u r b y a
Kai W i n d i n g - A l l e n Eager quintet,
four by B r e w Moore's quartet, four
by a Stan Getz quartet, a n d four by
a Bud Powell-Kenny Dorham-Sonny
Stitt quintet. A c t u a l l y , the P o w e l l
sides are the o n l y ones where the
musicians are p l a y i n g true bebop.
B u d p l a y s v e r y w e l l o n Rays Idea,
a n d adequately o n the other sides,
but has r e c o r d e d better choruses t h a n
these. S o n n y p l a y s w i t h commend-
a b l e i n t e n s i t y , flow, a n d c o n t i n u i t y ,
but never goes deeper into the
musical possibilities than using Bird's
conception to r u n c h o r d changes.
K e n n y o f t e n lets a s t r o n g i m p u l s e
c a r r y h i m for a moment, but seldom
i s a b l e to f o l l o w i t t o i t s c o n c l u s i o n ,
o r to be s t i m u l a t e d b y it i n t o a n o t h e r
connected o n e , a n d so he r a r e l y
seems t o be g o i n g a n y w h e r e . T h e
THE JAZZ REVIEW
W i n d i n g sides are interesting, but
not m u c h f u n . K a i was t r y i n g h a r d
to p l a y the style, w i t h o u t m a k i n g a n y
discoveries about his own expression.
T h e r h y t h m section ( M a r t y N a p o -
leon, Eddie Safranski, and Shelly
M a n n e ) n e v e r gets i n t o a g r o o v e
since they keep t r y i n g to m a k e some-
t h i n g o u t o f t h e m u s i c t h a t i s n ' t : five
m e n just aren't a b i g band. A l l e n
Eager plays well here, and I
t h i n k he w o u l d h a v e d o n e b e t t e r t o
stay w i t h the K a n s a s C i t y style
p l a y e r s , s i n c e he m a d e s u c h g o o d use
of Lester Y o u n g ' s basic approach
without b e c o m i n g a sterile i m i t a t o r .
B r e w M o o r e ' s sides are m u c h m o r e
u n i f i e d , since there the b e b o p style
is n o t t h e r e a l c o n s i d e r a t i o n . B r e w
also d i s p l a y s a n honest a d m i r a t i o n
for Lester without losing his own
i d e n t i t y . S t a n G e t z at t h i s stage s e e m s
d r a w n i n several d i r e c t i o n s : a tone
that is a hangover f r o m his early
a d m i r a t i o n of V i d o M u s s o , a n d a
conception that b o r r o w s f r o m D i z z y ,
B i r d , a n d Lester without m u c h re-
g a r d to content. H i s d e t e r m i n a t i o n
to s w i n g h a r d a n d p l a y w i t h a b i g
sound was more predetermined than
o r g a n i c . T h o u g h a little m o r e depth
a n d b r e a d t h w o u l d be w e l c o m e i n h i s
p r e s e n t s o u n d , i t at least i s h i s o w n .
T h e v a r i e t y of r h y t h m sections o n
these f o u r a l b u m s g i v e s a n i n t e r e s t i n g
cross-section of the c o n c e p t i o n of the
e m o t i o n a l q u a l i t y of j a z z w h i c h t h e
musicians had i n this period. The
pianists, T a d d D a m e r o n , A l H a i g ,
B u d P o w e l l , H a n k Jones, M i l t Jack-
son, Gene D i N o v i , and M a r t y N a -
p o l e o n , r e p r e s e n t a b o u t as w i d e a
variety of attitudes t o w a r d accom-
p a n i m e n t as y o u c o u l d find, a n d y e t
they are all f u n c t i o n i n g w i t h i n a
specific f o r m developed for p l a y i n g
t h i s k i n d o f m u s i c . I find t h e c a l m
strength of A l H a i g a n d Gene D i -
N o v i a n d t h e sense o f p r o p o r t i o n a n d
i m a g i n a t i o n of Bud Powell more
s t i m u l a t i n g t h a n the nervous j a b b i n g
in Dameron, Napoleon, and Jack-
s o n ' s w o r k h e r e . A s a m e a s u r e of h i s
t r e m e n d o u s g r o w t h , it is i n t e r e s t i n g
to l o o k b a c k t o a t i m e w h e n M i l t h a d
a less b e a u t i f u l c o n c e p t i o n t h a n he
has n o w , a n d it is a r e m i n d e r that
e v e r y o n e b e g i n s w o r k i n g w i t h less
t h a n a t o t a l e x p r e s s i o n a n d , at w h a t -
ever rate of g r o w t h , develops t o w a r d
h i s o w n p o t e n t i a l . J u s t as I ' d l i k e t o
hear records b y Fats N a v a r r o ten
years later, I ' d also like to hear
records of L o u i s A r m s t r o n g i n the
Waif's H o m e B a n d , or Charlie Park-
e r a t h i s first K a n s a s C i t y jam
sessions. F r o m that standpoint, I
v a l u e these f o u r a l b u m s f o r t h r o w i n g
a more objective light on an i m -
portant p e r i o d i n the development of
jazz. g;ii Crow
DECEMBER
Willie " T h e L i o n " Smith: The
Lion Roars, Dot D L P 3094
T h e t h o u g h t that c o m e s to m i n d i n
h e a r i n g this L P is "keep quiet a n d
p l a y . " W i l l i e "the L i o n " Smith is
a first-rate pianist. N e i t h e r he n o r
L e o n a r d F e a t h e r a r e as i n t e r e s t i n g
talkers.
T h i s r e c o r d consists of an extended
i n t e r v i e w of the L i o n , w i t h L e o n a r d
F e a t h e r a s k i n g the questions a n d the
L i o n a n s w e r i n g a n d i n t e r s p e r s i n g the
interview w i t h n u m e r o u s tunes, most
of t h e m d e s i g n e d to i l l u s t r a t e p a r t i c u -
l a r p i a n o s t y l e s , s u c h as t h e " v e r y
earliest blues," James P.'s style, D u k e
E l l i n g t o n ' s s t y l e , b o o g i e w o o g i e , etc.
S o m e of the talk is d e l i g h t f u l w h e n
t h e L i o n gets r o l l i n g a n d is n o t i n t e r -
rupted by leading questions f r o m M r .
Feather. The long bit on D u k e Elling-
ton's start, for example, is a gem.
B u t it is the L i o n ' s r o c k i n g H a r l e m
p i a n o p l a y i n g t h a t e l e v a t e s t h i s Ip.
T a k e Zig-Zag, p o s s i b l y the s w i n g -
ingest tune on a s w i n g i n g lp. T h e
left-hand figure w h i c h gives it its
unique q u a l i t y is s i m p l i c i t y itself
yet a m a s t e r s t r o k e ! T h e figure s h o w n
Burt Goldblatt
i n E x a m p l e 1, s u g g e s t i n g E m i n o r
but u l t i m a t e l y l e a d i n g to h o m e t o n i c
i n the relative m a j o r , pervades h a l f
the c h o r u s :
r
1^. si
*
T h i s a n d s i m i l a r figures, p l u s the
Lion's exquisite right-hand touch,
combine i n a swinging relaxed n u m -
ber that alone m a k e s the w h o l e l p
worthwhile.
N u m b e r s l i k e Carolina Shout r e a l l y
r o c k f r o m the first n o t e . F o r m y taste,
F a t s ' v e r s i o n o f Carolina Shout i s f a r
more powerful and swings more,
w h i l e the a p p r o a c h used i n the L i o n ' s
s e c o n d c h o r u s b u i l d s u p less t e n s i o n
t h a n w h e n t h e left h a n d t e n t h s h i t o n
the u p b e a t as t h e y d o i n H i n e s . B u t
it is p e r h a p s u n f a i r to h o l d any
p i a n i s t u p against F a t s a n d the F a t h e r .
H i s boogie woogie is novel, with
t h e c h a r a c t e r i s t i c H a r l e m left h a n d
device of h i t t i n g the top note of the
octave before the b o t t o m note, re-
versing the u s u a l o r d e r for boogie
w o o g i e . It is t h i s d e v i c e w h i c h c o n -
t r i b u t e s ( w i t h o t h e r d e v i c e s ) t o the
u n i q u e m o m e n t u m of the H a r l e m
s t y l e as i n F a t s , J a m e s P . , a n d t h e
L i o n . I n c i d e n t a l l y , it is W a l l y Rose's
use o f t h i s d e v i c e w h i c h so o b v i o u s l y
s t a m p s R o s e ' s r a g t i m e a p p r o a c h as
e r r o n e o u s (see h i s r e c o r d i n g s o f Pine-
aoDle Rae The Cascades a n d most
g l a r i n g , Euphonic Sound's). '
T h e L i o n as h i s t o r i a n d o e s n ' t q u i t e
m e a s u r e u p to t h e L i o n as m u s i c i a n .
W i t h a l l d u e respect to a w o n d e r f u l
p i a n i s t , the " v e r y earliest b l u e s " has
f a r t o o m o d e r n a l i l t t o t h e b e a t . It i s
p o s s i b l e to h a v e a g r e a t r e s p e c t f o r
H a r l e m p i a n o , f o r the L i o n , a n d f o r
the p a r t i c u l a r style i n w h i c h the L i o n
plays this blues a n d still have no
d o u b t whatsoever that the L i o n is not
recreating accuratelv anv earlv blues
s t v l e It m a v be p o i n t e d o u t t h a t t h i s
g e n t l e m a n w a s n o t vet b o r n w h e n t h e
first r a g w a s p u b l i s h e d ( a v e a r i n
w h i c h T o n y J a c k s o n was a l r e a d y of
ftffC) * w a s t w o y e a r s o l d w h e n Jop~
en veTsold when Rnddv Rnlden
went m a d a n d stopped p l a y i n g
B u t t h e L i o n s w i n g s as f e w d o w h e n
he t o u c h e s the p i a n o . T h e r e a r e r a r e
m u s i c i a n s w h o seem c o n s t i t u t i o n a l l y
u n a b l e to s o u n d a n o t e w i t h o u t i t
c o m i n g a l i v e . M i l t J a c k s o n , f o r ex-
a m p l e , s e e m s d e l i g h t f u l l y u n a b l e not
to s w i n g even o n the most e r u d i t e
M o d e r n Jazz Quartet creations of
L e w i s . T h e L i o n also has this q u a l i t y .
A s a result, his piano p l a y i n g sur-
v i v e s t h e t a l k m a k i n g t h e L P to r e -
peat, t h o r o u g h l y w o r t h w h i l e . '
G u y Waterman
39
 Muggsy Spanier:
K i d Muggsy's Jazz,
[Charles Pierce (1927),
Jungle K i n g s (1927),
Bucktown Five (1924),
Stomp Six (1924)],
R i v e r s i d e R L P 12-107
A favorite truism among jazz
writers w o u l d have it that M u g g s y
e s p e c i a l l y t h e Kid M u g g s y o f t h i s
a l b u m w a s the most successful white
assimilator of K i n g O l i v e r ' s cornet
style, or, to those w i t h stronger
stomachs, the " b l a c k e s t " w h i t e cor-
netist. B y extension, the B u c k t o w n
F i v e , the first band with which
M u g g s y recorded, is i n direct line
of descent f r o m O l i v e r ' s C r e o l e Jazz
B a n d . I n his c o m m e n t a r y to this
a l b u m O r r i n Keepnews gives full
credence to this n o t i o n , v i z : " T h u s
M u g g s y , m u c h m o r e than the others,
was free to t u r n f o r h i s p r i m a r y i n -
s p i r a t i o n d i r e c t l y to the source m u s i c
of g r o u p s l i k e K i n g O l i v e r ' s C r e o l e
J a z z B a n d . I n effect, t h a t w o u l d s e e m
to be the difference between the
B u c k t o w n F i v e a n d S t o m p S i x selec-
tions a n d the 1927 w o r k of the m o r e
celebrated Chicagoans. Muggsy's
earlier group was directly influenced
b y the t r a n s p l a n t e d giants of N e g r o
N e w O r l e a n s j a z z . . . " O n e is c u r i -
ous to k n o w , however, what c r i t e r i a ,
apart f r o m M u g g s y ' s own sound and
h i s s k i l l f u l use o f t h e p l u n g e r m u t e ,
b a c k u p this p o i n t of v i e w . T h e r e
seems to m e to be a g o o d d e a l of
e v i d e n c e t o t h e c o n t r a r y w h i c h , so
f a r as b a n d s o u n d i s c o n c e r n e d , t i e s
the B u c k t o w n F i v e r a t h e r closely to
the white " d i x i e l a n d " t r a d i t i o n , i n -
c l u d i n g the o r i g i n a l D i x i e l a n d Jazz
Band, N e w Orleans R h y t h m Kings,
perhaps even the M e m p h i s F i v e , a n d
t h e W o l v e r i n e s . It i s q u i t e t r u e t h a t Marmalade), the N O R K generally
any connection w i t h the later C h i c a - departed f r o m this pattern too (but
g o a n s is h a r d to i m a g i n e ; I r a t h e r the h a r m o n i e s are not n o v e l ) , a n d the
suspect that the l i n e of subsequent b i - s e c t i o n a l t u n e s ( s u c h as Shim-me-
i n f l u e n c e , i f a n y , m i g h t be t o t h e sha-wabble) a n d Da-da Strain, still
N i c h o l s groups of the later '20s. I have two independent melodies.
don't think this should require a A m o n g the B u c k t o w n F i v e records,
change of opinion regarding the Chicago, Mobile, Steady Roll, Why
C h i c a g o a n s , at least f o r t h e m o m e n t . Couldn't It Be, a r e a n e w e r t y p e s t i l l ,
T h e i r music was very m u c h sui w i t h a v e r s e o f lesser m e l o d i c i n -
generis, a n d d i s a p p e a r e d as a r e c o g - terest, a n d s e r v i n g m o r e obviously
nizable entity w i t h i n a decade after as a p r e l u d e t o t h e c h o r u s . B u t t h e
its i n c e p t i o n . verse is d o w n - g r a d e d i n i m p o r t a n c e
M u g g s y ' s b a n d , first o f a l l , p l a y e d b y b e i n g p l a y e d as a n i n t e r l u d e ,
a great deal faster t h a n d i d the C r e o l e r a t h e r t h a n a p r e l u d e . It serves o n l y
J a z z B a n d , w i t h less v a r i a t i o n i n t h e to b r e a k u p the u n r e l i e v e d succession
tempos chosen. Buddy's Habits, of choruses.
Chicago Blues, Mobile Blues, Hot T h e style of the B u c k t o w n F i v e is
Mittens, a n d the S t o m p S i x Every- d i s t i n g u i s h e d b y another feature, not
body Loves, a r e , f o r a l l p r a c t i c a l p u r - c h a r a c t e r i s t i c of the C r e o l e Jazz B a n d ,
poses, i n d i s t i n g u i s h a b l e i n tempo. but quite c o m m o n i n the w o r k of
O n e tune w h i c h gives an i m p r e s s i o n other c o n t e m p o r a r y white b a n d s : the
of haste, belied by a c t u a l i t y is Why impression of discontinuity, both
Couldn't It Be. T h i s , o n e s u s p e c t s , i s horizontal and vertical, in musical
because the tune is f a i r l y c o m p l i - t i m e a n d space. A l t h o u g h t r u m p e t
cated, a n d i n the cornet solo w h i c h and clarinet are frequently i n tan-
opens the side, M u g g s y plays m o r e dem, r h y t h m i c a l l y (sometimes t r u m -
notes t h a n u s u a l (then, a n d n o w ) . pet a n d t r o m b o n e , as i n Buddy's
In this speeding up of average tempo Habits) t h e t o t a l effect i s less h o m o g -
the B u c k t o w n F i v e resembles the enous, f o r there is m o r e tendency
W o l v e r i n e s , a n d is q u i t e different f o r two, o r even three, i n s t r u m e n t s
from Oliver's band and N O R K ; and to stop a n d go together, l e a v i n g a n
the W o l v e r i n e s s h o w t h e s a m e i n - unfillable gap. O f course, bands cap-
flexibility, t o a lesser d e g r e e . W h a t i t a l i z e o n t h i s , as e v i d e n c e d b y t h e
the r e a s o n m i g h t b e w o u l d b e h a r d f r e q u e n c y of c a r e f u l l y rehearsed i n -
to e x p l a i n , a n d h a r d e r t o p r o v e . terludes a n d breaks, almost always
T h e tunes represented here show w i t h a r t f u l l y p l a c e d rests. P e r h a p s ,
that the b a n d was f a r f r o m f o l l o w i n g too, the c h a n g i n g character of c l a r -
either O l i v e r , or the O D J B and inet p l a y i n g has s o m e t h i n g to do
NORK. The already stereotyped w i t h the d i s c o n t i n u i t y ; there are n o w
d i x i e l a n d changes (circle of 5ths) f e w e r s i m p l e scales a n d arpeggios,
are avoided, along w i t h the trisec- a n d m o r e a n g u l a r flights i n t o t h e
t i o n a l m a r c h f o r m , a n d its c o n - h i g h e r range of the i n s t r u m e n t .
comitant subdominant modulations. Really A Pain i s a g o o d e x a m p l e
A l t h o u g h they too recorded some of how this phenomenon, which
O D J B t u n e s (Tiger Rag, Clarinet c o m e s o u t as i n a n i n d i v i d u a l ' s

