how many

of these great
CONTEMPORARY ALBUMS
are in your collection

ROUNDS!
n r T ? T F N , E H A U S

U C T E T . ^ mm

C3540 N i e h a u s , one of the top alto m e n

C3538 R e d M i t c h e l l , one of the nation's
f a v o r i t e bassists, in a s w i n g i n g p r o g r a m
o f modern j a z z classics b y P a r k e r , R o l l -
ins, etc. N e w s t a r J a m e s C l a y p l a y s tenor
& flute, w i t h L o r r a i n e GelLer, piano, a n d
B i l l y H i g g i n s , d r u m s . M i t c h e l l ' s bass solos
are s t a n d o u t s !
in jazz, long time leader of the K e n t o n
sax section, stars w i t h two s w i n g i n g
Octets f e a t u r i n g s u c h f a m o u s j a z z m e n
a s B i l l P e r k i n s , Pepper A d a m s , S h e l l y
Manne, F r a n k Rosolino, Mel Lewis, J a c k
Montrose, R e d M i t c h e l l , L o u L e v y , the
late B o b G o r d o n , etc.
C3542 L e r o y V i n n e g a r , a bass p l a y e r who
" w a l k s the m o s t ! " presents his first a l b u m
as a leader. F e a t u r e d on a selection of
standards w i t h a w a l k i n g m o t i f ("I'll
W a l k Alone," " W a l k i n ' M y B a b y Back
Home," "Would You Like To Take a
W a l k , " etc.) a r e T e d d y E d w a r d s , tenor,
Gerald Wilson, trumpet, Victor Feldman,
vibes, the late C a r l P e r k i n s , piano, and
Tony Bazley, drums.

Y o u get
m o r e , % i
b o u n c e
w i t h
C u r t i s \

5
C o u n c e L i

temporary C3544 B o b Cooper's extended " J a z z T h e m e

C3539 T h e C u r t i s C o u n c e G r o u p comes up
w i t h some West C o a s t " c o o k i n g . " T a s t y ,
w i t h plenty o f f u n k a n d s o u l . B a s s i s t
Counce's g r o u p includes ace t e n o r m a n
H a r o l d L a n d , trumpeter J a c k Sheldon,
the late C a r l P e r k i n s o n piano, a n d t h e
d r u m m e r Jo Jones calls " t h e best in the
country t o d a y , " F r a n k B u t l e r .
& F o u r V a r i a t i o n s " is a m a j o r w o r k by
a major j a z z m a n . Side two features
Coop's tenor in s w i n g i n g combo p e r f o r m -
ances ( i n c l u d i n g a n i n t r i g u i n g " F r a n k i e
& Johnny") with Victor Feldman, Frank C3541 V i b i s t , pianist, d r u m m e r , composer-
Rosolino, a n d a n a l l - s t a r r h y t h m section: a r r a n g e r F e l d m a n i s the most i m p o r t a n t
Eianist L o u L e v y ; M a x Bennett, bass; M e l
ewis, d r u m s .
B r i t i s h i m p o r t i n the f l e l d o f m o d e r n jazz.

rl n|ing f rom a driving

e ea r he re
b ^ t a n H f w S

tur e d " n " h i f l t l e ' J l l e c t t o n " l u i t f SlxFee'n^

a 8

T E C H N I C A L D A T A : These are full audible range high

fidelity recordings with guaranteed frequency response from 30 to 15,000 cycles - all the human ear can hear.
Engineered by jazz specialists to reproduce the true sound of the great jazz stars who record for Contemporary.
Masters are made in Contemporary's own studio on specially designed and constructed equipment. Custom made, noise-free,
vinylite "Gruve/Gard" pressings. For the collector's protection each album is factory sealed in a polyethylene
bag which when cut open may be used as an inner sleeve.
E A C H 12" H I - F I L O N G P L A Y I N G A L B U M , $4.98 A T D E A L E R S E V E R Y W H E R E

C O N T E M P O R A R Y R E C O R D S 8481 melrose place, los angeles 46, California

 DORIS DAY'S SING

1
A L O N G JOHNNYS
GREATEST HITS W I T H GREATEST H I T S ' *
M I T C H
MITCH MILLER AND THE GANG
NOT FOR M{ TO SAY - WILD IS THE WIND
COME tO WE WONDERFUL WONDERFUL
PLUS 6 OTHERS

HIT MARTIN PINZA

ANY SIX
SOUTH PACIFIC
88 " rfK.

NEW WORLD
SYMPHONY

DRIUMH FWUOELmU OJCK

KOSTELANETZ
mnumcMMK OF
REX HARRISON
JULIE A N D R E W S
MY PAIR LADY
$ 0 9 8
RACHMANINOFF
/ Original
^^-jt Broadway
Cast
if you join the Columbia Record
Club now - and agree to purchase only
5 selections during the coming 12 months
MOZART
Ikit REQUIEM * You receive ANY 6 of these 12" records for only $3.98
F R A N K I E LAINE * Your only obligation as a member is to purchase five selections
1 ' TP^T' *( SI MINSK B CHDR
I from the more than 200 high-fidelity Columbia and Epic records
to be offered in the coming 12 months
* In addition, after purchasing only five records you receive a 12"
Columbia or Epic Bonus record of your choice free for every
two selections you buy
* You enroll in any one of the four Club Divisions: Classical;
Listening and Dancing; Broadway, Movies, Television and
Musical Comedies; Jazz
Albert Schweitzer I ^ O O O ) J A Z Z WALTZES THE DESERT SONG
* Each month the Club's staff of musical experts selects out- TCHAIKOVSKY AND STRAUSS
BACH standing recordings from every field of music . . . music that
lm i.,1.1. .!.,,:>, deserves a place in any well-planned library. These selections
are fully described in the Club Magazine which you receive

1r
and fujii,'in C Mi,,, ||
free each month
Fugue m A Mina
Fantasia and Fugue * You may accept or reject the selection for your Division, take THE PHUAOEIPHII ORCHESTRA
uiGMma any of the other records offered, or take NO record in any EUGENE ORMANDY
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* You may discontinue membership at
EDDY DUCHIN any time after purchasing five rec-
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ords from the Club
k The records you want are mailed YOU'LL MIUMJMMLK NlbHISUHLAM
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CIRCLE THE NUMBERS OF THE 6 RECORDS YOU W A N T -
COLUMBIA @ RECORD CLUB, Dept. 28 1 " 1
I. Polly Bergen 15. Sing Along With 26. Tchaikovsky: Nut- 44. Pop Hit Party
TERRE HAUTE, INDIANA Mitch Miller cracker Suite; A dozen hit tunes per-
I accept your offer and have indicated at the right You Are My Sunshine, Ravel: Bolero, etc. formed by 12 pop art-
the six records I wish to receive for $3.98, plus small Sweet Violets, Don't Philadelphia Orches- ists - Day. Mathis.
mailing charge. Enroll me in the following Division Fence Me In 16 tra, Ormandy. cond. Laine. Bennett, etc.
5. 'S Marvelous favorites in all
of the Club: Ray Conniff and Orch. 27. Benny Goodman 46. Erroll Garner-
(check one box only) As Time Goes By, 16. Schubert Unfinished Let's Dance, Sing Sing Paris Impressions
Where or When, etc. Sing.Avalon.Moonglom Moulin Rouge, I Love
Classical Listening and Dancing Jan r . ? ^ r . . n t . v - 11 swing classics Paris, Left Bank Swing
Broadway, Movies. Television and Musical Comedies 7. Frankie Lain. Night's Dream 28. Romantic Music -8 numbers in all
Jezebel, High Noon, of Rachmaninoff 48. My Fair Lady
I agree to purchase Ave selections from the more than Jealousy, 9 more Andre Kostelanetz and Original cast recording
200 to be offered during the coming 12 months, at his Orchestra play this with Rex Harrison and
regular list price plus small mailing charge. For 10. Schweitzer-Bach R'om^s^operetta is haunting music Julie Andrews
every two additional selections I accept, I am to Includes 3 major Bach still a joy to hear
receive a 12" Columbia or Epic Bonus record of my organ compositions 29. Roy Hamilton 49. Waltzes of Strauss
choice F R E E 18. Beethoven: Emperor The "Big Voice" sings and Tchaikovsky
II. Johnny Mathis' Concerto Unchained Melody. Ebb
Philadelphia Orches-
Greatest Hits Casadesus, piano; New Tide, I Believe, 9 moretra, Ormandy, cond.
TVo Love, Chances Are, York Philharmonic,
FPlTas'e Print)
(Please Twelfth ol Never, 1Mitropoulos. cond. 30. Tchaikovsky: Swan
Look at You, 8 more Lake Ballet Suite
19. Eddy Duchin Story Philadelphia Orches-
12. Grofe: Grand Canyon Duchin plays The Man tra. Ormandy. cond.
State. This v i v i d musical 34. Ellington at Newport
City
painting has become 60. Music of Victor
CANADA: Prices slightly higher, an American classic Newport Jazz Festival Herbert - Faith
address 11-13 Soho St., Toronto 2B Suite, Jeep's Blues, etc. Dream Girl, A Kiss in
Tf vmi wUh tn have this membership credited to an estab- 13. Doris Day's -S y m pt n, " "' 2 D V
r

38. The Hymnal

: N e
the Dark, Gypsy Love
W O r

fished Columbia or E p i c r S o X d e a Y e r authorized to accept Greatest Hits
"ubscriptioiS please mi in the following: Doris sings 12 hits -
Love Me or Leave Me,
Ifs Magic, Que Sera21. $64,000 Jazz
Dealer's Name
14. South Pacific
Mary Martin and Ezio
Dealer's Address Pinza star in this or-
213
C o l u m b i a Records Sales C o r p . , 1950
S d i n r B a d
Norman Luboff Choir Song, 9 more
IrT^dy^ofr sings 12 beloved hymns
-Let Him In, Sweet
61. Rossini: William
Tell Overture, etc.
Hour of Prayer, etc. Six stirring overtures
13 Jazz Greats per- 39. Firebird Suite; and marches
forming Honeysuckle
Romeo and Juliet 62. Frank Sinatra
Rose, Perdido, etc. Two colorful scores A dozen songs-Blue
^ w ^ i W a r - Skies. The Nearness ol
wmonlc, Walter, cond.
a y c a s t a n d N ^ p S l S o m c You, Mean to Me, etc.
,0 d n

" C o l u m b i a , " g), " E p i c , " Marcas R e g .

K-41

It has become urgent that the critics of
the Newport Jazz Festival presentation at
the A m e r i c a n Theater at the Brussels
W o r l d F a i r last August be answered. T w o
critics in particular, Nat Hentoff and
R a l p h Gleason have several times devoted
space to attacking the A u g u s t jazz week.
Neither of these men was in Brussels.
T h e v d i d not hear one note of music and
have very lit le idea of what actually hap-
pened Hentoff's views are undoubtedly
clouded bv his avowed disapproval and
diseust w i t h L Newport J a z z ^ F e s t i v a l
SXckMon^LdPbSS* l e a n X o *
entirelv on \hT unfavorable reoort of
Howard T a n b m l n m^sic critic for the
New Y o r k Time, Rentnff a7sn nuotes a
Belgian writer^ Y a n n i c k Bruynoghe
Gleason and Hentoff committed the car-
d i n a l sin of not gathering all the evidence
when it was necessary for them to make a
report on an event second-hand. No one
has as yet called me the Producer of the
jazz week at Brussels to find out why a
man like T a u b m a n criticized our program.
Neither has any of the other participants,
namely W i l l i s Conover M a r s h a l l Brown
Sidney Bechet Teddy Wilson Sarah
V a u e h a n 7r the other musicians been ap-
proached As lone as Uiese men d i d not
have the c o u r t e d to investigate further
what hannened ^t B r u s s e l s b e f o r e thev
n,7hed to the aftack A e n I must a k l
the time and let the few neonfe that
might be interested know what r e S y ha
pened.
Most important, the program was an un-
qualified success. If a Broadway show re-
ceived the acclaim that the Belgian press,
both F r e n c h and F l e m i s h , gave our pro-
gram, it would be good for a two year
r u n . T h e musicians involved are still talk-
i n g about the wonderful week of jazz in
Brussels. T h e audience reaction was more
than warm and enthusiastic and the music
was excellent N o w here are a few Ques-
tions that should have beenaskedTbefore
Messrs Hentoff and Gleason recorded
the commens W h v was the Newport
J a a F ^ s U v a T a s k e d b v The State D e X t
m e m t o u t o n i h T o r o L a m T a f the B n , e k
W o r d Fair' Whv when if an
ican art f o r m / i A an W t i a l Ta
Rand o f S f m t r i J f . J%
vJhl TiJr v; e m e r i c a n a
" ,
e
B u c k Clayton, V i c Dickenson and the
others who appeared at Brussels? W h y d i d
a classical music critic, H o w a r d T a u b m a n ,
choose to be so h a r d on a jazz concert
involving some of the greatest names m
the history of jazz? T h e Newport Jazz
Festival, due to the immense amount of
work done in E u r o p e in organizing the
International Band, and the constant
stream of publicity given to it by W i l l i s
Conover in his V o i c e of A m e r i c a broad-
casts to E u r o p e is the best known jazz
organization in the U n i t e d States.
The State Department was
this. T h e Newport Jazz Festival is the only
4 T H E
Letters
a manifesto from George Wein
non-profit organization in jazz of any
stature. Most important, of course, is that
Newport guaranteed to underwrite 50 per-
cent of any losses that might be i n c u r r e d
in the jazz program at Brussels. If any
profits resulted they were to be turned
back to the State Department with the
idea that these Drofits were to be used to
finance the^presentation of more jazz at
Brussels Actually a loss of $690000 re-
sulted from the e n L e e m e n T h e 'reason
for this w^s the s T r W m e n f . desTre
0 ^ 7 ! ^ n r i r i for the c o n c e r r I t
, not de7n Fact o f a t t e n d a n c e a V h o *
$3450 00 Department the sum of
Incidentally, in reference to M r . Hent-
off's statement in the first edition of The
Jazz Review that, "the Newport Festival
cannot present intelligent programs over
a long weekend," jazz promoters all over
the country and, for that matter, a l l over
the world have been quite content to fol-
low the lead of the " u n i n t e l l i e e n t " pro-
gramming at Newport
Nationalistic propaganda and interna-
tional good w i l l are the intent of a W o r l d ' s
F a i r . E a c h nation builds its exhibit with
this in m i n d . Jazz, unlike any other art
form is exclusive to A m e r i c a However,
whether we realize it or not, jazz has be-
come an important A m e r i c a n export In
fact in many countries particularly be-
hind the Iron C u r t a i n the A m e r i c a n export
commanding the T r e a t e d respect i i a z *
T h e immense p r e s ^ c o v e r a e e received T v
M a r s h T B r o w n and mvself In the 14 coum
t r i e s v i s t e d l b ? u f i n S u i t W the C e r
national B a n d had a HZTimnact o n T h e
cultural attaches i n fhe,e r o , ntrfe, a n d
a result on the S t a t e n " 2 " . *ZJi
different countries that would watch and
hear about the International B a n d s ap-
pearance at the Brussels jazz concert
would be of inestimable value. Yugo
slavia H u n g a r y and P o l a n d were repre-
Wr
sented in this band. T h e State Department
was only sorry that Russia and Czecho-
slovakia d i d not have representation. one might merely ask N o r m a n G r a n z what
Perhaps the International B a n d was a
stunt or gimmick as Hentoff and Gleason
s
S l d
e y
are so quick to quote from M r . T a u b m a n .
If so, it was a good one and an important
one. T h e impact of this venture w i l l be
felt for many years in E u r o p e One needs
only to read the heart-warming letters
M a r s h a l l B r o w n has received from the
members of the band to fully realiz? this
1 really can't understand why so many
critics chose to be so rough on M r . B r o w n
a n d the music played by the band. Per-
sonally I don't think any other man in
A m e r i c a could have even approached the
job B r o w n d i d on this gigantic project
I'm not sure that people quite realize the
aware of enormity of taking 16 musicians from dif*
ferent countries and backgrounds u W b l e
even to converse with each other in a
common language, and in two short weeks,
prepare a f u l l hour concert for Newport
that C o l u m b i a Records feel is of a quality
good enough to release as performed. A c t u -
ally by the time the band finished its 6
day stint in Brussels it was swinging so
cohesively that it was a shame it had to
be disbanded.
R a l p h Gleason in the August 16th edi-
tion of the Los Angeles Mirror News
writes, " J u s t think what might have been,
had the State Department taken the $25,
000.00 Variety reports the International
B a n d costs and used it to bring over say,
D u k e E l l i n g t o n , Dizzie Gillespie, Woody
H e r m a n , T h e M o d e r n Jazz Quartet, Dave
Brubeck, M i l e s Davis and George Shear-
ing."
Now R a l p h Gleason is one of my favorite
writers in jazz. He likes to call himself
the last of the crusaders. It is difficult for
me to believe he is so completely unaware
of the realities in the hiring a n d presen-
tation of jazz artists. F i r s t of a l l , the
$25,000.00 figure was the budget for the
entire 6 day program. It included fees a n d
transportation for Sarah Vaughan, V i c
Dickenson, B u c k Clayton, Sidney Bechet,
T e d d y W i l s o n , A r v e l l Shaw, Kansas Fields,
W i l l i s Conover, M a r s h a l l Brown a n d my-
self, plus the International B a n d . T h e
stark truth of the matter is that the
amount of money involved would hardly
have acquired the services of the first
name on his list, D u k e E l l i n g t o n , for the
6 day period at Brussels.
F o r an orchestra's translatic trip there
is the question of round trip transporta-
tion for a m i n i m u m of 20 people. It would
be difficult to keep this figure under
$10,000.00. I'm not sure what Ellington's
price would be but a low estimate for a
F . i i r o n e a n a n n e a r a n c e would h e W O O 0 0
per day (2 concerts) T h e n we m u s t ^ U o w
for the fact that Ellington wM not fly so
^mecnmnen^tinn Z , k . n l n V for th.
2 , l l T l Wda needed for a rnnnd
Z l ocean
trip Z n l voyage.
l r i 1 ddon
o n ' tt t h i n k weI have
think T ,
<%n Er -Hl
e r
fa p h , l c a l , y l u s t r a t e w h a t
$25,000.00 w i l l buy for a European en-
gagement. F o r confirmation of these figures
it cost to send E l l i n g t o n to E u r o p e on his
recent tour.
Now, as to how the program was ar-
rived at that played at Brussels, here are
the facts. Sarah V a u g h a n was on a four
months tour of E u r o p e and worked the 6
days at a fee equivalent to her U n i t e d
States night club price Sidney Bechet
A r v e l l Shaw and Kansas F i e l d s were also'
in Fnrnne Vic TlirlrKncnn nrl Riiot n<i
on weSfrivra^ t n m ^ o r t T t i o r a n d f w e e K
pay t o n l a v J 3 T Sklnev When S a m m v
Price orillnalTv scheduled t o Z v Z Z
w i t h ! d T S l T r n * i n , t n A n S
a r t U r T e d d v wflsonWished to t a k e T v ? a
tio" for nimsen
himself ana
and ms
Ws w
wife
e AAfter he sun-
t t e r he suh'
J A Z Z R E V I E W
 The new Contributors:

Jazz Joachim Berendt, one of the lead-

i n g jazz critics in Europe, was born

Reve
iw
in B e r l i n in 1922. Since 1945, he
has been w i t h the Southwestern Ger-
man R a d i o .

VOLUME TWO, NUMBER ONE January, 1959 Rudi Blesh is a well-known writer
on jazz. H i s book, Shining Trumpets,
has recently been reissued w i t h ad-
d i t i o n a l material on recent develop-
Contents: ments in jazz.

E r r o l l Garner b y M i m i Clar 6 Jimmy Giuffre is the multiple reed-

G a r v i n Bushell and New Y o r k Jazz in the 1920s by N a t Hentoff 11 man and composer who is develop-
K a t z and Jammers by the Staff 14 i n g his own distinctive body of m u -
The School of J a z z : Faculty views sic. He is a faculty member of The
by J i m m y Guiffre 16 School of Jazz.
by Bob Brookbemer 16
P l a y w r i g h t Joe Goldberg reviews
Student Views
regularly for Jazz V Pops and The
by Tupper Saussy 17
American Record Guide
by M. Arif Mardin 17
German R a d i o : Jazz as P u b l i c Service by J o a c h i m E. Berendt 20 Benny Golson is a tenor saxo-
T h e Negro C h u r c h : Its influence on M o d e r n Jazz, melody by M i m i Clar 22 phonist and composer-arranger. He
Monterey Jazz Festival 1958 by D i c k Hadlock 26 has played w i t h D i z z y Gillespie's
R e v i e w : Recordings former b i g band and is currently
C e c i l T a y l o r by Gunther Schuller 28 musical director of A r t Blakey's Jazz
R a y Charles b y M i m i C l a r 32 Messengers.
R a y Charles and H a r r y Belafonte by Joe Goldberg 32
34 Clarinetist Dick Hadlock was
J o h n Coltrane by C e c i l T a y l o r
34 formerly editor of The Record
M i l e s D a v i s by Benny Golson
35 Changer and is a regular contribu-
Duke E l l i n g t o n b y M i m i C l a r k
J i m m y Lunceford and B i l l y M a y b y B i l l Russo 35 tor to Down Beat and Jazz.
Sonny R o l l i n s by Benny Golson 36 T. P. Hoffman is a research chem-
C l a r k T e r r y by Glenn Coulter 37 ist w i t h Esso Standard O i l Company.
Jean Thielmans by Bob W i l b u r 38 He has been conducting a study of
Gospel S i n g i n g b y M i m i C l a r 38 the repertory of jazz 1930-40.
The D r i n k a r d Singers, A n i t a O ' D a y , June C h r i s t y , C h r i s Connor,
M e l T o r m e , and Jackie P a r i s by Glenn Coulter 39 M. Arif Mardin, a T u r k i s h musi-
Reconsiderations 3 ( K i n g Pleasure and A n n i e Ross) by H. W. S. 42 cian and composer-arranger, has
The Blues 43 been studying at the Berklee School
Reviews: Books of M u s i c in Boston. Several of his
R e x H a r r i s and B r i a n Rust, Recorded Jazz, a Critical Guide arrangements have been prformed by
J o h n S. W i l s o n , The Collector's Jazz, Traditional and Swing A m e r i c a n bands.
by R u d i Blesh 44
by T. P. Hoffman 44 Tupper Saussy of G e o r g i a and
Jazz i n P r i n t 46 F l o r i d a attended The School of Jazz
d u r i n g its first session, August, 1957,
and was pianist at the P o t t i n g Shed
Editors: Nat Hentoff, M a r t i n W i l l i a m s on the grounds of M u s i c Inn d u r i n g
The School's second session.
Publishers: L e o n a r d F e l d m a n , Israel Y o u n g
Art Editor: Hsio Wen Shih Cecil Taylor, a pianist and com-
Advertising Manager: Richard Joseph poser, has performed at the Newport
and Great South B a y Festivals,
Production Manager: Hortense Geist
Cooper U n i o n and the F i v e Spot in
E d i t o r i a l Assistant: Margot Wolynski N e w Y o r k , and other clubs. N e w al
bums by h i m are due shortly on C o n -
temporary and U n i t e d Artists.

The Jazz Review is published monthly by Bob Wilbur led his own Wildcats
in the mid-forties and in the fifties
The Jazz Review, Inc.,
was a member of The S i x , the Condon
Village Station, P.O. Box 128, New York 14, N. Y. house-band, and Bobby Hackett's
Entire contents copyrighted 1958. group.

JANUARY 5
 To analyze the output of E r r o l l
Garner involves an examination of
not one but several styles of playing.
Perhaps more than any other jazz
p i a n i s f he has continued to develop
and create anew F r o m f a i r l y simple
b e g i n n i n g Garner has forged ahead
E R R O L L to produce an e v e r - i n c r e a L g com-
p L ^ t v of ideas and sounds But no
mauer how radical the style change
Garner a ^ l v s manages to place the
G A R N E R u S L k a b l e f i m T r i n t o f his person
a l i l y on all 1bis work
Three m a i n influences or roots are
discernible in Garner's style; namely
by Mimi Clar ragtime, Impressionism, and H a r l e m
stride piano like that of Fats Waller.
The lush harmonies and dreamy
meanderings of E r r o l l ' s slow ballads
come from Impressionism. The bounce
and eaietv of his up-tempo tunes come
from ragtime The robust vitality and
sly humor which permeate his play-
i n g come from Fats W a l l e r and the
s t r i d r s c h o o L It must be observed
that these roots are ourelv vianistic
ones rather than W b S a r d L t o o S
I have divided E r r o l l ' s style into
the following categories, each best
exemplified by certain tunes. (These
styles are not necessarily in chrono-
logical order.)
Style Characteristics
1. Stride influence: swing, bass, grace
notes, tone clusters, consecutive
tenths in bass.
2. E a r l y swing bass style in middle or
up-tempo; own sound starts emerg
ing.
3. F l o w i n g style: much pedal used,
swing bass, tenths.
4. L a t i n style: beguine beat, left-hand
melodies and arpeggios.
5. Impressionistic style: slow ballads,
f u l l chords, runs, lush sounding.
6. Bop style: concentration on right
hand, closest approximation of horn
playing.
7. Contemporary style: 4 staccato
chords in left hand, much bounce.
8. V e r y slow bounce style: beats sub-
divided into small parts.
9. M a m b o style: mambo beat.
10. Orchestral style: ever-increasing
fullness and variety of pianistic
devices.
THE J A Z Z REVIEW
 Recordings
1. Easy to Love (Gaslight album
on D i a l )
2. F o r Y o u (Mercury A1034)
3. Always (Mercury MG 20009
A); It Don't Mean a Thing...
(Columbia C L 6209)
4. Where or When ( M e r c u r y
5 0 0 0 - A ) ; I've Got You Under
My Skin (Mercury MG
20009 A )
5. Laura (Columbia C L 6 1 7 3 )
6. Blue Lou (Modern 2 0 - 6 4 0 B ) ;
Bird's Nest (Charlie P a r k e r ,
D i a l 905)
7. Caravan (Columbia CL 535)
8. I'm in the Mood for Love
(Columbia C L 6173)
9. Mambo Moves Garner album.
( E m A r c y M G 20055)
10. The Most Happy Piano album
(Columbia C L 9 3 9 ) ; Concert
by the Sea album ( C o l u m b i a
C L 883)
JANUARY
The most satisfactory approach to
a study of Garner's style in general
w i l l be to examine it with regard to
melody, harmony, r h y t h m , tone color,
and emotional expression!
Melodically, Garner employs just
about every possible device in his i m -
provisations. Both hands play melodic
roles: left-hand patterns, crossed-hand
fabrics, and alternation of melodic
fragments occur frequently. In single-
finfer melodies Garner employs
grace-notes triplets appoggiaturas
double-appoggiaLas ascending and
descending frpeggios' chromatic and
S o n i c ^ a S ^ ^ t o n i c ^ and
repeated notes {lTZScl\^LlZ
at end of article)
Repetition of melody notes is one of
the earmarks of Garner's style; notes
or chords are repeated two or three
times per beat. Below is a line from
Please Don't Talk About Me When
I'm Gone as it is written, and as Gar-
f t y e d f e y &<"rer
ner would play it.
( M u s i c a l Example 1:
Please Don't Talk.. .)
Garner's melodies are often chordal.
When they are, the chords may be
tremoloed or b r o k e n ; they may be
presented in locked-hands style; they
may be thirds, fourths, or filled-in
octaves used chromatically, diatoni-
cally, or in parallel m o t i o n ; or they
may be employed in contrary motion
in both hands. The chordal melodies
are executed with the same facility,
at the same rate of speed, and within
the same stylistic framework as are
his single-finger efforts.
A favorite trick of E r r o l l ' s , and an
example of his omnipresent sense of
humor, is to b u i l d a series of crashing
chords to a tremendous crescendo,
then suddenly to break off (at what
should be the all-out climax) into a
high, pianissimo, delicate single-finger
line
 The principle of canon is applied Cara\lai\ * canon +Vi-ou *ie>uT Struct v< A
continually in Garner's lines One poll tc.lU, - Ok *
idea is restated with slight variation
throughout the entire chorus. E a c h
motif is developed to its fullest extent. k
{Caravan in C o l u m b i a CL 535 is full j-
4
of canonic figures.)
E r r o l l usually improvises around
the melody of a song. A l t h o u g h not
always literally stated, the melody is
always readily apparent just beneath
the surface of what is being played. chromatic *cl<
As E r r o l l himself says, "I like to play * f f
certain tunes because of their melody. m
W h y should I disguise that m e l o d y ? " 1

Even in his i n i t i a l statement of a tune n

as written, Garner's own fill-ins seem
to perpetuate rather than punctuate r*r 1> >/
the melody; the breaks in melodic
Dhrases are' bridged with structural % 1,

I *

2fe2.g^thata*,^S^tSTS.
H a r m o n i c a l l y , Garner employs de-
vices which are i n d i v i d u a l sounding.
He utilizes certain techniques of I m -
pressionism and bebop. L i k e Debussy,
Garner uses thirds and fourths, paral-
lel chords and chromatic modulations
auite liberally These Impressionistic
harmonies impart a delicate, misty,
U a n ^ r e n t quality to much of his
slow work which has been referred
toTs C t e ' r f a l l music." 2
L i k e the boppers, Garner uses sec-
onds, very r i c h chords, passing and
substitute chords, and voicings with
altered notes. He takes f u l l advantage
of polytonal harmonies, tone clusters,
pedal points, inversions, ninths and
tenths. He translates the everyday
sounds around h i m into his own
musical terms:
" T h e harmony I just hear or feel as
my own. Things I see every day and
hear I combine into my music. The
sound is the way I adjust myself to
l i v i n g in that city at that time. Cities
have different sounds and there are
different things I feel good about be
cause I can hear them. I got a wide
expansion of hearing, please believe
me!" 3
between the two hands. Of this trade-
mark, Garner says. 4
" I t creates excitement. It's h a r d for
me to explain what I do, but when I
play I try for a sort of underneath
beat, if you know what I mean. It's
strictly a feeling. I guess the closest
thing to describing it is that instead
of being a drive it's k i n d of an extra
drive like Fats and J i m m i e Lunceford
used to have."
E r r o l l ' s left hand pattern is of i n -
terest. Basically, it looks like this on
paper: ( M u s i c a l ex. 2: left-hand)
It is varied by adding extra accents
or bv placing stresses at contrasting
places in different measures. Sudden
accents are liberally employed.
' r
3 r
J B E r f
Garner divides each beat in his
right hand into three parts. Generally
but two notes are played per beat.
These notes are equal in time value.
What results from this triple division
of the beat is a series of triplets with
missing middle notes. The figure is
notatedthus:
D u r i n g very slow ballad renditions,
he further subdivides the beat into
four or even six parts. T h i s is done
in his recording of Penthouse Ser-
enade:
M u s i c e x . 3 : "Penthouse")
The slow-bounce ballads are notable
for Garner's suspension of the beat
in m i d - a i r , which gives his entire
performance a volatile, up character.
- i
C

5E TT*
This expansion of hearing has pro-
duced harmonic effects which con-
stitute Garner's very own sound. H i s
chords seem to come out of the cracks
of the keys and his voicings make one
wonder if he has had a special piano
designed to fulfill his own aural con-
cepts.
Rhythmically, one of the most
unique things in Garner's playing is
the delayed beat or lag of his right -h-A
hand behind his left. H i s left hand 1
Hentoff, Nat, & Shapiro, Nat, Hear Me Talkin' To Ya (New Y o r k :
keeps the main pulsation going with Rinehart, 1955), p. 365.
staccato chords while his fight hand 2
A l b u m notes, Erroll Garner Gems, C o l u m b i a CL 6173.
retards the melody almost a full half- 3
Down Beat, 23:16 ( A u g . 8, 1 9 5 6 ) , p. 10.
beat behind. This sets up a polyrhythm 4
Metronome, 71:1 ( J a n . 1 9 5 5 ) , p. 14.

