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Jazz News Volume4 No45 0007

Jazz News Volume4 No45 0007

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Pagé 12
JAZZ NEWS — Saturday, December 24, 1960
SCOTT JOPLIN S legendary
ragtime opera “Treemonisha"
may be performed at the Strat-
ford. Ontario, Festival next
summer... Los Angeles-based
drummer Shelly Marine has
opened his own club, the
Manne-Hole, to packed houses.
Shelly features his own group
(Richie Kamuca. Jack Sheldon
etc.). serves beer, wine, coffee,
and has succeeded in inspiring
an intelligent, pleasant atmos-
phere... Della Reese made a
concert appearance at the Santa
Monica Civic Auditorium. First
half she sang gospel material
with a 150-voice choir, second
half she did her nightclub act.
led as “The Fastest Piano
Alive" has been appearing at
The Bit, and was followed by
Les McCann (and the Truth)...
John Hendricks has recorded
his “Children's History of the
Blues” the hit of the Monterey
Jazz Festival, for Columbia.
Big Miller. Jimmy Wither-
spoon. Pony Poindexter and
Ben Webster were also on the
date., Barbara Carroll, talented
modem pianist, has married
her agent, Bert Black... Stanley
Dance. British critic and writer
fof “Jazz News", now resident
in the States, has a one-hour
show called “Duke's Place”
every Thursday midnight on
WNGN-FM radio station...
70 New Oxford St
London WC1
John Lewis is to write an
album for the Art Farmer-
Benny Golson Ja2ztet... the
jazz novel “Solo” is finally
being filmed. Dick Powell
directs and shooting started in
MORT SAHL, friend of
jazzmen and super-hip come-
dian, had a miserable 48 hours
in Moscow. He wanted to talk
to the Russian man in the
street, to gather material for
his act. He found his phone
calls intercepted. he was
allowed to cat in three spe-
cified restaurants only, and
finally had more trouble get-
ting out of Russia than getting
in.. Jimmy Giuffre now fea-
tures pianist Paul Bley in his
group. Up to now. his groups
have all been piano-less...
Cannonball Addcrley now fea-
tures a number entitled "Hear
Dis" written by tenorman
Daniel Jackson.
MESSENGERS (with Lee Mor-
Morgan, Bobby Timmons,
Wayne Shorter) are to play
four special concerts in Tokyo,
Osaka. Kobe and Nagoya,
Japan in January. Manager
Monle Kay also is arranging
for the Modern Jazz Quartet to
return to Yugoslavia in
Autumn of 1961... Dizzy Gil-
lespie is supposedly writing his
life story, to be called “Dizzy
Spells”... Stan Getz played a
Warsaw Jazz Jamboree last
month, with groups from Fin-
land, Holland, .Sweden and
Poland,.. The Gerry Mulligan
Big Band, now in Europe, has
been collecting mixed reviews.
Our Paris correspondent asked
“Is Mulligan Finished?” and
Dick Lazenby who caught the
concert in Milan says “The
general level of jazz soloing
was good and Zoot (Sims) must
be recognised as the major
spark of the evening.
Photo: Chenz
^T the Boulogne studios just outside Paris, there is i
a great deal of activity — both filmwise and ^
musical. The films being shot are “Do you like
Brahms?’' taken from Francoisc Sagan's recent novel,
and “Paris Blues” which could well be retitled “Love,
drugs and jazz".
Recently the producers of
‘Paris Blues" held a press
The great attraction was
the presence of Duke
Ellington who wrote the
music for the film together
with Billy Slrayhorn. While
in Paris Duke will write an-
other six compositions, a
task which will keep him on
the Continent until the
middle of January.
As for the film itself, the
theme concerns two Ame-
rican musicians who have
been lured to Paris by the
bright lights. They meet two
young American tourist girls
and a young French drug
\ [Neft (Vlaii Urdei Se-vit'e * Kun B.> Well-Known Experts
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taking musician. Jazz, love
and drugs bring these people
together but eventually love
Sydney Poitier plays the
role of a tenor player, Paul
Newman that of a trom-
bonist and Serge Reggiani a
guitar player. The music is
actually played by Guy Laf-
itte, limmy Gourlay and
Bill Byers The rhythm sec-
tion is complete by Aaron
Bridgers (pno) Guy Peder-
sen tbs) and Moustache
To give you some idea of
Moustache's playing, he is
to drums what Massenet is
to music.
Louis Armstrong has a
part in the film. He ar-
rived in Paris on Monday;
and gave a press conference
at the Cultural Centre of
the American Embassy.
One doesn't know how the
film will be received yet.
but at least jazz fans in
Paris can be assured of
hearing Louis Armstrong at
the Palais des Sports, where
he will be giving two con-
certs on Christmas and New
Years Day.
JAZZ NEWS — Saturday December 24, 1960 Pa8e 13
Dance or listen to Kid Or.v
Ory (trombone), Marty Marsala
(trumpet), Darnell Howard (clari-
net), Cedric Haywood (piano),
Frank Haggerty (guitar), Charles
Ogden (bass), Earl Watkinson
Columbia (Verve Series) 12"
LP; CLP 1935. Price: 34/Iid.
