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Jazz News Volume4 No45 0008

Jazz News Volume4 No45 0008

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14
JAZZ NEWS — Saturday December 24, 1 nf>0
RECORDS
9 TERRY GIBBS
*1G BAND
Swing Is Here!
A1 Porcino, Conte Candoli,
Stu Williamson, Ray Triscari,
Johnny Audino (trumpets); Bob
Enevoldsen, Frank Rosolino, (or
Tommy Shepherd), Bobby Pring,
(trombones): Joe Maini, Charlie
Kennedy altos; Bill Perkins,
Med Flory (tenors); Jack
Schwartz (baritone); Lou Levy
(piano); Terry Gibbs (vibes);
Buddy Clark (bass); Mel Lewis
(drums) — recorded Hollywood,
January, I960.
The song is you; It might as
well be swing; Dancing in the
dark; Moonglow; Bright eyes;
The fat man; My reverie; Softly
as in a morning sunrise: Evil
eyes; Back bay shuffle.
H.M.V. 12" L.P. (Verve
Series) CLP 1394 Price: 34/l!d.
rT'HIS is more or less a
“Kicks” band which that
indefatigable enthusiast T.
Gibbs, has tR'en organising
among the West Coast jazz
men for the best part of two
years. Engagements permit-
ting, they play once a week
in tin* L.A. area, and have
airtadv attracted much
favourable comment in the
trad'- press.
Gibbs has interested several
top arrangers, amongst whom
Bill Holman. Marty Paich, Al
Cohn, Manny Albam and Med
Flory have representative charts
here, to summon up a Basie-
cum-Herman mood, and to
showcase himself, sometimes as
a punctuation, sometimes as
lead voi^e in a section, some-
times to state the melody.
This is a very good band, ol
course, with the saxes being
particularly masterly, on, for
instance, “The Fat Man”, and
Al Cohn’s freshened-up
“Moonglow”. Conte Candoli,
Bill Perkins have some good
bits, Joe Maini plays comple-
tely tongue-in-cheek,, and Mel
Lewis proves yet again his ex-
cellence as a big band drum-
mer, Gibbs himself solos at
greater length than all the rest,
and very well, too.
There are few things more
exhilarating than to walk into
dance hall or club and hear
sixteen keen men swinging the
blues. Until the bands come
back again here, this record
will give you the right feeling.
K. G.
$ PETE RUGOLO
Kugolo plays Kenton
No Personnel
Eager Beaver; Artistry in
Rhythm; Southern Scandal;
Painted Rhythm.
Mercury 45 r.pm. EP SEZ-
19000. Price: 12/ 3|d.
^HE two men mentioned in
the title of this EP were
two of (he self-styled kings
of “Progressive” jazz in the
early ’fifties, when the LP
from which these titles are
taken was made. One would
never guess this from listen-
ing to the music.
The four titles, all composed
by Kenton, are simple rift
themes, which have since been
played with varying degrees of
accuracy by every big band
from Hardcastle Craggs to
Moggerhanger. The arrange-
ments by Kenton's alter ego
Pete Rugolo, are as mundane
and uninspired as any churned
out by the lesser swing bands
of the 'forties.
This music sounds just as
dated today, and just as turgid
as that of Paul Whiteman and
Gene Goldkette, without the
occasional flashes of solo
genius, which distinguished the
works of Ihe latter bands.
The only thing one can sav
in favour is that the pieces are
played as well as thev possiblv
can be, and the few solos that
are allowed to emerge from the
welter are w<ell plaved without
being strikingly original.
As usual, the sleeve notes
contain no relevant information
whatsoever.
F P.
Q SIMS-WHEELER
VINTAGE JAZZ BAND
Ken Sims (tpt); lan Wheeler
(clt), Mac Duncan (tbn), Jeff
King (bs). Wayne Chandler (ban-
jo), Jimmy Gartorth (drs))
Never On Sunday—Ma Curly
Headed Babby
Polydor NH 66 638 7" 45
Single, Price: 6/4d.
There is a sudden tendency
on the part of our leading jazz
bands to record jazz (?) ver-
sions of popular tunes Praise-
worthy from the commercial
aspect; even praiseworthy from
the jazzman's viewpoint when
something is added either to
the tune itself, or to the grow-
ing repertoire of jazz. Kenny
Ball’s “Teddy Bear’s Picnic”,
for example, is good, So is
Ottilie’s “Mountains of
Mourne”. Ken Sims and Ian
Wheeler’s versions of these two
tunes are not They have pro-
duced only another version of
each tune- -this time with the
instrumentation of an average
jazz band. They certainly aren't
playing jazz, and I can’t help
feeling that there are far bet-
ter versions of each tune avail-
able already when viewed in
the apparently chosen setting of
the pop market. A pity-
B. N
® ART TATUM/
BUDDY DE FRANCO
Rapport In Rhythm
Tatum (pno.), De Franco (clt.).