THE J A Z Z REVIEW
 E r r o l l frequently switches meter or
tempo in one selection. He may go
from an ad-lib chorus into a very
fast up-tempo section, or from a
L a t i n beat he may settle into a firmly
r o c k i n g 4 / 4 groove. E r r o l l has the
ability to carry off these extreme
temDo chanees vet maintain a rhvth-
m k b a W m l a u S o f thematic
material w h i l e l i n g s o
A l s o heightening Garner's rhythmic
interest are polyrhythmic patterns
such as those in But Not For Me
( C o l u m b i a CL 939) ; and his favorite
block chord rhythmic pattern (found
in Will You Still Be M m e ? - C o l u m -
bia C L 535) :
(Music ex. 4: " W i l l you . ..")
Tone color or timbre is an aspect
of style usually reserved for the
analysis of horn players. But tone is
as much a part of the Garner sound
as it is a part of any horn man. To
get " b l u e " or " d i r t y " intonation on
the piano is not an easy task, since
the pitch of the instrument is fixed.
But to Garner this poses no problem.
He achieves blue (that is slightly
flat) intonation by sliding into chords
from a half-tone below, like SO *
( M u s i c a l Example 5: blue tone)
He can obtain further blue sounds
through subtle use of the pedal which
he employs generously at times and
from which he breaks sharply at
appropriate moments. Tremoloed
chords, sharp contrasts in color,
r a n g e / a n d volume, and the actual
banging of the keyboard with the
left hand further enhance his tonal
palette.
At slow tempos, the Garner sound
may be described as s h i m m e r i n g ; at
faster speeds, the sound becomes
kaleidoscopic, constantly shifting and
cascading into new combinations.
E m o t i o n is the key to E r r o l l ' s i n -
dividuality. Though scores have
copied his technical devices, few suc-
ceed in capturing the Garner per-
sonality, which permeates his work
and which envelopes his audience.
T h i s personality is sometimes l y r i c ,
delicate, and t r a n q u i l ; sometimes
iauntv, vigorous and ebullient- al-
ways warm and overflowing with
good humor. As E r r o l l himself firmly
states "I feel what I'm Dlaving " H i s
own enjoyment and confidence in h
work f i l t e r through t o h h audience
A s k h i m who hi f a v o r i t e piano lay-
" W e l l , I like the w a y ' I play, you
know, and I've got several I like to
listen to. T a t u m , Powell, W i l s o n , I
like to hear them, all of them. But I
don't get carried away. Y o u know
what I mean ? Not to the point where
I go home and want to play like
them." Y
JANUARY
NEGRO
FOLK ELEMENTS
IN T H E
GARNER
STYLE
Though modern jazz has become a
highly sophisticated and involved
form of music, and though the G a r -
ner style sounds and is extremely
complex, E r r o l l himself may be com-
pared to a folk musician in many
respects.
The fact that he doesn't read music
contributes to his "folk" status, as
does the fact that he is able to im-
provise so freely. He is completely
unhampered by the do's and dont's of
formal music traininghis lack of
acquaintance with theory has en-
abled him to transcend the limitations
which might have been imposed upon
him by tradition. What results is a
highly personal original product
unique in its rhythmic melodic and
harmonic aspects T h i s playing by
instinct counted with the abilify to
a S T and spontaneity in Garner's
work L i k e S e f S k music no two
E r r o l l G a r n e r ^ r L S t L T a r e alike
Of course, Garner is a folk musician
in that he arouses such a high degree
of participation from his audiences.
5
Go to any club or concert hall where
Garner is appearing and you will see
the entire audience tapping its feet to
his rhythm, laughing at his humorous
musical statements and held com-
pletely spellbound by the warmth and
exuberance of his personality. E r r o l l
obviously derives so much enjoyment
6
Down Beat, A u g . 8, 1956, p. 10.
6
Ibid.
from his own playing that he com-
municates this spirit to his listeners.
He is completely uninhibited as he
performs: his own humming and out-
cries of pleasure are as much a part
of the Garner sound as is the music
itself.
The technical folk elements in his
style are readily apparent. H i s use
of repeated notes, tremoloed chords,
and triplet patterns is in keeping with
the use of these techniques in Negro
folk music. Often he will tremolo a
chord for several beats and follow it
with an accented descending figure,
as in There Is No Greater Love:
( M u s i c a l Ex 6- " Greater L o v e " )
T h i s figure corresponds to the voice
drop at the end of vocal lines so com
mon anions Neero folk sinsers Like
folk singers
ends a melodic phraSeon an upbeat
a feJbeats o h c a n T t e n d one note
over a number of beats abo a feature
o T ^ o T o l k music
The elements of antiphony and
blue intonation are present in most
Negro folk products. They may be
found in Garner's playing also.
E r r o l l ' s style is antiphonal in that
ofttimes there is a definite dialogue
between his hands or between the
statements and answers in his mel-
odies. E r r o l l achieves the character-
9
istic flat sound of Negro music by
utilizing tone clusters, grace notes, POSITION
blue notes, and such unorthodox pro-
cedures as crashing with the fist and
banging with the palm of the hand in
the lower registers of the keyboard.
OF
E r r o l l ' s lines illustrate another trait
of Negro folk m u s i c : the p l a y i n g of
notes for rhythmic rather than for
E R R O L L GARNER
melodic purposes. Sometimes his
notes are such that their melodic sig-
nificance becomes neutralized by the
EV
sheer onslaught of his rhythmic drive.
One peculiarity of Garner's style
can be traced back to Negro work
JAZZ
songs. M a n y of the latter seem to
have an irregular number of beats
between each sung statement of the HISTORY
worker. This same irregularity occurs
in such Garner recordings as Pent
house Serenade and I'm in the Mood
For Love, in which the first beat of E r r o l l Garner cannot be pigeon- " . . . I found that the slow tunes,
the measure is followed by a silence holed into any particular style of jazz, especially the medium slow tunes, d i d
that appears to be maintained for too though his career began d u r i n g the more for the development of jazz than
lone a period before the second beat bop era. Strictly speaking, he is a any other type, due to the fact that
is realized. modern pianist in that he takes ad you could always hit a note twice in
L i k e work song leaders who would vantage of the r i c h harmonies, poly- such a tune, when o r d i n a r i l y you
incorporate events of the day into tonalify frequent modulation and could hit it once, which gave the
their songs, Garner often gets ideas altered melodic tones used by modern music a very good flavor."
for compositions from objects or iazzmen Though his style fits in with Here is a perfect account of the re-
scenes which happen to attract his h a H f the modernists Garner is in a peated notes so prominent in E r r o l l ' s
attention. Pianist M a r y L o u W i l l i a m s class b y h i n S a s i Duke E l l i n g t o n . work today.
tells how As was pointed out in the analysis of Garner's future endeavors w i l l
". . . Garner made a habit of going E\roU's style hs playing contains probably involve more and more of
over to Inez Cavanaugh's apartment, traces o f S i m e and H a r l e m stride a development along the orchestral
an i n s p i r i n g spot for musicians, where oTano w h S Tall w i t h " t h T adi- lines with w h i c h he has lately begun
E r r o l l used to play and compose all 3'ia*category ^ to experiment. H i s own declaration
dav he once sat gazing at a sub- bears this o u t : 11

dued table lamp of hers, then com-
posed something to fit the mood,
which he entitled Lamplight."*
E r r o l l ' s improvisations exhibit a
good deal of the qualities of Negro
church music. H i s left hand pattern,
for example, is by far the most com
mon one used by organists as well as
drummers to keep the beat going
during church services. H i s right hand
chord construction, consisting of
similarlv-structured chords in parallel
motion- ( E x . 7: parallel chords)
- a n d the rhythmic flow of his lines
are used by pianists in churches and
on gospel recordings such as I'm
Too Close To My Journey's End by
the Greater Harvest Baptist C h u r c h
Choir
Just as in slow tempos E r r o l l d i -
vides the beat into many parts, so do
Negro church artists. A final parallel
may be noticed in a comparison of
Garner's block chord rhythmic pat
tern
(Use M u s i c E x . 4 here: left-hand)
with an excerpt of Jesus Gettin Us
Ready For That Great Day from a
service at the Temple of the Holy-
Ghost and School of Instruction in
Los Angeles; 8
modern ingredients G a m e r rejre-
l
i n k t w e e n the present and
g
b e
past ir..jazz
Garner can be classified with L o u i s
A r m s t r o n g and Fats Waller, the two
great humorists of jazz. L i k e his
predecessors, E r r o l l can make jazz
out of anyth ng. He says, "I can play
Mairzy Doats and make you l i k e i t . "
Jelly R o l l M o r t o n , the New Orleans
p i a n i s l and self-named authority of
jazz, made an interesting statement
which has been carried out to the
letter by E r r o l l Garner. He s a i d : 1 0
"There's those 88 keys! The guy
who made it must have had some-
thing in m i n d . I've always felt a piano
was to be as f u l l as possible. If I had
13 fingers I'd be t r y i n g more. Always
t r y i n g to get a band sound . . . that's
what I ' m w o r k i n g f o r . "
E r r o l l occupies an important posi-
9
tion in jazz history since in his
p l a y i n g , he maintains elements of
traditional jazz while developing the
resources of modern jazz. Out of this,
he manages to emerge a completely
o r i g i n a l f n d i n d i v i d u a l performer.
* 4 ~ t *
T -4- <*~ J- ~ ~~
+ *T 7 V t ~

(Music E x . 8: H o l y Ghost)
 Garvin Bushell
and
New York
in the 1920's
by Nat Hentoff
G a r v i n Bushell was born in S p r i n g -
field, O h i o , September 25, 1902. Both
his mother and father were singers
and voice teachers. An uncle played
clarinet in a circus band. Bushell
grew up in Springfield u n t i l 1919
when he settled in New Y o r k .
One of the early Springfield bands
he remembers was the W i l l i s and
W o r m a c k unit which included tenor
saxophonist M i l t o n Senior. " H e was
about the first tenor saxophone any-
one in that area h a d heard. He
eventually ioined the M c K i n n e y Cot-
ton Pickers When I got to New Y o r k ,
I was told about N a p p y Lee, who
was said to have been the first' saxo-
^nirtherrabouri910
" W e didn't call the music jazz
when I was growing u p , " Bushell
says, "except for the final tag of a
number. A f t e r the cadence was
closed, there'd be a one bar break
and the second b a r was the t a g
5, 6, 5, 1. S o l , l a , sol, do. D a d a -
da D U M ! That was called the jazz.
T h e first time I saw the w o r d was
on E a r l Fuller's record of Oh Miss
ZL/ane a r o u n d 1 9 1 6 T h e label
saTd E a r T F u l l e r " Jass band A r o u n d
he same vear I also heard a song
thatwTcaS
" R a g t i m e piano was the m a j o r i n -
fluence in that section of the country.
Everybody tried to emulate Scott
JANUARY
Jazz
J o p l i n . T h e change began to come
around 1912 to 1915 when the four-
string banjo and saxophone came i n .
The players began to elaborate on the
melodic lines; the harmony and
r h y t h m remained the same. The pa-
rade music in Springfield was played
by strictly m a r c h bands, but there
was instrumental r a g t i m e - a n d im
p r o v i s a t i o n i n the dance halls.
"I started on piano when I was
six and continued for four years. I
took up the clarinet at 13. Another
uncle was a pianist, a devotee of
Scott J o p l i n , and Maple Leaf Rag was
one of the first things I heard. Peo-
ple then were also p l a y i n g the fast
western, what later came to be called
boogie-woogie. It meant a fast bass,
and it was said to have come out of
Texas.
" W e first heard instrumental rag-
time in the circus bands w h i c h usu-
ally had about 14 menbrass, c l a r i -
nets and rhythm. They were Negro
hands; the players i m p r o v i s e d ; and
they played blues. They traveled all
over the country, but the men in the
band were mostly from F l o r i d a , Geor-
g i a , Tennessee, L o u i s i a n a . I don't
know how my uncle got in there. I
don't know when they started, but in
1912, my uncle was in his 30s and
he'd been playing in circus bands
nearly a l l his l i f e . "
Bushell started to go to W i l b e r -
force University a n d d u r i n g the sum-
mer vacation, he played in tents and
theatres as part of the band for OV
Kentuck'. " I n the shows, we played
and improvised on pop tunes and all
of Scott J o p l i n . Everybody played
Scott differently. The main theme
would be stated, but then everybody
d i d little things of his o w n . "
L e a v i n g Wilberforce, Bushell went
to New Y o r k in 1919 to stay. " T h e
Negro dance bands I heard were
often from 30 to 50 pieces. They
played dance music at places like the
New Star Casino on 107th Street and
Lexington and at the Manhattan C a -
sino, now Rockland Palace. There
were sometimes 20 men playing ban-
dolins, a combination of the banjo
and v i o l i n that was plucked. A m o n g
the leading conductors were John C.
S m i t h , A l l i e Ross (who later con-
ducted Blackbirds), Happy Rhone,
and F o r d Dabney who had been in it
from the beginning and was much
bigger than J i m Europe.
" T h e y played pop and show tunes.
The saxophone was not very p r o m i -
nent as a solo instrument, but the
trumpet, clarinet and trombone were.
The soloists, especially the trumpet
players, improvised, and those trum-
pet players used a whole series of
buckets and cuspidors for effects.
11
Tx.
The hands played foxtrot r h y t h m
and s t i l l adhered to the two beat
rhythmic feel. The jazz bands, how-
ever, that I'd heard in Springfield
or had heard about played in four.
The Creole B a n d with Freddie K e p -
p a r d and Sidney Bechet had come to
New Y o r k around 1915, and I was
told thev played in four. In fact,
T o n y W o w i t h the O r i g i n a l Dixie^
land Jazz B a n d w a s a b o u t the only
jazz player I heaTd doing it in Zo
remember I w e n t t S that bT
at S n w e b e S I had to s t a n d at
^ bacTror with the dish washer.
I a l s k n o w tha i n ^ ^ v i S S S t e
beats
" T h e top jazzman around 1919-20
was Jack Hatten, a trumpet player.
He had been in New Y o r k most of
his life. He played w i t h a lot of
power and a lot of flutter-tonguing.
He was very exciting. Y e t his play-
i n g and thai of the fther New Y o r k
musicians of the time was different
than the o l a v i n e of men in Chicago
S L o u i s Texas and New Orleans'
S ^ style and hadleTblueT
SrwaS an Eastern rerforrner
who could reallv p k v the E J e T w e
kter a b s o r b e d h o w r f r o m L somhem
musicswe hZrc^1^*12
S n a T w i t h u ^ W e didn't o u T T a
a u a r t e r t Z l phehin the music the
wav tie^Southerners d i d U P N o r t h
we l e a n e r ^ [ Z ^ o o i ! , . am
lot o7 notes conception-a
Ernest Elliott, c l ; Dope Andrews, t b ; W i l l i e 'the L i o n ' Smith, p ;
Leroy Parker, violin.
12
" S m a l l dance bands played in cab-
arets like the Orient on 135th Street
between Lenox and F i f t h Avenues.
It was a characteristic gutbucket
joint, and it was there that M a m i e
S m i t h found her band. The instru-
mentation in the place was trumpet,
trombone clarinet piano drums and
sometime! saxophone. T h e trombone
plaver Dope Andrews was C h a r l i e
called teiSte l a t e on but here was
d was more expressive than had been
his work than in George B r u n i s ' for
example M of hX hadbanX
l T e T a t - if thev c o u l o V t getVclari
net thev u s e d a s a x o p h o n e There
was Terrv P r e s t o n ' r a r i ^ i h near
Lenox L e r o v N It 135th and F i f t h
i l l S
d o w n I n *e c e l l a r w h e r e aH hut one
of X m with Fthrf
WaSs ffcTon ir t a iTCl
met drivTrn i d
plug hats, and Ted got the idea f r o m
h i m of incorporating it into his act.
" M o s t cabarets had a five piece
band and seven or eight singers. The
singer would sing one chorus at each
table and would make every table in
the joint. If you didn't know the
song when she started, you would bv
the time she'd completed her rounds
The pianists could improvise very
w e l l : for one thing thev got a lot of
practice w o r k i n g rom 9 p m to 6
A f t e r each s i n g l r - e n t e m i n e r
the b a n X o u I d p k ^
Addington Major, tp;
" M y first year in New Y o r k I was
a clerk, drove a truck, and was an
elevator operator. On Sundays I re-
hearsed with a band f r o m F l o r i d a .
The way they played reminded me of
my uncle's work in the circus band.
They played real blues.
" G r a d u a l l y , the New Y o r k caba
rets began to hear more of the real
pure jazz and blues by musicians
from F l o r i d a , South C a r o l i n a , Geor-
gia, L o u i s i a n a , etc. W h a t they played
heard in New Y o r k to that time.
" M o s t of the Negro population in
New Y o r k then had either been b o r n
there or had been in the city so long,
they were fully acclimated. They were
t r y i n g to forget the traditions of the
S o u t h ; they were t r y i n g to emulate
the whites. Y o u couldn't deliver a
package to a Negro's front door. Y o u
had to go down to the cellar door.
A n d Negroes dressed to go to work.
^J^Z
They changed into work clothes when
they got there. Y o u usually weren't
allowed to play blues and boogie-
woogie in the average Negro middle
class home. That music supposedly
suggested a low element. A n d the
b i g bands with the v i o l i n s , flutes,
piccolos didn't play them either. L i k e
when I was in Russia and suggested
we do The Volga Boatmen, but they
said they wanted to forget that.
" Y o u could only hear the blues
and real jazz in the gutbucket caba-
rets where the lower class went. The
term 'gutbucket' came f r o m the chit-
terlings bucket. Chitterlings are the
guts of a hog and the practice used
to be to take a bucket to the slaughter
house and get a bucket of guts. There-
fore, anything real low down was
called gutbucket. So far as I know
the term was used in St. L o u i s , K a n -
sas C i t y , N e w Y o r k , K e n t u c k y , T e n -
nessee, many places.
" T h e y improvised in the cabarets
and what they played had a different
timbre f r o m the b i g dance bands.
What the white man in New Y o r k
called the blues, however, was just
more ragtime. The real blues used a
special melodic line together w i t h a
way of p l a y i n g in between the quar-
ter tones l i k e the I r i s h cadences and
the Indian quarter-tones combined
with the Negro's repetition of mel-
ody. A n d Indian music, incidentally,
also has a repetitive beat.
"I think the influence on jazz of
the A m e r i c a n Indians has been un-
derestimated. There were plenty of
Indians back of our house in S p r i n g -
field, and part of my f a m i l y is I n -
d i a n . There were Indians all through
the South, Southeast and Southwest
the Carolinas, Tennessee, Kentucky,
F l o r i d a , V i r g i n i a , L o u i s i a n a . When
the slaves ran away, Indians would
often take them in because the I n -
dians hated the white man too. How
do you think there came to be so
many Negroes w i t h Indian blood?
" B y the Irish cadence I mean the
1 5 4 5 7 1 sequence that was
somewhat like the blues. There were
a lot of Irish in the South.
" N o w , about the piano music in
New Y o r k around 1920. I remember
Alberta Simmons. She was in her
thirties, and was one of the first
pianists I'd heard who played a style
that sounded a little different. I
hadn't heard James P. vet. She
seemed to use few- notes was more
expTeTsive I d had more T r i v e I t
S T i e but it was definttely
h T v e r S T o f i t She J a y e d S
\enthfseemedtLTom-
inant pattern Ft S a walking
mant pattern. It wasn t walking
" T h e n I heard W i l l i e 'The L i o n , '
James P . , W i l l i e Gant and Freddie
T o n s i l . Fats at that timethe latter
part of the '20swasn't in their class.
They wouldn't let h i m play.
" W i l l i e 'The L i o n ' played more
ragtime than James P. Johnson.
James P. was cleaner and more i n -
ventive, as those early Q R S rolls
demonstrate. He played things that
were very close to what pianists in
Ohio and the West were doing. He
was getting awav too from the rag
time o j f p l i n a d d h i g T what he
reTained and expreTsinl hirJelfThe
major m f l u e n c e o ^
A b b a L a b b a He and T o n s i l never
took a steady Job A b b a L a b b a would
come i n a n d olav 3 0 m i n S e T cut
everybody and go out T h e T ' b o t h
d r S well a l l the time.
" A n important piano influence
came out of Baltimore. Players l i k e
E u b i e Blake, M a d i s o n Reed, E d g a r
Dow were early exponents of rag
time and came to New Y o r k . They
played modified r a g t i m e - t e c h n i c a l l y
and musically more than J o p l i n had
done The important banio plavers
came out o r f f i t i m o r e too"
"James P . , due to the influence of
A b b a L a b b a and his own capacity,
was one of the few great pianists in
New Y o r k . Fats came to be another.
W h e n you heard James P. at his best,
that was A b b a L a b b a , except that
James P. who had studied played
with a littleTmore fines rand talte s
When EEllington came to New Y o r k
w i l l Elme ^ S n o w d e 7 s band he was
X i n g like J a m e ^ P H e ' d appTr
ently L r d t h e ^ R S rofls
" A b b a L a b b a used tenths in the
bass, and he could swing. They called
it 'shout' in those days from the
church when the Baptist minister
would start preaching and the con-
gregation would get all worked up
emotionally. N e g r i church music had
JANUARY
Lutice Perkins, d ; G a r v i n Bushell, c l ;
Gant, p; John M u l l i n s , vio.
great influence on jazz. They sang
the blues in c h u r c h ; the words were
religious, but it was blues. They of-
ten had a drummer and a trumpet
player. Y o u can still hear it in a
church like the one at 8th Avenue
and 123rd Street The Negro carried
h i t r o u b L t o churcn and talked t o
G o d abourthem "
It was Bushell who took Fats W a l -
ler with h i m into vaudeville in 1922.
Before that Bushell's first job in
vaudeville had been with singer C l a r -
ence Potter in the latter part of 1920.
" H e d i d H a r r y Lauder songs. H e was
real dark but looked like L a u d e r .
H e w o r e kilts in the act, but he w a s
born on the East Side and had a
typical B r o o k l y n accent There w a s
nothing Negro abourhim except Hs
^IOT I n X L days K o Instru
mentalists were secondary in show
b ^ m ^ T h e ^ ^ w l m t e d ^ o
the S g r o e f s i n g !
" M y f i r s t recording date was i n
1921 as part of a band backing D a i s y
M a r t i n for Okeh. We got $30 for two
sides; didn't matter how long it took
to cut them; and we had to wait
months for the money. She was a
singernot a blues s i n g e r w i t h a
Northern accent In t h f b a n d was
SrSen oTtrumpet^^
zier trombone, a n Z g o t h e r s
" S p e a k i n g 'of trombone reminds
me that another influence on N o r t h -
ern musicians were the Jenkins O r -
phanage Bands out of Charleston,
South C a r o l i n a . They started going
around the country in 1910 and went
L Europe in 1913 It was a S w i n S J
brasrC-likeoneo^ t h c T K
b a n d s - t h a t would play in the street
and then m e h T S d b e passed
like trombones
" B y and large, the Negro musi-
cians from the southeast were tech-
nically better than the musicians
f r o m the southwest and L o u i s i a n a . I
E d Cox c o r ; L i l l y n Brown, v ; Demont, t h ; Willie
except the New Orleans creole play-
ers. W h e n I hear youngsters t r y i n g
to emulate the sound of the New
Orleans players, I wonder if they
realize that those men were doing
the best they could but weren't do-
i n g all they wanted to on their i n -
struments. I w i l l say though that
the musicians f r o m the s o u t h e a s t -
V i r g i n i a a n d Baltimore, etc.had
the blues feeling but not the soul of
the players from L o u i s i a n a , Texas
and M i s s i s s i p p i .
"I began to record w i t h M a m i e
S m i t h in 1921. I lived back of P e r r y
Bradford's house; he heard me prac-
t i c i n g one day, and asked me if I
wanted to make some records. He
was M a m i e ' s manager. Up to then,
I'd kept d o i n g vaudeville. I played
in OF Kentuck', a book show, at
14th Street. We d i d three shows a
W day and before each show, we went
out front to ballyhoo. We played on
the stage and improvised. We didn't
have any saxophones; we d i d have
three clarinets, tuba, three trumpets,
two trombones, two upright baritone
horns, and two drums (bass and
snare).
" M a m i e S m i t h wasn't like Bessie.
Bessie was the real M c C o y . She didn't
get in between the tones the way
Bessie d i d . I soon went out on tour
with M a m i e , and Bubber M i l e y was
in the band. Bubber replaced Johnny
D u n n , the o r i g i n a l trumpet player
with M a m i e . It was D u n n who first
took a bathroom plunger and used
it as a mute. W h e n we were in C h i -
cago, Bubber and I would go to the
Dreamland and hear K i n g Oliver
every night. Bubber got his g r o w l i n g
from Oliver. Before hearing Oliver,
he never growled. That's where B u b -
ber changed his style and began us-
ing his hand over the tin mute that
used to come with all cornets. It was
hearing Oliver that d i d i t . "
(This is the first of a series of
articles.)
13
 Cellist-pianist-composer-arranger-recording director F r e d K a t z was recently
quoted by columnist Jack O ' B r i a n in The New York Journal American to the
effect that no jazz critics h a d ever been right. Here are reactions to this
statement as they might have come f r o m some musicians, jazz writers, and
entrepreneurs.

lanttttpn.

Stan Kenton: " W h e n the history of our great A m e r i c a n art f o r m , and I have
been touched to tears by the way those people overseas feel about what we
feel so deeply about, it w i l l be seen that the critics lacked the scope, I mean
the historical as well as the overall cosmic and s p i r i t u a l perspective, to
realize where the future was coming f r o m , and that it already was, as I know
f r o m travelling with it and on it across and through the length and breadth
of our country and beyond a n d a l l they were t a l k i n g about was Count Basie
and Duke E l l i n g t o n , and I certainly admire them and go to see them whenever
I can, but they d i d not have the ears to hear and the blood to absorb what
else was happening, the sounds and the volume a n d the great sweep of that
other t h i n g that was happening, that was b u r s t i n g W h a t was the q u e s t i o n ? "

Whitney Balliett: "I do not believe that jazz critics should discuss music
with musicians."

George Wein: " S i n c e F r e d K a t z is not yet enough of a draw to have appeared

at either Newport of Storyville as a leader, I have not had the opportunity to
comment on his work in my weekly column of news and c r i t i c i s m in the
Boston Herald. Furthermore, it w o u l d be poor taste for me to comment on
other critics except to say that, as anyone could see who read what they
said about Newport this year (it may not be a conspiracy, but it does seem
to me that a l l that lack of taste cannot have been accidental), they are
incompetent and besides, can any of them sit down and play piano w i t h
Sidney Bechet or call Joe Glaser by his first name, or otherwise show that
they really know what's h a p p e n i n g ? "

Joe Glaser: " W h a t the hell do I care about F r e d K a t z or the critics? W h o

do you think owns a l l this j a z z ? "

Dom Cerulli: " F r e d has a point. It's certainly w o r t h considering anyway.

B u t here at the Beat, we try to give our readers a l l the latest on the events
in the jazz w o r l d and I do think we're d o i n g a good j o b . "

Leonard Feather: "I don't think that F r e d K a t z (see the Encyclopedia of Jazz
and the Encyclopedia Yearbook of Jazz [ H o r i z o n ] realizes that I knew f r o m
the beginning that Charlie P a r k e r and D i z z y Gillespie were important (see
The Book of Jazz [ H o r i z o n ] . Besides, it's y o u r immediate reaction that
counts. Just because a g i r l comes f r o m a foreign country, sounds exactly l i k e
B i l l i e H o l i d a y , and sings at Newport doesn't necessarily mean that she can't
be a good jazz singer. F r e d K a t z by the way, is not featured on The Weary
Blues ( M G M ) b u t he might have been. Jelly R o l l M o r t o n couldn't h a Z
played good cello if he'd t r i e d . "

Duke Ellington: " W e love you m a d l y ! "

Nat Hentoff: " I t is seemingly obvious that F r e d K a t e ' ex cathedra pronounce-

ment has some relevance in the present context, but what makes h i m think
any critics exist? I mean functional, mainstream, blues-rooted critics. A n d
anyway, what about the way they're r u n n i n g Newport? W h a t do F r e d and
D r ! S u z u k i have to say about t h a t ? "

14 THE J A Z Z REVIEW
 BiU Coss: " N o n e of the critics is conscious enough of the important experi-
mental work being done by Teddy Charles, Teo, and J o h n La P o r t a . C h a r l i e
M i n g u s has even experimented w i t h a group i n c l u d i n g two cellos."