^ COfZNET
k
n ri i in
if
11 >niii g
3 3

run i i - i ^ i j i i i i T j L i h w , , > | |
i " , ?

40 THE JAZZ REVIEW

 p l a y i n g , operates o n the structure of
a tune. O n e c a n not help but think
there was a conscious "progressiv-
fie a f t e r a n i n i t i a l e n s e m b l e c h o r u s
goes o n t o successive cornet, c l a r i -
net, p i a n o , t e n o r s a x , v o c a l ( b y R e d
n t>lue note
THE FINEST IN J A Z Z
i s m " here. It is special m a t e r i a l , not McKenzie) and final ensemble
a p o p u l a r s o n g at a l l , a n d p a s t e d chorus. F o u r out of the s i x choruses
SINCE 1 9 3 9
together out of changes a n d m e l o d i c o n Darktown Strutters' Ball a r e s o l o ,
phrases f r o m a l l over. T h e i n t r o is a a n d Bull Frog Blues h a s t w o b l u e s
MILES DAVIS
Two beautiful LPs by the Master. Tempus
c o u s i n o f Eccentric, t h e first f o u r choruses each for clarinet a n d cornet. Fugii, Ray's Idea, Dear Old Stockholm, Weirdo,
b a r s r a t h e r c l o s e t o Fidgety Feet, Friars Point Shuffle is a n excellent Kelo, etc. With Jay Jay Johnson, Horace
a n d reminiscences of other tunes c o n - example of the undifferentiated, ab- Silver, Jackie McLean, Art Blakey, Kenny
Clarke, etc.
tinually pop up. stract i n s t r u m e n t a l blues, w i t h o u t a n y
T h e de-emphasis of the verse h a s particular melody or lyrics, a n d
BLUE NOTE 1501, 1502
been mentioned i n passing. T h i s , i n often w i t h o u t a n y t h i n g to m a r k it
fact, m a y be ultimately responsible off f r o m h u n d r e d s o f o t h e r b l u e s o f
for the sly transitions a n d unusual the same type. T h i s is not a n i n -
m o d u l a t i o n s i n w h i c h these t r a c k s novation, for some of the Creole
a b o u n d . Chicago Blues, f o r e x a m p l e , Jazz B a n d ' s blues approach the
goes f r o m E b t o n b t o E b . Q u i t e "blues i n B b , " but i n this 1927 re-
p o s s i b l y these w e r e d e v i c e s t o a l - cording the evolution from vocal
leviate m o n o t o n y that comes with b l u e s t o b l u e s as a s k e l e t o n f o r s o l o s
repetition of the same 32-bar chorus, is complete. T h a t this is a n instru-
since the B u c k t o w n F i v e c o u l d not mental f o r m is demonstrated b y the
o r w o u l d n o t find t h e w a y t o p l a y insignificance, i f not meaningless-
one ensemble c h o r u s after another ness, o f t h e l y r i c s : " F r i a r ' s P o i n t
(or w i t h a solo i n bas-relief) i n a n Shuffle, F r i a r ' s P o i n t Shuffle, that's
interesting w a y . S o , the solo be- the dance I l i k e " (repeated) " I ' m go- SOMETHIN' ELSE
comes m o r e a n d more frequent. T h e i n g to d o that dance, a n d I ' m g o i n g One for Daddy-O, Somefhin' Else, Autumn
to d o i t a l l n i g h t . " C u t l o o s e f r o m t h e Leaves, Love for Sale, Dancing in the Dark.
trombonist, G u y Carey, continues a n
(Miles Davis performs by courtesy of Columbia
old tradition, of course, w i t h h i s f o u n d a t i o n of a specific tune, the Records.)
s a c c h a r i n e s o l o s p l a i n statements of l e a d c a n d o l i t t l e else t h a n p l a y a s o l o "One of the best of the year."
a " t r i o " m e l o d y o n Buddy's Habits style, u s i n g the i m p r o v i s a t i o n a l pat- - R a l p h J. Gleason, S. f. Chronicle
terns that c o m e to h i m the easiest. Harold L. Keith, Pittsburgh Courier
a n d Mobile Blues; b u t the t w o tunes
Spotlight Winner, The Billboard
by the Stomp S i x actually open with F o r example, Muggsy's lead from
BLUE NOTE 1595
full cornet choruses, a n d Everybody Friar's Pointthe transcription is
has solos b y a l l three horns. n o t t o b e t a k e n as m o r e t h a n a r o u g h SOMETHIN'

