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EDMOND HALL'S BLUE NOTE JAZZ MEN
HHte. EDMOND HALL Clarinet A H|
M SIDNEY DE PARIS Trumpet hL I
■■L VIC DICKENSON Trombone ■ml
LJB JAMES P. JOHNSON Piano
ARTHUR SHIRLEY Guitar ™
ISRAEL CROSBY Bass
SIDNEY CATLETT Urums
Lm No. 28 HIGH SOCIETY ^P^k
12 Inch BLUES AT BLUE NOTE ■ ■
&k No. 29 ROYAL GARDEN BLUES ^^Br
12 inch NIGHT SHIFT BLUES
$1.50 F.O.B. New York, Excl. of Fed., State & Local Taxes
BLUE NOTE'S latest releases are an ideal measure of ^^^^^B the quality and intensity of present-day sensibility in jazz. M A group of seven peerless musicians, led by the famous H ^^L^^g clarinettist EDMOND HALL, playing the selections listed
^Hj Br here, and basing their performance upon fundamental
expressive forms, provide these forms with a content
wholly of this decade.
It is a truism that different historical periods require an altered content, and today our music is urbane, with new
E patterns and a complex of subtleties based on new technical resources. But the character and force of expression remain, as ever, the essential criteria by which we judge H jazi musicr ^^^^ The present records have authentic expressiveness, and their unity of performance is a mingling together gnd blending of distinct, individual musical voices. Each musician is simultaneously soloist and ensemble player. For example, in "Night Shift Blues," the so-called "rhythm11 section, consisting of JAMES P. JOHNSON, piano, ARTHUR SHIRLEY, guitar, and ISRAEL CROSBY, bass, playing alone for two choruses, develop a rhythmic and harmonic motif in a "solo" sense; SIDNEY DE PARIS, trumpet, and VIC DICKENSON, trombone, then play a duet of closely spaced independent melodies, creating an overwhelming rhythmic pattern; then the fine clarinet solo, played by EDMOND HALL, has a rhythmic background given by trumpet so/to voce. Similarly, in "High Society," the well-known characteristic New Orleans march piece, the "rhythm" section, which now prominently includes SIDNEY CATLETT, drummer, playing as a percussion group, creates a constantly shifting emphasis or change of background with each successive chorus, so that the group begins to take on the nature of a solo instrument, while the melodic variations take on the miture of an accompaniment.
These details and their creative use are possible only today, based as they are on an awareness of the past. By the same token, the organic unity of mood in "Blues at Blue Note," growing out of the subdued character of the four-bar introduction, is an exclusive product of present-day feeling. Finally, note the transformation in "Royal Garden Blues" of the peculiar quality of feeling of the *20's (as we know it in celebrated recordings) to that of these '40's. MAX MARGULIS
For Complete Catalog Write to Our New Address
BLUE NOTE RECORDS
767 LEXINGTON AVENUE, NEW YORK CITY