Don Gold: " * * * * A l t h o u g h not one of the jazz greats, F r e d does do

meaningful work at times, here succeeds in communicating, and may become
an important voice."

Norman Granz: "I've never met a c r i t i c yet who wasn't l o o k i n g for free
records. T h i s , then, is what they call c r i t i c s . "

Ralph J. Gleason: " F r e d K a t z doesn't k n o w the business. T h e critics don't

know the business. There's too much pretentiousness a r o u n d . Do you think
K a t z or those critics know how m u c h lps actually sell? Do you think they
ever talked to B u n k Johnson? Or went to the S a v o y ? Or the O n y x ? Those
were the days, and these could be too if we would just remember that jazz
is fun and E r r o l l G a r n e r . "

Martin Williams: " O f course, F r e d K a t z (what are we to make of the rythmic

manner-isms, bordering on cocktail cello, or of the mystical-post-Zen-cool-jazz
pretentiousness, or the lack of genuine thematic development (compare h i m
with J o p l i n or M o r t o n ) that in spite of his musicianship, taste, c l a r i t y , and
craftsmanship threaten the jazz content of K a t z ' compositions ( ? ) is attacking
a straw man. There are no jazz c r i t i c s . "

Morris Levy: " W h a t the hell do I care about F r e d K a t z or the critics? W h o

do you think owns a l l this j a z z ? "

Marshall W. Stearns: "I speak as an historian and not as a c r i t i c , but I think

F r e d K a t z should read some of the studies of jazz made by trained minds
f r o m other allied fields: sociologists, psychologists, anthropologists, and
musicologists."

George Frazier: "I k i d you not, there are no jazz c r i t i c s c e r t a i n l y none of

the younger bearded oneswho go to or know of a decent tailor. A n d I tell
you true, if a man has no taste in collars and cuffs, how can he understand
the meaning of the difference between B o b b y Short and George W e i n ?
A c t u a l l y , the best of the younger critics is Joe Glaser although, c r i t i c me no
critics, none have the Scott F i t z g e r a l d flair of Otis Ferguson, who wrote with
the laughter of T o m m y L a d n i e r and the grace of K i d O r y , because he knew
that jazz was the Stork C l u b and M a b e l M e r c e r and that November afternoon
at the Plaza when the tawny girls swept by in a p r i d e of Gibsons, and the
g i r l I lived with asked me as she held out her slipper for another d r i n k
" W h e n are you going to finish y o u r book on Time?"

Joe Newman: " A l l I want to do is s w i n g . "

BiU Russo: "I have considered the problem of u s i n g cellos in jazz, and I am
w r i t i n g a new piece for four cellos, three valve trombones, and Lee K o n i t z .
I won't have anyone i m p r o v i s i n g . I don't think musicians should be allowed
to improvise. I hope F r e d read f r o m a prepared text. I don't think jazz
critics should be allowed in their present state of ignorance. I am w i l l i n g
to give a course on the fundamentals of music for c r i t i c s free of c h a r g e !
F r e d is welcome too."

Father Norman O'Connor: " I n the l o n g r u n , K a t z is r i g h t and the critics

are right. In the short r u n , however, I am available to moderate a symposium
on the subject."

William Russell: " W h o is F r e d K a t z ? "

by the Staff.

JANUARY 15

F a c u l t
by
Jimmy Giuffre
It is inconceivable that a student
of the School of Jazz at M u s i c Inn
w i l l not get something out of his
three weeks.
The teachers at the school are a l l
active in jazz today; they are a l l at
the center of things; and some have
been p l a y i n g for as long as twenty-
seven years. T r u e , not all of them
have been trained to teach (and the
best teachers and best " d o e r s " are
not always the same men) but all
have plenty to offer their students.
They are active, even famous, pro-
fessionals who communicate their
personal approaches and ideas. In
i a / 7 a n a r t i s t i s a l l o w e d t o he him
self he is no toldI how to play A n d
at the School of Jazz there are no
ati^^nl^o^^yania^e
It has taken a lot of work to get
it started and keep it operating for
two years. A n d it takes a staff work-
ing the year round to maintain it.
P h i l i p and Stephanie Barber, the
owners of M u s i c I n n ; Jule Foster,
Dean of the S c h o o l ; and John Lewis,
Director of the School, deserve the
highest credit.
The atmosphere at M u s i c Inn and
the attitudes of hosts, faculty, stu-
dents, and guests are excellent, even
i n s p i r i n g , and M u s i c B a r n is a won-
derful place to play and listen to
music. A l l elements seem to come
together there to inspire players and
to involve listeners.
At the very least, the School is
unique in p r o v i d i n g help and advice
f r o m professionals. Except for a few
men who teach privately i n L o s A n -
geles and New Y o r k such instruction
is not available anywhere else.
16
photo by Clem Kalischer
T h e S c h o
y V t e w s
by
B. Brookmeyer
W e l l , reader, dear or not, I have
been asked to say a few words about
three of the happiest weeks of my
life, the time I spent at the S c h o o l
of Jazz, held yearly in Lenox, Mass.
I imagine you have read a few words
on the subject before. I certainly
pray that you will read many more
Fn months to come W e r e I getting
p l i ? newspaper scale for b a b b l i n f
on I cZTwbahfrdoa short no
vella on t h e s u S e X - b u t for free
S have to be conten7'wi th some ?
lication to do will, the arts these For
any other) dayl
I think that by way of breaking my
ice, I can best say I was extremely
flattered to be asked by John Lewis
(for whom I have the most unquali-
fied love and respect) to be part of
SO treacherous and uncharted an un-
dertaking Not being a P o l a r Bear
C l u b member, I am more than a bit
hesitant at taking the icv dips in
winter-but reader this man ( M r
Lewis) could read sense into C a l v i n
cZuL sowhat^ rc a mere morta"
offer against Tuch divine o p p o s T S
In facf the essence of Zt schoo'l
r a n be summed ud in this one man's
devourZdntingefforHnTwiE
h f m m u c h t h a t w ' t a k e for Wanted
Tn n ^ ; , nf todav would he still
ZZtZlLdrl
H u r r a h s too for the dear old dean
of S.O.J. (Jule Foster, Admissions.
M u s i c Inn, Lenox, Mass.)
Y o u know, they got people running
around this earth sayin' you and I
can't teach a man to play jazz music!
I grant you we can't teach that man
to feel it, but I ' l l be damned if we
can't show that fellow what he's do-
i n g wrong, what he's doing right,
(continued on page 18)
1 o f J a z z
S t u d e n
by
Tupper Saussy
That The School of Jazz is a kind
of noble venture is unquestionable;
that it is a necessity is also beyond
range of dispute; that its faculty
roster reads like a Newport Jazz
Festival billet and that its students
and faculty alike have access to the
pleasurable grounds and surround-
ing communities^ of Music Inn are
by now common knowledge But
that Tts true vTue has been defer-
Heve subfect to argument
In'its second session this past sum-
mer, the School of Jazz was, to my
mind, a failure. It was the sort of
failure that besets any institution
having no real meaning. To be sure,
it had a purpose, and there is no
reason to believe that this purpose
w J not realized Sore
man moderately ' i n ryTng to Sach
and ioster th^ "sturdy o H a z z in all
Us aspects including its technmues
hs compTskkm also itThistorv ori
r i n T T n t e r n a H o n a f defeZ'ment
fnd i , r p U r i Z S to other aTtT"
Z s t d e n t s rarnestudied nlaved in
But what little concreteness had
made up their belief in jazzwhat
tiny thread of consistency they had
developed in their jazz thoughtwas
torn and twisted and confused at the
outset through the lack of any moral
understanding or, if you will, hu-
manism between teacher and p u p i l
John Colet, the founder of St.
Paul's School, London, had a shield
fashioned on the wall behind his
lectern which read: "Either teach,
or learn, or get out." The educator
has as his first motive, devoid of
(continued on 18)
JANUARY
t V i e w s
by
M. Arif Mardin
F o r three weeks last August, I was
a student at the School of Jazz in
Lenox, Massachusetts and found it
to be a valuable and memorable ex-
perience.
Because I come f r o m a country
which is visited by few outside musi-
cians, I was especially awed by my
p r o x i m i t y to the almost legendary
idols who composed the faculty of
the School. The night before I was
to conduct the all-star faculty or-
chestra in a rehearsal of my compo-
s i t i o n , Faculty Meeting, written for
the Student's Benefit Concert, I was
too excited to sleep.
My feelings may seem naive to
Americans who have frequent oppor-
tunities to hear jazz musicians in
person. In T u r k e y , however, I was
able to hear jazz only on records
and even these were, at times, diffi-
cult to obtain. I learned to compose
and arrange by t r i a l and error, often
w r i t i n g for imaginary b i g bands. I
had no formal education in jazz until
I met jazz critic Cuneyt Sermet, u n -
der whose guidance I came to A m e r -
ica. Last J a n u a r y , I enrolled at the
Berklee School of M u s i c in Boston
on the Q u i n c y Jones scholarship.
T h i s past summer, a B M I scholarship
made it possible for me to attend the
School of Jazz.
Because of severe time limitations,
the School of Jazz makes no attempt
to teach basic p l a y i n g technique. A l l
students are expected to have a cer-
tain amount of proficiency on their
own instruments. Once at the school,
they are thrown into close associa-
tion w i t h professional musicians i n
private lessons, group classes, and
ensembles.
In the small ensemble to w h i c h I
(continued on page 19)
17
 Brookmeyer Saussy
and w h a t t h e devil h e wants to d o would say that the faculty spirit f r i v o l i t y , t o t e a c h . P e r s o n a l tastes o r
in the first place. A s K e n n y D o r h a m could hardly be higher but that the idiosyncrasies have no part in his
(a fellow toiler this summer) said: student morale had possibly dropped course; h e t e a c h e s the f o r m , n o t the
a bit. I can't really say why. I c a n accidents. In the same process, the
"When came to N e w Y o r k as a
I say, however, that I was very shocked student absorbs a n d evaluates s i m p l y
young boy to play, those fellows by the apparent " h i p " attitude of a w h a t the t e a c h e r h a s t o t e a c h a n d , t o
wouldn't tell me anythingeven few of the more advanced p u p i l s - d r a w the p a r a l l e l , h i s f i r s t m o t i v e i s
B i r d , with whom I worked for over so much so that I felt mvself going to learn. Of course, any deviations
a year. If I had this kind of chance out of my normal open^pofsible f r o m this scheme detract f r o m s o u n d -
then, I ' d have been poundin' at the way to Try t ^ t a b M some sort ness a n d v a l u e b y e s t a b l i s h i n g s u p e r -
sates to get i n . I hope these kids oTfrendlv foeli^Outapossibly ficial prejudices and opinions. But
realize what they're getting." they 7ustdidn t care f o V m v play n g
f
jazz must be performed (at Lenox,
rirLnaitv or f a c e ^ i u t T f e e there
T h a t ' s from a man who knows far to learn was to perform) by individ-

better than I how the refrain goes, uals with equally distinctive talents
so you believe him, if not me. In m u ^ c i a n ! s r e w on to i a z f in the lasl a n d abilities, a n d when a falling away
spite of the obvious hazards a n y f r o m t h i s o c c u r s a less p e r f e c t p r o d -
such undertaking involves, the S c h o o l uct w i l l result.
o f Jazz i s s o m e t h i n g positive in a
world ruled by the minus signso makers. T h i s attitude was so o b n o x i - Now, this negative truth should
you better cherish it while it's on ously aped by bop s subsequent d e - not have been c a r r i e d into the class-
the scene. tractors ( w h o fancied themselves rooms at Lenox. But it was forced
mutators) that one c a n scarcely because of a relatively p o o r standard
So much for the proseon to the blame those young musicians w h o as- of m u s i c i a n s h i p in the student b o d y .
facts. If there could be one criti- sumed such attitudes to be much in One instructor had to have several
cism leveled, I should say it was lack mode and correct. d r i n k s before his small ensemble met
of money (admittedly the one uni- because he couldn't deal with its
versal problem facing mankind any- shoddv oualitv soberlv and bv the
I was a very independent chap in
where on the earth). T h i s year, we end of t h e t e r m h ^ a s locating
my i n f a n c y - s t i l l am, for that matter
had a bit over thirty students In mv more rigid requiremente for a d 2
but each passing day makes me
eyes the number s h o ^ d at least be Son This tendon Tfeel s no S t
more and more and more aware of
doubled and if at all possibk an of the student nei h e r i s it a fau
my faults and more and more and
extra week or so L k e d onto t Z o he teacheJ' The blame ii uk
more humble toward such a lovely
m e s t e r W i t h m o r p u p i l s the gen- matelv o^ b o t h t h e l a c k o f f u n d s iST
thing as a music (from minus B . C .
era level o f M r f o r m a n c e might be
to p l u s A D Tf you've got a calen-
r S e d c o n s i d e S v T n ^ f t would b e
dar) M o s t ' o the students at the 3able scholarships
school were very interestedI in "blow
Aand B g r o u p s b o t h benefitdng con ng" anTobvTouslthat L w h a t X y
SderablvTerem W h i t a U the bands were t L r e to learn But to blow you Another important factor contrib-
Tot to know and to know yc^ got u t i n g to the d e n i a l of h u m a n i s t i c re-
at the T n a l concerf I s S o n . l v f e l fo b l o w I think^ thev should hfve lations at Lenox might be termed
both as a istener and asa t J a S rorneto he school to know W e "lack of intense seriousness." There
o l l , I T , there w A S weren't Z St to rehearse' with was a g r o u p of students w h o felt t h a t
Z n I b e t L i r andtnre o r o hTns a minimum of musical education is
t w U V , t h Z THr or coke 8
necessary for good playing; after
rank amateurs (however promising out with them over a beer or coke the chords are made second nature
they might be) T h e solution is to We were there to show them wha to y o u , all y o u need is plenty of soul,
have more of a choice and hat neces we knew that had made us successful and with the proper proportions of
sitates a greater enrollment. j a z z performers as compared with the twothat is, more of the latter
those who are merely adequate. t h a n the f o r m e r - n o t h i n g c a n e x u d e
N o w readers, much of the help can
but the finest in jazz. (Obviously,
only come f r o m you. W e have n o T h e entire faculty had given up
the misconception here is that all
way to transport, audition, and some (in some cases, a great deal)
primitivists become great.) If this,
screen every aspiring jazz musician monetary and personal considera-
then, is all it takes to achieve p r o m i -
in the country-so the mailing of tions to be part of the school and
nency, w h y s h o u l d s u c h a g r o u p at-
tapes and audition discs to either I know that a very large majority of
your local responsible radio station tend a school for jazz. I think that
the students were completely aware
or preferably, to Jule F o s t e r ( c a r e of this. T h o s e who h a d enough sense in answering this question one gets

o f t h i s magazine i f need be) i Sie also knew that w e w e r e a l l part of a at yet another kind of malady suf-

o n l y way ia i m p o r t a t p r o j J can new l b project a n d a s such fered at L e n o x .

b e righdy X p S i F o r ^ S i a S w o u l d be s u b l e t t o a 1 the iniquities

To these peopleand let me im-
Grangers T c ^ w l H E E X r e n t A g a i n may I s a y E al-
and the listening P c 3ir e
there i s most a H t h e students s h o w e d at east
mediately
of t h e m , a n d
assert that there are m a n y
I was one at o n e t i m e
n o more 0 ? ^ ^ t o musical Tome realiza on of his^but it is
t h e periphery serves a s the w h o l e .
maturity m T n m ^ one that h ^ ^ uTmincrS worryabout for in
A n d the p e r i p h e r y o f jazz, a s i n all
Parted Y o u g o t a b e ter o n e - S a U most c L e s t h e v w e r e extreme v taT
the arts, is quite attractive. Lenox
us So much f o r the o e r s o n a l ^ m S ^ ' a o K L n ^ S e ^ S h a w
affords the opportunity to know re-
mercial . T f a i u t i ^ S k L ^ L S S S
nowned players personally, and to

Fromthe impressions I could gar- play for them and to invoke their

ner about l a s t year's session, I (continued on page 4 9 ) hurried opinions of your playing, and

18 THE J A Z Z REVIEW

to go back home delightedly drop-
ping a gamut of celebrated names.
A n d you are in no real way wiser
and yet you have got your money's
. worth.
T h i s attitude was characteristic of
the majority of the students, and it is
not at all abnormal; it is merely
not found in those who share a genu-
ine interest in anything. T h e School
of Jazz, then, was not a school as
much as it was a backstage.
A student of jazz music should be
more studious than ambitious. L i k e a
student of literature, he should be
thoroughly familiar with the social,
emotional; economic, and even moral
conditions in which the technical a n d
improvisatorial innovators were pro-
ductive B i o g r a p h y is of utmost i m -
portance in u n d e L a n d m g T e phe-
nomenon of c h a n g T i n the arts as
well as the works themselve^Perhaps
me S z z student s h o u l d o b t a i n r e -
cord n ^ o f the artists p e S r t o
h i S u m e n ^ a n d i n ^ a t f w t h due
SceritTtfSr sXdTand f S g s
A n d from imitation will flow, n a -
turally and unconsciously, a unique-
ness that is well-founded and logical;
an individualism which embraces the
past and of which tradition is at once
a foundation and an active part.
It is at this point in his develop-
ment that the student should attend
a School of Jazz, where he will be
(continued on page 49)
Mardin
was assigned, instructor M a x Roach's
energetic personality was inspiring
and B i l l Russo's suggestions about
conducting and orchestration were
extremely helpful. F o r me, however,
the most valuable part of the course^
was the private instruction in compo-
sition with George Russell. I feel that
his phTlosophTcaf approach to com-
posidon was largek responsSle f o r
b r o a d e n i n g m y o w n conLption
In Russell's group classes, he en-
couraged us to delve into the " C h r o -
matic U n i v e r s e " in order to broaden
the scope of our jazz improvisations.
Lee K o n i t z and J i m H a l l contributed
a great deal by attending these
classes. B i l l Russo's a r r a n g i n g classes
were more conventional He taught
b a s k T r i n c i p l L of vo c i n j voice
l e a d m g S o n y and c o u n t r p ^ n T
diovis^a examoe S c h score-
e x j S e d learning hi^Luh dasses
I found M a r s h a l l Stearns' lectures
on jazz history enormously stimulat-
i n g . It is obvious that the appeal of
this subject to a foreign student is
very strong. There were, however,
some A m e r i c a n students who knew
almost nothing about iazz before
1952 I S v e we aU earned to tol
erateand *appredatethe tazz of the
HberaTlvSuXSXleX^wS
In the evening, v i s i t i n g lecturers
spoke on subjects related to jazz.
A m o n g the lectures I most enjoyed
were, Gunther Schuller's Modern
Music and Jazz, in which he dis-
cussed the possibility of a future fu-
sion between the two f o r m s ; Leslie
K a t z ' s examination of the effect of
sociological events on the creativity
of the artist in jazz and other art
f o r m s ; W i l l i s James' demonstration
of field cries and their relation to
j a z z ; and N e s u h i Ertegun's i n f o r m a -
tive talk on the record industry.
There were also panel discussions
on jazz education in the schools, the
function of critics, and one on unions
which greatly increased my k n o w l -
edge of the subject. I believe that
these lectures and discussions gave
me much valuable information which
I would have found difficult to col-
lect on my own.
There was one m i n o r disappoint-
ment: although the students were
able to play solos, their ensemble
p l a y i n g was, in general, rather weak.
W h i l e the school is not responsible
for the inexperience of its students,
I believe they could a i m for a higher
level. T h i s is one of the areas in
which the School of Jazz and the
Berklee School might cooperate. If
the School of Jazz increases the num-
ber of scholarships, the ensembles
could then be strengthened w i t h some
more advanced students f r o m the
Berklee School. In my judgment, the
two schools complement each other
extraordinarily well.
Another suggestion: the progress
of each ensemble might be checked
by tape recordings at periodic inter-
vals. Further, if it were possible to
issue a commercial recording of the
Students' Benefit Concert, the stu-
dents might be spurred to greater
effort.
In summary, the School of Jazz
has a unique function in jazz edu-
cation. T h e very presence of such
faculty members as J o h n L e w i s , Jule
Foster, J i m m y Giuffre, M a x Roach,
M i l t Jackson, Percy Heath, Bob
Brookmeyer, J i m H a l l , Lee K o n i t z ,
K e n n y D o r h a m , George Russell, B i l l
Russo, and M a r s h a l l Stearns is a
source of inspiration no other jazz
school can offer. T h e fact that most
of the teachers are active musicians
indicates the realistic approach of the
school. I feel that my musical educa-
tion would have been incomplete
without this experience, and I hope
that the School of Jazz w i l l continue
to occupy its valuable position for
many summers more.
7
German Radio:
Jazz As Public
by Joachim E. Berendt
At last year's German Jazz Festi-
val in F r a n k f u r t , a visiting A m e r i c a n
jazz authority was so astonished to
find R a d i o F r a n k f u r t sponsoring the
concerts that he v i r t u a l l y ignored the
music in favor of discovering more
about the role German radio plays
in the c u l t u r a l life of the country.
There are three yearly jazz festi-
vals in G e r m a n y : The Amateur Festi-
val in Dusseldorf, the b i g Jazz Fes-
t i v a l in F r a n k f u r t , and the Jazz Salon
in B e r l i n . None of these could be
held without the financial assistance
of German r a d i o .
Germany has six radio networks:
the N o r t h German Network in Ham
b u r g , the Western Network in C o -
logne, the B a v a r i a n Network i n M u n -
i c h , the Network of the Federal State
of Hessen in F r a n k f u r t , The South-
western German Network in Baden-
Baden, and the Southern Network in
Stuttgart. There are two additional
radio stations in B e r l i n , and a t h i r d
i n Bremen.
W i t h the exception of one B e r l i n
station, w h i c h is supported by the
A m e r i c a n State Department, each of
these networks and stations is com-
pletely independent. They have
neither commercials, nor are they
state-owned (as in France, E n g l a n d ,
and I t a l y ) . G e r m a n radio networks
are independent "companies of pub-
l i c interest" (Gesellschaften offent-
lichen Rechts) and as such, are en-
titled to, and often do, criticize the
State.
The money to support these net-
works comes f r o m the listeners. E a c h
radio set owner pays two German
20
Service
marks (about fifty cents) per month.
The fee for television sets is five
marks. The money is collected re-
gionally. In Northern Germany, for
example, the money goes to R a d i o
H a m b u r g . In the Southwest, it goes
to the Baden-Baden Network and in
B a v a r i a , R a d i o M u n i c h is the re-
cipient of all the fees collected.
The networks have a k i n d of mon-
opoly in their own regions w h i c h
the state guarantees. In return, it is
expected that the networks spend
large sums of money for cultural pur-
poses. In Southwest Germany, for ex-
ample, almost a l l the b i g symphony
orchestras get financial contributions
f r o m the Baden-Baden Network. The
network itself has no need for these
orchestras inasmuch as it has many
of its o w n : a one-hundred and ten
piece symphony orchestra (conducted
by H a n s R o s b a u d ) , a sixty piece
symphony orchestra, a thirty piece
light music orchestra, a jazz and
dance b i g band (which was, until re-
cently, conducted by A m e r i c a n ar-
ranger E d d i e S a u t e r ) , and three
other small dance-music ensembles.
T h e network, nevertheless, supports
other orchestras and uses them occa-
sionally. The B a v a r i a n Network also
has five or six of its own orchestras,
yet it supports nine more symphony
orchestras in the area.
The musicians in the network-
owned orchestras are radio employ-
ees. They are organized in a u n i o n
and it is difficult to dismiss them
from their jobs. T h i s , of course, leads
to the fact that the average age of
the musicians is getting higher, w h i c h
especially in the jazz and dance-
musiV field-is not a healthy situa-
tion. Ten years ago, H a m b u r g R a -
dio's b i g dance b a n t consisted k r g e l y
of jazz musicians. Today, these same
musicians belong to an older genera-
tion no longer interested in jazz.
As a result this band w h i c h once
Plaved Tome in eresting jazz mate-
HalL h a T S o m T m o r e and more a
"Guv LombaXtv^" o^bation
Th7samrsituaS
w i l l " s o m e networks founded
new Jazz' e Z m W e s so that thev
IZJZlongerhe^ denendent on the
big^dance bands for j S
At present, there are hundreds of
musicians who support themselves
with their radio work and among
them are many jazz players. R a d i o
Cologne has the K u r t Edelhagen O r -
chestra w h i c h is considered one of
Europe's leading b i g bands. E d e l -
hagen presents his band as a " U N in
J a z z " because his musicians are
drawn f r o m many countries i n c l u d -
ing Italy, E n g l a n d , B e l g i u m , France,
Germany, A u s t r i a , Switzerland, and
even Indonesia (the excellent trum
pet player and arranger, R o b P r o n k
is Indonesian).
In F r a n k f u r t , at the Hessische
Rundfunk ( R a d i o in the Federal
State of Hessen), A l b e r t Mangels-
dorff leads a seven piece jazz en-
semble. In H a m b u r g , tenor-saxo
phonist Hans R o l l e r (who u n t i l a few
months ago, was at the Baden-Baden
Network) is now f o r m i n g a small
THE J A Z Z REVIEW
jazz group w i t h Oscar Pettiford as a
possible future member. Mangelsdorff
and R o l l e r are considered two of the
best German jazz musicians.
In addition to the foregoing, the
networks also use their money to
support b i g cultural events. T h e pro-
gram of the Donaueschingen M u s i c
Festival for example, is organized
by the Southwestern German R a d i o
Network i n Baden-Baden. The D o n -
aueschingen Festival is considered
Europe's leading contemporary music
festival P a d H i n d e m i t h was among
its
ts pounders
founders after The firTt worW

T h e Theatre Festival in the old

baroque castle of Schwetzingen is
supported by R a d i o Stuttgart. T h i s
network also organizes and finances
the Woche fur leichte Musik (the
annual L i g h t M u s i c Festival) where
the M o d e r n Jazz Quartet and the H i -
L o s have performed. The B a v a r i a n
radio supports the famous Musica A rehearsal for the T - V presentation of the Fontessa ballet with Yvonne Meyer
Viva the hest contemporary svm- Columbine. M u s i c by John Lewis.
phony concerts; i r G e r m a n y
T h e fact that Germany has become
one of the leaders in experimental
electronic music is due, in large part,
to the networks. R a d i o Cologne built
a special electronic studio where
H a n s Stockhausen, among others,
prepared his much-discussed experi-
mental compositions T h e Baden B a -
den Network installed a most mod-
ern electronic studio solelv to enable
the Boulez
to prenare one niece "PoSie pour

Fngen Festival
A l l this is done without discussion.
The networks are aware that they
can exist only if the monopolies in
their regions are maintained. They
also know that l i v i n g up to their cul-
tural responsibility is the best way to
protect their position.
T h e system, of course, has certain
drawbacks. The greatest is, perhaps,
Donald Byrd's group with B y r d , t p ; H a n s R o l l e r , ten; H a n s Hammershmidt, p; Doug
lack of competition: each network
Watkins, bs; A r t T a y l o r , dm., improvising on four themes from Fontessa for the same
is alone in its region. Further, since
T - V production. Joachim Berendt and John Lewis
the networks collect their two marks
per listener in any event, thev do not
have much concern with their finan-
c i a l position.
T h e bigger networks, however,
have transmitters of one-hundred or
one-hundred and f i f t y K W power
and can be heard a l l through Ger-
many, and even across Europe. There
is, then, competition in public ap-
peal and artistic contribution, if not
on commercial grounds.
T h e m a i n advantage of the sys-
tem is that a radio station is able to
broadcast something other than hit
records and pre-recorded shows from
m o r n i n g to night, and can afford an
interest in music as an art form and
in musicians as human beings.
 Its

The Negro Church: Influence

Modern
M e l o d y

Frederic Ramsey, J r . , who has
done a great deal of research in
primitive jazz, states: " I t is interest-
i n g to note that many [blues singers]
who are still l i v i n g are finishing
their careers in church work. V i r -
ginia Liston and Sara M a r t i n at this
w r i t i n g are both singing spirituals in
churches. There is no doubt that
blues and spirituals are closely i n -
terwoven." 1
jazzman's vocabulary. The scale is
eloquently stated by B u d P o w e l l in
his initial phrase in Blues in Bebop
(Sonny Stitt Quartet) : (Musical
Example 3: Powell ) The tenor
sax player in Joe M a y ' s Going Home
not only outlines the blues scale but
introduces an additional blue n o t e -
( M u s i c a l Example 4 )
the flatted fifth. Reverend K e l l y K e y
"A" Train (Duke Ellington band)
and Charlie P a r k e r on Cosmic Rays.
The melodies of both the Negro
church and modern jazz are highly
syncopated. L e n d i n g a special charac-
ter to these melodies are unexpected
rests, held notes, up-beat entrances,
up-beat accents, anticipation, and off-
the-beat lines. The rhythmic phrasing
of these melodies is s i m i l a r . Both

of the Southern Baptist C h u r c h of jazz and gospel melodic lines may

An examination of the melodies of
the Negro church and those of jazz
offers a partial explanation as to why
this exchange is possible. Both jazz
and gospel melodies are strongly
flavored with " b l u e notes," notes
that are flatted anywhere from a f u l l
half step to the smallest microtonal
degree. The notes of the scale most
commonly lowered are the t h i r d and
seventh and on the surface the re-
sulting scale resembles the D o r i a n
mode ( M u s i c a l Example 1 )
However, the blues scale behaves
differently f r o m the D o r i a n mode.
In the first place, the altered tones
of the blues scale bear no influence
on any of the chords beneath, which
remain unaltered. Secondly, the blue
notes themselves vary in sound ac-
c o r d i n g to their degree of alteration.
T h i r d l y , the seventh and t h i r d do not
occupy an exclusive position as blue
Los Angeles constantly incorporates
the blues scale in his sermons: 2 triplet eighths, triplets, or various
( M u s i c a l Example 5 )
There is a tendency for Negro
church artists and jazzmen alike to
give a slightly flat intonation to a l l
the notes thev may and sing T h i s so-
called " d i r t y " intonation is widely
soiurht after hv iazz nerformers It is
achieved through the utilization of
vSrat ^ m i c r o Z e s glissandi grace-
notes Ind Smeared or W e d notes
The t'enor sTx olaver on Toe M a v ' s
CLTHOZIA on Annette M a y ' s
r Z L r M e obtains thw intonation
as does P a i d G o s a f v o n T a k e the
e x 2
be composed of " f u n k y " eighths,
combinations of quarters, eighths,
triplets, and sixteenths.
Both jazzmen and gospel perform
ers employ the same embellishments
in their melodies. Such devices as
turns, mordents, appoggiaturas
(above and below,) double appog-
giaturas, acciacaturas, arpeggios (as-
cending and descending,) and repeat-
ed notes are amply represented in
both idioms, as are ascending and
descending scales of all varieties: d i a -
tonic, chromatic, blues, and penta-
tonic.