ELSE
T h a t group is a n interesting o n e ; outline.
it is also a progressive one a n d de- These last f o u r sides a r e u n m i s -
serves o u r a t t e n t i o n f o r t h e n e w takeably i n the " C h i c a g o style"the
things that M u g g s y a n d V o l l y D e shuffle o n Darktown is especially well
CANNONBALL
F a u t , i n p a r t i c u l a r , were t r y i n g to d o n e b u t t h e y a r e n o t t h e best e x -
A D D E R L E Y
do. M u g g s y shows assurance that is a m p l e s . T h e China Boy r e c o r d e d a
uncanny, a n d a simple, but well-con- couple of months after this one ( i n MILES DAVIS

ceived m e l o d i c style. D e F a u t is one C o l u m b i a C L 6 3 2 ) is tighter, has HANK JONES

o f t h e first t o p l a y h i s p a r t i c u l a r k i n d
of b o u n c y , a n g u l a r lines, w h i c h D o n
M u r r a y was to carry on. B u t the
band lacks cohesion i n the long r u n
because the style o f t r o m b o n e G u y
C a r e y p l a y e d w a s t o o close to E d d i e
Edwards; besides his breaks are
c o r n y , a n d t o o stiff. T h e r h y t h m i s
g e n e r a l l y fine, e x c e p t w h e n a t u b a
is a d d e d , o n t h e S t o m p S i x d a t e ; h e
is not content to p l a y h i s t w o o r f o u r
per measure, b u t tries to outdo the
trombone p l a y e r . T h e m u s i c gets
l o s t i n t h e scuffle.
T h e other records i n this a n -
thology are quite another matter.
F r o m the cornet's e a r l y entrance at
t h e b e g i n n i n g o f China Boy ( n o t
n e c e s s a r i l y M u g g s y ) , t h i n g s a r e less
expertly done than on the earlier
records. T h e sound a n d approach are
n e w , h o w e v e r , a n d as i n t e r e s t i n g i n
t h e i r o w n r i g h t as o n t h e B u c k t o w n
F i v e s . W h a t h a s h a p p e n e d c h i e f l y , as
everyone h a s k n o w n a l l a l o n g , i s that
here the solo r e a l l y takes over. E a c h
o f t h e s e s i d e s h a s at least t h r e e o r
f o u r o f t h e m , a n d Friar's Point Shuf-
better solos, a n d swings m o r e . M e z z - SAM JONES
r o w ' s s o u n d o n Friar's Point is
ART BLAKEY
s i m p l y hideous, although I suppose BLUE NOTE 1595
that point is a dead horse, a n d S u l -
l i v a n ' s s o l o o n Darktown is awk- FATS NAVARRO
ward and harmonically primitive The fabulous Fats Navarro's greatest contri-
butions to jazz. Our Delight, The Squirrel, The
c o m p a r e d to some of h i s other w o r k
Chase, Souncin' with Bud, Lady Bird, Damer-
of this p e r i o d . Teschmacher only be- onia, etc. With Tadd Dameron, Bud Powell,
gan to show d i s c i p l i n e d m u s i c i a n s h i p Sonny Rollins, Ernie Henry, Wardell Gray,
i n the last r e c o r d s he m a d e , a l t h o u g h Kenny Clarke, Roy Haynes, Milt Jackson,
Howard McGhee, etc.
h e r e h e h a s as m u c h fire a n d f a n t a s y
as h e e v e r d i d h a v e .
BLUE NOTE 1531, 1532
T h i s is h a r d l y the place to discuss THE FABULOUS FATS NAVARRO
the " C h i c a g o s t y l e " b u t a c o m -
blur note I S ' M volume 1
parison is inevitable, given the a r -
rangement of the reissue. T h e t w o
g r o u p s of sides b e l o n g together as
m u c h as G u i n e s s a n d s t r a w b e r r y
t a r t s : the C h i c a g o sides a r e interest-
i n g o n l y i n s o f a r as o n e i s i n t e r e s t e d
i n t h e " c h i c a g o s o u n d " o r t h e sep-
arate soloists; the B u c k t o w n F i v e ,
on the other h a n d , is a n intrinsically
intriguing a n d vital band, completely
apart f r o m the interest aroused b y
its s y n t h e t i c style a n d v e n e r a b l e p o s i - 12" LP, List $4.98
t i o n as j a z z a r t i f a c t . BLUE NOTE RECORDS
L a r r y Gushee 47 West 63rd St., New York 23

