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BLUE NOTE
PRESENTS
ART HODES'
BLUE NOTE JAZZ MEN
MAX KAMINSKY Trumpet
VIC DICKENSON Trombone
EDMOND HALL Clarinet
ART HODES Piano
ARTHUR SHIRLEY Guitar
SID WEISS Bass
^ DANNY ALVIN Urums
• No. 34 SUGAR FOOT STOMP 12 inch SWEET GEORGIA BROWN
• No. 35 SQUEEZE ME 12 Inch BUGLE CALL RAG
$1.50 F.O.B. New York, Excl. of Fed., State & Local Taxes
THE compositions here date from the most vivid era of jazz activity. Generally speaking, they are rich in association; specifically, they serve as perennial groundworks for over-all improvisation. The musicians featured in these releases have already made important contributions to the BLUE NOTE catalogue. But such favorites as Hodes and Kaminsky, on the one hand, and Hall and Dickenson, on the other, appear together now for the first time in the same group. Sugar Foot Stomp, as conceived by its composers, King Oliver and Louis Armstrong, is identified by its characteristic stop-rhythm accompaniment, and by its celebrated middle trumpet section. Here, the stop-rhythm appears briefly but incisively behind a full-compassed clarinet solo by Edmond Hall. The trumpet solo, played by Max Kaminsky, is at once sensitive and brilliant, fluent in terms of basic jazz language, as with astutely placed stresses, it leads the rhythm instruments in their figures. An added point of interest in this number, and also in the other numbers, is the ensemble texture deliberately created by piano and wood block. Sweet Georgia Brown, which backs this number, introduces interesting solos, including one on piano by Art Hodes, with persistent wood-block accompaniment by the drummer, Danny Alvin. Kaminsky's trumpet has swiftly increasing importance in the last chorus, and sounds the piece's climax.
Squeeze Me is slow, direct and expressive, and consists of two solo choruses and two ensemble choruses. It maintains a consistent, unflagging mood, heightened by a poignant and memorable clarinet variation by Edmond Hall, wherein the tune's accustomed break grows ingeniously out of the melodic character of the variation. No less arresting, and in some respects the high point of the record, is Vic Dickenson's exceptional trombone solo. The number's final ensemble is predominantly melodic, and has the sense of a trio, with the trumpet pyramiding and taking its break crescendo, with broadening notes. Bugle Call Rag's thematic material consists of an alternating four-bar break and an eight-bar melodic unit, which is carried and developed by each soloist in turn. A middle section presents new material. The record ends with a drum solo, certainly with dash and aplomb. — MAX MARGULIS
For Complete Catalog Write to
BLUE NOTE RECORDS
767 LEXINGTON AVENUE, NEW YORK CITY
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