notes- the blue-note Drinciole mav

be applied to any degree of the scale
FinaUy the blue notes are inter-
changed freely with the non-blue ec.3
nntps so that the hlne <srale strirtlv
sneaking is this
speaking, ( M u s i c a l FExample
n,s. (MusLal xamnll
2 blues s c a l e ) A n d , to go a step
farther, since any degree of the scale
e x : 4-
car, be altered the entire chromatic
scale is actually at the disposal of
the performer.
The blues scale comprises the basic
melodic language of every Negro
gospel singer, every Negro preacher,
and every Negro congregation. It
also forms the foundation of every
More; more, vo-e.. Q U...
22 THE J A Z Z REVIEW
"8- Both jazz and Negro church mel-
odies continue to b u i l d u n t i l they
* reach a climax. This climax is often
I attained by stripping the melody
8" down to one essential note or to
short riff and then repeating that
$ note or riff throughout a chorus or
section. In jazz this technique often
degenerates into what is referred to
as " h o n k i n g , " a device sometimes
resorted to at concerts in order to
create excitement and to gain shouts
of annroval from the gallery When
n l d fn this wav as an end in them-
selves r e l a t e d n o t e s a r e f a i r l y trite
and unTmaSnadve However when
^ J S ^ T c o h ^ T a r i l e and

and VfferrL w L I T l !
fnnnd i n f t , Z~ > '
found in Oscar Peterson s versions
of L-Jam Blues and ^nderly (re-
corded during a Jazz at the P h i l h a r -
monic concert,) also in the tenor of
F l i p P h i l l i p s accompanymg B i l h e
H o b d a y on the last chorus of / Only
nave tyes tor You.
Gospel records containing "honk-
i n g " climaxes are The S k y l a r k s '
Baptism of Jesus ( i n the repetition
of " w h o ' m I " ) , The R a d i o Four's An
Earnest Prayer ( i n the repetition of
"come o n " ) , and in Bessie Griffith's
/ Wanna Be More Like Jesus Every
Day, where she repeats:
( M u s i c a l Example 9 )
Repetitive climaxes are nerhans
best illustrated in the gospel field by
the sermons of Neero ministers At
the height of these sermons the
nrearber nsnallv <rpts thp c n L r.f M P

his message"across t o h i ! 1 !
gation bv d w e l h n T or, one word nr
phrase shou^ng i t over J i t
M a n v t i n S X"auoWreHnrotes
and repeats the words of t b ! H^hTr
a f t e r T r n A minister It Z 7
mil i r u T a i ! , t A h
" b o n S " nrrnnLl. f 1 t >
[ O n r e a c h " ^ ^
gonna say ' H o w d y ! ' '
' H o w d y ! ' ' H o w d y ! ' 'How-
d y ! ' " etc.
Jazz and Negro church melodies
fit into s i m i l a r frameworks. The
principle of antiphony is evident in
both. In gospel music more than jazz
it is in leader-chorus form (as in the
Caravans' What Kind of Man Is
This?). In jazz (and in some gospel
records such as Annette May's Vaca-
tion in Heaven) the dialogue is be-
tween singer and instrument. The
vocalist in singing a line, does not

23
use up the f u l l amount of beats al-
lotted to h i m . T h i s gap of about six or
eight beats is filled in by the i n -
strumentalist who makes an apt m u -
sical comment to what the singer has
expressed. Every Day by Count Basie
and Joe W i l l i a m s , is one excellent
example of this second type of an-
tiphony.
Sometimes the answers of the i n -
strumentalist overlap the statements
of the singer, or sometimes the sing-
er begins his statements before the
instrumentalist is finished. In cases
such as these the principle of po-
lyphony comes into play. (Basie's
Every Day and the Jewel Gospelaires'
Somebody Knockin at the Door con-
tain this overlapping.) The use of
Horace Silver, Buhaina, boogie bass pattern in
right hand melody:
Horace Silver. Opus de Funk, tritone:
Horace Silver, Silverware, intervals:
Oscar Peterson, Oscar's Blues, glissando down
from chord:
Erroll Garner, Blue Lou, pentatonic scale:
,'~n'
10
- Example 9 : G a r n e r , Stirrers) and i s
X ' m on *\y w
< i y - -
R a m s e y , F r e d e r i c , J r . , Jazzmen (New Y o r k : H a r c o u r t & Brace, 1939),
. 115-16.
P P
2
K P O P , 10:15 P . M . , Sunday, Oct. 14, 1956 ( E x . A) ; Sept. 23, 1956 ( E x . B ) .
3
K G E R , 10:00 P . M . , Sunday, Dec. 30, 1956.
4
Though mostly used by traditional rather than modern jazzmen, The Saints
has been recorded by the Dave Brubeck Quartet & other modern groups.
The tune itself is often sung in Negro churches.
5
K G E R . Sun., Dec. 30, 1956, 10:00 P . M .
24
more than one melody at a time may
be found on Oscar Peterson's Soft
Winds (where the guitar states the
melody while the piano simultaneous-
l y improvises around i t ) , i n J i m m y
Giuffre's / Only Have Eyes For You,
in The Golden Gate Quartet's Didn't
That Man Believe.
The principle of canon is applied
to melody in jazz as well as Negro
church music. A melody is frequently
constructed so as to feature like or
similar entrance phrases in succeed-
i n g lines. These entrances aid in
m a i n t a i n i n g unity throughout a cho-
rus. A l e x Bradford's / Don't Care
What the World May Do, I'm Gonna
Praise His Name and The Caravans'
What Kind of Man Is This? illustrate
Mahalia Jackson. Heaven, boogie bass pattern on
string bass:
White Rose Church of God in Christ, KFOX,
Sun. Oct. 14. 1956. 10 P.M., guitar tritone:
Annette May, Consider Me, pentatonic scale by
tenor:
Southern Baptist Church, KPOP, Sun. Nov. 25,
^edr%Mn vo1ce:^
P h M i n S
Annette May, Consider Me. piano intervals:
r Loco
the canon principle quite well. E r r o l l
Garner's Caravan is a notable i n -
stance of canon in the jazz i d i o m ,
while C h a r l i e P a r k e r ' s A Night in
Tunisia is a canonic riff.
The principle of i m p l i e d or "ghost-
ed notes" (as A n d r e H o d i e r terms
them) is a trend common to funky
jazz melody and its counterparts in
the church field. These ghosted notes
usually occur after an extra-heavy
stress in the melody. They are either
played so softly as to be hardly audi-
ble or they are not played at a l l but
merely suggested by the logical flow
of the melodic line. The O r i g i n a l
Gospel Harmonettes' You Must Be
Born Again is liberally sprinkled
w i t h ghosted notes; so is Horace
Silver's Quicksilver.
The quality of i n d i v i d u a l style is
important in the melodies of the
Negro church and jazz alike. Gos-
pel performers, Negro ministers, and
jazzmen usually manage to place the
stamp of their own personality upon
their melodieseither through phras-
i n g , or through distinctive sequences
of notes. E r r o l l Garner's style con-
tains melody notes repeated twice or
three times in succession; the S o u l
Stirrers' style contains the inevitable
appearance of this figure:
( M u s i c a l Example 7 ) Adding
distinction to the style of Reverend
K e l l y K e y (Southern Baptist C h u r c h
of L o s Angeles) are the phrases
" L o r d have m e r c y ! " and " M y , m y ,
" my!"
O f t f W i t h
Jazz and Negro church melodies
possess many s i m i l a r figures and pat-
terns. That the blues scale is used in
both idioms has already been at-
tested to. The following examples of-
fer further testimony to the s i m i l a r i t y
that exists between melodic patterns
in both i d i o m s : ( M u s i c a l Example 8 )
Identical melodic figures are not
as abundantly found in modern jazz
and Negro church music. That they
do exist, though, is substantiated by
the pattern found in both the S o u l
S t i r r e r s ' Nearer My Cod to Thee and
E r r o l l Garner's Blue Lou: ( M u s i c a l
further proved by bearing in m i n d
the first line of When the Saints Go
Marching In* when glancing at an
excerpt from the sermon of Reverend
T . M . Chambers o f Z i o n H i l l Baptist
C h u r c h of L o s A n g e l e s :
5
( M u s i c a l E x a m p l e 10 )
This is the third of a series. Future
issues will include examinations of
harmony, emotion.)

An
Interview with
by August Blume
J I still like Johnny Hodges and
Lester Y o u n g as much today as
I d i d thirteen years ago. They
were my first m a j o r influences.
A C a n you remember the different
groups you've worked with?
J W e l l , let's see. My first job was
with a band f r o m Indianapolis,
led by Joe Webb. T h i s was in
1947. B i g Maybelle, the blues
singer was with this band. Then
K i n g K o l a x , then Eddie V i n s o n ,
and Dizzy's b i g band. E a r l Bos-
tic, Gay Cross from Cleveland
He used to be with L o u i s Jordan.'
He sane and plaved in Jordan's
style Then I was wkh Dalsev
M a y and The H e " Cats and then
with J o h n n y l o d g e s " i n 1953 for
on p a n o Lawrence B r o w n on
trombone' Emmett Berry on
rumpet Jimmy Tohnsoi on
drums and T T a n ' t seem to re
memberthe
member the bass
bas olaveVs name"
p a y e r s narne^
some s o m e t r u e m J i c I d i d S
annredate g u v s H k ? B M t i c at the
rimbecauserd had s w a v e l me
lc"muchAfterI'dtZfrom
u n d T h i s spell I be Jn o appre
date them more After HodJes'
I s p e n T c Z l e of w L k s wfth
Timmv Smith W o w F d w a J u p
n the mTddle of The n i X and
hear thTt o r L n i s e chords
s c r e a m i n i at me' Rack in 1049
wTked S iohwi h Rnd
Poll I t was J 5 J P t we went right Tn because this
fhe Audubon NZ York
JANUARY
John Coltrane.
Sonny R o l l i n s and A r t Blakey
were with h i m . B u d was really
playing, so was Sonny. Those
guys you can call really great.
Then in late 55 I went with
Miles. He had Red Garland, P a u l
Chambers and sometimes P h i l l y
loe Tones other times A r t Tay-
lor. Last summer I started with
M o n k down at the Five Soot
M o n k had W i l b u r Ware and
Shadow W i l s o n A n d now I'm
back with M f c aJ n with
Cannonball on a to S EyZ
o n i a n c . P a u l Chambers sHl
withnimand.local'Washmeton
bov Zned Timmv Cobb on
drums
A D i d you have rehearsals with
M o n k before you got the job at
the F i v e Spot?
J I ' d go by his house and get h i m
out of bed. H e ' d get up and go
over to the piano and start play
ing. H e ' d play one of his tunes
and he'd look at me. So I'd get
my horn out and start trying to
find what he was playing We'd
go over and over the thing until
we had most of it worked out.
If there were any parts that I
had a lot of difficulty with he'd
get his portfolio out and show
me the thing wrhten out Fte
wouldI rather a X would learn
i t better and S u S A a ? w a T
S o n S i m e T w e ' d w H u s one Tune
T d T f A s soTn a ! w e g o ^ h e iob
learning had startedTearHer
When I met him I started hang-
ing around with him because I
liked his k i n d of music. W e ' d
already recorded one song to-
gether, Monks Mood. I liked it
so well I told him I wanted to
learn it so he invited me around.
Really enjoyed it, I sure enioved
working with M o n k .
A W h e n M o n k would get up from
the piano to do his dance how
would you be able to know where
you were?
J I felt sort of lonesome, but I
would count on the bass player.
A n d with a guy like W i l b u r
Ware, he's so inventive. He
doesn't always play the obvious.
He plays the other way some-
times. If you didn't know the
tune you wouldn't be able to find
it. He's superimposing things
b u i l d i n g the tension so that when
he comes back to it you feel
everything suck in I knew the
changes so we wouid manage to
X i n g t h a f w a v ^ ' S o m e t i m e s he
would be p a d n g a dTfferTnt set
of altered chanles from l o s e
that I'd be 2 and neither
of us would oe plavinT the
changes t o h e tune W e L d d
reach a c e r t a i n s o o f a n d i f T i t
then^toSeTwFdSlnc^
h e n E w o u l d ^ c o m e b a c k in
tosav^^^
used to a s k u s h o w we remem
reredallthatsuffbutweweW^
fried anvthfng thev win ed to
M o n k ' s alwavf doing something
r i o u s but not I mvsteriouS
St tat , Z A ;
STwm
leave ththird Z T Yet wi
n l v , the i J tinlt
the right place and voiced the
right way to have a minor feel,
but i t s still not a m i n o r chord.
I learned a lot with h i m . If you
work with a guy that watches ihe
finer points, it Kind of helps you
to do the same. In music i t , he
httle things that count. L i k e the
way you b u i l d a house Y o u get
all the httle important things to-
gether and the whole thing will
stand up. Y o u goof them and
you got nothing.
A Is it the same k i n d of experience
playing with M i l e s ?
J _ N o , it's altogether different. I
don't know what it is. It's an-
other great experience but of a
different nature and I can't quite
explain it.
25
 Monterey
There were thoughtful, un-New
portlike touches that reflected i n t e l l i -
gent p l a n n i n g behind Monterey's first
jazz festival: concession stands
charged reasonable prices for food
that staved d o w n ; a carpet of grass
covered the extensive grounds where
one could w a X o r rest outside the
J r e n r o v e r t S r S s the m u s k for an
outiav of fiftv cents Tt the gate
overnight alommodations and
o k c e s to park w e ^ e p l e n t i f u l - the
W x svstem canned balanced un-
d f c s o u n d t o the most remote
benches Dhotograohers"wenTmo
vTded with bS
restrictedI to ass^/ned benches out
P
front^ n l f o r m e r s were ta*WI to and
hotel hv the
festival s own d r i v e r s , the more than
adequate closed quarters on the
grounds served ideally for orchestra
rehearsals, dressing rooms, the press,
panel discussions, administration,
commercial displays, restrooms bars
and peaceful l o u n g i n g The dates of
the festival were Uctober 5, 4, 5.
Because the amplification was ex-
cellent, a more favorable balance of
show-biz projection and musical con-
tent occurred than is usual for festi-
vals. W h e n B u r t Bales crashed on
with an excited six-man dixieland
unit, it was almost too frenzied for
the sensitive microphones (Altec 21-
B heads w k h M - 1 1 system for those
who car?) and the 3 m a n n e r e d
7
crowd t^ingest A their i n i d a l tens^
n e s s w o r e o f f hough, B a l e f ( p i a n o t
tereTimaS
TrvHazz CaSXa narticu"
a Z blew w i t h c o n d s ent creatTve
orce' carving felZ C n n l S
Peanuts H u c k o who anneared k t e r
S t h Armstrong.
L i z z i e M i l e s broke it up with v i n -
tage material delivered in animated
and charming fashion. No one ex-
pected a great voice.
26
Jazz Festival
by Dick Hadlock
L o u i s , T r u m m y , V e l m a , and com-
pany ground out their routines with
strength, efficiency, and almost no
musical interest. The evening's scat
tered kicks came largely from the
Bales band
D i z z y Gillespie, the disorganized
and uninformed master of cere
monies for the foregoing, managed to
inject fragments of broad humor and
poor taste into the carrousel without
insulting anyone too much.
Saturday's f o r u m was slated to
deal w i t h jazz as an international
language. Though moderator R a l p h
Gleason struggled to stay on course,
the worthwhile comments (mostly^
Dizzy's) related only remotely to
the subject. Gillespie discussed his
conceDt of iazz as time Datterns to
which notes are added o n l f a ter pre"
T v i s W specifif
CrltrAlbeK
me Lie of ^
theTr current unemnloved status
Lous C n e S S . t f S '
w s t e d " S e s s " ' r r e f u s i n ! t o travel"
ftc.) as a maTor cause of idleness!
The beginnings of a valuable ex-
change were made when someone
asked D i z z y if he felt treated as an
artist at festivals. In reply, Gillespie
observed that economics, not artistic
considerations, determined the time
allotted to musicians Armstrong
agreed c i i n g Newport as a cTnspTcu
oil example
D i z z y concluded: " S o you keep
your head down and take their
money."
S i x long afternoon hours were
consigned to bands from San F r a n -
cisco and Los Angeles. Moments of
more than routine interest were i n -
frequent, with only Brew Moore and
John M a r a b u t o saving San F r a n -
cisco's contribution from dullness.
( V i r g i l Gonsalves' sextet went on
and off d u r i n g the forum and could
not be included i n ^ T s review.)
1958
Marabuto's piano improvisations and
scores were fresh and whimsical.
M e d F l o r y ' s b i g band possessed
f a i r l y good material but suffered
f r o m sloppiness and monochromatic
soloists w i t h interchangeable impro-
visatory lines. Some of the often-
impugned blandness of L o s Angeles
saxophonists s t e r T I believe f r o m
theirCc
a c o n v i n c ng voicTonanyoTe saxo
phone is a ful-time project (not
withstanding he e x ^ e X n a l giftTot
men like^ S o n n I f f i t o f the
reedmen to whom I refer have at!
taTned IMick W e s s o n alto tenor
and haHtone ? hut while skXd
h a v e r s thevl'ack the d i v i d u a l e x
n r t E imnant that fr m
VrT^nTFrTL H e r b T X r ve
total involvement. H e r b < ^ > very
devoted to the alto saxophone, re-
deemed the afternoon w i t h solos that
were absorbing and authoritative.
He dominated a set featuring the im
pressive hhelly M a n n e .
F o r simple, unprofound swinging
though, the L e r o y V i n n e g a r Quartet,
while hardly inspired, surpassed the
lot.
Betty Bennett directed her small
voice and silly bopping to the empty-
i n g chairs with a stage courage That
m f d e one sad and e m b a r r a s s e l
There seemed barely enough time
to swallow a sandwich before the
evening performers commenced their
march.
Saturday night began with Gilles-
pie's quintet, after the band sched-
uled to open refused to appear in
that " u n d e s i r a b l e " spot. Junior
Mance and Les Spand made sound
contributions while D i z z y came off
just short of magnificent. The con-
cern over t i m i n g that grew out of
th^afternoon m a r a t h o f had a n i n -
hibiting ^ S rmosrof L eiS-
r u p t e d l b S s t a g ^ w o r r L r s Tand
by low flying aircraft as well)
 V i n c e Cattolica, B i l l Smith, M a r t y M a r s a l a , Lizzie M i l e s , Dizzy Gillespie.
Giuffre, H a l l , and Brookmeyer sur-
vived all this with astonishing r e s i l i -
ency. The trio (offering what M o r t
S a h l called " f o l k f u n k " ) reached
the back rows through sustained pro-
jection of its members' belief in their
music. Giuffre seems to have crystal-
ized a mature personal stvle at last-
the t e n t a t i v e f o r a y ^ and the self-Tm-
posed S ant, but her diction is poor.
be replaced^ b T a f f i r m a d o n seff^on
fidence and die S orv urges of
There were still remnants of the
"get hot" affliction that plagues most
a n a c h r o n i s t i c a l ^ inclined musicians.
Instead of allowing intensity to be
a natural outcome of the music's
implications, the self-conscious jazz-
man sometimes dips into a kit of
"effects." W h e n the Giuffre Three go
that way, their music sounds counter-
feit and b o r i n g ; when there is spon-
taneous melodic exchange and per-
sonal identification with the mate-
r i a l thev can and do create meaning-
ful'expr^^
A n almost belligerently extro-
verted G e r r y M u l l i g a n appeared next
with the ingredients of a superb quar-
let: A r t F a r m e r , Dave Bailey, and
B i l l Crow. By the fourth, and last,
tune they had nurtured an exquisite
ensemble tissue only to be yanked
off to make way for M a x R o a c h .
Roach went on and on, encourag-
ing the loose-boweled trumpeting of
Booker L i t d e , the twitchy tuba honk-
i n g of R a y Draper, and the deft but
wearing tenor work of George Cole-
man. M a x would benefit f r o m cutting
the length of each rendition by a
half or more Even then iazz must
be more than competitive' tecchy li
one i s a i m i n g f T W ^ h f l e ^ S i c
Prolonged S r u ^ e S a l ^ K a n ^ it w
ding such as t^mdotki!^*
offensive in a concert that has more
Ident dTan time
The M o d e r n Jazz Quartet squeezed
in an effective Django and music
JANUARY
f r o m No Sun in Venice. The latter
proved better concert material than
movie music. The quartet was in
good f o r m , swinging easily and con-
vincingly.
Ernestine Anderson, a superfluous
ornament in a parade of prime jazz
talent, sang adequately and with
reasonable teste. H e r voice is pleas-
C a l Tjader had no chance to play
an uninterrupted selection from his
regular book. F a c i n g disappointment
manfully, he and a most " f u n k y "
V i n c e G u a r a l d i were hosts to B u d d y
De F r a n c o , who worked very d i l i -
gently at blowing earthy and direct
patterns. It was somewhat painful
to hear B u d d v h o l d i n g his fingers
back but there was no doubt about
d i n new
the e w warmth
warmth T h ? " c k r i n e t play
pC
The vertiginous evening concluded
with Tjader's conga drummer, M o n -
go Santamaria, cooking on Cubano
Chant while D i z z y Gillespie at
tempted, unsuccessfully, to draw at-
tention upstage to his own clownish
ballet.
(The writer was unable to attend
Sunday afternoon performances. The
following comments are based upon
an audit of stereophonic tape record-
ings of that portion of the festival.)
Sunday afternoon was devoted to
a curious mixture of overrated
" c l a s s i c a l " compositions, smatter-
ings of good jazz, and alternately
abortive and provocative attempts to
combine the two, all surrounded by
the atavistically solicitous awe that
persists in iazzmen confronted with
"re pectable" musTc T h e n are those
vvho^nstst t h a t X s was a red-letter
day for T a z ^ P e r h a p s so but o d y if
a n M u a U v i m p o S a m day for
was not which ,t probably
Gregory M i l l a r conducted the San
Francisco Little Symphony plus the
Monterey County Symphony through
photo by Gordon Greco.
a portion of Stravinsky's Petrouchka,
apparently for the sole purpose of
hearing D i z z y Gillespie improvise
the trumpet passage. Gillespie fluffed
notes, faltered, and ultimately wrig
gled into stock blues phrases! When
he finished, the orchestra returned to
its charts and completed the piece
K i T i i S the score
m>r his stature by the costly (80
men r e h e a r s e d f o r this) S c k Per-
haps Joe W d d e r o r Cootie W ^ a m s
S h w e c a n ^ J i t o f t
P a u l Desmond, more than any per-
former of the day, came close to
combining the cool, sharp-edged aus-
terity of the symphony soloist w i t h
the spontaneous wit and bodily
warmth that distinguishes the jazz-
man Desmond's pellucid saxophone
solos were a i l i g h T f occasionally
nundated by strings and things
D a v e ^ B r u b e c L e e m e d at home p h y
m g t h f p a s t n k s J h i s brother S o w -
Trof b u t d t l a s i n T e ^ ^ u a r t e t func-
S a i n s a a a azz unit 7 k s p i t e o f
o r c h e s t r a l b a c k g r o u n d s ! that B r u
g
beck's nianowork^creckl'ed with au
a J v ^ n H n t f e r e T b v e^ra t s T r u '
ments, in three selections designed
Near East.
H i n d e m l t h ' s Jazz Fugue achieved
litle more than to demonstrate the
unenlightenment of the composer. Re-
plete w i t h comic trombones and m i l i -
tary press rolls, the score follows the
time-honored doctrine of exposition
and development of a simple theme
(in this instance just four notes)
F o l l o w i n g a n ' intermission, Greg-
ory M i l l a r ' s wife played the t h i r d
movement of Bartok's Third Piano
Concerto for six minutes.
John Lewis, M i l t Jackson, Connie
K a y , Percy Heath, and M i l l a r ' s or
chestra executed three thoughtful
(continued on page 50)
27
n
R e v i e w s : R e
C E C I L T A Y L O R : Jazz Advance.
T r a n s i t i o n 19.
C E C I L T A Y L O R Quartet a t New-
port. V e r v e M G V - 8 2 3 8 .
The history of harmonic-melodic
developments in Western music has
b e e n - a l l o w i n g for an occasional de-
tour here and therean almost con-
tinuous process of tonal expansion.
S t a r t i n g w i t h a nucleus of harmon-
ically fundamental tones, the t r i a d , a
concept that became crystallized dur-
i n g the middle ages in the late stages
of polyphony, the tonal boundaries
were gradually widened to include
seventh and n i n t h chords and a l l
manner of chromatic deviations
thereof, u n t i l early in our century the
powerful hold that the " t o n a l center"
had over m u s i c a l t h i n k i n g was
broken, and the tonal equality and
independence of the twelve tones of
our chromatic scale were established.
In the years just p r i o r to this break-
i n g through of the tonal sound bar-
rier, composers such a, Schonberg,
Stravinsky, S c r i a b i n , Debussy, to
name but a few, were w o r k i n g with
the outermost extensions of tonally
centered chords and melodies; and
it was the increasing importance and
independence that these outer exten-
sions assumed that led to concepts of
bitonality and polytonality ( S t r a v i n -
sky, M i l h a u d , etc.), and eventually
pushed music across the borderline
into the realm of atonality (Schon-
berg, B e r g and W e b e r n ) .
The history of jazz, which is taking
a course v i r t u a l l y parallel (though
in a drastically condensed f o r m ) , has
now reached, at least in so far as har-
mony and melody are concerned, a
s i m i l a r juncture as described above.
A small m i n o r i t y of jazz composer-
performers are w o r k i n g p r i m a r i l y
w i t h the outer reaches of tonality,
and have reached that borderline
where their music often spills over
into areas so removed f r o m any cen-
28
c o r d i n g s
ter of tonal gravity, that it can be
thought of as "atonal." Foremost
among these is Cecil Taylor, of whose
work one and a half lps are now
available, with others (on Contem-
porary and United Artists) soon to
be released.
It has been said that Cecil Taylor's
music is not really atonal, and indeed
he himself is quoted as saying he
thinks of it "definitely as tonal."
Basically this seems to me to be an
academic question, especially in view
of the above-mentioned borderline
nature of most of his playing. One
can judge the work of art ultimately
only with qualitative criteria. What
matters in any artistic procedure is
not what it is, but what it can become,
what it can createa hard lesson
many critics have difficulty learning.
Nevertheless, since there is some
confusion not only about the ques-
tion of whether Taylor's music is
atonal or not, but also about the
whole semantics of these much ban-
died-about words "atonality" and
"tonality," perhaps a few clarifying
words should be set down before dis-
cussing the records.
Much confusion arises from the
fact that the words "tonality" and
"tonal" are used in two different
meanings. On the one hand they are
used to indicate a specific harmonic
system (often wrongly equated with
the diatonic system), while on the
other hand they may mean in a very
general way all intervallic relation
ships between tones. Many discus-
sions on the subiect bog down be-
cause these terms are not fhusTfined
beforehand and because t h w o r d
"tonal" is often used interchange
ably in both sensedTwithin even a
single L t e n c e "
It is, of course, obvious that if one
applies the second more general
meaning, Cecil Taylor's music is
tonal. His playing is even tonal very
often in the other sense of the word,
especially i n his expositions, and i n
the basic fact that the bass parts in
his groups so far have not ventured
beyond the conventional diatonic
(occasionally chromatic) walking
bass-line we a l l know f r o m Basie.
L i s t e n i n g carefully to his p l a y i n g
leaves no doubt of the fact that T a y -
l o r indeed does think tonally, but
the result of his t h i n k i n g most of the
tnne cannot be analysed on tonal
t e s (using the w o r d now in the
m o s p e d f i c S o r i c a l sense) That
r to s^y the i m p h e d u n d e r l y i n g
o n d chord strucmre on let's say
a blues o : 2 Azure i s the
srJcific i m p e t u " t h a t determines his
c h d e e of notes especial y p h r a s e
beg nningsand^'endings The bulk of
h?^ "mwovisations however-and
mts itTwIicuaHytruof the Lss
c o n s e r v a t i v e S L o T l o - i n i S
ourelv atonal or k so t to the
borderline between tonality and
atonali^
S e a l a n a l y s i s ^ v L tonal center
Hon a S n d o f academic S Z -
and r^eaninglesi
That T a y l o r ' s improvisations are
in effect p r i m a r i l y atonalwhatever
their tonal motivation may beis i n -
directly attested to by certain discrep-
ancies in the bass part, as played on
these recordings by B u e l l Neidlinger.
In the course of the proceedings, he
occasionally wanders off f r o m his
" c h a n g e s " - w h e t h e r on purpose or
not I cannot say. If one is listening
obiectivelv to the niano imDrovisa-
tion and the accompanying bass and
drums in their totality i e if one is
not Ti tening to the bass line by itself
- t h e M d e v i a t i o n i n the bass seem
not to matter S
come^absorbedI In the^already
strongly atonal sound fabric (In a
more ona context such deviations'
would b e very d S u r b h f e ) A ^ H f
T u r s e a further tea^though ner
hapTsiiity^^
THE J A Z Z R E V I E W
 t i o n s w o u l d be to eliminate the bass
part altogether. At any rate, I defy
anyone to analyse the following ex-
cerpt, picked more or less at random
f r o m dozens of s i m i l a r moments, in
terms of tonal centralitv:
terms o y o n a i c e n t r a m y .
TilfcO
m m
VI:
7TTx
WW
E x . 2,
r T
But then not a l l of C e c i l T a y l o r s
music is that advanced. It might be
instructive to show those who would
simply reject music such as this as
senseless or not j a z z ! that it has
its origins in a f a i r l y harmless point
of departure, and that what T a y l o r
does is really quite logical and, in
my o p i n i o n , imaginative and stimu-
TThe
1 3
u - opening of* his
n g
u : own TuneT O2
on the Newport L P , for instance is
an excellent example of the germinal
1. It is on the basis of the second definition that some people c l a i m that truly atonal music cannot exist, that " a t o n a l i t y " is a mis-
nomer.
2. Discussions about whether something is atonal or tonal always r e m i n d me of current arguments about whether such and such a
piece is jazz or not.
JANUARY
E x a m p l e 1 is taken from one of the later choruses on Azure. (Measures 2 and 3 are
strongly reminiscent of a certain phrase in Stravinsky's Sacre du Printemps). Example 2
is the original bridge of Azure upon which these particular measures i n example 1 are
founded.
J
i
3 b
4*
etc
r
ideas upon w h i c h he builds his i m - W i t h this as the basic composi-
provised abstractions. Tune 2 is cast tional material, the quartet plays a
in a somewhat extended f o r m , con- short introduction, the exposition by
sisting of the following schema: a l l four, a chorus by Steve L a c y , one
by T a y l o r , the fourth chorus divided
A A B C C D B C Di B D A
between the two soloists, and a tag-
1 1 1 2 2 2 2
8 8 8 8 8 6 6 44 8 8 12
- 88 Bars ged-on 14-bar coda consisting of A . 2
As w i t h that of many jazz soloists,
( T h e numerals 1 and 2, qualifying the
letters, are used to indicate the fact that T a y l o r ' s improvisations start in rela-
such sections are not exact repetitions tive c a l m , close to the theme, and
but variants of the original letter. T h e gradually reach a more excited and
D sections are pedal-points using a par-
ticular prescribed rhythm different from
complex level as they become less
the rest of the piece.) tonally oriented. If our example 1 is
29
 a typical instance of what may hap-
pen in the body of a T a y l o r solo,
our next example (3b) is a good
indication of how an improvisation
might start:
1 ' ' 1 1 1
l ' ' y 11
Here the tonal skeleton is still
quite audible (and visible), while the
groundwork for further expansion is
already being laid. Note the reiter-
ated use of motive a, one of Taylor's
favorite phrase-turns, and the use of
the same material horizontally and
vertically. If proof be needed that
T a y l o r knows what he's doing and
that he is not "simply faking disson-
ances," as some would have it, one
need only point to these devices, long
a mainstay of compositional tech
niques. One might also point to the
symmetrical relationship of measures
21-22 to 23-24 ( E x . 3b) mirroring a
similar relationship between 17 18
and 19-20 in the exposition ( E x 3a)
Throughout his playing, T a y l o r man
ages to retain a very close raDDort
between the structure of the composi-
tion and that of his improvisation,
more so than L a c y does. The charac-
ter of different segments of a piece
like Tune 2 for instance are re-
spected and employeTS t improvi-
sation which at th same tinS often
reveals a c h a r a i t e r o l S T r struc
tural unity a l i t o w r f - a s if there
30
E x . 3a represents the original melody with its bass line and chords. E x . 3b is t h e !
beginning of the piano improvisation thereon. (In measures 1 through 4 the piano i s f
still accompanying the overlapping end of L a c y ' s soprano saxophone solo.)
Ex 3 i
* " 1
J J
r 7
4
' f rvT fJJ LT
it*
y
^ J
rn i 'i r
J
were two structural levels at once.
At other times, the structure of a
solo may momentarily take prece-
dence over that of the composition,
at w h i c h times I have the impression
C e c i l also cuts the tonal u m b i l i c a l
chord, and lets the force of the par-
ticular idea with which he is involved
at the moment be the sole arbiter.
At such times he reminds me of The-
lonious M o n k i n that h e l i k e M o n k
c a n play passages in w h i c h the
overall musical shape and direction
take precedence over the actual
notes- i.e the choice of notes
though e x c e l l e n t - i s secondary to the
larger musical contours and another
possibly equally excellent choice of
notes could have rendered the same
m u s L l design
These abilities coupled with an i n -
nate musicality give Cecil T a y l o r ' s
best solos a great deal of cohesive-
ness. Sometimes unity is achieved by
means of motivic variants and devel-
opments, sometimes by a variety of
fresh ideas simply sustained at the
same level of intensity.
It is in reference to the over-all
* f
ii =i
** * IWi
^4
1
.j{, . >
, i, j I I I 1 -
I J
V i 1
L i hi *=i = =F
m
*4-
1 J
J J TJ p P 1
1
Ifpi
continuity and sustained expressive-
ness however,-qualities which after
a l l , beyond all technical considera-
tions, determine the real validity of
a musical conceptionthat Cecil oc-
casionally finds himself in a dilem-
ma. In this respect the two lps offer
a telling contrast. Where the New-
port performances (possibly as a re-
sult of performer-audience contact)
have an exciting intensely felt con-
tinuity the stud o performances on
Transition (except for the remark-
able Azure) suffer bv and large from
a lack o these qualities One geS
f
d i e ^ t o ^ r m r t T a X T s i t S
at the p k n i obtctivdy perforrn ng
a A c t i o n to whichThe w^s T o m
milled and t h a M n a r a t h e i n o n - Z -
S m a t i n e manner teots out a col
lection of Ideas whichthough orig-
ina and varied enough havef no real
artistic rlTson FeTeOne does no
fee the burning necessity that what
he<savVhIdtoL sa7d S n e r S u v o n
T^vWle'ts u s i n 1 1 ^ 1
his mind but not his soTd Ind he
h d e ^ r o n , u s what h f e e l s a b o u t
THE J A Z Z REVIEW
the blues. But as I say, the Newport constantly feel the gravitational p u l l Thus in Charge 'em Blues, T a y l o r
record and several excellent live per- of both their tonal and r h y t h m i c starts an idea, spins it out a little by
formances of T a y l o r that I have weight. One can hear this on the T r a n - repeating i t or using slightly varied
4

