Register for updates!
Register
Back to Crescendo 1962 November

Crescendo_1962_November_0002.jpg

Crescendo_1962_November_0002.jpg

Inside front cover and page 1 of Crescendo, November 1962, Vol.1, No.4. The inside cover is taken up by an advert for Besson brass instruments, as played by Kenny Baker. Page 1 lists the edition's contents and features the editorial.

Image Details

Catalogue Reference Number
Creator Tony Brown [ed]
Date Made 1962
Item Format Journal
Title or Caption

This text has been generated by computer from the image and may contain typographical and/or grammatical errors.

NEW SENSATION . . .
"NEW CREATION”
TRUMPET
¡Superbly proportioned and balanced
Effortless top notes
Express valve action
Mobile 3rd valve slide
Nickel silver trim
The “NEW CREATION”, Besson’s masterpiece of Trumpet design and manufacture holds pride of place as Britain’s No. I Trumpet, unchallenged for perfect intonation, responsiveness and tonal quality.
It has for years been the choice of
KENNY BAKER
and scores of other top-line artists. At its price of £57 15 0 it represents today’s outstanding Trumpet value, and Easy Payment Terms bring it within the reach of every player.
KENNY BAKER’S FLUGEL HORN
-THAT’S
See the range of BESSON BRASS at your local dealer’s, or write for colour brochures to
BESSON & CO. LTD., BESSON HOUSE,
BURNT OAK BROADWAY, EDGWARE, MIDDLESEX.
Telephone EDGware 6611
Ritenuto
AT the opening of the new Johnny Dankworth Club a couple of Saturdays ago, we became involved in a discussion of the merits or otherwise of Crescendo with a business-type of jazz affiliations.
To name him might, in the minds of certain people, detract from the validity of his remarks, so that vague identification will have to do.
“Crescendo ? It’s terribly biased in favour of certain kinds of jazz,” he declared. “You don’t realise that things have changed. There are some very good musicians nowadays among traditional players.”
We are not biased as a matter of fact, though to the superficial reader it may seem that way. And we realise quite as
) Contributors )
( Max Barker t
/ Iola Brubeck r
( Bob Burns /
f Roy Carr I
I Jack Carter I
( Eric Delaney (
f Dennis Detheridge (
( Leslie Evans (
( Al Fairweather t
/ George Fierstone I
( Norman Fripp (
/ Allan Ganley /
« Dexter Gordon I
f Benny Green (
( David Griffiths (
( Arthur Johnson (
/ Lou Levy I
/ Dave Lindup <
( Jimmy Lonie (
t Humphrey Lyttelton ^
( Frank Noble (
( Steve Race (
( Mike Smith (
( Graham Spiers (
( Jimmy Staples I
( Ronnie Stevenson (
( Alan Stevens (
( Eric Tann I
I Les Tomkins (
L Ronnie Verrell (
Tommy Watt (
Cedric West (
much as the business-type that things have changed on the traditional jazz scene.
Pianissimo
Soft-pedalling on the traditional players has, frankly, been an initial part of Crescendo policy. We wanted to make it absolutely clear and beyond argument that Crescendo is an authoritative musicians’ magazine—a very different animal from the get-with-it, trad-mad-dad rags.
We played down the traditional boys as a move toward getting their kind of music into perspective. Any sincere New Orleans-type player knows that his music has been over-publicised. What started off as a noble endeavour has been reduced in print to a mere fad—made ridiculous by those whose sole interest is what they can get out of it.
Too much nonsense has been written about traditional jazz. Those who have become minor celebrities have been taken for a ride, publicity-wise. They are being well-paid, perhaps, for being over-boosted—but it is certainly high rime that they asked themselves just where they are going.
Scherzo
YV7E have watched famous traddies jump into a swimming bath fully clothed in the hope of getting their picture in the national papers. We’ve seen indifferent banjo players added to groups—not out of serious musical intent, but merely to achieve some kind of success formula.
Let it not be said that we take music too seriously. A jazzman, however, can be an entertainer without becoming a clown.
Let there be no doubt, either, that the rags that push the Trad Fad—and the radio and TV producers, too—will drop it quickly enough as soon as the teenage dilettantes turn to something else. How much did they care for any kind of jazz a few years back ?
Crescendo takes traditional jazz musicians a little more seriously than that. It regards them as a legitimate part of the music scene and will deal with them on musical merit rather than sales value. And it will continue to deal with them when they drop out of the Top Twenty Stakes.
That is why thoughtful traditional jazz musicians will take Crescendo seriously, too—much more seriously than the Weekly Back Slapper or the Pop-trad Comic Cuts.
I crescen«l«l
I Volume one, Number four =
1 Editor: Tony Brown
= Advertising Director:
I Dennis H. Matthews
I 16 Gerrard Street, London, W.i. | g Gerrard 8892 |
§ •
1 New York office =
1 117 West 48th Street, Room 31, g
New York City, N.Y. | g Circle 5—6649 g
Calcando
'YVT'E’VE always felt that it is un-" dignified to scream. In dignified measured tones, then, let us point out that Crescendo started four months ago with 36 pages, increased to 40 pages in the last two issues and moves up to 44 this month.
The readership is growing fast, too— though not as fast as it w'ould if more people knew of the existence of Crescendo.
Crescendo doesn’t employ hordes of quick-talking salesmen and sees no point in monster advertising campaigns. We are after a very special type of reader—the musician and the musically-minded enthusiast.
Crescendo offers both what they cannot get elsewhere and we feel that the least they can do is to spread the good news whenever and wherever they can. A personal recommendation counts for so much more than a printed slogan.
Any reader who believes that Crescendo is doing something for musicians will be helping himself and others by getting the word around.
Coda
The impressive list of contributors on this page shouldn't frighten-off any reader with the urge to say something in print. We have a policy for this too: It’s not who you are but what you have to say.
page one