Red Callender (bs.). Bill Doug-
lass (drs )
A Foggy Day: Makin' Whoo-
pee; I over Man.
H.M.V. 7EG 8619 45 E/P
Monaural Price: 10/llVd
'pWO undeniable masters of
their instruments are
bracketed here in three titles.
What emerges is more not-
able for its fluency than for
any inspired creativity.
The result ol placing these
two fine musicians together is
obviated by their styles which
spring from entirely different
milieus Both play with their
customary technical exhibition-
ism and Tatum occasionally
asserts his genius in a typical
dazzling run.
But for most of the time
Tatum and De Franco play
independently of each other, as
though thev were recording in
separate studios. There is none
of the vital spark that such
encounters sometimes produce-
The fault, it appears is with
De Franco who seldom man-
ages to produce anything of
emotional value and who tra-
vels back and forward on the
same monotone “Foggv Day”
and '‘Makin Whoopee’ are
taken at fast tempos anil give
the impression of being aban-
doned jam session style but
closer listening reveals merely
an empty shell of superficiality.
In his time Tatum must have
recorded with most of the great
jazzmen. Perhaps he was re-
corded too prolificallv and
without due regard to his own
preference for musical com-
panions-
Certainly this record is one
of the less fortunate of his
later discs and might happily
have been left mouldering in
the vaults.
J. M.
0 COUNT BASIE
Dance Along With Basie
Basie (pno), Thad Jones Joe
Nswman, John Anderson, E.
Young (tpts), Henry Coker,
Benny Powell, Al Grey (tmbs),
Marshall Royal, Frank Foster,
Frank Wess, Billy Mitchell,
Charlie Fowlkes (saxes), Freddie
Greene (gtr), Ed Jones (bs), Sonny
Payne (drs).
It Had lo Be You; Whoopee:
Can’t We Be Friends; Misty; It's
A Pity lo Say Goodnight; How
Am I To Know; Easy Living;
Fools Rush In: Secret Love;
Give Me The Simple Life.
Columbia 335x1264 12" LP
Price: 34/1 Id-
QLD Man Basic just keeps
rolling along. But not
with this kind of thing, I
hope. The tremendous punch
and drive of the Basie band
is squandered here on a set
of ballads that are designed
for dancers and only inci-
dentally, listeners.
As the sleeve notes point oul
Dance music may well be
Basie's metier but it is dis-
appointing to hear the band
ploughing through these arran-
gements like a well trained
studio ensemble.
Without Ernie Wilkins dyna-
mic scores this, to me. is a
very emasculated Basie.
Thematic material like “Secret
Love” is, I would have thought,
impossible and certainly en-
tirely unsuitable, for jazz
adaptations
The band struggles manfully
to make the most of it and
succeeds very largely although
1 can hear little in this that
Nelson Riddle’s orchestra could
not have achieved equally well.
I surmise that these arrange-
ments are those used by the
band at its engagements at
New York’s Waldorf Astoria
and as such they provide an
undistinguished background
music. The playing both of the
soloists and the sections is ir-
reproachable and occasionally
we are given snatches of ex-
citing improvisation such as Al
Grey's trombone in “Makin'
Whoopee' and Frank Wess’
flute on “A Pity” but. on the
whole, this is very much cotton
wool Basie.
Not for those whose me-
mories of the Count are con-
fined to the big, brassy sound.
J. M.
JAZZ NEWS — Saturday December 24, 1960
Page 15
RECORDS
9 OTTILIE PATTERSON
Ottilie Patterson (vcl), with
Chris Barber’s Jazz Band.
Real Old Mountain Dew; The
Mountains of Moume.
Columbia 45-DB 4531 7"
45 Single. Price: 6/-.
JJJERE is a hopeful “single”
from that delightful EP
“Ottilie Sings The Irish”. The
tunes are traditional (Irish-
wise, not jazz-wise) and given
a face lift by sympathetic ar-
rangements from the Barber
Band.
They achieve a rare lift
and lilt and a delicacy of touch
that complements the tunes
rather than converts them to
the normal sameness that over-
take most adaptations to the
‘trad’ repertoire However, the
band takes a back seat on this
disc doing for Ottilie
what Johnny Dankworth did
for Cleo Laine on that memor-
able “Cleo Sings British” LP.
It is Ottilie’s disc — for the
songs are from her home
country—and she sings them
splendidly. 1 prefer “Mountain
Dew”—for it is less hackneyed,
and it swings naturally, Listen
also to the crisp brush work
from Graham Burbidge on this
side- This band, collectively
and individually, is still im-
proving so fast that one wonders
just what enormous stride for-
ward it will take next. The
duct of Ottilie and Pat Halcox’
trumpet on the slow “Moun-
tains of Mourne” is superb
music from any aspcct This is
a happy disc—certainly the best
I should say, that Ottilie has
had issued yet.