heard, indicate that such moments
are in the m i n o r i t y .
Yet it is a point worth discussing,
because it relates to the whole ques-
tion of atonal improvisation, or for
that matter atonal jazz composition.
The performer is caught between two
cross-fires, as it were. He wants to
free himself f r o m the conventional
tonal strictures set down by the bass
(or at least i m p l i e d by the chord
patterns upon which he is supposed
to be i m p r o v i s i n g ) , but at the same
time, as long as the bass and drums
sition lp, especially on Charge 'Em
Blues. T i m e and time again T a y l o r
is pulled back f r o m his intentions by
the conventions of tonality, of phrase
lengths and the "beat." The rhythm
section, pushing relentlessly forward
in its duty as supplier of the beat,
sets a perfect trap for the improviser
It propels h i m onward while he hap
hazardly clutches at ideas that may
come to h i m some good some com-
monplace The relentlessness of the
accompaniment can easily push h i m
into mechanical and rhetorical so-
imitations, then breaks it off and
starts another idea. It's almost like
listening to a solo consisting entirely
of "foufs." To sustain this Lormous
variety of ideas in this manner is, of
course extremely difficult, and prob-
ably impossible in pure improvisa-
tion. To help himself, Cecil had sev-
eral musical ideas in readiness
(others might call them cliches, a l -
though let it be said that thev are at
least his own) which he could throw
in whenever necessarv Example 4 is
y 7cal ii^^ various gu ses it appears
P

participate in the accented conven- lutions unless he can free himself at lea t Tdozen timTs on the T r a n -
tional manner, the i m f r o v i s e r w i l l from t h e h i n f l u e n c e * sition p

I called this situation a dilemma, ticed too, that in Tune 2 the entire means startling, musical exchanges
and I really do not mean to criticize group loosened up to swing every with his leader
Cecil for f a i l i n g to solve it. F o r no time the last twelve bars (starting Steve L a c y I respect and admire
doubt the problem is a difficult one. with the A m i n o r chord) appeared. for his consistent astute work, but I
If the soloist is strong enough to It seems that the pent-up tension of wish he would avoid using such a
resist this p u l l of the bass and drums, the preceding eight-bar pedal-point choked tarrogato-like sound, espe-
and can soar in relative a u t o n o ; m (on E) found release in the resolu- cially in the low register. It's i m -
above the accompaniment, the ques- tion to A. It worked a l l four times. probable, but I suppose it could be
tion promptly arises: well, why not One thing the group has yet to argued that this is the sound he or the
eliminate the bass and drums? But learn is not to rush, especially on group wants. But I find it terribly
that in turn immediately produces medium tempos. Tune 2, for i n - d i s t r a c t i n g - a n d that, I don't think,
the next question, w h i c h i s : can this stance, picks up considerable speed was its intention.
bass-less, drum-less, atonal wonder before the exposition is sixteen bars In discussions on music such as
still be considered jazz?* o l d ! But at least this is a sign of this, one often hears the expression
However, my impression is that life and energy. "twelve-tone j a z z " bandied about. It
Cecil Taylor is concerned about play- B u e l l is a continually i m p r o v i n g seems like such a nice, new, catchy
ing jazz; and to his everlasting bass player. H i s tone is r i c h and f u l l word. I should like to make it ex-
credit, on the Newport l p m a d e (meaty is the w o r d ) , but it does not plicitly clear that the term "twelve-
almost a year after the T r a n s i t i o n quite fit in character w i t h the harder, tone" in connection w i t h jazz is only
r e c o r d i n g - T a y l o r walks the tight more acrid quality of Cecil's play- applicable to written or composed
rope between the two cross-fires with i n g . As a matter of fact, a player jazz. "Twelve-tone i m p r o v i s a t i o n "
razor-sharp accuracy, and w i t h all with more bite could add to the quar- does not and can not exist. The pro-
the emotional, swinging intensity as- tet-ness of the group. One thinks of cedures of twelve-tone or serial com-
sociated with good jazz. The seg- M i n g u s , for instance, as ideal. Buell's position are of considerable complex-
mentation which marred the earlier occasional e r r i n g , as on the end of ity and if thev were applied to pure
recording is no longer in evidence. Azure, can be discounted, consider- improvisation the improviser would
The i d e a s - a g a i n presented with a i n g the fact that the bass player's have t o h a v e a memory and calculat-
seemingly endless v a r i e t y - a l l relate lot in a group like this is a very i n g ability gre^teT than U n i v a c ' s
logically and smoothly to each other, lonely one. Even if were possible I doubt if
so that one hears a musical edifice; This brings us to the point of it were deskaSe T h i s is not to say
made up of many contrasting ele- whether it matters ultimately if we haT since they^cannot be used for
ments, but all coalesced into an ex- call it jazz or not. A g a i n , should it S t a i t i v n m D r o ^ S o n mediods of
pressive entity. not be sufficient to ask how good serial c o ^
I like, aside f r o m Cecil's solos, it is, rather than what it i s ?
his accompaniments behind L a c y ! Dennis Charles, the drummer, is a S a ? Aeir , T 3 more S T S S
and his ability to relax into a groovy, sympathetic accompanist and often bavStable^topStioT
slightly-behind-the-beat swing. I no- enters into interesting, though by no G u n t h e r Schuller
3. I realize that these problems exist in a l l ordinary jazz improvisation, but the problem is even more acute when the improviser has
the added burden of making a less familiar atonal context intelligible.
4. The question of whether Taylor's playing is to be considered atonal or not comes up again in connection with the concept of repeti-
tion. Nearly a half a century of atonal composing has taught us the bitter lesson that most forms of symmetry, including r e p e t i t i o n
especially immediate repetitionare out of place i n atonality because they have lost their functional ties with the symmetrical tonic-
dominant relationship that governed diatonic music.
5. Other questions that arise in this connection are: Is it logical at all to mix an atonal improvisation with a tonal bass line? Does it
make sense to pour a highly complex idea into a conventional rhythmic mold? Do not such discrepancies ultimately detract from the
stature and validity of such a concept?

JANUARY 31

R A Y C H A R L E S : A t l a n t i c 8006
T h i s is like hearing a preacher
sing the blues. It's like going to
church. It's hearing R a y Charles de
liver a sermon like no one else
around.
Simultaneously continuing the folk
blues t r a d i t i o n , drawing from the re-
sources of gospel music, elevating
rhythm and blues to a musicianly
level, and p r o v i d i n g a gold mine of
inspiration for jazzmen R a y Charles
has evolved a way of singing the
blues that is one of the few real
bonanzas in the limited vein of
r h v t h m and blues DrosDectings R a v
afford? ample t e s i m o n v that r h y m m
and b l u e s i s of more than passing
mterest t o a n y o M M M e d ^ S
jazz or its antecedents
The album is a sort of capsule his-
tory of this type of music. Starting
with Funny But I Still Love You, we
find a pre-rhythm and blues era sound
(circa 1950-51), notable for its ab
sence of the stereotyped heavy beat
and rasping h o r n tones, in w h i c h
R a y ' s directive phrasing and heady,
caressing deliver? of off pitch lines is
reminiscent of Charles Brown's work
with l o h n n v Moore's Three Blazers
Greenbacks representative of the
e a r l y p h a s ' o f commercially accepted
early pnase ol com er i a ^ y^accepe
this
with e n e r g e t i c d l y l n g C h o r u s e s sand
advertisement Tiched S w e e n s l y l y ^ r e c k e d verses
directed
to the horns forcedI to^ honT competuive"y
o v e t h ^ s o v e r e i g r b L t s Z n d s hke
Discographer-Hisforian- what emerged from jukeboxes for so
Collector
S! iTmTrnidSfties Mvr Ann
Subscribe exemolifies the vogue for L a t i n
to . . . rhvmms Tuxtanosed with and inter
iected^ h f N ^ r o rhvt^hm and
RECORD
Wues t r a d u i o n T h S f e v e n t u a l ^ / a v e
RESEARCH wavtonseX
A bi-monthly journalistic endeavor, who were tn^aHv T n f a m i l i a l
now in its 4th year, devoted to sound,
accurate and interesting research into
T h h t h e bines and r e , f l l e d a brand
all phases of Musical Americana (Jazz, new a* f o r t h JZ J an
Vaudevillian, Personality Folk Popu- ^ h l n i f v neither t h l nor t h . r .
lar .. . and the largest record auction
in the world, in every issue.)
F i n a l l y , there is Ray's own inter-
Record Research pretation of r h y t h m and blues, i n d i -
131 Hart Street v i d u a l enough to transcend the i d i o m
Brooklyn 6, N. Y.
itself, yet perpetuating the vitality of
Please start my subscription at once. the folk t r a d i t i o n : Ain't That Love
Here is $3.00 for your introductory offer with its antiphonal interplay, tam-
of 12 issues. bourine and handclaps, and Ray's
preacher-like " A w plav i t s o n ' "
Name urging the h o r n p l a y e r o n Halle-
lujah's funky rhythms and groans
Address and / Got a Woman arTreatout-
standing judged bv the standards of
City State any music The remainder of R a v "
BONUS DIVIDEND!!! o f f e r i n g ^ d w e l l o r Z gosoe blues
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pm?melismatir%
32
1
syllabic phrases so basic to church
music.
One last thought comes to m i n d
hearing Sinner's Prayer, a basic,
earthy no-nonsense atonement with a
bristling piano accompaniment. Ray
Charles knows the blues, his message
is unvarnished and sincere, and his
association with an i d i o m scorned by
scholars and " s e r i o u s " musicians has
no bearing on the genuine musical
worth of his performances H i s is un
abashed emotion and exhilaration
in sound and manv overlv-educated
musicians could learn a lesson from
him.
A t l a n t i c , incidentally, has pro-
grammed this album so that Side I
contains predominantly slow tracks,
Side 2 predominantly fast ones. I
personally find this violation of the
prevailing fast-slow-fast-slow arrange-
ment of numbers on the majority of
albums most satisfying; the listener's,
as well as the artist's mood is thus
sustained rather than chopped up.
M i m i Clar
R A Y C H A R L E S : A t l a n t i c 8006.
R A Y C H A R L E S : Y e s Indeed! A t -
lantic 8025.
R A Y C H A R L E S : R a y Charles a t
Newport. A t l a n t i c 1289.
HARRY BELAFONTE: Bela-
fonte Sings the Blues. V i c t o r L P
1006.
A n y of the records discussed here
is l i k e l y to offend purists, the last
for far different reasons than the
other three. B i l l Broonzy, for i n -
stance, has said of R a y Charles,
" H e ' s got the blues he's c r y i n ' sancti-
fied. He's m i x i n ' the blues with the
spirituals. I know that's w r o n g . . .
He should be s i n g i n ' in a c h u r c h . "
Considerations of taste aside, B r o o n -
zy made an accurate appraisal of
R a y Charles' method. The conven-
tions of his music are those of the
gospel song, and his performances
are replete with choral groups work-
i n g on call-and-response pattern,
piano triplet figures, and the 3/4 tha
gospel singers m a d ; swing long be-
fore the " n e w " jazz wallz become
nrominent A d m i t t e d l y Charles has
chaniecTine l y r i c matter if not the
manner of thYs rn^sk The gospel
Tong that goes Tn one vers km
becomes 'Tgot a woman way over
to^wn A l t h o u g h ChariS has sung
w U h g o s p d g r o u p s i n church i t T s !
Tafe s o e c u l a that when he sings
of gooUndI evil wom^n L is deal
i n g w i t h matters of more immediate
THE J A Z Z REVIEW
 concern to h i m than eventual salva-
tion.
The point to consider, I think, is
that an artist is free to employ any
vocabulary or set of conventions
available to h i m in order to make
his statement, and perhaps the per-
sonality of the artist is made most
clear when it operates through such
a set of conventions. If an i n d i v i d u a l
is w o r k i n g honestly, he is dealing
w i t h the matters that most greatly
concern h i m in the manner he finds
most suitable. A r t i s t r y lies in the
ability to objectify the individual's
private needs to the extent that an
audience is able to have unanimity
with them.
Charles has several limitations,
and they seem to be directly involved
with these problems. H i s lyrics and
his use of them are pure blues-poetry.
The lyrics are concise, f u l l of sharp
psychological truth, and no matter
how resigned at times, always con-
spicuously l a c k i n g in self-pity. C o m -
pare the closing lines of Charles'
It's All Right:
" Y o u know, someday y o u ' l l need
these arms of mine,
I said it may take a long, long
time.
A n d when things ain't what they
used to be, now
Y o u can b r i n g your fine self
home to me.
To prove my love is true, I ' l l
hug and kiss you too
A n d I ' l l say, "It's all right.' "
w i t h the closing of a better-than-most
popular song:
" A n d when things go wrong,
Perhaps y o u ' l l see you're meant
for me,
So I ' l l be around when he's gone."
The latter, for all its brevity, seems
to have much more whine in it. On
Come Back, Baby the g i r l is referred
to w i t h i n the first twelve bars as
" b a b y , " "mama," and " c h i l d , " which
takes care of most of the psycho-
logical possibilities. Charles is a
rough performer w i t h jagged edges,
a s h o u f t h a t might frighten neigh'
bors, and, at times, an almost para-
l y z i n g honesty. It is only when he
tries to be a showman that he fails.
H i s b a n d , in the " j u m p " vein, is a
good one, but not exceptional. W h e n
the band is used to please the crowd,
or when Charles sings a number for
the same reason, the performances
deserve the rock and r o l l label at-
tached to them. The difference be-
tween Charles and his surroundings
are best exemplified by the concert
and studio recordings of / Got A
Woman, on which Charles' vocals
are vastly different, but the saxo
phonist plavs precisely the same solo
The different m S T c h a r l e s ^ a n d t
JANUARY
rive from the same material show
on the concert vs. studio versions of
A Fool For You. The latter is brief
and touching, but the Newport ver-
sion is a slow, agonizing recital of
p a i n , with a powerful cumulative ef-
fect achieved by seemingly uncalcu-
lated repetition. On other numbers
he merely goes through the motions,
and these are the numbers I feel have
no urgency for h i m . The fact that
both types of number appear indicate from Atlantic n
that Charles may not be aware of the n ID
difference, and is an instinctive ar- T H E J A Z Z
tist. The quality of his piano p l a y i n g ,
O F P E R M A N E N T
incidentally varies in the same way
and apparently for the same reason I N T E R E S T
When he accompanies himself on one
of the meatier tunes he is superb.
Five of the eleven songs on the THE SWINGIN' MR. ROGERS
Belafonte record were recorded by
and are closely associated w i t h 1212 5 h o r t Y R o o e r s
I
Charles. A quote from Belafonte on & His Giants I
the liner reveals a fine understand- LENNIE TRISTANO
i n g of Charles: " R a y Charles is one 1224
of the very few contemporary artists
THE TEDDY CHARLES TENTET
to know and appreciate and take ad-
vantage of his folk heritage in order 1229
to expand and develop his own iden- THE BOSS OF THE BLUES
tity. In fact, what R a y writes are 1234 Joe Turner I
folk songs in almost the traditional
sense of spontaneous material that PITHECANTHROPUS ERECTUS
comes out of a people's needs." This 1237 Charlie Mingus I
sounds more like the statement of a
critic than a performer, and what THE JIMMY GIUFFRE CLARINET
Belafonte has done, essentially, is to 1238
execute a work of criticism on these
pieces Apparently unable to cope THE WORLD OF ALCINA
with the richness of the originals, he 1241 Bill Russo I
has pared them down to formula size,
where thev are readilv accessible and
BIX DUKE FATS
understandable T h i is what happens 1250 Thomas Talbert I
when a7 i d e r i ^ n ^ W S S DIZZY AT HOME AND ABROAD
1257 Dizzy Gillespie I
are left wiuh the X n e r i s m s of the
o r i s nailHere you a T S ^ t h B e k * NEW ORLEANS BLUES
faSfr ^erteLHe^rSentsAe 1266 Wilbur de Paris & I
materLl a n d h T ^ w n c h a with
Jimmy Wifherspoon I
dS-and^precision That c'haTm
along with B e l a f T n S fantastic and AFTERNOON IN PARIS
1267 John Lewis &
undeniab e energy and showmaLhip Sacha Distel
recommend them S n s t them i s THE JOHN LEWIS PIANO
th7mi7re7sio7 tfmtThesongs have 1272
been g r a s p e d f r o m ^ w i t ^ u t and have
nTmoVemco THE BILLY TAYLOR TOUCH
1277
WsTeaualIv S d i t i ^ n s of
THE MOST HAPPY FELLA
music f r o m Israel Z Wes Indies
1280 The Jazz Modes
h e blues ^ h a v i n g v o u ^ voice bUruCLfor complete catalogue, which
break i the end of a phrLe includes 15 Top Stereo Discs available
The paradox is that it is so much at $4.98 ea. from your Favorite Dealer
easier to discuss and point to the or direct from
artistry of Belafonte's work, when
Charles is more deserving of the
word. A n d the unfortunate thing is
that it is only rarely that a choice
does not have to be made between R E C O R D I N G [
C O R F S i
the approaches these men represent. 157 W. 57TH.ST.. NEW YORK 19. N. Y.
J o e Goldberg
33

