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llisv llis«-ussion
(Continued from overleaf)
to get along with the piano player. And I found it was just the opposite. 1 told him about it 1 even told him who it was, but I won’t say here. But it was so ridiculous.
Vrmitt: We toured with Thelonious in the States- and honestly, some nights he played
the most beautiful blues. The simplest,
loveliest blues.
\> itherspoon: 'i ou should have heard Stan last night. He was playing some things you don’t hear from no young piano player. Baldr>: I’m not all that familiar with big bands at all. I think I’ll have to let this one escape. Is it Quincy Jones? No? Fair enough.
Tomkins: Well, in fact, it was Stan on piano. Witherspoon: You’re kidding! Ha. ha, ha! Hooray! Put it there. That was beautiful.
Tomkins: And that was a big band, in
which the drummer, leader of the band, and also the writer of that composition, was the man who is playing drums for you in the club.
Witherspoon: Oh, yes—Tony. Well, that goes to show you—what I said about Stan wasn’t wrong, either. But when I call him Monk I don’t mean it in a derogatory way. In other words, he and I—we got something going. And he’s enough of himself. He don’t play like Monk to me. The only possible similarity is in his way of thinking.
“Every Time I Get To Drinkin’ " Sunnyland Slim —vocal. Little Brother Montgomery—piano (with Corky Robertson—bass. Jump Jackson drums).
From “Chicago Blues Session", Seventy-Seven.
Baldry: Sunnyland Slim? I think it’s him. I don’t know this track, though. Where does this come from?
Tomkins: It was a special blues recording project in Chicago.
Baldry: Oh, I remember hearing about this. It was recorded in a garage, this. one. Apparently, Ransome Knowling gathered about a thousand blues singers together there.
Witherspoon: Oh, that’s right. Yes, I’ve heard this before. . .
Armitt: That sounds to me like a British jazz club piano. I don’t mean the playing.
1 mean the standard of the piano—it’s so out of tune.
Witherspoon: Guys like this have got a genius in this way: they can sing lyrics as they go. Which I can’t do. Joe Turner can do that. He’ll work a band to death. He can sing for two hours and never sing the same lyric twice. It’s amazing what he can do. That was recorded bad, But I liked the singing on that.
Baldry: It was nice phrasing he got. Its funny that he and Memphis are both called Slim’, and their phrasing is so similar. Armitt: I enjoyed it, but I can’t understand why they recorded it on that piano. Witherspoon: It’s the same with some of these club owners. I mean, what does it cost to get a piano tuned? They’ll come and pay "big money for an artist, but they won’t spend five or ten dollars on tuning the piano.
"Cryin’ Blues”
Charlie Mingus Group
(Jackie McLean, John Handy altos, Booker Ervin—tenor. Pepper Adams baritone, Jimmy Knepper, Willie Dennis trombones, Horace Parian —piano, Charlie Mingus—piano, Danny Richmond—drums).
Composed by Charlie Mingus.
From “Blues And Roots ,
Witherspoon: I know a lot of people who wish they could sing like he’s playing bass. I don’t know who it is—but I sure like it. He’s not no modern young bass player ^ I’ll tell you that. Whoever he is—he s been playing a long time.
Armitt: I think it’s Charlie Mingus. I mav be well out, but I’ll .stick with that. Witherspoon: Whose band is that. They re having fun, whoever they are.
Baldry: Sounds like a touch of the Mingus to me.
Tomkins: Yes, it ts Mingus.
Witherspoon: I knew Mingus when he
started. You know who he started playing with? Out at Low Harlem in Los Angeles —T-Bone Walker. I could tell that whoever it was had been around. Sure was
most famous name on drums
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and their accessories
Simandl Method Parts I & 2 each 29/-Simandl 30 Studies 15/-
Langey (Adolf Lotter) 17/6
Berklee Method 21/-
Ray Brown Method 42/-
Bob Haggart Method 15/-
Trigger Alpert’s ‘Walking Bass’ 18/9 postage I/- each
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good—1 dug it. Mingus can play good.