D EC EM B E R 41
Art T a t u m : with Benny Carter,
Louis Bellson, Verve M G V - 8 2 7 7
M y first i m p r e s s i o n w a s o n e o f
again becoming intrigued by Tatum's
excursions with the changes. L i k e i n
You're Mine You, h e w e n t i n t o s o m e
thingswith his usual subtletythat
made me wonder how he was going
to w o r k h i s w a y b a c k t o r e a l i t y . I t
was also g o o d to hear B e n n y p l a y i n
s u r r o u n d i n g s like this. He's basically
a r e l a x e d m u s i c i a n a n d c a n b e best
s h o w n off i n a r e l a x e d c o n t e x t r a t h e r
than with Oscar Peterson a n d
gljyg
l i k e that w h o a r e f r a n t i c .
T a t u m , o f c o u r s e , h a r m o n i c a l l y set
the pace f o r m o d e r n p i a n i s t s . B u d
Powell studied his harmonies. R e d
G a r l a n d c a n a n d does p l a y a lot of
T a t u m t h i n g s i n c l u d i n g T a t u m ' s oc-
casional use of stride, b u t w i t h m o d -
e r n v o i c i n g s . B y that I m e a n R e d w i l l
use c l o s e v o i c i n g s w i t h o c c a s i o n a l a d -
d i t i o n a l tones that a r e even outside
the c h o r d f o r c o l o r . T a t u m , h o w -
ever, m a y go out of the k e y but not
out o f the c h o r d . W i t h a l l of h i s
s u b t l e t y , T a t u m t r i e d t o s o u n d as
consonant as possible. A n o t h e r differ-
ence between T a t u m a n d some m o d -
ern Dianists i s that he d i d n ' t i m n l v
anvthine H e olaved evervthingand
of course he h a d the t e r h n i m i e t o '
Today more pianists i m p l y
I t h i n k C a r t e r w a s a great i n n o v a -
tor i n m o d e r n alto p l a y i n g a n d he's
been e m u l a t e d b y so m a n y p l a y e r s
w h o went i n so m a n y different d i r e c -
tions. B e n n y a c c o r d i n g l y is taken f o r
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granted today. H e doesn't sound
" n e w " because you've already heard
what h e does m a n y times as p l a y e d
by other people.
B e n n y w a s m o r e o r less r e s p o n s i b l e
for alto m e n p l a y i n g a l l over their
h o r n , f r o m t o p to b o t t o m . H e w a s
o n e o f t h e first o f t h e v i r t u o s i , o n e
of t h e first w i t h b l a z i n g speed w h e n
he w a n t e d i t , a n d a l t h o u g h he c o u l d
p l a y so m u c h , i t a l w a y s a l l w o r k e d
out r i g h t o n time. I n fact, h e p l a y e d
w i t h i n the time w i t h a great deal of
subtlety, b u t he w a s l i k e the J o e D i -
m a g g i o ' o f the alto i n that he c o u l d
a n d c a n p l a y as m a n y n o t e s as a n y -
one, b u t he m a k e s i t l o o k so easy.
S o m e of the younger players are like
W i l l i e M a y s . T h e y m a k e it look so
h a r d a n d therefore spectacular
H a r m o n i c a l l y , I don't think Benny's
been t o o m u c h o f a n i n n o v a t o r . H e
covers a l l the c h o r d , b u t he stays i n
the c h o r d . I never h e a r d h i m d o i n g
a n y t h i n g t h a t w a s r e a l l y different i n
terms of changes whereas C o l e m a n
H a w k i n s even i n the m i d - 3 0 s w a s
using substitute a n d passing chords.
C a r t e r also h a d a l o t to d o w i t h
d e v e l o p i n g the so-called " s w e e t " style
of alto p l a y i n g , a n d was p a r t i c u l a r l y
s k i l l e d i n t h e uses h e m a d e o f v i b r a t o
H e d i d n ' t have a stock v i b r a t o ; he
m a d e i t s l o w o r fast i n o r d e r t o set
particular moods. M o s t of the times
o n b a l l a d s , h e ' l l use a fast v i b r a t o f o r
example.
L o u i s B e l l s o n w a s effective o n t h i s
a l b u m as a t i m e - k e e p e r , b u t t h e y
d i d n ' t really need h i m . A r t plays
everybody's part.
J u l i a n Adderley
Featured In the 6th issue ore:
d . t. s u z u k i
ASPECTS O F JAPANESE C U L T U R E . A n es-
say o n the role Z e n B u d d h i s m has p l a y e d
i n the c u l t u r e of J a p a n .
garcia lorca
T H E A U D I E N C E . T h e first E n g l i s h t r a n s -
lation of t w o scenes f r o m the
S p a n i s h a u t h o r ' s surrealist p l a y .
great
pieyre
de mandiargues
CHILDISHNESS. A b r i l l i a n t , erotic story b y
the author of The Girl Beneath the Lion.
douglas wool!
THE F L Y M A N , a fine short story about
life in the Southwest.
in addition, P O E M S , STORIES A N D ESSAYS
of u n u s u a l interest. E d i t e d b y Barney
Rosset a n d D o n a l d A l l e n . P u b l i s h e d f o u r
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Address
City Z o n e . . . . State..
R a g t i m e : P i a n o R o l l Classics, River-
side R e c o r d s , R L P 12-126
R a g t i m e is extremely difficult m u -
sic t o p l a y w e l l . T h e difficulty stems
not from technical requirements,
w h i c h a r e n o t as d e m a n d i n g as s o m e
c r i t i c s seem to t h i n k they a r e . T h e
d i f f i c u l t y i s r a t h e r t h a t t h e sound o f
ragtime, the approach w h i c h must be
used, is f o r e i g n to the jazz pianist of
t o d a y , even t h e revivalists. L e e Staf-
f o r d came the closest, b u t Stafford
took the "not-too-fast" warning too
literally.
R a g t i m e is designed to have a
r h y t h m i c m o m e n t u m w h i c h c a n so
easily be lost w h e n p l a y e d either t o o
fast o r t o o s l o w . A t t h e e x c e s s i v e l y
fast s p e e d , i t i s i m p o s s i b l e t o s w i n g ,
without improvising a n d dropping
the p h r a s i n g o f ragtime. A t the ex-
c e s s i v e l y s l o w s p e e d , t h e beat b e -
c o m e s t o o stiff. I t i s p e r f e c t l y p o s s i b l e
t o s w i n g at e i t h e r f a s t e r o r s l o w e r
t e m p o s , b u t o n l y w i t h a j a z z beat
which is inappropriate f o r ragtime.
T h e n , too, m a n y pianists w h o have
recently recorded rags play too light
f o r t h e i d i o m , a n d get a p a t h e t i c
r i c k y - t i c k y s o u n d . O t h e r s get a h u -
morless, p l o d d i n g k i n d of sound.
These recorded piano rolls come
m u c h closer to the p r o p e r s o u n d than
a n y recorded revivalist w h o has at-
tempted ragtime p l a y i n g .
Fortunately, the piano rolls avail-
able f o r m a k i n g this record included
s o m e o f the greatest rags. It c o u l d be
a r g u e d , f o r e x a m p l e , t h a t Grace and
Beauty a n d Fig Leaf Rag r e p r e s e n t
the greatest s i n g l e finished achieve-
ments o f Scott a n d J o p l i n , respec-
tively, a n d they were, of course, the
m o s t i m p o r t a n t c o m p o s e r s of r a g -
time. U n q u e s t i o n a b l y . Grace and
Beauty i s t h e m o s t m a g n i f i c e n t t h i n g
Scott ever d i d . O n e m u s t be a little
more guarded i n discussing Joplin.
Fig Leaf m a y h a v e b e e n t h e greatest
s i n g l e finished a c h i e v e m e n t o f h i s . I t
reaches t h e heights to w h i c h i t as-
p i r e s . It is a t h o r o u g h m u s i c a l suc-
cess i n i t s i d i o m . A f t e r 1 9 0 8 , J o p l i n
undertook more ambitious efforts
Euphonic Sounds, Magnetic Rag,
e v e n Reflections Rag, a n d Scott Jop-
lin's New Ragwhich met with con-
s i d e r a b l y less s u c c e s s , i n t e r m s o f
achieving their musical objectives,
t h a n t h e c l a s s i c Fig Leaf.
This record has good balance i n
with
t h e J o p l i n s e l e c t i o n s t h e e a r l y Ori-
ginal Rags a n d The Entertainer, the
c l a s s i c 1 9 0 8 n u m b e r Fig Leaf a n d t h e
l a t e ( 1 9 1 2 ) Scott Joplin's New Rag.
T h e balance a m o n g c o m p o s e r s is also
good with Joseph L a m b , T o m T u r p i n ,
a n d J a m e s S c o t t r e p r e s e n t e d , as w e l l
as s o m e lesser l i g h t s .
G u y Waterman
THE JAZZ REVIEW
RECONSIDERATIONS 2
BODY AND SOUL, C o l e m a n Hawkins
I'M CONFESSING THAT I LOVE YOU.
L e s t e r Y o u n g and his Quintet
Body and Soul w a s r e c o r d e d O c t o -
ber 11, 1939, after C o l e m a n H a w k i n s
had r e t u r n e d f r o m an extended stay
i n E u r o p e . It w a s a n d i s a s u r p r i s -
i n g l y successful performance. Surpris-
ing, because there were several h a n d i -
caps to o v e r c o m e . T o b e g i n w i t h , the
tune is h a n d i c a p p e d b y a c h o r d struc-
ture that is too closely allied w i t h the
m e l o d y . F u r t h e r , the l y r i c s a n d the
m u s i c seem to have become p e r m a -
nently i d e n t i f i e d i n the p o p u l a r A m e r -
i c a n c o n s c i o u s n e s s as " c l a s s i c , " so
t h a t a n y a t t e m p t t o get o u t s i d e of t h e
m e l o d y l i n e w o u l d seem to h a v e been
d o o m e d to c o m m e r c i a l f a i l u r e . F i -
n a l l y , there is the u n i n s p i r e d person-
nel w h o p r o v i d e d t h e a c c o m p a n i m e n t .
DECEMBER
H a w k i n s o v e r c a m e a l l these ob-
stacles a n d a c h i e v e d a p e r m a n e n t l y
great s a x a p h o n e solo, one that con-
t i n u e s to b e b o t h a c o m m e r c i a l a n d
an artistic success.
H e states t h e m e l o d y i n t h e first
few b a r s , a n d t h e n proceeds to i m -
provise with such melodic and
r h y t h m i c inventiveness that he i s , i n
effect, w r i t i n g a n e w t u n e . T h e s h o w y
arpeggios of the second chorus are
a b s e n t i n t h e first; t h e y a r e u n n e c -
essary.
The b r i d g e , it seems to m e , c o n -
t a i n s t h e finest a n d m o s t i m a g i n a t i v e
w o r k . It i s t h e w e a k e s t p a r t o f t h e
tune, but H a w k i n s makes of it a soar-
ing, gracefully m o v i n g passage. H i s
intonation a n d p h r a s i n g are faultless;
the i m p r o v i s a t i o n i s n o t i m p o s e d , b u t
flows n a t u r a l l y f r o m a n d i n t o the
s u r r o u n d i n g passages.
The second c h o r u s , h o w e v e r , is i n -
f e r i o r t o t h e first. T h e a c c o m p a n i -
ment, w h i l e f a i l i n g to p u l l H a w k i n s
d o w n , n e v e r t h e l e s s seems t o affect h i s
p l a y i n g i n some w a y . H e is g u i l t y of
h o n k i n g i n several bars, a n d little
r h y t h m i c g i m m i c k s creep into certain
p a s s a g e s , i n t e r s p e r s e d w i t h t h e flashy
arpeggios that H a w k i n s sometimes
a l l o w s to c o m e out i n the guise of
improvisation.
T h i s is not to say that there is n o
g o o d b l o w i n g here. B u t , without the
g r e a t first c h o r u s w h e r e t e c h n i q u e
and substance are fused into a b r i l -
liant w h o l e t h e r e c o r d w o u l d not
c o m m a n d t h e r e s p e c t t h a t i t so r i g h t l y
does.
I'm Confessing is a r e c o r d that
deserves a f a r w i d e r r e p u t a t i o n t h a n
t o m y k n o w l e d g e i t has. R e c o r d e d
i n t h e fifties w i t h O s c a r P e t e r s o n ,
Ray B r o w n , J . C . H e a r d , it presents
the p o s t - B a s i e Y o u n g i n a t r u l y i n -
spired performance.
Where H a w k i n s briefly hints his
m e l o d y a n d t h e n proceeds to i m p r o -
v i s e , b e i n g p o s s e s s o r of h i m s e l f a n d
t h e t u n e , Y o u n g seems t o b e c o m e
h i m s e l f p o s s e s s e d by t h e c h o r d s a n d
t h e m e l o d y , so t h a t f r o m b e g i n n i n g
to e n d h e i s i n s i d e t h e m u s i c , a n d
n e v e r steps o u t as H a w k i n s d o e s o n
his s e c o n d c h o r u s . H e s t a y s f a i r l y
close to the m e l o d y i n the first
c h o r u s ; but even so, his p h r a s i n g a n d
s t r i k i n g i n t o n a t i o n convey the m o o d
he b u i l d s u p t o p r e p a r e u s f o r t h e
v e r y m o v i n g last c h o r u s .
T h e r e we are caught up i n jazz
m u s i c so i m b u e d w i t h b l u e s f e e l i n g
we c a n almost hear B i l l i e (or perhaps
she h e a r s L e s t e r w h e n she s i n g s )
and so d e e p l y f e l t . T h r o u g h s o m e
m a g i c of h i s h o r n , the listener is
b r o u g h t i n t o a n d m a d e a p a r t of the
music.
T h e r e is the difference between
these t w o r e c o r d s . H a w k i n s ' p e r f o r m -
ance we a d m i r e i m m e d i a t e l y ; Y o u n g ' s
we a d m i r e o n l y after we have e x p e r i -
enced it m o r e than once. F o r t u n a t e l y ,
it i s s t i l l t h e r e t o be e x p e r i e n c e d .
E d w y B. Lee
43
Reviews: Books
C o u n t Basie a n d his O r c h e s t r a
by R a y m o n d H o r r i c k s . Citadel Press,
1957
T h e r e is a g o o d b o o k i n C o u n t
B a s i e , but don't be a l a r m e d ; this
is n o t i t .
" I t is the objective of t h i s b o o k , "
M r . H o r r i c k s writes i n his preface,
" t o p r o v i d e a s u r v e y of the C o u n t
Basie orchestra's twenty years or
m o r e of existence, e x a m i n i n g not o n l y
the p e r s o n a l fortunes of the leader
but also s o m e t h i n g of the band's
h i g h l y i n d i v i d u a l s t y l e of p l a y i n g a n d
of the i m p o r t a n t m u s i c i a n s w h o have
a i d e d . . . i n m a k i n g s u c h a s t y l e of
exnression nossihle " T h e emnhasis of
this sentence betravs the s t r u c t u r e of
n e 7 o f the V a d e r i n d e e d ' T h e f i r s t
fift^n l*Z> r r t p l l , ^ P T H M "of second
^R..W T , ! l r ! " tn.IZf
, y
t'v.; w Tor.
t w e n t y - t o u r p a g e s surve> t h e h i s t o r y
ot t h e b a n d f r o m K a n s a s L i t y d a y s
to t h e p r e s e n t , f i f t e e n p a g e s e u l o g i z e
oasie s piano styie, a n a c r o w n i n g i n w
Basie s piano style, a n d c r o w n i n g this
jerry-built monument, two h u n d r e d
jerry-built monument two h u n d r e d
pages of
p a g e s of s k e t c h p o r t r a i t s ot B a s i e
sidemen.
T h i s is not a very ambitious
scheme for a book about Basie and
his b a n d ; i f it were perfectly executed
it m i g h t have the quiet c o m i c p o s s i b i l -
ities of a c o m p o s i t e d e s c r i p t i o n of an
elephant m a d e b y a team of b l i n d
m e n . B u t w i t h i n h i s stated a i m s M r .
Horricks shows some astonishing
gaps, a n d a s u r p r i s i n g n u m b e r of
p u r e g o o f s . I n c h a p t e r t w o h e at-
tempts a n e x p l a n a t i o n of the f e r t i l i t y
o f K a n s a s C i t y as a b r e e d i n g g r o u n d
f o r j a z z b y , a p p a r e n t l y , l o o k i n g at a
m a p of the U . S. a n d " l i n k i n g u p its
p o s i t i o n w i t h its e c o n o m i c s t a t u s , "
i n v e n t i n g a city of great prosperity
d u e to its i m p o r t a n t r i v e r b o a t traffic
a n d its direct r a i l c o n n e c t i o n to
C h i c a g o a n d S t . L o u i s ! H e gets
t h r o u g h the c h a p t e r w i t h o u t ever
m e n t i o n i n g the D e p r e s s i o n , P r o h i b i -
t i o n , or the Pendergast regime.
T h e n there is the passage: " H a r r y
E d i s o n , t h e enfant terrible o f t h e sec-
tion, a trumpeter whose extrovert,
explosive phrases were completely
without precedence i n jazz, yet w h o
played with such tonal force and un-
i n h i b i t e d s w i n g that his . . . phrases
gave . . . the b a n d a f i l l i p . " One longs
t o a d d i n t h e a r c h e s t New Yorker
m a n n e r , " a n d e a r n e d h i m the endear-
i n g n i c k n a m e , Sweets." I n a d d i t i o n to
these a n d o t h e r m i s c o n c e p t i o n s , t h e r e
are factual inaccuracies i n plenty,
w h i c h M r . H o r r i c k s covers i n ad-
vance by a b r o a d s i d e of cannister
against academicians i n a r e m a r k a b l y
tousled p a r a g r a p h of the preface.
T h e m a j o r part of the b o o k , b y
v o l u m e , i s t h e s e r i e s o f sketches o f
Basie sidemen, m a n y of w h i c h might
well merit publication i n a bi-weekly
j o u r n a l , t h o u g h perhaps not i n a
m o n t h l y . T h e are neither perceptive
e n o u g h n o r d e f i n i t i v e e n o u g h to be
preserved i n b o o k f o r m , even i f there
were real need for a p o r t r a i t of, say,
Wendell Culley.
A l l this m i g h t have been f o r g i v a b l e
if M r . H o r r i c k s h a d attacked b o l d l y
either the problems of the o r i g i n s a n d
d e v e l o p m e n t of B a s i e ' s b a n d s t y l e , o r
the p r o b l e m of a perceptive and
r o u n d e d p o r t r a i t o f B a s i e as a p e r -
s o n a l i t y i n t h e p s y c h o l o g i c a l sense,
both important and long-evaded prob-
l e m s . B u t he h a r d l y t o u c h e s t h e r e a l
p r o b l e m s of the stylistic development
of the e a r l y b a n d : the o r i g i n s of the
jazz of the Southwest, a n d its rela-
t i o n to N e w O r l e a n s ; t h e s t y l i s t i c
r e l a t i o n between the B l u e D e v i l s ,
Benny Moten's band, and Basie's
b a n d ; the influence of s m a l l b a n d
habits-of-thought o n the style of e a r l y
B a s i e b a n d s ; the perhaps c r u c i a l i n -
fluence of Fletcher Henderson at
s e v e r a l stages o f t h e b a n d ' s d e v e l o p -
ment. H e also ignores the second
crisis of Basie's career, w h e n he was
f o r c e d f o r t h e s e c o n d t i m e to c u t
back to a s m a l l g r o u p b y e c o n o m i c
pressures, a n d m i g h t have started a
second evolution toward a new b i g
b a n d style, but instead s u r r e n d e r e d ,
then a n d forever, the m u s i c a l content
o f h i s b o o k to o u t s i d e a r r a n g e r s a n d
to repetition a n d b o r e d o m .
A s f o r B a s i e ' s i m a g e as a m a n ,
w e get n o t h i n g o f h i s f a m i l y b a c k -
g r o u n d (except one technicolor wide-
screen b a n d a n n a - h e a d e d g l i m p s e of
Basie's father i n a v e r s i o n of the
gala-concert-at-Carnegie-Hall-fadeout
that u n a c c o u n t a b l y also includes the
d e b u t o f P r o f e s s o r M . W . S t e a r n s as
one of the great names of the enter-
t a i n m e n t w o r l d ) , n o t h i n g of h i s r e a l
psychology, not even the caught-in-
m i d - s t r i d e of t h e N e w Y o r k e r p r o f i l e .
W e get the k i n d o f p o r t r a i t t h a t i s
f e a t u r e d i n Filmland, o r a Down Beat
"Cross Section."
A n d last o f a l l t h e w r i t i n g . T h e r e
is a t e n d e n c y i n s o m e A m e r i c a n
circles to r e g a r d E n g l i s h m e n of s o u n d
e d u c a t i o n as g u a r d i a n s o f t h e p r o s e
t r a d i t i o n , but j u d g i n g f r o m M r H o r -
r i c k s ' b l a n d a n d g l u t i n o u s style he
has chosen for m o d e l not A d d i s o n , o r
L a m b , o r H a z l i t t o r even B e e r b o h m ;
he has c h o s e n ne'rhans a c o l u m n i s t i n
Woman's Own o r even the leader
w r i t e r of W a u g h ' s h y p o t h e t i c a l Daily
Beast.
T h e r e is a n a p p e n d e d B a s i e d i s c o g -
raphy by M r . A l u n M o r g a n , which
seems competent a n d t h o u g h t f u l l y pre-
s e n t e d , t h o u g h i t m a y be e c c e n t r i c to
include in a Basie discography such
n e o - B a s i e r e c o r d s as t h o s e b y t h e
Charlie's Tavern Gang group The
N a t u r a l Seven. T h e b o o k has no
i n d e x , w h i c h a d d s i n c o n v e n i e n c e to
its fault of u n r e l i a b i l i t y .
H s i o Wen Shih
THE JAZZ REVIEW
 J a Z Z in Print by Nat Hentoff