JOHN COLTRANE: Soultrane,
Prestige 7142.
Good Bait finds Trane r o c k i n g and
bouncing in a dancer's groove. He is
a shouter, indeed at times a screamer.
The intensity of feeling is hot and
one's foot is apt to start tapping.
R e d G a r l a n d lays down some p e t u n i l -
scented chords loaded with tension,
heat and song which have the effect
of b r i n g i n g everyone closer together
and in his solo he delights the ears
with a few dazzling figures employ-
i n g most of the keyboard lines that
contain a rhythmic vitality and a
blinked slyness. After P a u l s ' solo we
have a section of fours, notable for
Trane's hot return, m a k i n g two state-
ments which are happy hair raisers.
The b a l l a d , / Want to Talk About
You, is realized in Trane's particu-
larly haunted way. H i s ballad ap-
proach in general is one in which the
realities of the day assert themselves
he is detached, d r y , melancholy,
fearful and yearning
Devices such as tremulo and ruba-
to can be interesting depending on
the ingenuity of the person p l a y i n g .
If the tremulos lack interesting har-
monic implications, the result is a
throwback to silent movie days or
the piano r o l l . If the rubatos are
pompous and devoid of all musical
life (which would come f r o m inter-
esting sounds and rhythms culminat-
i n g in a logical musical thought)
then they are lies because they have
no basis in reality.
D u r i n g the second and t h i r d chorus
of Coltrane's improvisations on the
attractive You Say You Care, the
group attains a good group feeling
(all the players support Trane, at
t a i n i n g an intensity that comple-
ments his playing.) The selection of
this tune demonstrates another facet
of Trane's ability, the ability to see
unfamiliar material and turn it into a
forceful jazz expression. T h i s is one
way of gauging his musical ability
and is alio additional evidence of his
stature in relation to the rest of the
field. Russian Lullaby is taken at a
jet's tempo with P a u l Chambers play-
i n g in an even rockbottom way which
anchors the rhythm section and
makes it easier for Coltrane to fly.
Coltrane at times seems to play
away f r o m everyone rhythmically,
and yet his line has a time that is
angular and e v i l and laden with its
own r h y t h m . H i s p l a y i n g sometimes
becomes a m i r r o r of the past remind-
i n g one of the precision of Benny
Carter, Stitt, and G o r d o n of the late
40s, with the texture of Pres. H i s
interval conception is a whole one as
he utilizes large and small intervals.
He uses the entire range of his h o r n .
In ballads, he ventures into areas of
sound that are uncommon. One is
reminded of Hodges, his security of
tone in the higher registers A l s o
the vocal feeling of Eckstine and
Sarah In his blues D l a v i n g there is
B i r d as well as R o l l i n s In short his
expression is a L a u t i f u l and mean-
i n s f u l one H i s education and ex-
SdtiTSen H f c HodEL GfflS
M i l e s and M o n k
H i s own ability, his perception and
wisdom show themselves in his own
compositions, the organization sound-
wise in such pieces as Training In,
Straight Street, etc. In short, his tone
is beautiful because it is functional.
In other words, it is always involved
in saying something. Y o u can't sepa-
rate the means that a man uses to
sav something f r o m what he u l t i -
mately says Technique is not sep-
wate f r o m its content n a great
artist.
C e c i l Taylor
M I L E S D A V I S : Milestones, C o l u m -
b i a C L 1193
Side 1: Dr. Jekyl, while not espe-
cially melodic, gives the group an
excellent opportunity to "stretch
out." The eights and fours between
M i l e s and P h i l l y Joe Jones are fiery
and invigorating. P a u l Chambers, i n
spite of the fast tempo, takes a soul-
f u l solo. The exchange of choruses
between Coltrane and Cannonball is
the high point of the track, and the
rhythm section is very stable through-
out.
Sid's Ahead is, in reality, the old,
and now classic, Walkin'. D u r i n g his
solo, Coltrane is very clever and cre-
ative in his handling of the substi-
tute chords. M i l e s strolls (without
piano) beautifully. He is a true mu-
sical conversationalist. Cannonball is
quite " f u n k y " at times, and C h a m -
bers exemplifies his ability to create
solo lines in the manner of a t r u m -
peter or saxophonist.
The t h i r d track, Two Bass Hit,
opens with everyone on firepar-
ticularly P h i l l y , whose punctuation
and attack are as sharp as a knife.
Coltrane enters into his solo moan-
i n g , screaming, squeezing, and seem-
ingly projecting his very soul through
the bell of his h o r n . I feel that this
man is definitely blazing a new mu-
sical t r a i l . P h i l l y and Red Garland
back the soloists like a brass section,
an effect which always creates excite-
ment.
Side 2: The theme of Milestones is
unusual, but surprisingly p l e a s a n t -
particularly the bridge where M i l e s
answers the other horns, achieving
an echo effect. P h i l l y ' s use of sticks
on the fourth beat of every bar is
quite tasteful. Cannonball cleverly
interweaves melodies around the
changes. M i l e s is as graceful as a
swan, and Coltrane is, as usual, full
of surprises.
Red G a r l a n d , who is undoubtedly
one of today's great pianists, is spot-
lighted in Billy Boy with P h i l l y and
P a u l . The arrangement is tightly k n i t
and well played. Red employs his
block chord technique on this track
and plays a beautiful single line, as
well. P h i l l y and P a u l do a wonderful
job, both soloing and in the section.
Straight No Chaser is a revival of a
Thelonious M o n k composition of a
few years agothe spasmatic har-
mony makes it quite interesting. C a n -
nonball is excellent on this track. I
may be wrong, but he seems to have
been influenced somewhat by C o l -
trane. M i l e s paints a beautiful pic-
ture, as surely as w i t h an artist's
brush He has a sound psychological
approach in that he never plays too
much. He leaves me, a l w a y s " w a n t i n g
to hear more.
I have heard no one, lately, who
creates like Coltrane. On this track,
he is almost savage in his apparent
desire to play his horn thoroughly.
R e d plays a single line solo with
his left hand accompanying off the
beat. He closes the solo w i t h a beau-
tiful harmonization of M i l e s ' original
solo on Now's The Time. Here,
P h i l l y goes into a subtle 1-2-3-4 beat
on the snare d r u m behind Red's
solo, setting it off perfectly. T h i s is
the best track of the album.
In closing, I'd like to saykeep
one eye on the w o r l d and the other
on John Coltrane.
 D U K E E L L I N G T O N : The Cos-
mic SceneColumbia C L - 1 1 9 8 .
Personnel: Duke Ellington's Space-
men: Ellington, piano; Sam Wood-
y a r d , d r u m s ; j i m m y Woode, bass;
John Sanders, B r i t t W o o d m a n , Quen-
tin Jackson, trombones; J i m m y Ham
i l t o n , clarinet; P a u l Gonsalves, tenor;
C l a r k T e r r y , trumpet.
Perhaps I was misled by the title
of this a l b u m or perhaps by my own
a d m i r a t i o n for Duke E l l i n g t o n , but I
expected the Spacemen to really take
off in The Cosmic Scene. However,
these Spacemen are a most nonchal-
ant group of explorers
My first reaction to the record
was that here is a lukewarm session
in w h i c h no one really extends h i m -
self, a sort of restrained, watered-
down E l l i n g t o n group with none of
the excitement or extroverted crackle
of the b i g band After more careful
re-listening I decided that while far
f r o m great E l l i n g t o n the music is
r e h x e d v e r ^ a d e q u a t e jazz played
aren r y i n g to make Te
aren' t ttvineZmake the moon
moon after
S t i l l , I had hoped for more, be-
cause of Duke. I think the basic
trouble lies in the fact that the l i s -
tener does not feel Duke's presence
strongly enough. If you have ever
been to a club where the E l l i n g t o n
band is appearing and have arrived
before Duke has come to work you
w l l remember how the orchestra
plays along iust fine without h i m
but the 2 u t e h e s h o w ^ T a front
the band the entire
suddenly ignited inspired by h s
P r e s e n c e a n d S m S ^ ! W
work yet
Body and Soul is the most b l o w i n g
track on the l p , with P a u l Gonsalves'
warmly sensual tenor snowballing
several slow choruses into a soaring
up-tempo flight. The ensemble is in
a more mellow tone on Early Au-
tumn and Midnight Sun.
Of the three originals, Jones (by
E l l i n g t o n and C l a r k T e r r y ) is the
least routine and most s w i n g i n g a
blues with the brass g u r g l i n g out
riffs behind Gonsalves at the close.
Bass-ment features some good piano,
rather u n - D u k i s h sounding low-reg-
ister lines (vou could almost say
" f u n k " ) ? vet iLntifiably EUington
in touch and phrasing
The rather down-home St. Louis
Blues concludes w i t h a good deal of
polyphonic recreation: the repetitive
melodic figures of the tenor and
trumpet are answered by the trom-
bones, while J i m m y Hamilton's clar-
inet fluently spins counter-melodies
above. Throughout, Duke's piano is
JANUARY
sparse, even dropping out completely
for a time, outlining chord changes
sparely enough to give the solo horns
plenty of leeway.
Quite f r a n k l y , I don't believe the
Spacemen ever really get off the
ground long enough to make The
Cosmic Scene. But maybe they didn't
intend to.
M i m i Clar
Twelve of the greatest numbers ever
J I M M Y L U N C E F O R D and his recorded by the great iazz cornet and
O r c h e s t r a . Decca D L 8050. trumpet men of the century featuring
SINGIN' THE BLUESIDAEMBRACEABLE
JIMMIE LUNCEFORD in Hi-Fi. YOU-WHEN YOU'RE SMI LING-MOOD
INDIGOHINDUSTAN.
Capitol T A O 924. This is "Wild Bill" Davison at his LOW
DOWN N DIRTY BEST! If you cannot
secure this album from your favorite
dealer fill out this coupon and send with
The Decca album, " J i m m y Lunce- vou check o money order far $4.25 to
ford and H i s Orchestra," is made up GNP and it wm be sent you postpaid.
of 78's originally recorded between
1935 and 1940. The C a p i t o l album,
" J i m m i e Lunceford in H i - F i , " is a
"reconstruction" of Lunceford. It
was produced with great love and
care by B i l l y M a y who used top L o s
Angeles p l a y e r s / i n c l u d i n g four or
five men who held important chairs
in Lunceford's band d u r i n g the 30's.
The music itself in the first album
is far f r o m fine art. It is nowhere
near say, Ellington's work in quality, G N P RECORD C O M P A N Y
but it does, however, have great 8566 Sunset Blvd.
charm and an open, almost i n f e n u - Hollywood 46, Calif.
Write For Free Catalog
ous flavor. The portions of compo-
sitional validity do not usually ex-
tend for any length. One passage
may be lovely and complete, f o l -
lowed by another passage as good
but bearing no relationship (not lie J M k l o r e (Henter
even contrasting relationship) to the
OFFERS
first passage. Worse an imaginative
and spontaneous passage may be fob an outstanding collection of
lowed by a passage of utter nonsense.
old and new books
Impromptu is excellent w r i t i n g ,
but too much w r i t i n g ; the result is on
confused. The saxophone background
on By the River Saint Marie is worse Folklore
Folkmusic
than that on a stock orchestration.
The voice-leading of the saxophones Folkdance
on Annie Laurie is inept, as it is Blues
frequently in this album. (The brass
Jazz
voice-leading is not much better, but
Jazz Magazine
brass cover up internal trouble more
easily than saxophones do.)
many of them impossible to ob-
The first two sections of Yard Dog
Mazurka are excellently connected; tain elsewhere. Send for our new
the contrapuntal pot pourri is great. catalogue now being prepared.
H o w sad that the guitar bridge was
inserted. Even worse is the attempt
(right after the guitar solo) to pick All books and records reviewed
up where things left off.
or advertised in the Jazz Review
HeU's Bells is the most uneven
available for mail order.
piece of music in the album. T h e use
of wood blocks is delightful. They
help create a gay macabre t o n e - a
touch of Hallowe'en. T h i s goblin- The F O L K L O R E C E N T E R
esque is heard on Stratosphere also. 110 MacDougal St. GR 3-7590
Perhaps the most serious compo- N.Y.C. 12, N.Y. Open 3-11 P.M.
sitional flaw is the way the pieces
are ended. Somerset M a u g h a m said,
35
 " A n y o n e can begin a good book but
not anyone can end i t . " The endings
of more than half the pieces are i n -
complete or brutalized. The most i n -
complete is Saint Marie, which bees
for two more quarter n o t e s - o n the
fourth and first beats following. The
most brutal ending is that of Annie
Laurie, one of several which are
" b u t t o n e d " w i t h a choked high-hat.
The improvised solos in this a l -
bum are on the whole not good. Only
T r u m m y Y o u n g comes anywhere
near m a k i n g an organic and devel-
oped statement. On a different level,
however, several of the alto saxo-
phone and trumpet solos are very
good " b a n d " solos. That is, they are
not of great compositional import-
ance in themselves but they fit the
general tone of the preceding and
following m a t e r i a l ; they mark time
graciously (the alio solo on Marie
for example) and connect w i t h the
prevailing nature of the piece.
The worst of the improvisation is
an absurdity. It is like the incoherent
r a m b l i n g of a " t h i r d " alto man who
writes some of the vocal charts and
gets three chances a night to express
h i m s e l f - a t our expense. See the
clarinet solo on Siesta at the Fiesta.
A l t h o u g h I approve of pre-lp solo
length, not believing that Sonny R o l -
lins has gone beyond Lester Y o u n g
on any level, the cut-up solo seg-
ments in these pieces would hamper
even the good improvisor. He is here
asked to play for sixteen bars, lay
out for a bridge, and then pick up
the chain of thought.
In addition, the whole setting of
the music is not particularly condu-
cive to improvisation. The chord
progressions do not suggest melodic
connection, the backgrounds are too
prominent or too jerkey, and the
music is basically orchestral rather
than soloistic.
As a performing group the band
is a marvel. It is not as good as good
could be, but it is something! The
brass as a unit and the trumpets as
a section know moments of fire and
spontaneity and art and cohesion.
The plunger brass passages on
Pigeon Walk are wonderful. Do lis-
teners who don't play brass instru-
ments know the difficulty of a pas-
s a g e l i b " t h i s " ' T h e trumpets call to
G o d orVAnnie Laurie They are loud
and brassy but Uiey do not attack
^^oM^y^oiloye and sun-
i i r T h e stifl K i n s o f Yard Dog
MYzurkc i s L t a caricature I t i s
affirmative caricature.
This band at times plays with an
untouchable ensemblewith good at-
tack and release, matched articula-
tion throughout the winds, and beau-
36
t i f u l shadings of volume.
However, the intonation is often
bad (especially in the saxophones)
and the section balance of saxo-
phones or of trombones is rarely u n i -
form (the fact that these were re-
corded before our era of Enlightened
Stereophony w i l l not excuse t h i s ) .
The drums are badly tuned through-
out and the drummer's playing is
often sloppy.
On the whole, though, this band
can teach us much. Few groups play
w i t h the enthusiasm and elan of
Lunceford. The glory of being an
ensemble player is not even compre-
hensible to most musicians now.
Goodbye to a sweeter d a y !
There are two ways to approach
old material. One is to extract and
re-form. Since this is often done so
badly it is less popular but is still
tempting. This is what Shorty Rogers
d i d in his Basie album. He re-cast
Basie in his own i m a g e g i v i n g Basie
higher brass, better i n d i v i d u a l play-
i n g , some new harmonies more
players, and more uniformly good
soloists He lost though the best
qualities of Basie' W h r t i s more i m -
portant he d i d not come up w S .
art object as good as Basted band
(the old one fn this case 4 new
one has made even greater error^
than Rogers did)
A really deplorable example of
this approach was Georgie A u l d ' s
B r o a d w a y i z i n g of Lunceford. A u l d
took Lunceford's charm and turned
it into a species of B r o n x show-biz.
H i s tribute to Lunceford was loud
fast, fierce, and filled with trumpet
screams and trombone splats.
M a y , on the other hand, has tried
to produce a Lunceford sound as it
would be if recorded today. He has
been scholarly, perhaps excessively
so. He has added a couple of men but
I don't think he has added actual
parts. (I'm not positive, of course
since all the o r i g i n a l versions of
these pieces are not available to me.)
In general M a y has stuck with the
letter and the spirit of Lunceford.
The defects of the music n o t e d ' i n
the above Decca album are, of
course, still here. But the perform-
ance is different.
The drummer is not quite right
for the music but he gets a lovely
lightness at times, especially with the
high-hat. The brass shakes on the
introduction of Uptown Blues are
fantastic. On this Annie Laurie the
brass play three different types of
8th notes ( r o u g h l y (a) even (b)
dotted 8th s and 16th's, and (c)
!
quarter and 8th triolets') with co-
hesion and sensitivity The intona-
tion throughout the album is i m -
peccable.
When I played this album for P a u l
Desmond he commented: " W o u l d n ' t
Lunceford have loved to take these
guys ( C o n r a d , Gozzo, Pete C a n d o l i ,
et al) on the r o a d ! " The players
here are superb. M a n for man they
are better than those Lunceford had.
May's band is a better band but
they don't play better than the Lunce-
ford band. They could, I'm sure, if
they spent three years or even three
months together. But they haven't
the sound a group gets through
night-after-night performance with
little change of players and just about
the same music is not to be gotten
any other way.
The moral is, of course, that su-
perb players should in some way be
field together so that the heights of
large jazz orchestra performance
could be reached. These two albums
direct us toward the heights, cer-
tainly.
W i l l i a m Russo
S O N N Y R O L L I N S : Freedom Suite,
Riverside 12-258
Side 1: The opening theme of the
Suite has a strong folk quality and is
also reminiscent of a show-type tune.
M a x Roach creates a great deal of
rhythmic excitement and Pettiford,
one of the all time giants of jazz,
walks like an elephant
F o l l o w i n g the opening theme, R o l -
lins, as usual, fully exploits his i n -
strument. He seems to possess a rare
gift which enables h i m to play what-
ever comes to his m i n d and make it
sound good. Pettiford indicates that,
even after years of being one of the
top bassists, he still retains the b r i l -
liance and creativity of a true genius.
The second theme is Russian in
feeling. It is in the minor mode and
played in a 6 / 8 meter.
The t h i r d theme, a beautiful lush
ballad, brings to my m i n d the image
of a city after hours. It loses some
of its character, however, when M a x
solos along with Pettiford.
After a recapitulation of the sec-
ond theme, Rollins goes into a fourth,
up tempo, theme. The rhythm punc-
tuation adds tremendously to the
mood. R o l l i n s , M a x , and Pettiford
then let their hair down in an ex-
change of fours.
The Suite is ended tastefully with
two bars of a folk theme played at
a much slower tempo.
T H E J A Z Z REVI E W
 I should like to mention, at this
point, my feeling that Sonny R o l l i n s
has been almost completely unrecog-
nized as a composer. It is my belief
that his compositions are worthy of
being classified with those of Horace
Silver, G i g i Gryce, J o h n Lewis,
George Russell, and Thelonious
M o n k It is surelv time for the public
to become aware of this other talent.
Side 2: On track 1, R o l l i n s plays
Someday I'll Find You first in 3 / 4
time and then in a deep-rooted 4 / 4 .
Pettiford again proves his mastery of
the bass. Rollins and R o a c h , p l a y i n g
a b a r each, b u i l d to an unusual cli
max.
R o l l i n s ' p l a y i n g on Will You Still
Be Mine, especially in the bridge, is
extremely soulful. D u r i n g his solo he
seems to glide along, lazily weaving
in and out of the chfnges. The switch
back to 3 / 4 time is unexpected and
effective.
W i t h the exception of a 1-2-3-4
cymbal beat behind Pettiford's solo,
TU There Was You was played by
R o l l i n s and Pettiford alone. A l t h o u g h
the solos were good in f o r m , there
is little excitement on this track.
A l t h o u g h R o l l i n s managed to be
quite subtle on Shadow Waltz, I don't
especially like the sound of his horn
on this track. The timbre (distin-
guishable sound) of the h o r n re-
sembles that of a baritone sax. Pos-
sibly his reed went soft.
T h e exchange of fours between
R o l l i n s and Roach while Pettiford
continues to walk is very exciting.
Roach moves very cleanly out of his
4 / 4 solo back into 3/4.
B e n n y Golson
CLARK TERRY WITH THE-
L O N I O U S M O N K : I n Orbit. R i v -
erside 12-262.
Only churls could have serious ob-
jections to C l a r k T e r r y ' s In Orbit
a l b u m and yet it may go under-
valued. Its most immediately strik-
i n g quality is friendliness; everyone
wants to be agreeable, and is. T h i s
quality is rare enough nowadays to
be worth remarking, and C l a r k ' s
gifts are exactly suited to b r i n g i n g
it out. He has a limited fancifulness
rather than any wide-ranging i m a g i -
nation, and a formal melodiousness
that is not " h a r d " enough to be epi-
g r a m m a t i c i t would be more just to
say a made-by-hand quality.
Theolonious M o n k adapts himself
with great tact, and on the whole the
record gives the impression of try-
i n g to sustain this l y r i c a l quality,
m u c h more poignant because it isn't A monthly magazine of analysis,
really t r y i n g to break anybody's biography, and history.
heart. The exception seems to be Pea-
Written by critics, musicologists,
Eye, w h i c h is rather hard-breathing.
and the musicians themselves.
A n d S a m Jones's long solo in One
Foot in the Gutter is too m u c h a Edited by Nat Hentoff and Martin Williams.
string of standard bass figures, too Recent articles featured Sonny Rollins.
litle an attempt to prolong the rather King Oliver, Miles Davis, Louis Armstrong,
special twilight atmosphere of the
Thelonius Monk, and Count Basie.
whole. But Trust In Me is in a way
Contributors include Cannonball Adderley,
the l y r i c a l center of the p r o g r a m ;
M o n k has an uncharacteristic, very Gunther Schuller, Bob Brookmeyer,
successful light chorus. T e r r y evi- Andre Hodeir, Art Farmer, Larry Gushee,
dently likes this tune (I wonder if George Russell, Orin Keepnews
he ever heard Dakota Staton's rec- Dick Katz Mimi Clar and Bill Russo.
o r d ? ) ; Argenua, one of his o r i g -
inals, is a k i n d of unconscious remin-
iscence of it. T h i s piece is allowed
to go on too long, but it is character- The
istic of Terry's work that after he
runs out of ideas he doesn't react by
punishing his instrumenthe sort of Jazz
clears his throat and waits for some-
thing to turn up.
The record has not only an un- Review
usual emotional continuity (not in
the least suggested by the album title
nor in the liner-notes) but a con- Monthly departments include
sistency in exploring certain musical reviews of recordings and Books,
devices. W i t h all the recent talk new and classic,
about polyrhythms, it is difficult to
a survey of the press by
recall that the business of i m p l y i n g
a superimposing of one tempo on an- Nat Hentoff, and
other not by rhythmic devices but selections of blues lyrics.
by monkeying around with melodic
and harmonic resourcesthat this
sort of exploration, though common
in classical music, has only recently
been investigated in jazz, doubtless
because i m p r o v i s i n g such a complex-
ity is unusually r i s k y . However,
M o n k has done this k i n d of thing
before, of course: mainly by setting
up an ostinato against which single
notes are intermittently sprayed, and
C l a r k really has the ability modern
horn-men are alleged to have, to sug-
gest a leisurely tune in the midst of
very-up figuration. The combination
of these skills works out fruitfully on
this record. So does the t r i c k i t is
really no more than that, I suppose
of forcing the listener to b e l L e in
a simultaneous three-four and four-
four in One Foot in the Gutter, by
roughly the same means R a v e l uses
in the second movement of the C o n -
certo in G A n d Moonlieht Fiesta is
not the customary languorous L a t i n
SUBSCRIBE TODAY
melodv against a busy background
mainly blcause P h i l l y Joe's d r u m -
m i n g is itself polyrhythmic and off BROAD WAY SEND 254
M o n k , who never plays rhythm ZX:l'"J!'"V F
* " " P L E COPY
n i a n o ' partners T e r r v as if both were Please enter my .ub.cription to offBROADWAY
off in another room somewhere. It I year $2.50 2 year. $4.75
is stated no more perhaps because Check/Money order enclosed Bill me
nobody trusted in the possibility of
s r S n g such a precarious situa Address -
tion for more than a chorus and a City Zone.. State
half.

A monthly magazine of analysis,
biography, and history.
Written by critics, musicologists,
and the musicians themselves.
Edited by Nat Hentoff and Martin Williams.
Recent articles featured Sonny Rollins,
King Oliver, Miles Davis, Louis Armstrong,
Thelonius Monk, and Count Basie.
Contributors include Cannonball Adderley,
Gunfher Schuller, Bob Brookmeyer,
Andre Hodeir, Art Farmer, Larry Gushee,
George Russell, Orin Keepnews,
Dick Katz, Mimi Clar, and Bill Russo.
The
The team of T e r r y & M o n k holds
together not only because both men
have musical tact, but because their GOSPEL SINGING IN WASH-
melodic practise is so divergent: I N G T O N T E M P L E . Westminster
Terry's pet figure seems to be the WP-6089.
t h i r d , especially the t h i r d descending
(though he sometimes makes a toy
Some of the finest music today
like fanfare by repeating the top
emanates f r o m the Negro churches
n o t e ) ; M o n k ' s taste for dissonance is
of A m e r i c a . Unfortunately, too few
beautifully complementary.
outsiders get the opportunity to hear
A word must be said, I suppose,
it.
about Terry's use of fluegelhorn
Ernestine Washington and the con-
throughout. B u t it is so obvious that
gregation of the Washington Temple
he has used the tone of his instru-
in B r o o k l y n , New Y o r k , provided an
ment w i t h the surest taste, aware of
i l l u m i n a t i n g cross-section of the Ne-
its humble, mournful character. Very
gro church service as it takes place
Near Blue, a march-to-the-gallows
every week "come S u n d a y . " The
k i n d of piece, is the frankest exam-
sincerity the exhaltation the power-
ple of this, but this subtle considera-
ful S K S S k S
tion is s t i l l more gratifyingly shown
g o s p d songs are in themselves a
elsewhere in the album.
C ^ Z i r a ^ o n ^ o r ^ l S e r
G l e n n Coulter 0

Jazz But one nmtow^on

when the m u s h L offeree fan in-

Review Sf T b i "some b i n r m o r e " 7 s a

S
sense oof
T n completeness
n r n n r e n e a realization
g
reahzation
that this is not just music for a r t s
Monthly departments include sake but ,s a functioning, organic
J E A N T H I E L M A N S : Man Bites v e h i c e of the religious experience.
reviews of recordings and Books,
Harmonica. Riverside 12-257. Excellen though the singing remains
new and classic,
by itself, it is the constant anti-
a survey of the press by
phonal responses of the congregation
Nat Hentoff, and This is another " b l o w i n g date," i.e., to the singers and m u s i c i a n s - t h e
selections of blues lyrics. a pick-up group, no arrangements or handclaps, the remarks of assent, the
extended composition to speak of, and interjections of encouragement, the
little or no rehearsal time These limi repetition of musical p h r a s e s - t h a t
tations make it essential in an extem- lift the gospel song to its truly g l o n -
"JAM FOR BREAKFAST" poraneous session to have either the ous heights.
bond of a common style or to have The essence of the entire service is
and one or two players with musical per- given here: preaching, choral and
sonalities strong enough to give the solo singing, instrumental music, per-
music direction
"JAM SESSION" sonal testimony, and congregational
T h i s might have been a " h a r d - b o p " outcries. J-E-S-U-S Spells Jesus,
date, very stylized but very intense which leads directly into an address
are THE J a z z Record S h o w s
except for Thielmans who really by Bishop Washington is one of those
doesn't feel it that way. He's more of all-stops-out bursts of rhythmic ener-
in Texas
a l v r i c a l player a romanticist, not as gy that reaches a blasting conclusion.
concerned with " t h e " changes and (Notice t r o u g h t h a t no matter how
Station KINE 1330 on the dial
very p r e c i s ! time as for instance, renetic' the song the ending is al-
ISJSSZLBhi feel the same lack ways slowed to a dignified ritard.)
J a k e Trussed'* So ^ Washingten's S sermon
a s T d 7 b e t w r n Miles D a v S and
e
contains a 1blendPo^Biblical imaTry"
AFTER HOURS POETRY Tohn ColtranTwhose connection mu anreverydarexMrience^underlined
s i c a U v S as h e S n d ^ t h S n i U o r ^ h a S
a literary "mutt" for the collector of a n d l L n a r S B l s h o r W ^ m ^ S ^ r S e s ^
poetry a n d jazz.
rn.hut neither of ffZ ITrlt in Gof uttering the words
Written about jazz, night life, after or fnrcef ,1 e n o u J b f o direct the music to eacb nbrase before it is sung bv
Sister WasSgton
hours philosophy, and the Good Time
intcIsJ consistent groove
Towns from Acapulco, Mexico to New
The most swinging moment in the Holdin' On is notable for the slow,
York City.
album belongs to K e n n y Drew. H i s ad-libbed first section which paves
Written by a jazz disc jockey, amuse- approach is light and happy. He is the way for a shouting, hollering up-
ments columnist, and former territory
not savagely intent on proving that beat rock, when everybody picks up
b a n d leader w h o k n o w s w h a t he's writ-
the piano is a h o r n . R h y t h m i c a l l y , he the tempo at o n c e - b a n g ! - i n per
ing about.
reminds me of Peterson without feet rhythm. T h e number then comes
Oscar's Hamptonesque franticism. to a halt only to be resumed a key
For personally autographed
copies send $1.00 to W i l b u J Ware demonstrates again higher As the intensity of feeling
what an inte ligent soloist he is, and builds throughout the piece, the
J A K E TRUSSED. A r t T a y l o r is an unobtrusive drum- speed rate of the performance also
B o x 951 K i n g s v i l l e , Texas m e r w h i c h is a compliment in this Ureases
day and age Sister Washington, of course, is
Price includes mailing
_ B o b Wilbur the key artist on the record. Hers is

T H E J A Z Z R E V I E W
38
 a voice which, in the true spirit of
the Psalms, makes a l o u d , j o y f u l
noise in praise of the L o r d . H e r song
is the moving expression of one who
does not sell out spiritually or music-
ally.
The album notes by Chuck Ger-
hardt b r i n g out some significant
points about gospel music and also
offer texts of The various songs. Les-
ter Krauss's color cover photo well-
captures the spirit of music pre-
sented, m u s e pre
M i m i Clar

THE DRINKARD SINGERS

and the B A C K H O M E C H O I R :
Gospel singing at Newport. Verve
M G V-8245
A N I T A O ' D A Y : The Winners.
Verve Verve M G V - 8 2 8 3 .
J U N E C H R I S T I E : Gone F o r the
Day. Capitol T-902.
C H R I S C O N N O R : A Jazz Date.
Atlantic 1286.
M E L T O R M E : A t The Crescendo,
C o r a l 57012.
J A C K I E P A R I S : The Jackie Paris
Sound. East-West 4002.
A l l these records are of only peri
pheral interest to jazz listeners. One
of them offers music of a k i n d that
was and is important to the jazz
m u s i c i a n ; the rest show the exploita-
tion of jazz devices. But I think a
great deal is lost by b l u r r i n g the
classifications that must exist.
M u c h has been made, lately, of
the place of church music in jazz. photo by Roy de Carava
The men currently most in favor
eagerly c l a i m k i n s h i p with i t , and
a number of pieces deliberately ex-
plore the supposed s i m i l a r i t y (with in a litany. ever, one must keep in m i n d that
more or less respect and affection). The other structural principle these are not intended as public per-
There is no doubt about the value of used by these gospel singers is the formances. They have a religious mo-
this awareness, even if at times one most f a m i l i a r nowadays, thanks to tive p r i m a r i l y , and the necessity for
feels that certain musicians make the the gifted M a h a l i a Jackson: a few religious ceremonial has nothing to
c l a i m only to make us believe in their simple chords, very slow, decorated do with what the critic calls sincerity.
possession of an emotional power by the most poignant melismas. M u c h of this record presents ex-
they plainly lack. In a n y case the (Mingus's Love Chant seems based traordinarily harsh singing (part of
best " u s e " of church music is' not on this idea.) A l l church music has the trouble is mike placement). I n -
being made by anv particular h o r n - retained this style In very early or- deed however necessary the record
m a n ; rather it is the structural i n - ganum however the intention seems i s - a n d i t i s most i l l u m i n a t i n g -
fluence on Mingus most notably that to be almost maaly ecstatic (nothing very little of it seems to me enjoyable
is worthy of study. could be more^fooHsh than the mod for its own sake Except for C a r r i e
ern practice o f s m o t h e r ^ S m i t h s singing of / Want Jesus to
B o t h the D r i n k a r d and Back Home
ligious musk^ in decorum) ^ Walk With Me which is on the same
groups retain a devotion to the orig-
g o p d d w i n aremonTaptte'suggest level a s M a h a l ! i Jackson's work
i n a l purpose of their music. They
S o n The e a X r r m s k portrays hhT record is better for reference
are dramatic in the way of any l i t u r - E induces portrays,
gical act; that is, they risk monotony for o S o n a T doping into than for
in order to enforce conviction. T h i s H a v i n g to speak so much in terms repeateriistening
is most evident in the numbers w h i c h of intention raises the problem of The use by Mingus and others of
are founded on antiphonal p r i n c i - sincerity, for what it is worth. There church music hardly needs defend-
ples, and those which create momen- is no doubt that from the standpoint ing as a true instance of inspiration.
tum by the incessant repetition of a of the esthete these singers stir up We must now turn to those ele-
brief figurea riff, in jazz, but in an excess of emotion; they are, in a ments of jazz which have made their
this context a devotional response as sense, faking. Recognizing this, how- way into popular music.