I know he gets out on some of these wild things, but he can play any way he chooses. Armitt: Yes, he’s a marvellous bass player. As well as his playing, it was the sound of the band that made me think it was Mingus. The stuff I’ve heard that his band does is always Ellingtomsh. Theres an Ellington sort of sound about it. He might try to avoid it—I’ve got a feeling he does—but he can’t help it. The writing is there. And I can’t knock him for admiring Ellington.
Baldry: I like a lot of Mingus. Some of it is a little outrageous, but I like it, for all that.
‘‘Cripple Crapple Crutch”
Dizzy Gillespie—trumpet and vocal (with Hubert Fol—alto, Don Byas --tenor. Bill Tamper—trombone, Raymond Fol—piano, Pierre Miche-lot—bass, Pierre Lemarchand— drums).
French Vogue.
Witherspoon: Dizzy Gillespie. That’s my man. He calls me his band singer. Every time I walk in a club where he’s working: “And now, ladies and gentlemen, our band singer—Jimmy Witherspoon”. This is my trumpet player, too—my favourite. If I could sing the blues like Diz, I’d be all right. I’ll tell you what—he’s better than a lot of blues singers I’ve heard. Believe me. The lyrics are funny, but Diz—what can you say? He’s the greatest everything in the business—trumpet player, business man, entertainer—and still he keeps his standing and his integrity at all times. There’s so many trumpet players you hear today, and they all sound alike. But no one has ever been able to sound like Diz. Same thing with Bird—you know, nobody. That’s all. They’re the masters.
page thirty
Trade Counter Series
EIGHTY-NINE years of service to the retail music dealer is the proud claim of the house of Dallas—founded 1875. Indeed, service is the keynote of the whole organisation and the reason for its success and position as one of the largest and most well-known distributors of musical merchandise.
Dallas trading is worldwide. They sell to, and import from, nearly every country in the world—including the USA, USSR, Canada, Australia, New Zealand, Italy, France, Germany, Japan and the Far East. Czechoslovakia, Spain.
Music has no frontiers to the house of Dallas. Executives regularly travel to and receive representatives from both sides of the Iron Curtain.
The house of Dallas have always been to the fore in pioneering new sound and new instruments. The factory at Bexley-heath in Kent is working to capacity producing the most modern percussion equip-fent, including the world-famous Carlton orchestral and Gaelic pipe band drums. Another factory in Willesden, North London,
Number 6
produces the very latest type of amplifiers and the other electronic equipment which forms such a large part of today's musical scene.
Clifton Street, the London Headquarters, which houses the central offices, showrooms and warehouses, has always been a centre for visiting musicians as diverse in character as Joe Brown and his Bruvvers and the World Pipe Band Champions.
From the large and comprehensive stock which is always maintained, parts such as
violin bridges, strings, stands, mutes and other small accessories are despatched to meet the requirements of musicians of all styles and schools.
The education of the present and future generations is not overlooked. Dallas actively support the educational activities of the Trade Association. Dallas also carry a very wide range of tutors for all instruments—all available to promote the sale and skilful use of top quality instruments of all types supplied by Dallas to the music trade and known throughout the world.
Service-with-a-smile may be regarded as old-hat elsewhere: at Dallas they’re happy with the slogan.
L-R: cymbal spinning; stamping out hi- 7
hat footplates; an operator controlling the i
machine that turns out several guitar necks 1
simultaneously from a matrix; Crescendo 1
Editor Tony Brown (L) examines an inst- "
ment on a visit to the Dallas factory. i
Right: Dallas Board of Directors (L-R) Mr. G. S. Lee (Chairman), Mr. W. V. Franks, Mr. L. Miller, Mr. H. A. Cheetham, Mr. J. E. McKoen (Managing Director). Bottom: General view of the Dallas woodmill (L) and the engineering shop (R).
page thirty-one