It Was Ever Thus Dept.: From a Jazz Podium, a German monthly, T h e H o l l y w o o d Reporter? I n the
R a l p h G l e a s o n c o l u m n i n the N o v e m - is e d i t e d b y D i e t e r Z i m m e r l e , Stutt- A u g u s t 2 7 i s s u e of t h a t film t r a d e
b e r , 1 9 4 1 Jazz Information-"Now gart-W, Vogelsangstrasse, 32. A m e r i - journal, a brief interview with D a v i d
i t ' s p e r f e c t l y all r i g h t f o r a m a n t o c a n c o r r e s p o n d e n t is E r i c V o g e l . A t R o s e b e g i n s : " S o v i e t R u s s i a is t a k i n g
c o m p l a i n , b u t to g r o u s e n o . That N e w p o r t , he asked v a r i o u s observers ruthless measures to k e e p a l l j a z z ,
F r a z i e r , a l w a y s g r o u s i n g . I n the b i g w h a t t h e y t h o u g h t o f the I n t e r n a t i o n a l p a r t i c u l a r l y r o c k ' n ' r o l l o u t o f the
b l a c k m o r n i n g it's one t h i n g but r i g h t B a n d . T h e most characteristic answer c o u n t r y , " reports composer-conductor
i n the m i d d l e of the d a y it's e n o u g h came from Prof. M a r s h a l l Stearns: D a v i d Rose, who recently returned
to m a k e one stop r e a d i n g Made- " I c h b i n kein Kritiker, sondern ein f r o m a visit b e h i n d the I r o n C u r -
moiselle. A n d a l l those lovely girls J a z z h i s t o r i k e r . A u s di'esem G r u n d e t a i n . . . . " T h i s is nonsense. W h e n
too. mbchte i c h auch nicht kritisch beur- B e r t C o w l a n of W B A I - F M w e n t to
"And now for Muggsy. Him, teilen Ich w i l l auch keine einzelnen R u s s i a i n Tulv to w o r k o u t a u r o g r a m
F r a z i e r doesn't keep. H i m belong to Bandmitglieder hervorheben oder exchange agreement w i t h R a d i o M o s -
everybody. U g h ! M u g g s y big bands, Vergleiche mit amerikanischen Or- c o w he b r o u g h t at t h e R u s s i a n s ' r e -
yes. U g h ! T h e m he c a n keep. L e e r-tipstprn a n s t p l l p n W m n S i p a b p r l i n a u e s t a s i z a b l e n u m b e r o f i a z z sets
W i l e y he c a n k e e p also. B u t F r a z i e r . hedinirt meinen nersonlichen Fin- a n d p a r t o f t h e final a g r e e m e n t i s f o r
U ^ U U l g L 1I1C111G11 JJtl OVllll^lltill J_.ll!
I keep. H i m I keep where I want h i m h i m to c o n t i n u e s e n d i n g A m e r i c a n
druck kennenlernen wollen dann
r i g h t between the covers of Made- i a 7 7 as w e l l as c l a s s i c a l a l b u m s In
m o c h t p i c h satrpn F l l i n f f t o n h r a u r h t
moiselle." sich n k h t zu f U r c h t e n ! " fact when bp wa tbprp a snprific
S h e l d o n M e y e r , an assistant trade rem.esTfrnm Radio Moscow wVfor
e d i t o r at O x f o r d U n i v e r s i t y P r e s s , Reminds me of a headline in the
has a v a l u a b l e a r t i c l e i n the A u g u s t Boston. Globe several years ago: rtd^ani LT.ZL Otbpr l f r l !'
I I Publishers Weekly. T i t l e d Publish- "Senator Saltonstall Declares For
ing Jazz Books, the piece is l a r g e l y Indian Pudding." ? K i n i l ! 1 P r ' . ! T
b a s e d o n M e y e r ' s c o n t r i b u t i o n to the i n d i c a t e d over the past year a n d a
N e w address f o r the excellent dis-
N e w p o r t panel discussion this year h a l t h o w c o n s i d e r a b l y the K u s s . a n
cographical magazine, Jazz-Statistics:
o n The Editors' Point of View. He a t t i t u d e t o w a r d j a z z h a s beer, c h a n g -
0 . F . B i f a n g s t r a s s e 6, R e i n a c h , B a s e l -
outlines a survey of books on jazz i n g . M o r a l , of c o u r s e , i s d o n t b e l i e v e
land, Switzerland. . . .
published i n this country f r o m 1936 everything you readespecially in a
o n . M e y e r believes " t h e r e is no e a r t h - J a c k G o u l d i n the J u l y 2 8 New trade paper. . . .
ly excuse for anyone b r i n g i n g out York Times, r e v i e w i n g a Stars of Jazz A beautifully designed, and I'm
a h i s t o r y of jazz o r a jazz reference TV show that i n c l u d e d jazz-and- told by J o h n L e w i s , excellently writ-
b o o k i n the next few y e a r s . " S t r a n g e p o e t r y w i t h K e n n e t h P a t c h e n a n d the ten G e r m a n j a z z m a g a z i n e i s Der
c o m m e n t s i n c e t h e r e i s as vet n o C h a m b e r Jazz Sextet conducted by Drummer. For information, write
t h o r o u g h l y first-rate i a z z h i s t o r y a n d Allyn Ferguson: " . . . there was a Horst Lippmann, Hotel Continental,
c e r t a i n l y t h e Encyclopedia of Jazz, f r a m e d p i c t u r e of B a c h o n the r i g h t - Frankfurt am M a i n
d e s n i t e a l l t h e h e l n i t ' s b e e n is f a r h a n d side of the screen a n d a m a t c h -
f r o m o D t i m u m I ' d suggest M r ' M e v e r i n g f r a m e of M r . F e r g u s o n o n the I n Les Arts, P a r i s , the issue dated
m i g h t w a n t t o ' r e c o n s i d e r at least t h e left-hand side. M r . T r o u p later said June 25-July 1, Andre Hodeir has
l a s t p a r t o f h i s d i c t u m w h e n h e sees that i f B a c h were to t u r n o v e r i n h i s two articles. O n e deplores the decline
A l b e r t M c C a r t h y ' s Who's Who, due g r a v e , i t w o u l d be to h e a r the C h a m - of Duke Ellington; the other says
n o s s i h l v i n 1 9 5 9 M e v e r is rijyht h o w ber Jazz Sextet more clearly. O n e Miles Davis and G i l Evans can take
ever i n that " m a n v subjects w h i c h w o u l d have thought that television
have h a r d l y been touched c r y out for the place left by Ellington and his
had enough rating troubles without
musicians. We hope to run a trans-
a t t p n l i o n T b p r p nppd tn lip hiocrra u n d e r t a k i n g to p o l l t h e d e a d . "
nhiesofnrnZpJ 1 1 1 S lation of the Ellington article. In
work r ^ m a i n ^ r ' N e w address for B o b Koester's D e l - the A u g u s t 3 S a n F r a n c i s c o Chronicle,
^ J L a^d i t , I I H a L v t i ^ mar Records, Blue Note Record Shop Ralph Gleason reviewing Duke's new
Z,A P o f ! , , ,?r^ l n l d i t a n d Jazz Report Monthly is 4 2 E a s t Columbia version of Black, Brown
made " C h i c a g o Avenue, Chicago 11, Illinois. and Beige with M a h a l i a Jackson, dis-

DECEMBER 45
 agrees and writes of Duke's "con-
tinued creativeness," calling Hodeir
myopic on the subject and this
w r i t e r p e t u l a n t b e c a u s e of a r e f e r e n c e
i n a Harper's a r t i c l e to D u k e ' s s h o w -
biz performance at a p r e v i o u s brace
o f c o n c e r t s at t h e S t r a t f o r d , O n t a r i o ,
Shakespearean Festival.

