The record changer (Feb-Dec 1948)

Records Anted (Continued from Page 16) e 5 taken the easier path, not onlv in his r.ging but also — and especially — in his uitar playing. I've never been partial to an Jectric guitar, and Walker's dependence on s tricks kills his playing of it for me. The lackadaisical piano-playing of Freddie lack does nothing to help, and the whole ;ssion seems to have been one of things lat never had much chance to come off. udging from the master numbers and the nusually wide space left at the edge of nese sides, I am sure that these were among "apitol's early cuttings, and were made trgely on this basis : "We've got Freddie ..lack and his Cow Cow Boogie is holding s together, so let's have him do some sides ,-ifh a real blues singer instead of Ella Mae .lorse; he can help sell the guy and we may et something that's the McCoy. Let's see, ow, the Hollywood crowd sort of knows hout Aaron Walker, and that nickname of is T-Bone, is a dilly ; let's get ahold of im, OK?" , T-Bone doesn't sing badly on these blues, Kit he's not too easy to understand (not hat that in itself is a handicap— did you ver try to understand Robert Johnson?) tad he seems to be more dispirited than . blue." At that, he's far more interesting to isten to than the many, many young boys vho smirk their way through innumerable •ad race records, supported by incredibly ■ad six-piece bands. Better a bad T-Bone Walker record any day! (Capitol 15033) Avakicm _ovie Austin's Serenaders n the Alley Blues :v1erry Makers Twine i Some of the best records in jazz, for my ■noney, are those on which Johnny Dodds »nd Tommy Ladnier appear together, and :ortunately they seem to be endless. Bill Russell has come up with another this :nonth, the fourth in his series of re-issues, and to these tired ears it seems the best of :Jie lot. Lovie Austin, both on piano and with variously named groups, backed up -nany of the best old blues singers; in beween times the boys found time to knock 'out a single every' now and then. These trwo sides are good examples and knocked out is perhaps not a bad phrase to use in explaining their impact, for they seem to be !made on the spur of the moment, at a peak where every one on the date felt good, but also relaxed. Of the two sides, I like IN THE ALLEY better, though both are first rate. It has always seemed to me that there was a feeling '■■ between Dodds and Ladnier that Johnny ^did not always have with Dominick, who icould sound like the most exciting cornet in the world one time and like a boy with an out of tune tin kazoo the next. Ladnier plays beautiful horn here and, as always, Dodds is the best in the world — throbbing in the upper register and thick as cream in the lower, always playing with his heart, highly emotional yet always controlled. His was one of the biggest hearts in the world and this record is a fitting memory of it and of the man who owned it. Wire, don't write for this one! (American Music 4) Freddie Keppard and His Jazz Cardinals Stock Yards Strut Salty Dog In the February 1946 issue of this magazine there is a cartoon by Gene Deitch which expresses pretty well the way I feel about second and third masters. The Cat and one of his buddies are crouched with their ears glued to the loudspeaker of a console combination, and the gag line is as follows : " 'Mellow Lips' Jaxon was in the studio on this recording date — if you listen carefully you can hear him sneeze during the third chorus." Well, this is a different master than the old UHCA standby, but just how different I am not at the moment prepared to say. Like the guy safd, it seems to me pretty much the same difference. For those who are nuts on alternate masters I heartily recommend this item; to those who don't give a damn I also recommend it, but for another reason. Don't tell Milt I said so but this record is better re-recorded (bubbed to you, dud) than the UHCA disc. This is getting confusing, even to me, but you better buy this anyway because it is one of the really great jazz records. (American Music 3) The Bucktown Five Buddy's Habits Hot Mittens This seems to be Kiddie's Day. When Muggsy Spanier made this record he was in short pants, probably not a great deal younger than the Scarsdale Kids, who also have four sides out this month. It is hard, therefore, not to make certain comparisons. Aside from the obvious differences (Muggsy played cornet and Wilber plays reed instruments, Spanier heard first hand what Wilber was forced to assimilate by listening to records) they have much in common, • for both were influenced by New Orleans jazz in general and King Oliver in particular. This record, which was dubbed from Gennett 5518, originated in England but is available here through Dan Mahoney, 291 South Broadway, Yonkers, 5, New York. As for the record, I find it especially interesting. Muggsy has a fire here that is certainly lacking in the present-day ensemble drive of Muggsy Spanier, Miff Mole, or whoever it is this week, and His Seven Tired Troubadours. His debt to Oliver is easily apparent, too, though this record is still pretty far from being New Orleans jazz. Volly de Fault, who Jelly Roll Morton always said was one of his favorite clarinetists, also comes through with some fine work. The trombone, however, sounds as though he might better have played third base for the Yankees. More. records like this should have wide circulation ; they are invaluable for documenting the evolution of jazz music. (Tempo Rl) Bob Wilber's Wildcats Salty Dog Snake Rag I Can't Say New Orleans Shuffle One of the fortunate (perhaps unfortunate, too) things about the records which Bob Wilber and the Wildcats have made is that so many of them are numbers which have been recorded in the past by outstanding jazz players. I think that this is fortunate because Bob Wilber, who is too young to have heard such bands in person, is frankly acknowledging that he has gone back to the true sources of New Orleans jazz. It is unfortunate perhaps because this has caused some critics, while extremely sympathetic to what the band is trying to do, to point out the possibility that this may be digging a ditch out of which the boys MAY, 1948 17