J^ID ORY has been a demi-
god of the cultist ever since
his Exner and Crescent is-
sues received eulogistic noti-
ces in the tiny jazz press of
the late ‘forties.
Like most of the clay-footed
idols who were elevated
by this particular fad no one
doubted his authenticity, only
his capability.
However, even his most fer-
vent detractors have always
agreed that, whatever his per-
sonal limitations, Ory has al-
ways possessed the indefinable
knack of knitting together
whatever combination of musi-
cians he has commanded into
an integrated whole. Good,
unfussy ensemble playing, com-
mand of dynamics and a
quietly lilting rhythm section
were the halldiarks of this de-
finitely personal sound.
On this record, however,
these qualities are marked only
by their total absence.
Each number consists of
of opening ensembles, inter-
minable, mediocre solos, in-
cluding piano, guitar, an
occasional drums and bass also,
and a closing statement.
in case the camel’s back
proves unduly obdurate, we are
given two final straws in the
shape of unbelievably bad
vocal choruses on 'Ja-da'
One pérson. however, stands
out in this company. This is
trumpeter Marty Marsala,
lone-time associate of the
Chicago—New York school,
who has done little recording
in his long career. His few
solos provide the only interest-
ing spots in this miserable re-
cord. and one would like to
hear him in more interesting
company, say with a group of
Condon alumni.
I doubt if the most rabid Ory
fan will find much of interest
here. F. P.
Jingle Bells; Chinatown. M.v
Pye 7NJ.2039 45" Single
Price: 6/4d.
(^EVERAL years ago I re-
call hearing the Bob
Wallis band at the Colyer
Club at one of the weekday
sessions. At that time 1 re-
member thinking that this
was undoubtedly the loudest
and worst band I had heard
for years.
I am happy, therefore, to
take back my words now.
Wallis has a band which is
both original and swinging.
There ufv many more musical
bands on the scene than Wallis'
but few more exciting. These
two tracks come from the “Ole
Man River” L/P just issued on
the same label and reviewed
later in ‘‘Jazz News”. Both
sides are brisk, happy and en-
joyable and should add to the
festive spirit of the market at
which they arc so obviously
“Chinatown" is all banjo
played by Hugh Rainey. I have
never subscribed to the view
that a band is necessarily bad
because it carries a banjo. I
can’t recall that instrument
getting in the way on the Arm-
strong Hot Five discs
When a banjo is played in
the proper way, as it is here,
it can be a musical and stimu-
lating, although limited, sound.
Anyone contetnplatng buying
me another gold and fuscous
tie for Christmas? I would pre-
fer to have this slipped into
my stocking instead.
J. M.
Boy with Lots of Brass
The Maynard Ferguson band:
Tom Slaney, John Bellow, Joe
Burnett (tpt). Bob Burgess. Jimmy
Cleveland (tbn). Jimmv Ford (alto
and tenor), Anthony Ortega (alto
and tenor). Willie Maiden (tenor),
Tate Tlouston (bar), Larry Bun-
ker (drs). Richard Evans (bs).
Bobby Timmons (pno),Irene Krai
(vocalist), Maynard Ferguson
(trumpet and valve trombone).
Give me the Simple Life: My
Funny Valentine: The Lamp is
Low: Imagination; The Song is
You; Jeepers Creepers; Love Me
or Leave Me; A Foggv Day;
Easy to I.0ve; Moonlight in
Kid Ory
Vermont; I Hadn’t Anyone Till
You; 1 Never Knew.
Mercury MMC 14050 12"
Price: 34/l!d.
rJ'iHE author of the sleeve
notes on this disc goes to
great '^gths to prove that
this is a record by a regular
working orchestral group and
not just another twelve tracks
by a pick-up studio band.
Yet a pick-up studio orches-
tra is just what this band
sounds like. The real fault
is with the arrangements
which have not a single
oh*-ase of originally through-
The arrival of a new band
on the sccnc is always a wel-
come occurrence, if the band
has something new and in-
teresting to offer. But this par-
ticular hand sadlv needs some-
thing a little off the beaten
track, for at the moment it
sounds like a
version of almos
top bands in the
this simply is not
for people who
to pay the same
disc as they wou
rate Basie or Elli
it any of the
business and
good enough
are expected
price for this
Id for a first-
I have no doubt that this
band, playing these rathet
mundane orchestrations. is
successful in American colleges
and dancehalls but it appears
that these offerings are re-
presented as jazz- In that case,
we have a right to expect some-
thing more than commonplace
and more suited to the jazz
lover's taste than to that of
the palais de danse. The vocals
are best left unmentioned. as
arc the curious alto saxophone
spluttering* on several tracks.
This is an utter waste of the
talents of Maynard Ferguson
and of the several fine musi-
cians he has assembled.
n. k.