In between the two m a y lie a m o r e

accurate appraisal. Duke can still
createwhen he has the t i m e . Too
o f t e n these d a y s , t h e b a n d m e n play
new w o r k s i n p u b l i c w i t h one or two
or even no rehearsals, a n d the w o r k s
t h e m s e l v e s h a v e b e e n so h a s t i l y w r i t -
ten that they are often o n l y sketches.
And if Duke's really in a hurry, he
just lets Paul Gonsalves and Sam
Woodyard loose.

Another good j o u r n a l for disco-

grapherswhich also has pungent,
controversial record reviews is
Godchild's Jazz Bulletin, 172/4 Ark-
w r i g h t Street, N o t t i n g h a m , E n g l a n d .
Peter R u s s e l l is the editor. Russell
Gil Evans Don H u n s t e i n , c o u r t e s y of C o l u m b i a R e c o r d s
disagrees with Hodeir. " G i l Evans
. . . is not of E l l i n g t o n ' s stature
either as composer or arranger."
W i t h a l l respect to G i l a n d H o d e i r ,
Andre is building a case for Gil
that not even Gil's staunchest ad-
mirers w o u l d subscribe to.
No one has time to hear every
new disc as it appears. For There, are four E n g l i s h pop music
w e e k l i e s . T w o T h e New Musical Ex
the kind of reliable help you
press (143,259) a n d The Melody
need to make up your own Maker (over 114,000) have circula-
mind before buying, read... tions f a r i n advance of any s i m i l a r
A m e r i c a n p u b l i c a t i o n . T h e others are
Record Mirror (for which Benny
G r e e n writes r e c o r d reviews) a n d the
n e w e s t , Disc ( o f w h i c h T o n y H a l l i s
The American ^ t h e m o d e r n j a z z r e v i e w e r ) . T h e s e last
two are also d o i n g well b u t one

Record Guide w o n d e r s a b o u t Disc's editor-in-chief

w h e n h e passes m a t e r i a l l i k e t h i s ex
cerpt f r o m one M a u r i c e Neale's article
THE AMERICAN TAPE GUIDE o n Satchmo i n the A u g u s t 23 i s s u e :

" T h e is a s t o r y t o l d about B i x
truly encyclopedic i n its coverage of the month's releases B e i d e r b e c k e . . . t h e n at t h e h e i g h t
e for two dozen years the collector's most trusted counselor of his short, p y r o t e c h n i c career. B i x
the oldest independent journal of opinion i n the field was l e a d i n g the p a r a d e a n d r e a l l y go-
a n d more than just r e v i e w s - c o m p a r i s o n s ! i n g great g u n s i n the k n o w l e d g e that
not o n l y he but e v e r y o n e k n e w that
he was the greatest t r u m p e t p l a y e r
Spedml I n ^ i ^ r y Oger To )Ye Remder. i n t h e w o r l d . T h e p a r a d e h a d to m e e t
a n o t h e r p r o c e s s i o n at a r e n d e z v o u s
at t h e j u n c t i o n o f t h e m a i n street
Please enter my trial subscription for eight months. I enclose |2p Bill me
where they w o u l d j o i n forces and
m a r c h o n together. B i x was h i t t i n g
Name
the h i g h notes, s w i n g i n g f r o m strength
to s t r e n g t h , w h e n the first notes of
Address '.
t h e t r u m p e t p l a y e r c a m e to h i m f r o m
the distant p a r a d e f a i n t l v at first
City Zone State
but then quite clearly. T h e people
w h o tell this story say that when B i x
H P T 0. lox 319 . . . l e a l , city Stettet, He* Verfc V.
first h e a r d t h e n e w t r u m p e t , h e w e n t

46 THE JAZZ REVIEW

 pale. H e stopped p l a y i n g . H e listened tators ( i n l i e u of p r i n t e d p r o g r a m s Roots and the Mainstream: The
to t h e m u s i c , a n d t h e y s a y t h a t B i x w h i c h w o u l d , of course, r e q u i r e a d - following itemcontributed by M a r -
j u s t p u t d o w n h i s h o r n a n d b e g a n to vance p l a n n i n g ) disk jockeys whose shall Stearnsis printed without
c r y . The new trumpeter who had de- a n n o t a t i o n u s u a l l y centers on their change f r o m the M a y 2 2 , 1958 e d i -
throned Bix, was a 19-year-old youth o w n r a d i o p r o g r a m s . T h e y are con- t i o n of the S o u t h H a v e n , M i c h i g a n ,
called Louis Armstrong." (Italics are stantly w i t n e s s i n g the p r e s e n t a t i o n of Tribune: "The South Haven Music
M r . Neale's). p l a q u e s to m u s i c i a n s w h o h a v e w o n S t u d y C l u b m e t at t h e h o m e o f M r s .
some magazine's popularity poll (this L y l e W e e d on M o n d a y evening. M a y
T h e r e is m o r e i n M r . N e a l e ' s a r t i c l e
was c a r r i e d to a h e i g h t of a s i n i n i t y 19, w i t h M r s . W e e d p r e s i d i n g over
to shatter the h i s t o r i c a l firmament,
at t h e N e w Y o r k J a z z F e s t i v a l o n the business session. . . . M r s . F r e d
but I w i l l quote only one m o r e i n -
R a n d a l l s I s l a n d last s u m m e r , w h e n S t u c k u m , p r o g r a m c h a i r m a n f o r the
s i g h t : " H e h a d the r a c i a l g e n i u s o f
each p e r f o r m i n g g r o u p was presented e v e n i n g , ' presented 'Our American
b e i n g a b l e t o detect quarter notes,
w i t h a t r o p h y g i v e n i n the n a m e of a Jazz a n d It's (sic) Influence,' assisted
something that evades the most
brewery or a w h i s k y bottler) bv several members Mrs' Nelson
talented of E u r o p e a n or, i n d e e d , any
B r e d i e n s t e i n gave a 'resume of the
white m u s i c i a n . "
I n t h e O c t o b e r 4, N e w Y o r k World- h i s t o r y o f J a z z , o f w h i c h t h e r e a re
Eskimos? Telegram and Sun m a g a z i n e s e c t i o n , three types, she s a i d . T h e s e i n c l u d e
W h i l e o n the subject of b y l i n e s to Albert M . Colegrave interviewd Pops 'sweet' 'svmohonic' and ' h o t ' of
trust, S a m G o o d y t h e S a m G o o d y Foster a n d L o u i s A r m s t r o n g . " Q : Was w h i c h ' boogie-woogie is a samnle
i s p u r p o r t e d l y the a u t h o r o f t h e there race segregation a m o n g the m u - P JpCo rUtlTg P Tjperi os V a
V C v i iiw
wi ilni w
Wode
S d n ii uo ini p
p c cpir ii lnl
c o l u m n , Waxing Mellow, in Dude s i c i a n s i n N e w O r l e a n s i n the o l d thp i a z z field she s a i d Mrs Richard
m a g a z i n e . I ' m i n d e b t e d to T u p p e r days? P O P S : I played around New R a r n e n nlave'd a n i a n o s o l o ' t o illus
S a u s s y o f T h e S c h o o l of J a z z f o r O r l e a n s i n m i x e d b a n d s , f o r y e a r s . It ;e sLgh\7de, by
' .e boogie m

p o i n t i n g out this h e l p f u l s e c t i o n : wasn't l i k e t o d a y , like it is i n N e w

Bernard Whkefiel'd.
" . . . Most amateurs t h i n k jazz comes Orleans now Q : W h a t do you
mean, 'like New Orleans now?' " M r s . B r e i d e r n s t e i n g a v e as a v o c a l
u n d e r j u s t one h e a d i n g , a n d that's
L O U I S : Since 1954, i n N e w Orleans, s o l o , Stardust, by Hoagy Carmichael,
e i t h e r the C h a r l i e P a r k e r o r D i x i e -
they don't want white a n d N e g r o m u - accompanied by M r s . Barden.
l a n d style. B u t they c a n t h i n k a g a i n .
Since jazz p r i m a r i l y means that y o u sicians p l a y i n g together. . . . I don't " M r s . K r u z e l p l a y e d Kitten on the
get t h e s a m e b a s i c m e l o d y , b u t i t r u n into m u c h trouble w i t h segrega- Keys, by Confreys and Bumble
c o m e s o u t d i f f e r e n t l y a c c o r d i n g to t i o n , 'cause I don't go where I ' m not Boogie, b y J a c k N i n a , as p i a n o s o l o s
who plays it, then you can understand wanted. A n d please don't take Mrs. Gertrude Cleveland sang: He's
w h y it's d i v i d e d into three different t h i s o u t , I ' m g o i n g to t e l l t h i s s t r a i g h t Got the Whole World in His Hands,
types. S w i n g i n g jazz, for instance. I d o n ' t g o to N e w O r l e a n s . . . n o adapted b y Geoff L o v e , a c c o m p a n i e d
T h a t ' s foxtrots a n d d a n c i n g beats, more." . by M r s . L e o n Burge.
but because it's a fast t e m p o , it's still
j a z z , a l t h o u g h i t ' s n o t to be c o n f u s e d
w i t h o t h e r fast t y p e s o f d a n c e m u s i c ,
l i k e s o u t h of the b o r d e r m a m b o s a n d
rhumbas and cha-cha's The
s e c o n u iviiiu 01 j a z z i s u i x i e i d i i u , d i m
t h i s is c l o s e r to t h e uoi ri ig gi ii indai l m
u 1 L meeaanniinnggss
o f ia77 t h a n a n v t h i n o - pise a c o m b i m
t i o n of o l d N e g r o s p i r i t u a l s a n d w o r k
- B Y - J E R R Y SSI L V E R M A N ^dk IHms
songs so to s p e a k
A superb collection of 110 American Folk Blues
To whom?
most appearing in print for the first time arranged
R a l p h G l e a s o n i n the S e p t e m b e r
for voice, piano and guitar. Musicological considera-
tions of the art form; biographical sketches of men
3 0 San Francisco Chronicle: "There like Blind Lemon Jefferson, Leadbelly and Josh White.
is, i n this country (and especially Bibliography and discography; and an invaluable guitar
a m o n g the j a z z m u s i c i o n s ) a t e n d - chord diagram chart. 308 pages 8Va"xl0 /4" 3

e n c y to b e u t t e r l y d i s a f f i l i a t e d f r o m Illustrated Probable Price $6.95

a n y political problem. M o s t jazz m u - See your local bookseller, or write direct:

[JUTES
s i c i a n s , whatever they m a y say o r do M ,{<c,<7/a>, ^ow/iawj 60 Fifth Ave., New York 11, N
i n p r i v a t e , act as t h o u g h t h e y b e l o n g
to a d i s f r a n c h i s e d class of citizens
with no responsibilities and no
duties." . . . . I.
First-rate, unusually angry piece by
J o h n S. W i l s o n o n the suffering jazz
concert a u d i e n c e i n the S u n d a y , Sep-
t e m b e r 2 8 New York Times. He
sung and ployed by J E R R Y SILVERMAN
covers a m o n g other outrages the w a y
A full-range recording of 12 Folk Blues including Dar-
record companies have taken over M, Trouble in Mind. Talking Dust Bowl and Alberta!
at j a z z " f e s t i v a l s . " " P r o g r a m m i n g i n The first in a series of records illustrating Jerry's NEW
g e n e r a l , " W i l s o n o b s e r v e s , " s e e m s to book. A-V 101 1 2 " LP $4.98
be b e y o n d the a b i l i t y o r c o m p r e h e n - See your local record dealer, or write direct:
s i o n of m a n y of those w h o p r o d u c e Audio-Vide. y 4 5 W. 49th St., New York 19, N.Y.
jazz concerts. . . Jazz audiences are Productions Inc.
r e q u i r e d to e n d u r e as p r o g r a m a n n o -