JANUARY 39
 In a l l artistic activity there is
likely to be some confusion of es-
thetic and erotic claims. A c c o r d i n g l y ,
it is tempting to f o r m our taste on
this non-rational basis. P o p u l a r m u -
sic has learned to capitalize on our
confusion. If the average sixteen-
year-old likes, say, Pat Boone
or Doris D a y , he does so because
the sound and style of these singers
suggest the boy or g i r l next d o o r :
someone f a m i l i a r enough to rob sex-
ual experimentation of its terrors.
At eighteen, the same teenager likes
rock i n d r o l l , with its implication of
desires SO furious as to be past
remedy. It would be foolish to charge
this teenager with lack of mS
taste. He is no more interested in
music i n itself than t b ^ s T r t a r U S
l o o k i n g individuals who L e a k off
hand fn pocket to a Bardot movie
could b e i c u s e d o f a n Z r e T i n
cinematic art
Suppose our teenager survives the
terrors of adolescence. At twenty he
prefers, or says he does, singers who
Try to suggest the sophisticated
w o r l d l i n g . O n l y by now our young
man has learned to cloak his pre-
dilection in a pretense of judgment.
It is a rare man who w i l l say (as
M a r t i n Russ says in his absorbing photo by Leroy McLucas
j o u r n a l of marine life) of June C h r i s -
V 1'^ t y : " H e r intonation is terrible, but same substitution of tenseness for beat. The constant flatting isn't con-
, . w i l l say, as S y l v i a Sims was quoted drive, the same agreeing to be dif- sistent, however, except in i n t e n t i o n ;
in Down Beat, "I sell sex." ferent from everybody else, the same something in faulty technique makes
One thing is common to all these agreeing to occupy a sort of twilight these singers go sharp at inconveni-
singers, whether they be of the hard- zone between popular music and jazz. ent times.
breathing school, l i k e June, C h r i s , Where these singers are concerned, H a v i n g undertaken this general
A n i t a on ballads or of the belting tenseness is a disturbingly literal de- discussion, I see little reason to ex-
school, like D i n a h , L e n a , Dakota scription. The vocal chords are con- amine the records at hand in any
They are not engaged in m a k i n g tinually tight, perhaps to simulate detail. By now everyone knows how
m u s i c ; their business is to use music that hoarseness which in time be to trace the A n i t a School through
as a pretext for erotic convention. comes a permanent result. T h i s son- June down to C h r i s ; what happens is
Usually the conventions are the well- ority is as far as possible from the not dilution of the o r i g i n a l set of
worn ones: candlelight, wine, the aerated sonority of Lester Y o u n g , mannerisms but exaggeration. W h a t
bearskin r u g before glowing embers, which it was no doubt intended to distinguishes A n i t a is not so m u c h
and the l y r i c s offer \ f a i r jumping^ resemble. A n d of course the proced- her comparative restraint as her h u -
off place. ure makes everyone sound alike, mor. She has very evidently an alert
In saying all this I don't mean to completely defeating what is appar- imagination, almost a dada quality in
deny a certain amount of s k i l l to the ently of paramount concern to these the way she monkeys w i t h words
singers I am w r i t i n g of; I only ques- ladies: to get a " n e w " " s o u n d , " (her melodic variations are less re-
tion the use to w h i c h these skills are though what virtue this is supposed markablpl and in her singing all
put. June and C h r i s and others have to be, in itself, has always escaped
theTualities I have mentioneTcom'
the usual qualities of those ladies who me.
Line2 p r o d ^
sing with a band. As old-timers w i l l So with the melodic approach.
h rtwoe pee e ri A I . a n y
headiness t i k e t three
heartiness, )
recall, such ladies had to meet at Mere embellishment does not make a
jazz performance, least of a l l em- rate, she is one of those w h o s e e m s
least one musical requirement: they
bellishments so executed as to be speciaUy delightful the first time
had to have the savvy to get up a
indistinguishable f r o m the melodic a r o u n d ; repetition serves only to
number rather q u i c k l y , and show the
l i n e : the result is to overburden a d i m i n i s h pleasure.
audience how the melody went and
what the lyrics said. F o r the rest, tune which may already be too flow- The notion of singing a few i n -
they provided the show w i t h its sex ery for the threadbare underlying strumental classics is of course a
appeal. These girls, most of whom progressions. A n d if these singers k i n d of stunt, where it is not simply
were named Helen at one time, were were truly interested in jazz, they a matter of A n i t a ' s singing a ballad
appropriate to the innocuous dance should have been told that hot i n - that o r i g i n a l l y was a ballad. Doubt-
music popular in their day. So were tonation is something other than less there are those who w i l l take to
June and Chris appropriate to the singing flat, just as swing is more the stunt more amiably than I do.
band of Stan K e n t o n : there was the than a matter of lagging behind the Strangely enough, the ballads fare

40 THE JAZZ REVIEW

less well than such things as Move;
one waits impatiently for Tenderly
to be done w i t h , and the extreme
elaboration of Body and Soul is too
curious to be an effective communi-
cation.
W h e n , on a television show last
summer, E d d i e Condon introduced
C h r i s Connor, w i t h a flourish, as
June Christy, his mistake was one
that even the most sober among us
might have been guilty of. I feel
some ambarrassment at h a v i n g to
mention, in a magazine of this sort,
their obvious resemblance, to say^
nothing of their derivation f r o m
A n i t a . It is curious that imitation
does not always take place by a d i -
l u t i n g of the o r i g i n a l ; sometimes it
is exaggeration. W h e n this occurs,
the latest in line offers the critic
more: he can say of Christv that
she gives us everything A n i t a does
except A n i t a ' s h u m o r , which is the
best she has to offer. C h r i s Connor's
records offer a great deal more- even
less humor, a caricature of A n i t a ' s
Chicago diction (Chris makes a d i p h -
thong of everv vowel- in this lies her
sophistication) throat er tone a u a l -
ity a lessfast d o u s e a a n d l a
greater concern S T a z z t e k Z u e s
ThfruitTo"hiTconcSn remmrme
of movies which m^ducers swing
no r i n s e have s S e n ^ m a C a u
s onallv w i n h a n h a X d T n n r o h a r i o n
t o Zanuck? MS
ournev to The Ten Command
menl) s d o e s C h r i T a n n e a l toTer"
t X tines o f i a z T e n t E s t Thev
IazzDate For whin
f n ^
i^h^Lin S A especially
sllf with srnoWv n h l w n c
a
the artist in dim ecstasy before a
con^anUte ^
The trappings of jazz are here i n -
deed, but where is its spirit? It would
take a better critic than I to make
the distinctions. But surely we can
say that jazz, like any music, is i m -
portant only when it communicates
a k i n d of commentary on life. We all
know that the best human beings can
do with each other, in art or any
way, is to communicate, and we
know that "commentary on l i f e " does
not involve anything which can be
paraphrased Y e t faced with the spe-
cific, I can only call 'em as I see
' e m ; ' a n d I do not see that the singers
I am discussing have made anv com
munication. They have surely spent
JANUARY
lives as important and arduous as
any, but they present us with no rec-
ord of them. M a y b e they are not
anxious to communicate; their a i m
may be only to stimulate. rris
T w o male vocalists may help us ce S i
throw some light on this matter. i M
r t e t * ch
Neither Jackie P a r i s nor M e l Torme Lewis * Kenny
seems to have won the celebrity due ones * Andi
Wilder* A
h i m . If we forget the velvet fog days Mann
of Torme, a popularity that appar- Woods * D<
O o n a l d 8yi
ently resulted f r o m press-agentry, we Prank 'ties-.
B i l l Harril
have to conclude that the public iigh Fidel]
hardly knows them at a l l . Surely, Jena I d | y r [
Prank ivf
this can't be a critically inspired ne- Shavers'
Jlarki
glect. Whatever their deficiencies, salim
these men have some awareness of iewmanl
innH c "
what they're doing. Torme in par- tonalri
ticular, on Coral's Crescendo record .
maver
anvwav reveals a fidelity to pitch
and a security in florid passages that
as a technical accomplishment can
S A V O Y MG 12126 features 18 tracks
h a r d l y be matched. The P a r i s sound, by our complete modern iazz roster.
in the album of that name, is less Each track is a diffarent iazz g r o u p ,
including Don B y r d , Frank Wess, Bill
surelv controlled- two or three num- Harris, The M J Q , Horace Silver, C a n -
nonball A d d a r l e y , Art Pepper Phil
bers h a v h i m r a t h l r i l l a t ease i n - W o o d s , Charlie Parker Dizzy G i l l e s p i e ,
S c i e n r m e d up and was
t I y
and many othersl
lurerDaLimonTous of'the label not
to ask for retakes but even when NEW! Current complete cata-
log and di.coorapny ready!
u n c o m f o r t a b i r P a r i s is still a nro Write Dept. JR.
Sonal
A A A
Y e t each of these singers leaves tcord co.
me dissatisfied. F o r all his t r a i n i n g
and experience, each is betrayed by V V V
a fundamental insecurity. Torme has NEWARK, N.J.
switched from crooning to popular-
ized bop to composing to straight JAZZ PHOTOGRAPHS
acting, and to recording Porgy &
Bess; P a r i s has vacillated between From an extensive and unique
iazz and popular music most of his
career. Even in the space of one private collection, featuring pix
record apiece, they do not settle
down. Torme is obliged to heat up of the famous and obscure in
each of his songs; this seems almost
regulation for From This Moment jazz history. An interesting addi-
On and for the rest of course a club
audience must have its money's
tion to any record collection,
n worth. But the total effect is too
trad, or modern. Sweet band
much like that of the P a r i s recital,
in which everv sone comes eauimjed'
pix too.
with the usuaf tacked o n ol
7s if n e k h e s m g e r could be sure
he'd[done iustice 0 ^ p e r W s neither Examples: Dink Johnson, Chas.
reafly behive in the va ue of m u s k
Creath, BG 1938, Waller, Bunny
fwhimsX
The musician never lived, prob- with TD, several Oliver bands,
ably, who was impelled by wholly
disinterested motives. Most need to C. Christian, early Basie and
make money; most want to shine
before the public. But the true artist Moten, Oliver Cobb (100s more).
surely forgets these wishes in his de-
sire to simply make music. Those Old customers: greatly enlarged
who are unable to ignore the power
of those stimuli seem to lose, in the list now available. Send stamp
end both worlds. They do not satisfy
themselves, they can give an audience for free list to
but a momentary or a fitful pleasure
and they do not make music. They Duncan P. Schiedt
make use of music. 2534 E. 68th St.
G l e n n Coulter Indianapolis, Indiana
41
 R e c o n s i d e r a t i o n s
K i n g P l e a s u r e : Parker's Mood;
A n n i e Ross: Twisted. King Pleasure
SingsAnnie Ross Sings. Prestige
7128.
Recent reissues of some K i n g
Pleasure and some A n n i e Ross re-
cordings, and the recent revival of
interest in vocal versions of famous
instrumental performances, suggest a
review of c r i t i c a l standards for as-
sessing such records. T h o u g h their
immediate popularity is based on the
appeal of novelty, that novelty is soon
exhausted. T h e i r survival must de-
pend on more solid merits which
should at least include musical fidel-
ity to their model, lyrics that rein-
force the expression of the music, and
an end result in performance that
shows, as the M a r x i s t s would say,
surplus value added by labor. M u -
sical fidelity is no more than the
duty which an adapter owes the orig-
inator, and since the singer is both
adapter and interpreter the lyrics set
to the musical line should interpret
and reinforce the musical content.
F i n a l l y , if the performance does not
intensify the impact of the music,
there is no justification for the vocal
version except novelty.
Few tracks on this lp would sus-
tain examination along these lines.
Even a comparison of the most inter-
esting tracks, Parker's Mood and
Twisted, to their models seems like
harnessing butterflies to the plow.
S t i l l , some interesting conclusions
appear.
The largest obstacle to musical
fidelity is technique. Take the selec-
tion of tempo: P a r k e r played Park-
er's Mood at about 165, Pleasure
1
at 130: G r a v ' s Twisted is 192, M i s s
2
Ross' is 155.
42
3
Reducing the tempo is legitimate
enough, but if the whole performance
is limited to the r u n n i n g time of a
ten-inch 78 r p m record, some cuts
must be made. Pleasure made the
simplest and safest cut. He was work-
i n g w i t h a no-theme blues, and he
simply cut out the one chorus solo
that followed the piano solo, and
went right into the out of tempo tag.
M i s s Ross' method was more elab
orate and harder to understand.
G r a y ' s Twisted was structured like
t h i s : a single chorus of theme r u n -
ning into a three chorus improvisa-
t i o n ; three contrasting choruses, two
by piano and one bass; another i m -
provised chorus that contains a short
d r u m solo r u n n i n g into two closing
theme choruses. M i s s Ross altered
this into two theme choruses, the
three solo choruses, one instrumen-
tal chorus, and two closing theme
choruses. She deleted only two chor-
uses, but she substituted a repeat of
the theme for the interesting impro-
vised chorus that included the d r u m
solo. The result has lost the smooth
flow of the first four choruses which
G r a v was careful to emphasize bv
b u i l d i n g thtme and i m p r o S i o n
of the same l d n d of i p h S S and the
admirST ^ymmelicT^^c^l
r * n m r a e T b t o a d u l l svm
metrical one
Technical problems affect other
purely musical elements too. I am
reminded of Josephine Tey's com-
ment after hearing two children prac-
tice piano, " R u t h puts in a l l the
tiddly bits and the expression and
1. Charlie Parker MemorialSavoy
M G 12009.
doesn't care how many wrong notes
she strikes, but with Jane it's accu-
racy or n o t h i n g . " K i n g Pleasure
knew the importance of producing
the tonal quirks, the slurs and i n -
flections, that were an important part
of Parker's blues expression, but he
does not seem to have had control
enough to imitate Parker's gradu-
ally increasing volume on ascending
melodic lines He understandably
omits the fluff in the 4th bar and the
grace note in bar 14, but he hardly
even approximates the runs in bars
8 and 9 and he seriously weakens
phrases ending at bars 7, 11, 15, 17,
and 23 by altering the last note to
easier intervals. M i s s Ross was more
successful in singing all the rhythmic
nuances of Grav's line but she i g -
nored the tonal inflections that liven
Grav's solo as she neglected almost
everything in his p l a y i n g that can not
be s J o r e d - o n e almost suspects that
she worked from a transcription
rather than the record itself She
never suggested t h ^ power or the
"wang of Wardell's tone as she
bTdlv could have with her small
pure voice and Zlol serious for
strengths!
Setting words to jazz solos is also
technically demanding, but the lyri
cist needs more than ingenuity; he
needs musical sympathy enough to
interpret the expressive intent of the
o r i g i n a l soloist. Since musicians tend
to exercise their sense of irony in
titling instrumentals, the titles often
offer a misleading clue. K i n g Pleas-
2. Wardell Gray MemorialPres-
tige 7009.
T H E J A Z Z R E V I E W
ure again followed a simple method;
he set the most difficult passages to
snatches of traditional blues lyrics
and wrote a "continuity" to hold
them together. The result is a set of
lyrics that like many older blues,
depends on emotional rather than
logical cohesion a co lage of great
unity C
n e S 1 0 n
M i s s Ross started from the title
rather than the music. She super-
imposed over G r a y ' s celebration of
masculine vitality another whole view
of life: a cute, elaborate, and rather
tricky spoof. The conflict is obvious
only when her version is compared
with the original for she has re-
moved a l l mascuHne traces from her
verlfon The s e a i I r e d u c e d and
thl intention Ts much less serious
The S o n b e t w e e n t h e words and
the muse has become mechanical
r a t J i e r T a n organic ' m e C h a m C a
Perhaps we should conclude that
predominantly solo records like
Parker's Mood and Twisted are not
the most suitable material for singers
to adapt. The complicated phrasing
and the elusive and personal expres
sive qualities seem more than most
singers can sustain Less ambitious
efforts Hke the r L n t Basie band
adaptations w h h more diffuse and
b e t t a c h a n c f o r 'success
the wholeSchool is doomed to a de
g r L of aesthetic failure for the best
rlcreatoror'these record nL is John
years eariier and managedI to extract
O u r final impression of Parker's
Mood is a mixture of admiration,
pleasure, and exasperation. K i n g
Pleasure has done something difficult
He has managed to write and sing a
blues lyric that reinforced the mean-
ing of P a r k e r ' s solo O u r pleasure is
increased by the quoVes whichgive
the same kindI of snobbish satisfac
ion aT a n i d e n t i f i e d reference in
Joyce or Eliot The few rhythmic
apses a n d l h e substitution of eTsv
ivals
Perate us in Si, ootherwise
cording h e r ^ i s ffane
i n e re"
re-
O u r feeling about Twisted is more
ambiguous. We are convinced of the
merits of W a r d e l l G r a y ' s Twisted,
and we feel that M i s s Ross, rather
than reinforcing them has eliminated
many of t h e i f strongest qualities.
T h i s is aesthetically unforgivable yet
we are still charmed, not so much by
the record but bv hearing her sing it
in person In the end 4 L only
regard our feeling for Twisted as a
swear wti^Ito
morning
JANUARY
The Blues
ANY WOMAN'S BLUES
My man ain't acting right, he stays out late at night,
' C
U a g e g r C a t A n d still he says he love no one but me.
But if I find that gal, that tried to steal my p a l ,
I ' l l get her told, just you wait and see.
I feel blue, I don't know what to do,
Every woman in my fix is bound to feel blue too, 'cause . . .
I love my man better than I love myself,
L o r d I love my man better than I love myself,
A n d if he don't have me, he won't have nobody else.
My man got teeth like a lighthouse on the sea,
My man got teeth like a lighthouse on the sea,
A n d every time he smiles he throws them lights on me.
H i s voice sounds like chimes, I mean the organ k i n d ,
H i s voice sounds like chimes, I mean the organ k i n d ,
A n d every time he speaks his music ease my troubling m i n d .
(By L o v i e A u s t i n . Sung by Bessie Smith, C o l u m b i a 13001D.
Transcribed by Roger P r y o r Dodge)
W H E N T H E S U N GOES D O W N
In the evenin',
In the evenin',
M a m a , when the sun goes down,
Perhaps In the evenin
S t f t InneJme
Baoy, 1
Rabv wnen v l l o lover
your v e r ain't
ain t around
arouna,
W h e n the sun goes down.
Last night when I lay sleeping
I was thinking to myself
Last night I lay to sleeping,
I was t h i n k i n g to myself,
W e l l , when the woman I was t h i n k i n g about
W i l l mistreat you for somebody else,
W h e n the sun goes down,
W h e n the sun goes down.
The sun rises in the east
At night it sets in the west.
The sun rises in the east, mama,
A n d it sets in the west.
iotii^^Z^ ^
W e l l , it's hard to tell,
H a r d to tell
W h i c h one w i l l treat you the best
W h e n the sun goes down.
Goodbye, oh sweetheart unfair
Yes, I'm going away
But I may be back to see you
Someday again,
Some old r a i n y day.
W e l l , in the evening,
In the evening,
W h e n the sun goes down,
W h e n the sun goes down!
a^Srb?era?
- H s i f W e n Shih ( B y Leroy C a r r . B l u e b i r d B-5877. Transcribed by F r a n k Driggs.)
43
 Reviews: Books
Two Guides: Two Views
Recorded Jazz: a Critical Guide, by R e x H a r r i s and B r i a n Rust, Pelican
Books ( P e n g u i n ) , L o n d o n , 1958.
The Collector's Jazz: Traditional and Swing, by J o h n S. W i l s o n , J. B. L i p p i n -
cott, P h i l a d e l p h i a and New Y o r k , 1958.
by RUDI B L E S H
The critical discographya k i n d
of " H o w to Choose G o o d R e c o r d s "
b o o k i s sorely needed today when
the volume of new record releases
baffles even the experienced collector.
The high fidelity lp is now b i g busi-
ness, a perpetually retooling industry
with new models d a i l y . It would seem
that the endless shower of new disks
coupled w i t h the thousands of new
collectors would produce a good
many discographies. Y e t these are
perhaps the rarest publications
among a l l music books. W h y ?
In order to answer this question,
we must examine the difficulties pre-
cipitated by this new age of plenty.
The collector's problem is not merely
one of selecting f r o m a huge and
varied stock. It is infinitely worse:
it is, in effect, the famous Feather
B l i n d f o l d Test applied to the buyer,
cash in advance and no refunds.
Granted that the lp, in terms of play-
i n g time, is cheapVr than the old 78
r p m disk, it is still an expensive
single package to buy "sound un
h e a r d " as is often the case. Y o u can
read the album blurb of course. Y o u
can read cigarette advertising too
and good l u c k !
T h e classical record buyer is more
fortunate. He usually knows the
opera or symphony he wantsits
score is u n c h a n g i n g - a n d can rely
somewhat on the performing artists.
F o r the jazz buyer, however, the
musical selection is usually of little
help. W h a t , after a l l , are {he scores
of Muskrat Ramble or How High
the Moon? The jazz collector is try-
i n g to buy a very elusive t h i n g : spon-
taneous creative inspiration, and
neither money nor great iazz names
can guarantee a great jazz record.
There is in fact never an advance
guarantee i n j a z z - a n d thank G o d
for that fact, for it is surely this de-
liberate risky search that is the es
sence of jazz.
(continued on facing page)
44
by T. P. H O F F M A N
F o r those who need help to slash
their way through the proliferation
of jazz lps in order to select fruits
to their taste, two guide volumes are
presently available, both devoted to
the older varieties of jazz.
H a b i t u a l readers of record reviews
w i l l need no introduction to M r .
W i l s o n , steadily employed by the
New York Times and High Fidelity
magazine. He is a rarity in the c r i -
tical breed, and particularly in j a z z ;
he likes things. H i s current book
subtitled " T r a d i t i o n a l and S w i n g "
(with the promise of " M o d e r n and
Progressive" to c o m e ) , is a collec-
tor's guide replete with M r . Wilson's
many enthusiasms and spiced w i t h
sharply critical evaluations or abrupt
dismissals of the incompetent. Lest it
be thought that M r . W i l s o n is a man
of indiscriminate enthusiasm, it must
be emphasized that his chief asset
can be summed up in a single w o r d ,
taste.
In a short preliminary section en-
titled " T h e B a c k g r o u n d , " the journey
of jazz up that interminable river is
belabored to an unnecessary extent,
with the highly significant develop-
ments in K . C . brushed off as a "back-
water" ( M r . Wilson's expression) i n
the old upstream surge. But oversim-
plifications are inevitable in a history
of traditional and classic jazz to
which a space of only twenty-one
pages is allotted; the m a i n value of
the volume lies beyond the back-
ground.
The bulk of the book is given to
a record guide, arranged alphabet-
ically as to artist; the prime criterion
for inclusion is current availability
on lp. Dixielanders, traditionalists,
swingmen, and revivalists each are
subjected to usually sympathetic
evaluation. In addition, several his
torical developments are noted which
have not received attention else-
where; one cogent point that does
not escape M r . W i l s o n , for example,
is the earthy s i m i l a r i t y of Garner to
Jelly R o l l M o r t o n . There appears to
be a certain patness, however, in
much of the analysis. F o r example,
an overabundance of musical prog-
eny (no fewer than nine) are as-
cribed to Beiderbecke; all are white
cornetists or trumpeters habitually
playing in D i x i e l a n d groups Those
among them whh a somewhat
rougher ( " g r a i n y " ) tone are credited
in addition tn .hp RpidprhprlrP nn
cestry with an ArmsTrong heritage.
The analytical shortcomings are
no bar to the usefulness of this v o l -
ume as a guide to the selection of
recordings, however. M r . W i l s o n ' s
taste, at least, is sure. He is not
blinded to the tawdrv D a s s a g e s w h i c h
do pop up in the recordings of
even the best, especially in the
lpnrrthv pnntevt of t w o Rides of a 12-
n c h l p But he d o l s point out" the
hSh points of a W o r d i n g and lets
u ^ n o w whether 2 the rec-
ord w o r t h E g
The volume f r o m E n g l a n d is an
entirely different matter. In the
cover biographies, both authors are
credited with " u n c o m p r o m i s i n g p r i n -
ciples," which in this case can
be translated as a narrow-minded
refusal These self-appointed guar-
dians 'of a poorly defined t r a d i -
tion continually fluff off performance
by superciliously declaring them not
to be iazz A b o u t Goodman's execu-
L o the Henderson A ? L PorTer
arrangement for exam
ris andTompany t a k H h e following
position- " T h e music w h k h was pro
duced mus noT however be con
fusedIwShtazz" andTeAuthors ex-
P k i n b S a f o r this reason they do not
H l r p e r i n n e l o n the Goodman b i g
bandT records such at SZFZS Thl
Earl MUsionUTMOSCOW T h s i n a
book ha c r u D u l o u s l y Hsts the third
and fourth ban^
board band ^ d a n d f7ne>nSc"
T n e S Rasi'e and more sneci
th th r 7 record-
iS^raditfon w o u ^
' " T h e subtitle of the H a r r i s book is
A Critical Guide, a c l a i m we must
T H E J A Z Z R E V I E W
b r i n g into some question. The c r i -
tical level of this volume is f a i r l y
represented by the following sum-up
of an A r t Hodes Blue Note date:
" T h i s is a fine blues session for blues
lovers." No further than a paragraph
away we are told that Omer Simeon
has " i n t u i t i v e jazz phrasing and
subtle melodic line, which undulates
with great effect." T h i s has a very
pretty sound, but bears little relation
to the E n g l i s h language, whose usual
function in c r i t i c i s m is to express
ideas.
A m o n g other howlers perpetrated
herein is included the incredible ac-
cusation that Red A l l e n has recently
turned to the "bop and modern
i d i o m . " T y p i c a l of the scholarship is
a lengthy paragraph p r o v i n g geo-
graphically that A l M o r g a n couldn't
have played bass on a Blue Blowers
recordings, that it must, in fact, have
been Pops Foster. The pace devoted
to this significant development is
roughly equal to the total allotted to
Jack Teagarden. C h r i s Barber, on
the other hand, is carefully covered
in three-plus pages. The extra-long
coverage given many E n g l i s h per
f o r m e r ! is likely due to the criterion
for inclusion of recordings, which
is apparently availability n E n g -
land o n L P . Some A m e r i c a n listings
are given but there seems no especial
pattern to these.
But enough. S i m p l y , there seems
little reason to own the R u s t - H a r r i s
book when the W i l s o n volume is
superior in nearly all respects and
covers a wider range. The one ex-
ception: R u s t - H a r r i s is reference
land on lp. Some A m e r i c a n listings
in detail for almost all recordings
covered.
F i n a l l y , M r . W i l s o n makes several
points in his discussion of the t r a d i -
tional revival which are germane to
this review. After dwelling on the
purchase of teeth for B u n k and the
enticement of O r y out of retirement,
he tells us that " T h e interest in old,
old jazz leaped the seas to E n g -
land . . . " A war developed between
the two schools of jazz. Then, in the
50's, figs and boppers cooled off (no
pun and traditionalists and mod-
ernists began to recognize each
others' merits It is to be hoped that
this latter attitude too may leap
the seas to E n g l a n d .
JANUARY
BLESH
(continued from facing page)
H o w many jazz lovers in the mak-
i n g have read an album b l u r b ,
bought their first record, and then,
discouraged, have never bought an-
other? There must be an appreciable
number. A l l jazz issues are self-ad-
mittedly "great." They are also
highly variable in quality and nearly
astronomical in quantity. Let us face
i t : today, when jazz is m a k i n g giant
strides oward recognition every
where, its chief advocate, the phono-
graph record actually represents a
hazard.
It is in this light that the i m -
portance of critical jazz discogra-
phies becomes apparent. The handy
small volume, g i v i n g a short jazz
history, thumbnail biographies of
jazz artists, and a comparatively
evaluated list of currently available
records, is almost indispensable to-
day.
The discographer and his pub-
lisher, however, face some severe
difficulties. Records appear, are elim-
inated, and are replaced by "newer
and better" items at an unprece-
dented rate. The jazz d i s k , o n l y
"permanent" document of a most
fugitive art, disappears almost as
rapidly as it appears. To those in
the record industry who are oriented
toward production-consumption, no
jazz disk is irreplaceable. It is a sup-
posedly ephemeral popular item far
more vulnerable to discard than the
standard classic disk.
Obsolescent records mean obsolete
discographies. The only real answer
is frequent revised e d i t i o n s - i d e a l l y ,
once a year. But here, another b i g
business intervenes with its particu-
lar problem of mounting publishing
costs A d i s c o g r a p h y - a l r e a d y obso
lete, mark youfeven before it reaches
the pressmust sell extraordinarily
well before a revised edition can
even be considered.
A l l in a l l , we can wonder that any
jazz discography ever achieves p u b l i -
cation. A n d yet, here are two actually
on sale in the bookstores. L e t us
treat them with a certain respect as
publishing miracles even though
both, sensibly enough, are paper back
volumes.
The first is a Penguin import, Rec-
ord Jazz: a Critical Guide, compiled
by two E n g l i s h authorities on t r a d i -
tional jazz, Rex H a r r i s and B r i a n
Rust. Unquestionably serviceable to
E n g l i s h collectors with exclusively
traditionalist tastes, this volume can,
unfortunately, be of little help to
A m e r i c a n record buyers. The num-
ber of jazz records available in E n g -
land is small compared with our
L u c u l l a n repast. M a n y of the record
listings, too, are those of E n g l i s h
bands not available here. In addition,
this listing ends w i t h records issued
in December, 1956.
J o h n S. Wilson's The Collector's
Jazz: Traditional and Swing is an-
other matter. C o m b i n i n g a broad
point of view w i t h generally sound
taste, W i l s o n has furnished a f a i r
yet remarkably compressed twenty-
one page resume of jazz history for
the period covered by his book. In
the following 276 pages, W i l s o n has
managed to i n c l u d e a v e r y large num-
ber of records, f r o m " j a z z back-
grounds" into New Orleans and C h i -
cago and on through the whole swing
era, even covering the N e w Cleans
D i x i e l a n d revival of the 1940's. In a
smooth narrative stvle he weaves
together W o g m p h y history and
comparativelyEvaluated record Hst
in TnTJddenda^secLn Ts a last
mfnute grasp a f a l l p o s s ^ l e up-to
dateness made when the presses
were already at w7rk on his man
script F i n a l l y t h e n i s a f u l l Tndex
of musicians' names.
Since The Collector's Jazz ends
with swing, it omits the developments
of that remarkably exciting decade,
1944-1954, when bop and cool came
into being. A second W i l s o n discog-
raphy, The Collector's Jazz: Modern
and Progressive, now in preparation,
w i l l have a go at all t h a t
T h i s present volume is based, as
all critical works must be, on the
author's taste and point of view.
These, fortunately, are eclectic and
f a i r , moderate yet capable of enthu-
siasm and flashes of insight. Few
established collectors should find
fault w i t h it, while beginners can
be safely guided by the W i l s o n i a n
evaluations in m a k i n g those often
c r u c i a l , and always expensive, first
selections.
45
 Jazz in Print
F r a n c i s Newton's description of
M u d d y Waters and accompanist in
the October 25 New Statesman: " H e
is a large sleek-haired gypsy-like ar-
tist; at any rate he has the calculat-
i n g a i r of the gypsy musician bend-
i n g over the audience figuring how
far and in what direction to let out
the emotional stops. Not so his ac-
companist and half-brother, M r . Otis
Spand, a chubby litle player designed
by nature to play the blues on a
piano if ever a man was, and who
ravishes us by nature as M u d d y
Waters does by artifice." Later in
the article, Newton describes Tatum's
blues p l a y i n g as "the haute ecole of
piano blues; l i k e U l a n o v a dancing
Russian folk-dances " Lenox, Massachusetts. A m o n g the
W h i t n e y Balliett has a l o n g piece
on the blues in the October 25, 1958
New Yorker. Substantial, as far as it
goes, but he omits L e r o y C a r r , Peetie
Wheatstraw and other major figures
in blues vocal history. W o r t h saving
for reference though, and as usual,
well-written.
Department of Fuller Explana-
tions: A n i t a O ' D a y told H a r r i e t V a n
H o m e of the New Y o r k World-Tele-
gram: " A n y idiot can sing the mel-
ody. I don't sing the lyrics either.
A n y b o d y can do that . . . A l s o I keep
forgetting the l y r i c s . "
Contributions to Jazz in Print are
most welcomearticles, names and
addresses of jazz magazines, jazz re-
viewers and columnists in local
papers, etc. F o r e i g n pieces, etc. If
you want them returned, say so. Send
them t o : N a t Hentoff, The Jazz Re-
view, B o x 128, V i l l a g e Station, N e w
Y o r k 14, N . Y .
,/ Jazz Notes is published by the I n -
J
dianapolis Jazz C l u b , Inc., Post Of-
fice Box 55, Indianapolis 6, Indiana.
The six-page magazine contains news
of the area, i n c l u d i n g the report that
" D u n c a n Schiedt has recently turned
up a piano r o l l of London Blues
(vocal style) cut by Jelly R o l l M o r -
t o n . " There is also a transcription of
the lyrics of Jelly R o l l ' s Winin' Boy
Blues.
46
Russ W i l s o n reports in the Oak
land Tribune that Sleepy Stein's a l l -
jazz K N O B - F M i n L o s Angeles was
t h i r d in the most recent Pulse r a t i n g
for the city. " I n J u l y of '57, K N O B
didn't even make the chart. In Sep-
tember of '57 it launched an all-jazz
policy. The two stations that sur-
passed it . . . as well as a number of
those t r a i l i n g are of the over 60,000
watt class. K N O B is a 3500 watt sta-
t i o n . " W i l s o n also writes that in a
parallel to L e o n a r d Bernstein's pub-
lic rehearsals with the New Y o r k
P h i l h a r m o n i c , the Jack T a y l o r Quar-
tet of Oakland is t r y i n g a s i m i l a r
series for jazz audiences. Good idea
that could be applied in any city.
Charles A. Robertson reviews jazz
records monthly in Audio, P . O . Box
629, M i n e o l a , N . Y . ($4 a y e a r ) . H e
also often introduces his section with
specific discussions of a jazz label's
engineering procedures.
M o r t S a h l on the Republican
ticket? He is termed in a recent
column by L o u e l l a Parsons a "great
comedian."
T h e monthly Frontier: The Voice
of the New West, a stimulating re-
gional Nation type of magazine, has
regular jazz coverage b y Charles M .
Weisenberg. In the November issue,
he attacks the Monterey Jazz Festi-
val "producers who treated the m u s i -
cians like second-rate circus perform-
ers." Too many musicians and
groups at each concert says Weisen-
berg T h i s department is t h i n k i n g of
having a iazz festival w i t h just Jesse
Fuller
I would suggest you not miss A l -
bert M c C a r t h y ' s account of the M o n -
terey Jazz Festival in the November
Jazz monthly. E x c e r p t : ". . . the
sight of an owner of a well known
magazine swaying on his heels as he
focused his eyes on the stage d u r i n g
the j a m session and instructing one
of his writers to 'comment on the
deportment of those men on the
stage.' C l u t c h i n g the r a i l for sup-
port he stated solemnly that 'I sus-
pect some of those men on the stage
are i n t o x i c a t e d ! ' "
b y N a t H e n t o f f
R a l p h Gleason in the San Fran-
cisco Chronicle quotes Sonny R o l -
l i n s : "I can't say I really prefer any
other tenor. There are so many. T w o
of my contemporariesJohn C o l -
trane and F r a n k Fosterthose are
the guys I d i g the most. Then the
older guys, the giants, like H a w k
and Lester, Ben Webster and D o n
Byas. I could actually stop there.
They are the guys who have the
most."
Another jazz magazine to add to
the l i s t : Jazzmania, gascon 252 " A , "
Buenos A i r e s , Argentina.
The School of Jazz is putting out a ^
one-page bulletin. To get on the list,
write Jule Foster, School of Jazz,
news items: A t l a n t i c w i l l record a
School o f Jazz L P with works b y
B i l l Russo, George Russell, J i m m y
Giuffre and J o h n Lewis. In the lead
article, J o h n L e w i s is quoted: " W e
need endowment gifts for chairs of
instruction . . . Endowed chairs
should be set up for drums, piano,
sax, trumpet, trombone and the other
instruments; also composition and
H i s t o r y of Jazz. These chairs could
bear the names of the donors or of a
distinguished musician. The yearly
cost of a chair would be $500 to
cover salary, board and room of the
faculty member and a share of the
administrative and teaching costs for
the three-week period. Instrument
companies, record companies and
other donors should find this tax-
free gift attractive. Grants to cover
two years are essential. Thus a $1,000
grant w o u l d provide for a named
chair in any subject. These grants
would allow us to reduce tuition
costs to a l l , in addition to continu-
i n g scholarship grants where neces-
sary."
Last year only H e r m a n L u b i n s k y
of S a v o y o f a l l the record com-
paniesset up a scholarship. The
only other grants were by the New-
port Jazz F e s t i v a l ; B . M . I . ; the Great
South B a y F e s t i v a l ; and the students
and faculty of the school itself
through the semester-end concert.
Only one record company!
T H E J A Z Z R E V I E W
 Featured in the 6th issue are:
In the October 11 Melody Maker,
Now save $2 d . t . s u z u k i
M a x Jones quotes a musician's reac-
A S P E C T S O F J A P A N E S E C U L T U R E . A n es-
tion on listening to the K e n t o n band. by subscribing say on the role Z e n B u d d h i s m has p l a y e d
"I admire the musicianship, but Stan in the c u l t u r e of J a p a n .

