TV Radio Mirror (Jan - Jun 1963)

'-MC-MC GREAT! -K-K-K GOOD LISTENING -JC-K FAIR SOUNDS -K IT'S YOUR MONEY JAZZ Vk"*VHtCircle Waltz, Don Friedman Trio (Riverside) — This is the most compelling jazz piano album I've heard in a dog's age. Considering Thoreau's reflective words about "Each of us is listening to our own drummer," one is comforted by the knowledge that the "'individual," who may not be strutting up front, is still very much with us. Don Friedman is such an individual. To draw another analogy, he's a pacifist in the intensely war-like protestations of the contemporary jazz world. This album secures for this reviewer the feeling that the personal hasn't left jazz. The tunes in the album which were the most rewarding, I'm happy to say, were Don's originals. The title tune "Waltz," which sets the pace of the album so beautifully, is a finely wrought tapestry of small-ish harmonic masses. (This track also shows bassist Chuck Israels to advantage.) "Sea's Breeze" is another of Don's gems. Don has been influenced by Bud Powell, but has gone on to his own message. Still evident is Powell's balladic style where Don plays in an adlib fashion. It's not imitation, but rather a natural occurrence of tradition and admiration, no doubt. Melodically, Don seems his own entirely! There is no doubt that Friedman's jazz playing will never become vogue. It does require your coming to it. It's not the resounding din of shouting, but more like a murmur. Subtle, elegant, and unassuming. . . . This is one of the finest jazz albums this year. *** Benny Goodman in Moscow, recorded in Russia during his recent tour (RCA Victor, 2 L.P.s)— The tour of Russia in some ways was a fiasco. The band mutinied on the closing day, and nothing but extremely distasteful stories have come from the members of the orchestra about Benny's megalomaniacal behavior. (Byron Janis, the most talented of the young American classical pianists, performed a Gershwin piece with the band at one concert and failed miserably. As the members of the band relate it, it was because of a near amateur-ish accompaniment that the band complemented him with. The reason, say the band leaders: Benny.) The band that toured Russia was full of very large talents . . . Zoot Sims and Phil Woods, two first-rate jazz players, ex-Kenton drummer Mel Lewis, along with legendary Teddy Wilson. In the brass section, we find two ex-Basieites, Joe Newman and Joe Wilder. On the whole, a band that only the government could afford to pick up the tab for. Side One has the Goodman theme "Let's Dance" leading off in terse form. The high point is the band's ensemble playing in "Meet the Band" and Phil Woods' and Zoot Sims' soloing on "Titter Pipes." Side Two has some smallband, inner-group things, which show Benny to no advantage. (As a matter of fact, the high register playing of the leader started to grate on this reviewer. ) Teddy Wilson turned in some admirable pianistics on this small band medley. (Oh! spare us those screeching repetitive phrases.) Joe Newman's vitality on "Bei Mir Bist Du Schoen" saved the tune. Side Three finds the band shouting again. "Feathers," a romping original by pianist John Bunche, Zoot Sims' stimulating solo on "On the Alamo," Joe Newman's blues riff "Midgets" and the band's settled groove on "One O'Clock Jump" brings the album back to the Side One groove. The last side finds the material a bit more modern. Two originals by arranger-composer Tadd Dameron. A swinger called "Swift as the Wind" and an impressionistic portrait of "Fontainbleu." (Some players in the band mentioned some very wellwritten arrangements by Oliver Nelson. None are on this album.) The band is a surprise. Considering the publicity, I thought it would be chaotic, but it isn't. It's a sound musical offering. ***Mose Allison Takes to the Hills (Epic) — Mose Allison is certainly a pick-up. Being Mississippi-bornand-bred, he knows what he's talking about. Unfortunately, not all the cuts on this album are first-rate — but where Mose excels, something really happens. The interpretation of "Baby, Please Don't Go" is darn near classic. But the album also has some standard tunes and jazz piano solos that easily could be done without. This chap is capable of a complete individual musical identity. Why the producers of Mr. Allison's recordings can't see where his talent lies is beyond this reviewer. MOSE AU1SON TAKES TO THE HILLS # Still, if you haven't heard Mose, you should investigate this rural rascal. The cover is a prize winner, if I've ever seen one. It's a reprint of a painting by Robert Gwathmey. Take a look at it ! FOLK ***Songs from the Hills of Donegal, Margaret Barry (Washington) — This album was very close to being a four-star effort, but Miss Barry's banjo playing, the harmonic .structures (chords) in particular, made a great mess of things at times. "Lagan Love," which is one of the most beautiful examples of the modal Gaelic literature, was musically clobbered. On the other hand, Miss Barry's unaccompanied singing is enchanting. The two examples here, "The Galway Shawl" and "The Factory Girl," are very impressive. Her f biting quality is more suited for ma v terial apart from the developed, lieder " type, Irish repertoire. The high point