B. N.
BILL DOGGETT
On Tour
No personnel listed.
Ocean Liner; The Madison:
Backwoods; Zeej The Eagle
Speaks; Vocky Dock; Raw Tur-
key; Shuu: Hometown Shout;
Evening Dreams; Mr Ballard.
Parlophonc PMC 1124 12"
Monaural. Pricc: 34/1-ld.
^ VERY disappointing
album by the man who,
to me, swings more th.-v- any
of his competitors on that
cumbersome and much-
abused instrument—the or-
gan.
Doggett favours a Hammond
organ and produces by a
laudable exercise of restraint,
an impelling and positive beat.
His previous albums suggested
that he might wrest the organ
from its state of disgrace as the
‘black sheep’ of jazz but after
hearing this L/P one wonders
if Bill Doggett is not perhaps
quite happy in the outcast role.
In justice to him. his organ
is rarely heard on this record
which features his band and
accentuates the soloists who
vary from mediocre to poor.
The music is the main reason,
a collection of basic rhythm
and blues numbers hacked out
by the band with all the ex-
pected frantic and out-of-tune
solos thrown in.
The sleeve notes stress that
Doggett’s is a dancers’ band
and the music might well have
been produced with this end in
view If so, then it is fairly
suitable but the quantity of
good jazz is so small that it
cannot compensate tor the
sheer tedium of wading through
the acres of monotonous desert.
Doggett’s group sounds like
the Ray Charles band on one
of its off-days.
What a waste of available
talent is squandered in this
tasteless record.
J.M.
© JOE BUSHKIN
Listen to (he Quiet
Orchestra arranged and con-
ducted by Kenyon Hopkins.
Listen To The Quiet; Two
Sleepy People; In The Wee Small
Hours of the Morning: Dream
Along With Me; Street Of
Dreams; Three O'Clock in the
Morning; Moonlight Becomes
You: Sleepy Time Gal; The
Party’s Over; Put Your Dreams
Away: Let’s Put out the Lights
and go to Sleep; Good Night
Sweetheart.
Capitol T.1165 12" LP Price:
32/2d.
rj^HE record industry is
certainly having fun
with jazz. Louis Armstrong
with Russel Garcia (HMV),
Mahalia Jackson with Percy
Faith (Philips), George
Shearing and Billy May
(Capitol), and now Joe Bush-
kin with Kenyon Hopkins.
Maybe a certain record
company had something
when it sent us Reginald
Dixon and Adam Faith rec-
ords by mistake.
Joe Bushkin is an accepted
jazz pianist and has been
associated in sessions with
Muggsy Spanier, Sharkey
Bonano, George Brunis, Bunny
Berigan. Irving Fazola, George
Wettling and others of that
ilk-
Yet despite the Dixielanders
addiction to Joe Bushkin the
jazz pianist, they are asked to
buy Joe Bushkin the cocktail
pianist, coaxing sweet nothings
out of the keyboard to an ac-
companiment for which Ken-
yon Hopkins is responsible.
Not that this is the first time.
Capitol T1094 featured Bush-
kin in a gimmicky album, play-
ing tunes which had the world
“blue” in them.
This album is worse, because
in addition to the absence of
jazz, there is the presence of an
orchestra AND a choir, which
right on the first track starts
chanting “Listen to the Quiet’’
in a nauseating ‘Sunday after-
noon on the Home' way.
Don't bother. I w'onder what
next. Red Allen with Ray
Anthony perhaps?
I. McL.
This ,ast Record Week Week KtCOrtl A B C D E F G i’t» Tot.
I (1) Nutcrackcr Suite. Ellington. H.M.V. 7 8 5 10 10 10 50
2 (4) Monk at Town Hall. Riverside 10 10 10 — 7 — — 37
3 (1) Side by side. Ellington. H.M.V. — — 9 9 8 9 — 35
4 (7) Billie Holiday Memorial. Fontana ... 8 9 7 — — — 8 32
5 (9) Acker. Acker Bilk. Columbia — — — 10 — 5 7 22
6 (-) Blues and roots. Charles Mingus. London _ 8 8 _ _ 16
7 (—) Train and the River. J. Giuflre. Philips 6 4 — — 4 — — 14
8 (6) Greatest Trumpet of them all. Gillespie. H.M.V 9 _ 3 12
9 (3) Workin’. Miles Davis. Esquire . . — — 2 7 1 — — 10
9 (-) Kind of blue. Miles Davis. Esquire ... — 3 — — — 7 — 10
Key to stores supplying details:
A = Dobells, Charing Cross Road, W.C.2.
B = Collet's New Oxford St., W C.2
C = James Asman’s Camomile Str, E.C.3.
D = James Asman's New Row, W.C.2,
L = Irnhol"s, New Oxford Strctt. W.C.l.
F= Miller and Sons Ltd., Cambridge.
G - Keith Prowse, Coventry Street, W.l.