always seems to be saying to m e : to America's g a r c i a l o r c a

'Where is i t ? It's round here some- THE A U D I E N C E . T h e first E n g l i s h t r a n s -

where. Where is i t ' ? " liveliest literary lation of two scenes f r o m the great
S p a n i s h author's surrealist p l a y .

p i e y r e
In the same issue, H a r r y Carney magazine
told M a u r i c e B u r m a n : " J o h n n y
" ^ e r ? , c f *
Hodges and I were school kids to-
d e m a r J
y

K t a r f ' T t e M t o * the Lion.

gether in Boston. We used to ex- m _ MM

change records. We used to listen to f U 9 l a

l ^ ! ! " about
F
the M e m p h i s F i v e . Red Nichols, R o l - hrTintheSouthwest
l i n i , Clarence W i l l i a m s , Bessie S m i t h , in a d d i t i o n . P O E M S , STORIES A N D ESSAYS
<\00
L o u i s and Bechet W h e n I first of u n u s u a l interest. E d i t e d by B a r n e y
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
S I EHington band w e were times a year; $1 per c o p y .
S t pieces and w e played a battle
ofmusic withMaTHallS's b a n d - EVERGREEN REVIEW, Dept. C61 79S Broodway, N.Y. 3
w i t h T r u o r on drums It was a great Please enter my subscription beginning with
the current volume No. 6 (Send no money; you
b i s f u l l d a n c e band and we were will be billed later.)
n EIGHT ISSUES. 6 FOUR ISSUES. $3.50
small When we followedI them B u b ' (You save $2) (You save 50?)
(Canadian and Foreign subscriptions: Eight
issues. $7; Four issues. $4)

cried T h a T m v was first Lperience Name

of E l l i n g t o n . " experience
AJdi-ess
Controversy among B r i t i s h critics .Zone....State..
City.
concerning the October E l l i n g t o n
tour. The majority view was that of
M a x Jones in the Melody Maker
who complained of the general same-
ness of repertoire and "the unam-
7&6cc4 tecvtd ?
bitious level of the programme by
his standards."
Johnny Hodges, interviewed by No one has time to hear every
Maurice B u r m a n in the October 18
new disc as it appears. For
Melody Maker, was asked what he
thought of Ellington's program for the kind of reliable help you
the concerts: "I wouldn't say. What need to make up your own
he likes and what I like are two
mind before buying, read...
different things." Another excerpt:
"I started on drums . . . Then I went
to piano and at 14 I picked up the
saxophone. At first I taught myself,
then I worked for Bechet and he

R e S Guide
used to school me in the difficult
things. A n d he gave me my own
soprano . . ." In the same issue,
Melody Maker announces as another
of its "exclusives" an article by @ THE AMERICAN TAPE GUIDE
Frank Sinatra. The article first ap-
peared in Ebony.
Francis Newton on D u k e E l l i n g t o n truly encyclopedic in its coverage of the month's releases
in the October 11 New Statesman: ior two dozen years (he collector's most trusted counselor
" N o b o d y but the D u k e (in a pecu- the oldest independent journal oi opinion in the field
l i a r l y anarchically controlled symbi- and more than just reviews-comparisons!
osis w i t h his musicians) has pro-
duced music which is both created
bv the players and fully shaped by Special introductory Offer To !Sew Readers
the c o m p o s e r " On Johnny Hodges
" w h o looks and behaves like the most
Please enter my trial s u b s c r i p t i o n for eight months. I enclose $ 2 Q . B i l l me
impassive of Orozco's Indians until
he lifts his h o r n T p r o d u S X mos
lvrical i n v e n t i o n " n f h e h i s T o r v of me Name
aho saxophone."
Address
The Sunday Observer (London)
had a D u k e E l l i n g t o n profile October City Zone State
5. N o t h i n g new, but summarizes ex-
isting material accurately. MAIL TO: . 0. Box 319 Radio City Stotion New York 19, N. Y.

JANUARY 47
 B r i t i s h critic Stanley Dance writes
that the recordings of " m a i n s t r e a m "
jazzmen he made in A m e r i c a for
B r i t i s h Decca w i l l be issued here
soon on Felsted, the L o n d o n sub-
sidiary.
The October Jazz-Hot has an i n -
teresting interview with A r t T a y l o r ;
an article on Ben Webster; Jacques
Demetre, a blues expert, on C h a m -
p i o n Jack Dupree; and a piece ask-
i n g the question, Ahmad Jamal Est-Il
he Garner De Demain? (They asked
it M a r t h a ; I d i d n ' t ) .
The November Harper's contains a
good, relatively unsentimental por-
trait of B i x Beiderbecke by R a l p h
Berton. It's B i x in 1923 or 1924 as
seen by a 12-year-old whose brother
(drummer V i c Berton) managed the
Wolverines. "I could never picture
h i m with a wife and children. A n d
for reasons obscurely connected with
his rootlessness, he always exhibited
a deep resistance to the social obliga
tion to keep himslf clean. It was as if
he never had anyone to keep himself
clean for." Berton also says that not
only was the best of B i x ' s horn never
recorded, but there is also " n o t h i n g
at all that even faintly resembles the
reality of B i x ' s unfettered improvisa-
tion at the k e y b o a r d ; and this is one
of the major losses of jazz h i s t o r y . "
Not every writer can make i n -
stantly clear how significant a par-
ticular occasion is. It's a matter of
having exceptionally accurate c r i -
teria. L i k e Jack T y n a n reviewing The
Monterey Jazz Festival in the N o -
vember 13 Down Beat: " T h e i m -
portance of the event was keynoted
early in the evening by official pre-
sentations to participating Down
Beat poll winners of plaques awarded
in this magazine's International Jazz
Critics p o l l . "
An exchange between a Southerner
and Dorothy Donegan as reported in
the November 3 Time: " L o v e d your
playing. I had a Negro mammy my-
self." M i s s Donegan answered: " S o
did I."
V e r y good portrait of M o n k as a
person by F r a n k L o n d o n B r o w n in
the October 30 Down Beat. M a r t i n
W i l l i a m s ' A Survey of Modern Jazz
Pianists in the same issue is an ex-
ample of jazz criticism as contrasted
with most of what is called that but
is actually attitudinizing.
Jazz Criticism As Fiction: James
Asman in The Record Mirror: " D u k e
once roamed the Skiffle parties along
Chicago's South Side and played
among the great party pianists
there."
Chicago, Pakistan?
48
Jelly R o l l Renaissance? J o h n M c -
Lellan in the Boston Traveler: " D e s -
mond . . . is so l y r i c a l on . . . ballads
. . . that I am reminded of (of a l l
people) Jelly R o l l M o r t o n , one of
the most melodic improvisers I've
ever h e a r d . "
The Indelible Stigmata: George
W e i n in the Boston Herald: " L e o n -
ard Feather doesn't l i k e to think of
himself as a jazz c r i t i c ; and perhaps
his accomplishments allow h i m to
escape the stigma of this identifica-
tion to some degree."
Valuable article on J o h n L o m a x
and his L i b r a r y of Congress record-
ings, The Ballad Huntlr, by F r e d
Ramsey in the August 30 Saturday
Review.
Alternately i l l u m i n a t i n g and i n -
f u r i a t i n g sections of a panel discus-
sion at the A n n u a l Conference of
the N a t i o n a l G u i l d of Community
M u s i c Schools are in the October
Metronome. Subject was whether
jazz should be taught in the schools.
Speaking for the light were M a r t i n
W i l l i a m ! , Jule Foster and John M e -
hegan. One of those in opposition
was the professional obscurantist (so
far as jazz is concerned), Nicholas
Slonimsky. W o r t h reading.
Record Research's Recorded Amer
icana, Bulletin No. 5, October, has
discographical data of considerable
interest. In the correspondence sec-
tion, it's possible to write in and ask
for personnel information on record-
ings in your own collection. Same ad-
dress as Record Research131 H a r t
Street, B r o o k l y n 6 , N . Y .
First-rate interview w i t h L i z z i e
Miles by R a l p h Gleason in the Sep-
tember 28 San Francisco Chronicle.
She turned down a Broadway offer
from Joe Glaser: "I guess Joe Glaser
never met anyone before who didn't
want money. Shucks, I give a l l my
money to the poor, anyway. A n d o'
course I d i d n ' t tell h i m that wasn't
the first time I had a chance to be
on B r o a d w a y ! Y o u know, he told me
I ought to see a psychiatrist. I don't
need no p s y c h i a t r i s t ! "
R o n Cohen doing jazz record re-
views for East, a pocket-size maga-
zine affiliated with The Record H u n -
ter in New Y o r k . Address is 115
Christopher St., New Y o r k 14, N . Y .
Often perceptive are Joe Goldberg's
reviews in the Jazz 'n Pops monthly
catalogue, a S a m Goody enterprise.
Address is Box 346, New Y o r k 19,
N . Y . I f you live i n a small town,
the catalogue is worth the $3 a year.
It's complete in terms of jazz records
available and lists each month's new
issues.
In a column on the blues in the
October 11 Chicago Defender, L a n g -
ston Hughes had Simple recall some
blues; one he ascribed to B l i n d
Lemon:
"I got so many womens I
Cannot call they name.
So many womens I
Cannot call they name.
Some of them is cross-eyed
But they see me just the same."
In the Jazz Journal (October, for
example), D e r r i c k Stewart-Baxter
conducts a section, Blues on Record,
that deals with currently available
blues recordings, i n c l u d i n g the best
of " r h y t h m and blues." W h y isn't
there a s i m i l a r regular column in
Down Beat? In The Jazz Review?
R a l p h Gleason disclosed in his
syndicated column in October that
Dave Brubeck had turned down a
$17,000 South A f r i c a n tour because
the promoters didn't want h i m to
b r i n g Gene W r i g h t .
Some of you may be interested to y
learn about the Society for Ethno- '
musicology. A n n u a l dues are $4.00
and include a subscription to the So-
ciety's excellent j o u r n a l of w h i c h
A l a n M e r r i a m is the editor. M e r -
r i a m , by the way, reviews jazz books
for Notes, the L i b r a r y of Congress
music quarterly. A m o n g the articles
in the September Ethnomusicology
a r e : The Phonograph and Primitive
Music and The Rhythmic Orientation
of Two Drums in the Japanese No
Drama plus reviews of books; an i n -
valuable current bibliography sec-
tion listing articles and books in sev-
eral languages; and other depart-
ments with data you're not likely to
find so easily anywhere else. There
are musical examples. Address of the
secretary-treasurer of the Society is
M i s s Rose B r a n d e l , 40-51 Denman
St., Elmhurst 73, N . Y .
Critical Insights, II: N o r m a n J.
O ' C o n n o r , C . S . P . in the Boston
Globe: " R i g h t now, jazz could stand
the a r r i v a l of a new m a j o r instru-
mentalist, much in the style of a V a n
C l i b u r n . Or beter, the a r r i v a l of a
personality of the vigor and i m a g i n a -
tion of a L e o n a r d Bernstein. N o t
since Brubeck has there been a new
talent of large dimensions to catch
the fancy of the public . . . Jazz is in
for some listless days unless there is
l u r k i n g in the shadows someone of
great c a l i b e r . "
It's a l l so enervating these d a y s -
M o n k , Sonny R o l l i n s . George Rus-
sell, M i l e s , C e c i l T a y l o r , D u k e , A r t
F a r m e r etc. I suppose the O'Connor
approach could be called the mes-
sianic school of jazz c r i t i c i s m .
T H E J A Z Z R E V I E W
 F r o m a BMboard, October 13,
record review of D u k e E l l i n g t o n ' s
Cosmic Scene: " T h e r e are u r b a n
notes by I r v i n g T o w n s e n d . " Thought
he lived in W e s t p o r t
. T h e first edition of Jazz: A Quar-
^terly of American Music, edited by
R a l p h Gleason, should be enough to
make y o u into subscribers. Excellent
record reviews b y L a r r y Gushee; D r .
L o u i s Gottlieb is also very helpful.
L e a d piece by George F r a z i e r is
about jazz c r i t i c i s m - t h e naked, the
dead, the h o l l o w men, the gay de-
ceivers. F r a z i e r contributes his cri
teria of jazz c r i t i c i s m and is other-
wise invaluable to anyone who wants
to write for Gentlemen's Quarterly
and the New York Enquirer.
Studs T e r k e l documents w i t h much
feeling Big Bill's Last Session; Gott-
lieb reviews Hodeir's Jazz: Its Evo-
lution and Essence and the result is
perhaps the most useful review of
the book yet published in A m e r i c a
except that there are many other
points he might have gone into. Gott-
lieb agrees with Hodeir that " j a z z is
a music of young people made by
y o u n g people for young people" w i t h
just a few exceptions " w h i c h prove
the r u l e . " A strange dictum, one that
is widely shared and that simply
isn't true.
There are other articles of v a r y i n g
worth, including Peter Tamony's ety-
mological piece on Jazz, the Word
that is a fair enough beginning on
the subject. P h i l Elwood's book re-
views on the H a r r i s - R u s t Recorded
Jazz and John Wilson's first volume
of The Collector's Jazz are shallow.
A l b e r t M c C a r t h y ' s The Other Side of
the Hill goes into the matter of jazz
"progress" and also touches by i m -
plication on the myth that jazz is m u -
sic "made by young people" exclu-
sively. There's also a quarterly list-
i n g of jazz lps, a regular feature of
the magazine. We a l l wish Jazz: A
Quarterly of American Music l o n g
a n d influential life.
Saussv
[continued from page 19)
a member of an emiallv a r r n m n l U b p d
community ^^Z^^Si
have a uniform^ s t a E DS Tnd
where discrepancy and^ Stulance w"ll
be lost in an attempt C b o S stu
dent and teacher to know E s s of
a more genuine nvelal X
only then w i l U t ' be discovered thai
the higher TomplexUies of iazz Hke
those of drawingcan ]betaught sys'
temmatically and' easily
And only then will 'a School of
Jazz acquire a meaning.
JANUARY
Brookmeyer
Speaking as a private instrumental
teacher, I have nothing but praise
for my four trombone students. A l l
were m u s i c a l ; in some instances, to
an outstanding degree. One nian
f r o m Amsterdam is already of pro-
fessional status. He is twenty-three
years o l d , a w o r k i n g musician in
Europe who desired some real ave-
nues and would not be content with
p a l l i d imitations, however pleasant.
I mention h i m for this reason: it
has insistently occurred to me that
there are many practicing musicians
i n New Y o r k , Chicago, and L . A . who
could certainly benefit themselves
and the school by g i v i n g it a try. I
know it is h a r d to admit, once hav-
ing reached a certain level of per-
formance, that any help might be
n e e d e d - b u t we a l l got more than
a lot to learn and will have for the
rest of our natural lives, so take it
for what it's worth.
On the negative side of the picture,
those " k n o w it a l l " attitudes became
distressingly obvious in both compo-
sition and M a r s h a l l Stearns' " H i s -
tory of J a z z " course. There were 1%
hour composition classes six days a
week with George Russell and B i l l
Russo alternating and I understand
that attendance at these classes
dropped markedlv toward the end of
the three week session. I can find
no more a l a r m i n g facet in our work
than the man who just ain't got the
brains or desire to be taught some-
George Wein
(continued from page 4)
t r a d e d transportation from his fee he re-
ceived less money than he would receive
for a week's engagement in the U n i t e d
States T h e sum the International B a n d
received d i d not cover the transportation
and expenses of Brown and Conover, the
living expenses in Brussels of the band,
and the overweight charges on the plane
trip A l l other costs, many thousands of
dollars were absorbed by Newport in the
overall budget alloted to the International
B a n d project. T h i s was completely ex-
clusive of the jazz week at Brussels.
T h i s examination of the economic struc-
ture of the jazz week at Brussels last
August leads us directly to the answer to
our last question concerning why M r .
T a u b m a n was so critical of the concert.
I have been told that M r . T a u b m a n , along
with many A m e r i c a n observers, felt very
strongly that the A m e r i c a n Government
completely mis-handled the entire presen-
tation of A m e r i c a n cultural activities at
the F a i r . As a result of this he was an-
tagonistic toward most everything that ap-
peared at the A m e r i c a n Theater.
M r . T a u b m a n might certainly be justi-
fied in his premise. However the fault here
lies in the policies as established by our
Government in Washington and not with
the excellent crew of people assigned to
do the difficult taks of preparing 6 months
of cultural programs with a limited bud-
get and mountains of red tape. It's true
Russia sent only their finest. However, we
thing by everyone he hears and
knows. I can only recommend that
he be brought under the fearsome
scrutiny of John L e w i s , whose anger
is a l l the more compelling for his
utter humanity. As for not attending
that history course; tch, t c h ! They
were cutting themselves off from one
of the richest legacies in this world
and someday they w i l l realize it.
A n y man who can evince boredom
while being assaulted by Jelly's Tiger
Rag is a puzzle to be reckoned with
(and one I would hardly care to
work o u t ) . It's his loss, not Jelly's.
M a y I again state that the dissenters
were in the m i n o r i t y but, in a situa-
tion so l i m i t e d by time, there is just
no room for the professional " k i d . "
He's liable to be one a l l his l i f e
and L o r d knows, we're saddled with
enough of them in every walk of life
today.
That was the end of the negative
talk. It really is in the shadow, for
there were so many beautiful and
positive things that I can only close
by saying that my fervent hope is for
John Lewis to continue to have the
patience, hope, and vision that have
made this unprecedented opportunity
available to the young jazz musician.
M a y he someday be elected P r e s i -
dent of our w o r l d , friendshe's the
ticket.
We all loved the priceless satisfac-
tion of being a " t e a c h " a n d hope
that our ability to improve both our-
selves and the students w i l l keep
growing.
live in a democracy and we cannot ask
artists to appear anywhere without paying
their price. Personally I don't understand
why the Government could not have pro-
vided transportation for all artists appear-
i n g at Brussels. T h e fact is they d i d not
and this immense cost had to be absorbed
in the overall budget. T h e world of jazz
was fortunate in being represented by such
established greats as Bechet, V a u g h a n , Wil
son, C l a y t o n and Dickenson. Other art
forms were not so fortunate. T h e sad part
of the entire picture is that the fine work
of such jazz giants as played at Brussels
had to be diminished because M r . T a u b -
man of the New York Times felt that
other artists should have been there.
One other point. T h e opening night con-
cert reviewed by M r . T a u b m a n had several
faults. An overall long speech of welcome
by W i l l i s Conover and the fact that each
performing group overestimated its time
(a common happening at jazz concerts)
caused the program to be overly long. T h e
shows following ran considerably smoother.
In all fairness his opening night review
must be comparable to a review of a B r o a d -
way show on its opening night at a N e w
Haven tryout. E v e n the analogy doesn't
hold because the artists involved, c o m i n g
to Brussels from points all over the globe,
had only the benefit of a talk over re-
hearsal before the concert. L e t me add
that in spite of these problems, and irre-
spective of M r . T a u b m a n ' s scathing review,
the concert was a great success to all
concerned. George W e i n
49
 cal potential. Plans to pivot the
Monterey night's activities on the H a r r y James
terey. W i t h delicate handling, B i l l i e ' s
voice can still yield fragile replicas
band fell apart when James unex of past masterpieces, but the anxiety
[continued from page 27) pectedly checked out in the middle attending this process almost pre-
of the evening. W h i l e it was there, cludes enjoyment of i t .
pieces: Werner Heider's Divertimen-
the band rocked and stomped, at Benny Carter walked on, alto in
to; A n d r e Hodeir's Around the
times cutting Basie at his own game. hand, and found no opportunity to
Blues; John L e w i s ' Midsommer. The
James blew convincing jazz, as pro- solo u n t i l B i l l i e left the stage. Only
first two were first performances.
pulsive and commanding a horn as in the final " j a m session" was Carter
Heider's opus, composed for the one could hear anywhere today. The allowed to play one chorus of the
M J Q , has as its chief virtue the i n - aura of elation emanating from this bluesa colossal waste of money and
tegration of jazz instrumentalists into aggregation is a joy to see and hear. musicianship.
the guts of the score, rather than the It is Accompanied, but never dulled, Sonny R o l l i n s popped out angrily
usual condescending juxtaposition of by a professional mien that is re^ to bleat / Want to Be Happy, but it
two musics. ("Separate but equal.") freshing when so much of today's was too late for h i m to b u i l d any-
In terms of structure and develop scene is studied indifference. thing. As time ran out, men w i t h
ment, though, Heider's work added
M o r t S a h l , a k i n d of vocational horns poured onto the stage to per-
little of worth to jazz or f o r m a l m u -
neurotic, served as Master of Cere- petrate a disastrous, cliche-ridden
sic. Most of it sounded like "avant-
monies. After humorously exhibiting farrago, which finally dwindled into
garde" A i m flam.
some of his problems, he introduced muffled confusion as patrons pushed
Around the Blues revealed a rare the Dave Brubeck Quartet (Brubeck, out of the arena.
concurrence of musical points of view Desmond, M o r e l l o , W r i g h t ) . Monterey, while immeasurably su-
those of Lewis and H o d e i r . There
A g a i n , P a u l Desmond lent musical perior to Newport as a festive social
are passages of b r i l l i a n t orchestra-
dignity to the occasion; his solos event (musicians were enthusiastic
tion and an unprecedented under-
were sublimely conceived models of about the location and f a c i l i t i e s ) ,
standing of jazz on the part of the
logic and order. That Desmond and was only slightly better musically, in
composer. Yet, much of the work is
Brubeck still enjoy and respond to spite of an ambitious " c l a s s i c a l " af-
tinsel and ornamentation around the
each other's playing after some seven ternoon. The heart of the problem
vital source of expressionthe M o d -
years together is evidence of their was, as at Newport, too many groups.
ern Jazz Quartet. It w i l l take a com-
hearty dedication to music. Great South B a y , in its first year,
poser of broader scope than H o d e i r
The J i m m y Giuffre Three appeared proved the good sense of scheduling
to come up w i t h something more than
for the second time in the week-end, fewer name!, allowing each unit to
"Bags with S t r i n g s . "
introducing a new suite of program relax and expand.
Even J o h n Lewis was unable to pieces called Moods of the West. The It was an intelligent audience that
keep pace, on paper, with the com four movements consisted of The attended Monterey's i n i t i a l festival
municative power and emotional i n - Pony Express, Apaches, Saturday (consider the fact that not a single
tensity of M i l t Jackson. H i s nine- Night Dance, andI Big Pow Wow. " i n c i d e n t " or arrest occurred d u r i n g
minute Midsommer is an engrossing T h i s montage of western theme frag- the three-day event) and an i n t e l l i -
attempt, though, that at least estab- ments was held together by the m u - gent force ( J i m m y L y o n s ) that pro-
lishes an agreeable setting for his sical sensitivity of each man to his pelled it.
quartet. Intelligent voicings and i n d i v i d u a l limitations and to his role It remains to be seen whether the
serenity w i t h o u l sentimentality de in the trio's collective strength ringmasters and bookkeepers w i l l
liver the work f r o m a " H o l l y w o o d -
B i l l i e H o l i d a y brought her name take over future productions, as they
classification but it is essentially su-
and the remains of her art to M o n - have done in Rhode Island.
perficial J i m m y Giuffre contributed
some effective baritone sax lines to
this one.
The afternoon ended w i t h Peter
P h i l l i p s ' Concerto for Percussion a quarterly o f american music ZZ
and Max Roach, a ten-and-one-half
minute work along accepted concerto
lines. Roach played with great s k i l l
The first serious magazine devoted to America's own music and all its
and abundant energy, though the development, including traditional, mainstream and modern.
most stimulating passages were those
in which M a x , w i t h relative freedom,
Articles and reviews by leading critics, writers and sociologists. The first
turned to conventional (for h i m ) issue includes A Letter from London, A . J . M c C a r t h y ; A L o o * at the
jazz drumming. The concerto's pur- Critics, George Frazier; Big BiWs Last Session, Studs Terkel; and others.
poseto display a solo i n s t r u m e n t -
combined with the effectiveness of Full Jazz LP listing of new releases each quarter.
percussion instruments in a "classi-
c a l " climate (unlike instruments of Send me a Charter Subscription to JAZZ, 4 issues for $3., starting Oct. '58.
melody, which in jazz are frequently
extensions of the human voice" hence
more difficult to relegate to paper)
wrought the most satisfactory music
of the afternoon's program. One be-
came abruptly aware of the inade-
quacies of all that had gone before
M r . P h i l l i p s ' admirable concerto.
Sunday night was an unfortunate
chain of errors and unfulfilled musi-
 E l l i n g t o n ' s Black, Brown and Beige
by Gunther Schuller and A r t Farmer
Jazz and Poetry by Bob Rolantz
IN FUTURE ISSUES Jazz in Italy by A r r i g o P o l i l l o
Some H a r d Bob Reedmen by Bob W i l b e r
Ray Charles b y B i l l C r o w
An Impression of Jazz in New Y o r k by Jose de Mello
The Miles Davis Quintet Recordings by Bob Brookmeyer
The film and the score for / Want to Live
b y George Russell and M . W .
F i v e M o t h e r s : J o p l i n , Jelly R o l l , Duke, Thelonious, and
George Russell by J o h n Benson Brooks
Art Tatum by Dick Katz
A n d y K i r k ' s Story b y F r a n k Driggs
Chet Baker by R o y E l d r i d g e
E l l a Fitzgerald by B i l l Russo
Fletcher Henderson by Gunther Schuller
The Style of D u k e E l l i n g t o n by M i m i C l a r
The Blues Jumped A R a b b i t : T r u e Stereo by T o m D o w d
The Jazz Compositions of A n d r e H o d e i r by B i l l Russo
M a r s h a l l Stearns' Story of Jazz b y M i m i C l a r ,
o F r a n k D r i g g s and others
CD Charlie P a r k e r b y D i c k K a t z
L e o n a r d Feather's The Book of Jazz

<
* 636 AND 628 AHMAD JAMAL
by Benny Green and R a l p h Berton

* 637 JAMES MOODY

>
627 RAMSEY LEWIS CD
And
* 635 RALPH SHARON TRIO &
>
FRIEND LLJ the
(/)
monthly
>
623 MAX ROACH, KENNY (/)
DORHAM, HANK MOBLEY
Q features
622 THE JAZZ EXPONENTS O

* 614 CHUBBY JACKSON O

Q
D
< The Blues: Reconsiderations: Jazz in Print.

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