Discography October 1942 0004
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Lust |une. A drum again cropped up in the role of accompanist on a vocal record, when his trio backed the Merry Macs coupling of "Cheating" / âJingle Jangle." But 1 am not so blindly loyal to a great musician as to suggest that his bears more than a very flimsy relation to jazz. In a letter recently received from Goldkette-guitarist Howard Kennedy, the Rollini
is described as giving out with some âmighty fancy .stuff'11 '
So forget the present, and get back to your old Pennies, Molers and Blue Foursâwhere Adrian really blows his top.
JAZZ ON THE AIR.
The Monthâs High Spots reviewed by Clifford Jones *
We remain lucky in being able to hear both Radio Rhythm Club and the Story of Jazz for thirty minutes weekly, and that these popular features are likely to continue for some considerable time. So the B.B.C. is,partially atoning starved years when, at the mere mention of a jazz record, the surprised listener would leap from" his chairâand tell the following day that. . . âso-and-so played a HOT record in,his programme last night.â
Fortunately, those days are over. The B.B.C. benignly frowns on the swing maniacs and gives them a little of what they waHt. . . niceiv served on a well-washed plate! Pity jazz isn't really so pure: but better garnished than not at all!
What did we hear last month, then? September 2nd gave us The Story of Jazz, Chapter 17.ââBasie, Waller and Wilson.â This
was presented in the usual slick Harris-Perowne manner, but didn't interest me a lot, mainly because I havenât time for this trio oi
New York influenced stylists. .
Chapter 18. (following Wednesday) was called âThe Advent of SwingââShaw, Goodman and Miller,â and though again not to
mv taste was well put over. The only records I liked here were âBlues of Israel,â âToo Old to Dream,â and the snatch of Shirley
Clay's trumpet from âHot and Anxious.â Incidentally, Rex suggested that âIn The Moodâ was taken from the 1932 Redrnaii platter, yet in reality this riff appeared on wax as early as 1929 in the form of Mannoneâs âTar Paper Stomp.â A minor point, perhaps ? . .. . ;
Chapter 19. . . âThe Revival of Dixieland StyleâBob Crosby and Muggsy Spanierâ was broadcast on September 16, and proved
most enjoyable. On this occasion the choice of^records was really good. âMuskrat Rambleâ and âHigh Societyâ are two Of the
finest Crosby pressings, and if Spanierâs âRelaxinâ at The Truroâ is hardly Dixieland well, <we can thank Rex and Leslie for âDa Da
Strain" and âSister Kate.â
But what happenedâto Mannoneâs New Orleans Rhythm Kings who revived the style as early as 1934'?
of âPanama,â âBluinâ The Blues,â "Original Dixieland,â "Jazz Me Bluesâ, etc. . . but it didn't seem
Now for the records used in The Story of Jazz:
âThe Bluesâ (Shaw, Pt. 2, Parlp R2790).
âIndian Love Callâ (Shaw. H.M.V. B8869).
âCream Puffâ (Shaw, Voc, S.63).
âKing Pbrter Stp.â (Goodman. H.M.V. B8374). âBugle Call Ragâ (Goodman. H.M.V. âB8569). âBlsr Of Israelâ (Krupa. Parlo R2224).
âToo Old To Dreamâ (Dandridge. Voc. S.34). âSwing Is Hereâ (Krupa. H.M.V. B84327).
âHot and Anxiousâ (Redman. Bru. 1344).
âIn The Moodâ (Miller. H.M.V. BD5565).
âBach Goes To Townâ (Goodman, H.M.V. B8879),
âMoten Swingâ (Moten, H.M.V. B6377). âLafayetteâ (Moten. H.M.V. B1953).
âLady Be Goodâ (Basie Quin. Parlo R2636).
âHow Long Bis.â (Basie, solo. Bru. 02762). âYellow Dog Bis.â (Banks. Parlo R2810).
âMinor Dragâ (Waller. H.M.V. JF 1).
âSmashing Thirdsâ (Waller, solo. H.M.V. B8546). "Mandyâ (Waller. H.M.V. JF lj).
âDonât Blame Meâ (Wilson, solo. Decca J9). âWhat A Little Moonlightâ (Wilson. Bru. 02066). âBis. in C jiinorâ (Wilson. Bru. 02256).
âMuskrat Rambleâ (Crosby. Decca F6067). âWashington and Lee Swingâ (Crosby. Decca F7596), âHigh-Societyâ (Crosby. Decca F7594).
âDogtown Bis.â (Crosby. Decca 12" K876).
âDarktown Strutters Ballâ (McKenzie. Parlo R1044). âDa Da Strainâ (Spanier. H.M.V. B9008).
âSister Kateâ (Spanier. H.M.V. B9047).
âRiverboat Shuffleâ (Spanier. H.M.V. B9145). âRetaxinâ At The Truroâ (Spanier. H.M.V. B9145).
RADIO RHYTHM CLUB
The R.R.C. programme on Thursday, September 3rd was dedicated to Bunny Berigan, but as the feature ran for only fifteen minutes there isnât much to review. Harry Parry (who presented the script) was obviuosly handicapped by this time shortage, and as he used a part of five recordings, hadnât a lot to say. But his remark that . . â "Bunuy was truly one of the great men of jazz" must be refuted here and now. He was a better-than-most white trumpet playerâthat's all, Iâm afraid!
Records used by Harry were: 'T Canât Get Started" by Berigan, on Voc. 26, "Is That Religion," by Bailey, on Bru 01344. "Marie,ââ by Tom Dorsey, .on H.M.V. B8570, "Squareface." by Gifford, on H.M.V; B8374, and "King Porter Stomp," by Goodman on H.M.V. B8374.
Now September 10th gave us something really good. Yes, the âJazz Discussion" between Edgar Jackson and Commander A. B. Campbell, of the Brains Trust. Choice of discs, here, was not of primary importance; it was the dialogue that mattered. . . and that was entertaining and enlightening!
From the start, Edgar wa6 on his toes and went straight in to the attack. I thought his policy was most successful, for though dogged in the extreme, the worthy Commander was on the defensive throughout, and had a hard time parrying Edgar's shrewd, confident, and at times biting, observations. Naturally, I was with E. J. from the word goâso maybe I'm prejudiced?
Commander Campbell used a variety of comnjercials to illustrate his point of view, while Edgar Jackson employed Spanier s "Eccen Wilsonâs âSugar," Hodges' "Queen Bess,â and Ellington's "Dusk." It was all very enjoyable!
The R.R.C. on September 17th offered Harry Parry's Sextet, who gave us thirty minutes of their own particular brand of jazz
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