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Page Six

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" / “Jingle 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 “mighty fancy .stuff'11 '

So forget the present, and get back to your old Pennies, Molers and Blue Fours—where Adrian really blows his top.



The Month’s 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 chair—and tell the following day that. . . “so-and-so played a HOT record in,his programme last night.”

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.—“Basie, Waller and Wilson.” This

was presented in the usual slick Harris-Perowne manner, but didn't interest me a lot, mainly because I haven’t time for this trio oi

New York influenced stylists. .

Chapter 18. (following Wednesday) was called “The Advent of Swing”—Shaw, Goodman and Miller,” and though again not to

mv taste was well put over. The only records I liked here were “Blues of Israel,” “Too Old to Dream,” and the snatch of Shirley

Clay's trumpet from “Hot and Anxious.” Incidentally, Rex suggested that “In The Mood” was taken from the 1932 Redrnaii platter, yet in reality this riff appeared on wax as early as 1929 in the form of Mannone’s “Tar Paper Stomp.” A minor point, perhaps ? . .. . ;

Chapter 19. . . “The Revival of Dixieland Style—Bob Crosby and Muggsy Spanier” was broadcast on September 16, and proved

most enjoyable. On this occasion the choice of^records was really good. “Muskrat Ramble” and “High Society” are two Of the

finest Crosby pressings, and if Spanier’s “Relaxin’ at The Truro” is hardly Dixieland well, <we can thank Rex and Leslie for “Da Da

Strain" and “Sister Kate.”

But what happened’to Mannone’s New Orleans Rhythm Kings who revived the style as early as 1934'?

of “Panama,” “Bluin’ The Blues,” "Original Dixieland,” "Jazz Me Blues”, etc. . . but it didn't seem

Now for the records used in The Story of Jazz:
Chap, 18.

“The Blues” (Shaw, Pt. 2, Parlp R2790).

“Indian Love Call” (Shaw. H.M.V. B8869).

“Cream Puff” (Shaw, Voc, S.63).

“King Pbrter Stp.” (Goodman. H.M.V. B8374). “Bugle Call Rag” (Goodman. H.M.V. “B8569). “Blsr Of Israel” (Krupa. Parlo R2224).

“Too Old To Dream” (Dandridge. Voc. S.34). “Swing Is Here” (Krupa. H.M.V. B84327).

“Hot and Anxious” (Redman. Bru. 1344).

“In The Mood” (Miller. H.M.V. BD5565).

“Bach Goes To Town” (Goodman, H.M.V. B8879),

“Moten Swing” (Moten, H.M.V. B6377). “Lafayette” (Moten. H.M.V. B1953).

“Lady Be Good” (Basie Quin. Parlo R2636).

“How Long Bis.” (Basie, solo. Bru. 02762). “Yellow Dog Bis.” (Banks. Parlo R2810).

“Minor Drag” (Waller. H.M.V. JF 1).

“Smashing Thirds” (Waller, solo. H.M.V. B8546). "Mandy” (Waller. H.M.V. JF lj).

“Don’t Blame Me” (Wilson, solo. Decca J9). “What A Little Moonlight” (Wilson. Bru. 02066). “Bis. in C jiinor” (Wilson. Bru. 02256).

‘Muskrat Ramble” (Crosby. Decca F6067). ‘Washington and Lee Swing” (Crosby. Decca F7596), “High-Society” (Crosby. Decca F7594).

“Dogtown Bis.” (Crosby. Decca 12" K876).

“Darktown Strutters Ball” (McKenzie. Parlo R1044). “Da Da Strain” (Spanier. H.M.V. B9008).

“Sister Kate” (Spanier. H.M.V. B9047).

“Riverboat Shuffle” (Spanier. H.M.V. B9145). “Retaxin’ At The Truro” (Spanier. H.M.V. B9145).


The R.R.C. programme on Thursday, September 3rd was dedicated to Bunny Berigan, but as the feature ran for only fifteen minutes there isn’t 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, hadn’t a lot to say. But his remark that . . ■ "Bunuy was truly one of the great men of jazz" must be refuted here and now. He was a better-than-most white trumpet player—that's all, I’m afraid!

Records used by Harry were: 'T Can’t Get Started" by Berigan, on Voc. 26, "Is That Religion," by Bailey, on Bru 01344. "Marie,’’ 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 “Jazz 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 go—so maybe I'm prejudiced?

Commander Campbell used a variety of comnjercials to illustrate his point of view, while Edgar Jackson employed Spanier s "Eccen Wilson’s “Sugar," Hodges' "Queen Bess,” 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