Register for updates!
Back to Vol.2 No.15

Northern Society For Jazz Study Vol.2 No.15 0003

Northern Society For Jazz Study Vol.2 No.15 0003

Image Details

There is no information available.

This text has been generated by computer from the image and may contain typographical and/or grammatical errors.

>, tv_.

'N ' <\ i -

ONCE AGAIN the time has come

round for me to review the years releases«, As in last years review, I intend to deal only with issues of good jazz, which are about the same in number as in 1943. But what of the quality? Well, the output from HMV is about the same- the standard of PARLOEHONS’s releases are

somewhat higher, but Whereas the quality of BRUNSWICK* s issues is as good, the number is pitifully small, and so I shall deal with this company first.

They certainly set a high standard in the first month,with the issue of “Original Dixieland One—Step “/“lias on Dixie Line“ by •JIICJY McPARTLAND’ s SQUIRRELS (03486). Although the solos are nothing to write home about, (except for JOE HARRIS* grand work in “Dixieland") the ensembleB have a certain warmth about them, which seems to be lacking on most discs of this nature. A1though I am not a NICHOLS fan by any means, I must admit that "Panama"/"liargie" (03499) the next on the list, is well worth the money. MOLE* s corny utterances are not so pront-inent as usual and LIVING-STONE* s hot “Chicago" intonation helps to bring the Five Pennies out of their "musical" rut. SCHUTT as usual stinks *.

- - <

"Streamline Train"/"Cryin* Mother Blues" by RED NELSON

(03508) was the first of two Blues singing sides issued.

Of the two, I prefer the latter side, with LOFTON* s fascinating boogie piano accompanying a singer who really knows how the blues should be sung. "Streamline Train" which is similar in theme to DAVENPORT* s "Cow Cow Blues" tends to be monotonous and NELSON* s' none too clear diction doesn’t help matters any. The second blues record is “Don’t You Loud Mouth Me "/"That *11 Get It" by COW COW DAVENPORT

(03509). The first side was highly placed in the “M.M." polls, and fully justifies . such a position, and although "That’ll Get It" is in lighter vein - COW COW and TEDDY BUNN having a bit of fun at the expense of the former’s girl - it is nevertheless sung in the real blues idiom, o. BUNN’s guitar is excellent on both sides.

There* s much better stuff waiting to be issued than WINGY MANNONE* s "Big Butter And Egg Han“/"Up The Country" (03520).


As I said last time, MANNONE* s vocals don’t go down well with me, and so tend to put me off the rest of the record. At the time of going to press I have not heard the latest "Sophia Series" issue by ERSKINE BUTTERFIELD, but anyone who records numbers like "i BrcaL1it i Dwelt in Harlem", is to bo viewed with suspicion.


I believe it came as a surprise to most of us when in March, this company released the first of the YANCEY sides in “Yancey Stomp"/“Fivo O’clock Blues" (B9366). I for one had almost given up hope of etoer seeing them for surely these two sides along with the other four issued (viz "The Mellow Blues “/“Slow And Easy Biuos" (B9374) and "State Street Special "/"Tell* ’Em About Mo (B9381), rank among the greatest of bluos piano discs. Only "Yancey Stomp" is Boogie in the accepted use of the word, though all six have a relation to it in one form or another, even if "Mellow Blues" reminds one distinctly of the Charleston. But if the release of the YANCEY sides came as a surprise, the nows of the withdrawal of "Mellow Biues"/"Slow and Easy Blues", came as-a distinct shock.' This short-sighted policy is deplorable.

The trio of BECHET’s this year aro not as good as the throe issued last year. The first issuo is the best - "Jolly Roll“/"Slippin* c: Slidin*“ (B9368) and it is inconceivable that "Coal Black Shine "/"Egyptian Fantasy" (B9378) was

made at the same session as "Slippin* « Slidin*“. HECHET is grand throughout, and deserves special mention for his work on the trite "Egyptian Fantasy". ALIEN and HIGGY both seem a little uncomfortable, ALLEN* s tone especially being none too good, whilst HIGGY plays with unusual restraint.

His best solo is uBaby Won’t You Please Bono Hamo11 (B9385) the backing of which, "I Know That Tou Know" is from the sane session as "Jelly Roll". Both sides feature some excellent trombone from SANDY WILLIAMS playing in a manner usually associated with HIGGY.

Of the two MANNONE records, little need bo said of the first - "Casey Jones “/"in The Barrel" (B9560), but "kannono Blues" (B9376) is_ a somewhat different proposition. After the singing of a somewhat hackneyed lyric by WINGY, BRAD GOWANS takes a solo which to me, ranks among the best.

GOWANS is the star of the record, for his ’tailgate* stylo in the last choruses, helps to bring the record to a breathless climax. .

The backing, "Royal Garden Blues", is almost as good, though it gives one tho impression of being a little over-arranged.

Tho two ELLINGTON releases aro just average. "Rocks In My Bed"/"Blip Blip" (39362) aro two numbers from the show -