DECEMBER
 T h e large, $1 silver anniversary D u k e E l l i n g t o n does not u s u a l l y
i s s u e o f Esquire h a d several jazz speak i n p u b l i c on n o n - m u s i c a l sub-
G BAWD S M K f i .
articles. A superficial (but possibly jects. F o r that m a t t e r , he h a r d l y says
h e l p f u l to the u n s o p h i s t i c a t e d ) Intro anything about anything i n public.
duction to the Classics for Hipsters Before leaving for E u r o p e i n early
b y G e o r g e S h e a r i n g . N o t t h e best October, however, he t o l d a press con-
balanced list, but no real disasters on f e r e n c e h e l d as a p r e l u d e t o N A A C P ' s
it T h e quality of Esquire's regu- F u n d D i n n e r ( a c c o r d i n g t o t h e Am-
l a r j a z z c o l u m n , The Slipped Disc i s sterdam News) : " T h e N e g r o h a s suf-
L. Grossman markedly improved with Harold f e r e d to l o n g . T h e U n i t e d States
w. r H a y e s w r i t i n g i t . T h i s issue he is i n - d o e s n ' t w a n t t o h a v e the r e s p o n s i b i l i t y
volved with an analysis of B i l l H a r r i s . of k e e p i n g Negroes on parole for 100
O l i v e r or A r m s t r o n g . . . K e n t o n or T u r k A n d J e a n S t e i n went to K a n s a s years after e m a n c i p a t i o n . W e were
M u r p h y ? It's a r a r e jazz f a n who hasn't C i t y to talk to J a y M c S h a n n , T u t t y freed 95 years ago a n d are still on
taken sides. A n d i n this e x c i t i n g book by a
C l a r k i n , and Charlie Parker's mother. parole." . . .
record-collecting college professor and a jazz
T h e a r t i c l e i s t i t l e d Why They Called
The Critics as Psychiatrist, 1: J o h n
Him "Yardbird", but covers more
W i l s o n i n T h e A u g u s t 1 7 NY Times,
O n the other h a n d , i f you've got the cour- than that. N o t h i n g new, but M i s s
a review of S o n n y R o l l i n s ' Freedom
S t e i n ' s d a t a c l a r i f i e s a n d c o n f i r m s the
wa nt to ee S ^ t o r T t o * w
e 0f y0
S
U
about"
p r e v i o u s c o n s e n s u s a b o u t these p a r t s Suite: " . . . M r . R o l l i n s ' p l a y i n g is
men like D i z z y Gillespie, S t a n K e n t o n ,
C h a r l i e P a r k e r et a l . of his life. inclined to be harsh, cold and de-
A n d on the slight possibility that you are terminedly unattractive . . . " (Italics
not p a r t i a l to either camp, we must admit . . . F i r s t - r a t e essay b y p i a n i s t B i l l y
mine). Using this same presump-
T a y l o r , The 'Lost Generation of Jazz',
tuous approach, a musician might
about the o l d e r m e n b e i n g over-
well accuse a critic from time to
l o o k e d . " . . . t o d a y t o o m a n y o f these
) New Y o r k University Press m e n m u s t s c r o u n g e a r o u n d f o r week- time of being determinedly obtuse.
ME" Washington Square, N . Y . 3 e n d dates a n d h o p e s f o r o c c a s i o n a l John Wilson, reviewing Ben Web-
r e c o r d i n g dates w i t h N o r m a n G r a n z s t e r ' s Soulville i n the O c t o b e r High
or some independent recording com- Fidelity: " H e is also capable of v e r y
p a n y w h i c h still appreciates what they p r e t t y , r o m a n t i c p l a y i n g , as h e s h o w s
a r e p l a y i n g . A n d t h e y can p l a y , r i g h t o n s e v e r a l b a l l a d s , b u t i t seems a
n o w , w i t h a l l the p o w e r a n d a u t h o r i t y little r i d i c u l o u s to c a l l h i s b a l l a d per-
of great m u s i c i a n s , i f a n y o n e w i l l formances jazz when they more
b o t h e r to l i s t e n The Ben Websters c l o s e l y p a r a l l e l w h a t m i g h t be d o n e
a n d J o Joneses and Buck Claytons with them by a skilled and sensitive
r e m a i n as s p o n t a n e o u s as e v e r . T h e y supper club singer."
s w i n g n o w m o r e t h a n ever w h e n they
have the c h a n c e . " Like who?

us
I f y o u c a n find a b a c k c o p y , t h e de- T h e Jazz L o b b y , a year-old organi-
f u n c t Duke h a d a n a r t i c l e b y B i l l y zation of Westchester jazz fans, holds
T a y l o r i n its A u g u s t , 1957 issue, r e g u l a r meetings a n d even publishes
Negroes Don't Know Anything About a regular bulletin. The Jazz L o b b y ,
Jazz, that's w o r t h reprinting. He P . O . B o x 731, N e w Rochelle, N e w
old a n d new books means the N e g r o b o u r g e o i s i e a u d i - York. . . .
ence, not N e g r o m u s i c i a n s , a n d de-
on I f y o u a r e f o l l o w i n g the s u b j e c t ,
p l o r e s t h e f a c t t h a t t h e r e a r e so f e w
N e g r o w r i t e r s o n j a z z . " W h a t n e e d s to V . S . P r i t c h e t t ' s The Beat Generation
Folklore
be d o n e r i g h t n o w , " w r o t e B i l l y , " i s t o i s w o r t h r e a d i n g i n the g e n e r a l l y
Folkmusic provocative American Literature
i n s t i l l i n m o r e N e g r o e s a sense o f
Folkdance Number ( S e p t e m b e r 6) of the New
p r i d e i n the a c c o m p l i s h m e n t s of t h e i r
Blues o w n m u s i c . " " W h e n I was g r o w i n g Statesman. S a m e issue has a s u r p r i s -
Jazz u p , " L u c k e y R o b e r t s s a i d to t h i s i n g l y k i n d r e v i e w of A Handbook of
w r i t e r recently, " m o s t m i d d l e class Jazz b y F r a n c i s N e w t o n
Jazz Magazine
Negro homes wouldn't allow the F r o m D a v i d D a i c h e s ' Literary Let-
b l u e s t o be p l a y e d i n t h e m . " . . . ter from England i n the September 7
many of them impossible to ob-
T h e v e r y best m a g a z i n e o n f o l k Sunday Times Book Review: "Among
tain elsewhere. S e n d f o r o u r new
m u s i c , e s p e c i a l l y r e c o r d i n g s , I ' v e seen university students, however, what-
catalogue now being prepared. i n E n g l i s h i s Recorded Folk Music, e v e r t h e i r s o c i a l o r i g i n , t h e r e seems
published six times a year by Collet's to b e a m o r e g e n e r a l i n t e r e s t i n a n d
H o l d i n g s L t d . , 44-45 M u s e u m Street, excitement about things A m e r i c a n .
A l l books and records reviewed L o n d o n W . C . 1. T h e e d i t o r i s A . L . T h e y , too, though r e a d i n g F a u l k n e r
o r advertised i n the Jazz Review L l o y d . F i r s t issue was J a n u a r y - F e b r u - as ' l i t e r a t u r e , ' a r e l i a b l e t o r e a d a n y
a r y , 1 9 5 8 . I ' v e seen t h e first f o u r a n d modern American fiction they c a n
available for m a i l order.
r e c o m m e n d a l l of t h e m . E r i c H o b s - find, h o w e v e r m u c h t h e y m a y l a u g h
b a w n ( w h o w r i t e s o n j a z z as F r a n c i s at its l i t e r a r y p r e t e n s i o n s , f o r the s a k e
N e w t o n i n t h e New Statesman and of the l o c a l c o l o r . ( T h e cause of this
The FOLKLORE CENTER is p a r t l y , I t h i n k , the i m m e n s e i n t e r -
Nation) h a s a p i e c e , Jazz and Folk
110 M a c D o u g a l St. GR 3-7590 est i n a n d k n o w l e d g e of modern
Music i n the M a r c h - A p r i l n u m b e r a n d
N . Y . C . 12, N . Y . O p e n 3-11 P.M. t h e r e ' s a n a r t i c l e o n Cante Jondo in A m e r i c a n jazz i n British universities
July-August today.)" . . .

