The record changer (Mar 1946-Feb 1947)

drumming, though; Baby keeps a steady beat all the way through, whereas I have never heard any African drumming that was steady. COUSIN JOE Fly Hen Blues Lonesome Man Blues Gotham 500 Cousin Joe is a good traditional folk blues singer who has made quite a name for himself around 52nd Street. The amazing thing is that he has not changed his earthy way of singing in the slightest; his voice is very moving, his delivery has the simplicity effectiveness of all authentic folk artists. The accompaniment is provided by Earl Bostic's Gotham Septet, who riff wildly and monotonously on both sides. But the rhythm section (Pops Foster and J. C. Heard) generate a terrific beat. If you can bear the noise made by the melody instruments (especially Bostic) you will find this a worthwhile addition to your collection of blues records. Cousin Joe isn't quite in the class of Big Bill or Leroy Carr, but in these days of phony and tricky blues stylizations it is refreshing to hear such sincere singing. DINK JOHNSON Grace and Beauty Stomp de Lowdown Take Your Time So D if rent Blues American Music 515 and 516 Dink Johnson is a New Orleans musician of remarkable versatility who has been professionally inactive for many years. He first played drums and toured with Freddie Keppart before 192U. For over two decades he has been living in Los Angeles. The only time he ever recorded before, as far as 1 know, was on the famous Kid Ory session for Nordskog-Sunshine where he played clarinet. Everyone thought he had retired permanently from music; it is therefore a surprise to find him on the American Music label, in the capacity of ragtime and stomp pianist. The musicianship displayed on these records is not of a high order. None of the three men (Dink plus unknown guitar and bass) seems to have a real mastery of his instrument. Yet they are able to achieve a wonderfully ( relaxed and gay mood. The bassist and guitarist may actually be much better musicians than is apparent here ; it is difficult to judge them accurately because of muddled, indis 16 •Tin; C AT" "Here y'are, bud! Get your biography of Wham Rebopp, I wrote it myself; d< miss his latest platter, an original by me; here's the new issue of Monotone Magazi in which I review the record; have you read my new book on jazz; you'll surely want latest photograph of the band; and oh yes — here's a couple of passes — on mel tinct recording. The bassist has a terrific sense of rhythm but doesn't always seem to play on pitch. The guitarist doesn't have a particularly remarkable beat, and his short solo on So Dif'rent Blues is disappointingly vague. It is very possible that the poor recording of their instruments hides the real value of these musicians. The most important thing about these records, of course, is the playing of Dink Johnson himself. Technically Dink is not an accomplished pianist. Especially on the two rags (Grace and Beauty and Take Your Time) his fingers don't move with the required confidence and agility. The breaks are played awkwardly. A beautiful tune like Grace and Beauty must be performed not only with the proper spirit, which Dink has (although his tempo is too fast), but with precision, which Dink doesn't have. But in spite of his purely technical shortcomings, Dink plays with such vigor and joy that he always holds your attention. I thought that he was at his best on Stomp de Lowdown, a charming and very simple melody taken at an easy tempo. A tune like this one requires none of the pyrotechnics that are so essential for a completely satisfactory performance of such a difficult rag as Grace and Beauty. Dink's constant humming throughout the four sides I found quite unnecessary. It simply adds tb the confusion of the recording. It should have been recorded either more clearly and strongly or not at all. For all these reasons this is a disappointing session. But still Dink manages to communicate the happiness and the carefree gaiety of his music. There is so much freshness and inventiveness in his playing that he would be one of the most mirable pianists in jazz if he knew instrument better. However, there few you will enjoy more. (Why is William Russell so ca less about his labels? No composei shown for Grace and Beauty and T Your Time; neither the instrume that accompany Dink's piano nor • musicians who play them are lis! For a man who has impressed eve one in the jazz world with his met: lous thoroughness, this is inexc able.) ORIGINAL CREOLE STOMPI Eh, La-Bas! Up Jumped the Devil American Music 513 Eh, La-Bas! is perhaps the r successful oi all the records on American Music label except the forgettable Burgundy Street Blue. wonderfully catchy Creole tune comes great jazz through the arti of two very remarkable music who make their first appearance records, Wooden Joe Nicholas trumpet and Albert Burbank on c net. Wooden Joe has such a sure of attack and communicates sue sense of restrained power that it be impossible to omit his name f any list of great trumpet pta.3 More faithful recording would 1 revealed his prowess even more, you hear enough to know that he marvelous musician. His few la into bad taste are unimportant ; lead is so good that the other n cians can improvise around it witl the freedom they desire. Albert bank plays his instrument with THE RECORD CHANi 1\ If III! Bill