The record changer (Mar-Dec 1947)

&.t Eddie Condons (Decca Album 490), ,:ontaining Impromptu Ensemble No. 1 md The Sheik Of Araby (23718), Faretell Blues and 'J Stars Fell On Alabama 23719) /just You Just Me and Atlanta Slues (23720), r/te Way You Look Todght and"8ome Sunny Day (23721). This tlbum represents music no longer purely 1'hicagoan in character — though, if indeed here ever was such a thing as Chicago azz, it was anything but pure. Condon's argest group here contains only ten men, let no less than twenty-one musicians participate in this album, a score of noted nstrumentalists plus a well-known nonilaying vocalist. From Chicago itself come aut five, Davison, Freeman, Wettling, Tough, and of course Condon. There are hree from Boston, the Windy City's prize nusical suburb, Kaminsky, Hackett, and Rowans; a pair from Harlem, J. P. Johnson and Bubbles; also Russell from St. Louis, Parenti from New Orleans, and Teagarden from Texas. The rest hail from all over the nation. This music which for want of a better name was a short :ime back called Nicksieland now seems truly All-American, or with Eddie so nanifestly in charge, Americondon. Yet (it's essentially Chicago in spirit, instrumentation, and treatment — Chicago gone -ophisticate but still, at its best moments, 'not jazz. Best of the eight sides are the three blues, Impromptu, Farewell, and Atlanta. Jack sings his most famous set of lyrics on the first, which also spots solos by pianist. Gene Schroeder, trumpeter Billy Butterfield, baritone saxman Ernie Caceres, trombonist Teagarden, clarinetist Russell, and drummer George Wettling. Most exciting is the closing ensemble lifted bodily from Dippermouth, featuring a Trumpet section composed of Max Kaminsky, Bobby Hackett, and Butterfield. Successive solos by Schroeder, clarinetist Parenti, trumpeter Bill Davison, valveslide-trombonist Brad Gowans, bassist Jack Lesberg, and drummer Dave Tough highlight Farewell. Note that Tony begins his chorus with a snatch from High Society. The final ensemble work again proves the side's most appealing feature. Atlanta is really that very beautiful num( ber, Make Me A Pallet On The Floor, and (has some pleasant enough singing by Bubbles. Kaminsky 's wonderful lead dominates the whole band, which here includes trombonist Fred Ohms, clarinetist Joe Dixon, pianist James P. Johnson, bassist Lesberg, and drummer Tough. On I Sheik Condon revives the old Red Nichols I, pattern, and Jack sings his familiar vocal. The band is the same as that on ImUpromptu. with Teagarden, Russell, and I) Butterfield taking solos. Alabama, taken j at bounce tempo, features piano by Joe : Bushkin, muted trumpet by Butterfield, clarinet by Dixon, and tenor sax by Bud Freeman. Condon handles the guitar without a solo as he does on all eight sides, while Lesberg and Tough fill out the rhythm. Just You is pianist Johnson's side", and J. P. comes through marvelously L as always. Dixon takes one bridge, as Kaminsky, Ohms, Condon, Lesberg and Tough supply the background. On Tonight, played as a jump, Kaminsky provides the top solo in the whole set. Ohms, MARCH, 1947 Schroeder, and Dixon also take off, with Condon, Lesberg, and Tough behind them. Day has exactly the same personnel, with a fair chorus by Dixon, an excellent one by Ohms, and a good one by Schroeder. Max is unquestionably the album's star, and Fred its biggest surprise. Ohms has a full tone, fine ideas, and sufficient confidence to let go. Here he proves a better ensemble man than Teagarden, a better soloist than Gowans. The set's chief fault is that Condon relies too heavily on arranged ensembles. A secondary flaw is Eddie's choice of material. Alabama, Tonight, and Day simply don't make for the best Chicago, and Just You scarcely affords James P. the right sort of vehicle. Nevertheless, this is a brilliant collection. Like Condon himself, neither Bob Haggart nor Bobby Hackett solos at all. Except in the cases of Teagarden and Johnson the ensemble passages, as they should, far surpass the individual choruses. Thus Americondon jazz still reflects a basic New Orleans principle. Others: Wingy Manone plays and sings Paper Doll and Besame Mucho (Capital 347), with an acceptable Dixie backdrop. Swing and Stuff Small-Band: Epitome of today's chamber style might well be New 52nd Street Jazz (Victor Album HJ-9), including Spotlite and Say It Isn't So (40-0131), 52nd Street Theme and Night In Tunisia (40-0132), Low Flame and Allen's Alley (40-0133), Anthropology and Old Man Rebop (40-0134). Coleman Hawkins' All Stars play the first and third couplings, Dizzy Gillespie's Orchestra the second and fourth. Hawkins personnel: trumpeter Charlie Shavers, alto saxman Pete Brown, tenor saxmen Hawkins and Allen Eager, pianist Jimmy Jones, guitarist Mary Osborne, bassist Al . McKibbon, drummer Shelly Manne. Gillespie personnel: Gillespie on trumpet, Don Byas on tenor sax, Milt Jackson on vibraphone, Al Haig on piano, Bill De Arango on' guitar, J. C. Heard on drums. Here's rebop in a nuthouse— I mean, nutshell. Others: Mary Lou Williams, backed by bassist June Rotenberg of the St. Louis Symphony and drummer Bridget O'Flynn, plays Humoresque and Waltz Boogie (Victor 20-2025). It's a shame when someone as good as Mary Lou begins to imitate someone as poor as Hazel Scott, but at that this marks the first time boogie has been beaten out six to the bar. Poison Gardner and his rhythm trio offer Poison's Boogie and My Baby's Gone Away (Juke Box 515), which will leave most listeners with the feeling that they've heard it all before, too many times. The highly publicized Joe Mooney Quartet contributes September Song and Just A Gigolo (Decca 23790), as Joe sings the first by himself and the second with the group. I can only ask, why all the shouting? It's a pleasure to have something good to say for small-band stuff, and for two new recordings bv the Al Hall Quintet I might say a great deal. I'll content myself with stating simplv that Emaline and Am I Blue (Wax 100), Blues In My Heart and Rose Of The Rio Grande (Wax 101) are four of the least frantic, most satisfying swing sides I've heard in longer than I care to think about. Trumpeter Dick Vance, tenorman Ben Webster, pianist Jimmy Jones, bassist Hall, and drummer Denzil Best are equally responsible. This is, one might suppose, a modern answer to rebop. Lionel Hampton's Septet backs up Dinah Washington's vocal on Blow Top Blues, and his Octet takes the instrumental Robbins In Your Hair (Decca 23792). Not much, but considerably more palatable than recent sides by Hampton's full orchestra. Big-Band: The country's top white swingband of the moment has a new album, its first, Artistry In Rhythm by Stan Kenton (Capital Album BD-39). Come Back To Sorrento features tenorman Vida Musso; Artistry hi Bolero, Musso and trombonist Kai Winding; Fantasy, Musso, alto saxman Boots Mussulli, and pianist Kenton; Willow Weep For Me, vocalist June Christy; Opus In Pastels, five saxes, no brass; Safraiiski, bassist Eddie himself; Artistry In Percussion, drummer Shelly Manne; Ain't No Misery In Me, June Christy again. Stan himself composed Fantasy and Opus, and Pete Rugolo wrote Safranski as well as both Artistry numbers. This set represents Kenton fully and well. Refreshing swing, some of it. Others: Roy Eldridge blows solo through It's The Talk Of The Town, with Les Bonce on the reverse (Decca 23783). Herbie Fields sings A Huggin' And A Chalkin and plays Blue Fields (Victor 20-2036), the latter his best job to date. Billy Butterfield sings Steamroller and plays Jalousie (Capital 335), with clarinetist Bill Stegmeyer also soloing on the second side. The three leaders outshine their respective bands and sidemen, until it's so apparent that it really hurts. Old and Rare Easily the most encouraging and ambitious reissue project of 1946-47 has been undertaken by Sam Meltzer (Century Record Company, 737 Fox Street, Bronx 55, New York). His selection of what to revive is uniformly commendable, his record surfaces are consistently superior, and his labels are both. attractive and informative. He has restored a dozen extremely important and highly interesting couplings in his first twelve releases, and all of them have been quite rare in addition. In other words, up to now Sam is batting a cool 1.000, and his thirteenth issue won't lower his average a bit. It will be the justly famous Deep Morgan Blues by pianist Henry Brown, coupled with another Brown solo, Eastern Chimes Blues. Altogether, the Century Record Company is well on its way to winning a permanent place in the hearts and collections of all true jazzlovers! First of Sam's wonderful reissues was Weary Way Blues and There'll Come A Day by the Dixieland Thumpers (Century 3001), on which cornetist Natty Dominique and clarinetist Johnny Dodds ride New Orleans fashion with a light lift from piano and washboard. This same combination appeared on Sam's second release with the same brilliant results, Sock That Thing and Oriental Man (Cen(Continned on Page 22) 11