48 THE J A Z Z R E V I E W
 Credit D o n Nelsen of the New Y o r k attentive audience. If the stage has a George W e i n reviewing the re-
Sunday News for going up to the good enough sound, I enjoy it very viewers of the Newport Festival i n his
Offbeat at Broadway and 129th St. much, usually. I didn't happen to en- c o l u m n i n the Boston Sunday Herald:
to review Stuff S m i t h . Stuff had been joy playing at the Chinese restaurant " I still saw several articles with a
there for weeks. N o reviews i n Down too much of the time because I kept negative attitude and as of yet no one
Beat or Metronome smelling sweet and sour pork between has captured the d r a m a that unfolds
phrases." . . . in the presenting of each i n d i v i d u a l
In his regular column, The Lively
artist on stage."
Arts, i n the August 19 Berkshire A s k e d about influences, Lee s a i d :
Eagle, M i l t o n Bass wrote that " J a z z "I'm trying to influence myself, Louella Parsons is the girl for
seems at an impase right now, a though, right now, and I'm having Newport.
worrisome thing that can't even sing quite a bit of t r o u b l e . " . . .
the blues i n the night. C o o l jazz is
K o n i t z on C h a r l i e P a r k e r : " . . . at
now so frigidly r i g i d that it's prac-
one time, Charlie Parker played
tically impossible to get it out of the
tray. . . . W h e n y o u listen to a
exactly like Lester Y o u n g . H e didn't
admit this, but I know people that
FORM
modern group nowadays, y o u hear
heard h i m play that way. . . I was on (Continued from Page 15)
little that is new or unexpected." A n d
tour with Charlie once and I was
nowhere i n this brave uninformed i n -
warming up i n the dressing r o o m pie staccato phrases or direct refer-
dictment d i d Bass name a single
I happened to be playing one of ences to melody may c o m e ; l o n g lines
name. . . .
Lester's choruses and B i r d came may be interspersed with phrases of
T h e October Nugget has an article noodling into the r o o m and said, one or two bars. But I think that if
on Thelonious Monk by Charles ' H e y , you ever heard this o n e ? ' and one "listens w h o l e " such cross-refer-
Edward Smith. Title (no fault of he played Shoeshine Swing about ences will appear as echos and predic-
Smith) is The Mad Monk, a cri- twice as fast as the record. H e knew tions of what has happened and what
all that . . . " will happen i n a total structure, and
terion of the hipness of Nugget's
editors. It's built mostly from pre- A n d questioner Katz on B r u b e c k : not necessarily lacks of a cohesive
" I noticed as far as audience response development.
vious material; no evidence that
M o n k was interviewed. S m i t h i n a goes that they respond every time he Rollins has at least laid excellent
plays the alma mater. H e manages to basis for the structure of extended
rare and commendable actioncites
get the alma mater of any particular solos in the modern i d i o m and one
all his research sources. He always
school i n when the audience is begin- which seems a natural perception on
does, even in liners.
ning to d r a g , you know . . . this is how to take advantage of some of the
Max Jones interviewed Kenny k i n d of a t r i c k . " resources at h a n d .
Clarke i n the September 6 Melody F r o m D o r o t h y Kilgallen's column [ N o t e : T h i s essay is included i n Just
Maker: " T o d a y too many d r u m m e r s , " in the New Y o r k Journal-American: Jazz II, edited by Sinclair T r a i l l and
said C l a r k e , " u s e a lot of technique "Modern music connoisseurs will Gerald Lascelles, published by Peter
to disguise the fact that they're not want to latch onto The Weary Blues Davies L t d . , L o n d o n , 1958, and is
swinging as thev should If thev were with Langston Hughes. D r . L e o n a r d used by permission. It should be sup-
swinging, they wouldn't play that busy Feather supervised the poetry-with- plemented by Gunther Schuller's
way. C l a r k gave S i d Catlett as his jazz production in addition to writing essay on Sonny Rollins and " R e c o n -
conception of the ideal d r u m m e r . some of the melodies." siderations 1" i n the October issue of
T h e S e p t e m b e r / O c t o b e r Record Re Newport g i v i n g out degrees now? The Jazz Review.]
search has a fascinating article on
Edison and the Diamond Disc by
A n g u s Joss. It first appeared i n The
American Record Guide. There's also JA
a jazz survey of the E d i s o n catalogue.
A C/UGtieTly of tvncTicon itiusic ZZ
T h e S p r i n g , 1958 edition of North-
west Review, published three times a The first serious magazine devoted to America's own music and all its
year by the Student Publications
development, including traditional, mainstream and modern.
B o a r d of the University of Oregon at
Eugene, Oregon has a taped conversa-
Articles and reviews by leading critics, writers and sociologists. The first
tion with Dave Bruebeck and Lee
issue includes A Letter from London, A . J . McCarthy; A Look at the
K o n i t z . (First reference to the fea-
ture I saw was i n a R a l p h Gleason Critics, George Frazier; Big Bill's Last Session, Studs Terkel; and others.
column). The interrogators were
Steven K a t z , graduate student i n E n g -
Full Jazz LP listing of new releases each quarter.
lish, and Charles Ruff, instructor i n
literature. Send me a Charter Subscription to JAZZ, 4 issues for $3., starting Oct. '58.
Katz asked K o n i t z whether he pre-
ferred a small club setting like the Name
Confucius i n New Y o r k to the com-
mercial context of the large package Street
show with which he was playing that
night in Oregon. " W e l l , really it all
depends on how the sound is where
City Zone State
I'm playing. I like to play at this k i n d JAZZ, 2110 Haste Street, Berkeley 4, California Editor Ralph J. Gleason
of a thing generally, because it is an

DECEMBER 49
 Contributors:
Julian " C a n n o n b a l l " Adderley is a
m e m b e r of M i l e s D a v i s ' u n i t after
h a v i n g led his o w n g r o u p w i t h his
b r o t h e r , N a t . P r i o r to c o m i n g to N e w
Y o r k , Adderley taught and played in
Florida.
Mimi Clar i s 2 3 , h a s s t u d i e d c l a s s i -
cal and jazz piano, and majored in
m u s i c at the U n i v e r s i t y o f C a l i f o r n i a
at L o s A n g e l e s . S h e w a s g r a d u a t e d
w i t h honors. She was reviewer for
t h e Los Angeles Times a n d w o r k e d
as a r e s e a r c h a s s i s t a n t o n W a y l a n d
D. Hand's forthcoming Dictionary
of American Beliefs and Supersti-
tions. M i s s C l a r ' s a n a l y s i s o f E r r o l l
G a r n e r w i l l appear i n a f o r t h c o m i n g
issue.
B a s s i s t Bill Crow h a s w o r k e d w i t h
G e r r y M u l l i g a n , Stan Getz, Claude
T h o r n h i l l , a n d others.
Glenn Coulter h a s w r i t t e n o n j a z z f o r
i.e., The Cambridge Review a n d his
s t u d y o f B i l l i e H o l i d a y w i l l be p a r t o f
a forthcoming anthology on jazz for
the O x f o r d U n i v e r s i t y press edited
by Martin Williams.
Stanley Dance h a s b e e n w r i t i n g a b o u t
jazz ( a n d s u p e r v i s i n g its r e c o r d i n g )
i n a n d f r o m B r i t a i n since the 'thirties.
H i s " L i g h t l y and P o l i t e l y " appears
monthly in The Jazz Journal
(London).
50
D a n c e r - c r i t i c Roger Pryor Dodge's Edwy B. Lee, a s t u d e n t o f A m e r i c a n
"Harpsichords and Jazz T r u m p e t s " , h i s t o r y a n d E n g l i s h l i t e r a t u r e , is a
p u b l i s h e d i n 1 9 3 4 i n Hound and Horn, p a i n t e r c u r r e n t l y at w o r k o n t h e s c r i p t
w a s o n e of t h e e a r l i e s t a n a l y t i c a l of a c a r t o o n f e a t u r e film, a n d a f t e r
essays on jazz p u b l i s h e d i n A m e r - years of p e r f o r m i n g J o p l i n , M o r t o n ,
i c a . H e a l s o c o n t r i b u t e d a fine s t u d y Pete J o h n s o n and N a t Cole, studied
" C o n s i d e r the C r i t i c s " to Jazzmen, with John Mehegan.
a n d has been w r i t i n g on jazz ever
since.
Frank Driggs has been d o i n g re- Studs Terkel reviews jazz and folk
search on jazz i n the southwest a n d m u s i c a n d b o o k s f o r the Chicago
w i l l c o n t r i b u t e a chapter on that area Sun-Times; is h e a r d on W F M T - F M ,
to a f o r t h c o m i n g h i s t o r y of j a z z c o - C h i c a g o ; and recently played a lead-
edited by A l b e r t M c C a r t h y and Nat i n g r o l e i n The View from the Bridge.
H e n t o f f t o be p u b l i s h e d b y R i n e h a r t
and by Cassell.
Larry Gushee, currently studying
m u s i c at Y a l e , i s a s a x o p h o n i s t a n d
l o n g - t i m e student of j a z z .
Guy Waterman is 2 6 , h a s w o r k e d
as a p r o f e s s i o n a l p i a n i s t a n d w r o t e
Andre Hodeir i s the a u t h o r o f Jazz:
two articles on ragtime for The
Its Evolution and Essence (Grove
Record Changer. H e is an economist
P r e s s ) , a n i m p o r t a n t b o o k of m u s i c a l
w i t h t h e C h a m b e r of C o m m e r c e o f
analysis. H e is a j a z z c o m p o s e r a n d
the U n i t e d States.
a r r a n g e r ; heads his o w n experimen-
t a l u n i t i n P a r i s ; h a s a p p e a r e d at
several E u r o p e a n jazz festivals; and
h i s Around The Blues w a s p e r f o r m e d
b y the M o d e r n J a z z Q u a r t e t a n d the
M o n t e r e y F e s t i v a l S y m p h o n y at t h i s
y e a r ' s first M o n t e r e y J a z z F e s t i v a l .
H o d e i r h a s w o r k e d as a p r o f e s s i o n a l
m u s i c i a n ; w a s t r a i n e d at t h e P a r i s P i a n i s t Dick Wellstood (who should
C o n s e r v a t o r y of M u s i c ; a n d has done be a m e m b e r o f the N e w Y o r k b a r
c o n s i d e r a b l e w r i t i n g f o r F r e n c h films. b y the t i m e this is i n p r i n t ) m a d e
his professional debut w i t h B o b W i l -
ber i n 1946, has w o r k e d w i t h J i m m y
Archey, R o y Eldridge, gigged with
S i d n e y Bechet, R e x Stewart, R e d A l l e n
Hsio Wen Shih, a n a r c h i t e c t a n d ex- a n d m a n y others. H e is a long-time
pert i n acoustics, is a student of the s t u d e n t o f " s t r i d e " p i a n o i n a l l its
music of m a n y cultures. manifestations.
THE JAZZ REVIEW

TOMMY DORSEY
T h e great D o r s e y group of the
Y E S INDEED!
late 1930s and early 40s p l a y i n g
TOMMY
DORSEY t h e i r biggest h i t s . F e a t u r i n g
AND HIS Frank Sinatra, B u n n y Berigan,
ORCHESTRA
Jo Stafford w i t h T h e P i e d P i p e r s .
12 selections, i n c l u d i n g Marie,
Star Dust, I'll Never Smile Again,
Song of India, Opus No. 1.
********
GLENN MILLER
M i l l e r ' s best, i n c l u d i n g Moon
light Serenade, In the Mood, Tux
edo Junction, String of Pearls,
American Patrol, Little Brown
Jug, St. Louis Blues, Pennsylvania
6-5000, (I've Got a Gal in) Kala-
mazoo, Boulder Bluff, Farewell
Blues, King Porter Stomp.
BENNY GOODMAN
T h e K i n g , his band and Quartet,
at t h e i r swinging best i n 11
masterpieces; w i t h K r u p a , Hamp
t o n , etc. Sing Sing Sing, One
o'Clock Jump, And the Angels
Sing, Stompin' at the Savoy, King
Porters Stomp, Bugle Call Rag,
etc. T h e o r i g i n a l versions.
DUKE ELLINGTON
D u k e ' s a l l - t i m e best b a n d ,
1940-42, w i t h Hodges, W e b s t e r ,
B l a n t o n , Stewart, W i l l i a m s , Car-
ney, Ivie A n d e r s o n , H e r b Jeffries.
16 tunes, i n c l u d i n g "A" Train,
I Got It Bad, Perdido, Cotton Tail,
Main Stem, Blue Serge, Flaming
Sword, Rocks in My Bed.
ARTIE SHAW
ARTIE SHAVV^ S h a w ' s two most successful b i g
bands i n 12 h i s t o r y - m a k i n g hits
recorded i n 1938-43. Includes
MOONGLOW Begin the Beguine, Nightmare,
Frenesi, Star Dust, Dancing in the
Dark, Temptation, Indian Love
Call, All the Things You Are,
Serenade to a Savage, e t c .
E x c i t i n g offer to n e w m e m b e r s
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ck^r5>^dXttmfl. ""-ws". continue, y . w o aumms ouy may
s
Name
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H e r e ' s a distinguished
sampling of the l a s t -
i n g l y great n e w jazz
to be f o u n d in the e x -
tensive Riverside c a t a -
l o g u e : LPs y o u ' l l be
listening to for a l o n g ,
l o n g time . . .

Max,
Roach

DH ds,

CHET BAKER, Sings: 12 great THELONIOUS in Action: ALABAMA C O N C E R T O : unique M A X R O A C H Q u i n t e t : the

standards by the West Coast Monk's quartet recorded at new c o m p o s i t i o n , f e a t u r i n g great drummer s swinging new
star. (12-2781 the 5 Spot Cafe. (12-262,1 Cannonball Adderley. (12-276) group. (12-280)