Swing (Feb-Dec 1951)

ARBO-GASPS ON RECORD 379 had not the Decca people been on their collective toes. It seems they had a man there to record the goings-on for posterity. Well, anyway, to make a long story, Mr. Posterity was a long hair and would have nothing to do with the music. So the Deccans have brought the results inexpensively to the musically thoughtful public, and a nice job they've done, too. This "1947 Jazz Concert" is available currently on LP and once again features Louis and friends at their best, which is apparently the only way they know how to be. Armstrong (now under contract to these same Decca folk, by the way) comes in for some fine trumpeting and vocalizing plus a fine trombone by Jack Teagarden. Louis and Jack and the boys do some nice backing for songstress Velma Middleton. It might be said about these jazz concert sides that, although there is not as much originality to the stuff as contained in the previously reviewed set from the "Story," Armstrong is still the Armstrong of. old, which is another way of saying that the spark is still very much there and that Louis and friends are great. And to Decca's credit it should be noted that they've brought on-the-spot recordings a long way since the days of such things as the 1938 Benny Goodman jazz concert at Carnegie Hall. These diskings from '47 are standouts for good balance and, consequently, for good music. Yet another "must." And what of the Savoyans? (Not to be confused with Saroyan, William, who wrote, among other things, a song called "C'mon A My House.") Let's look. BOYD RAEBURN'S BAND (Savoy). The Savoy moguls know a good thing when they see it, so they bought up some old Raeburn masters from the Jewel record company and have tossed 'em out for what should be a tidy profit for themselves as well as the buyers of these Savoy Raeburn re-issues. (An aesthetic profit for the consumers, if nothing else.) Sixteen or more of these Raeburn things are available and they are all quite good, if you like Raeburn. I do, but the decision is yours (the subject is controver sial among fans, if you get what I mean). We've always been of the opinion that, although this Raeburn man may go a little overboard and wind up over-arranging once in awhile, he's still generally more listenable than Stan Kenton, who is more often than not on the same sort of kick as Boyd and the boys. For Raeburn is, to us, somewhat of a pre-Kenton Kenton, that is to say the heyday Kenton without the present day overly-gaudy feathers and frills. Put it this way. Raeburn seems to know where he's ^oing when he starts a song and, although he sometimes doesn't get there, you get the idea that he might if given a couple of extra musical bars. And then there's Kenton. Understand? Aw, never mind. Anyway, this is fun to hear (the Raeburn stuff from Savoy, I mean) and I would suggest you try it. Among the sides are "Tonsillectomy," "Dalvatore Sally," "Yerxa" (all instrumental), and "I Only Have Eyes For You," "Blue Echoes," and "Forgetful" (all vocals). Ginny Powell is the girl and David Allyn the guy singer, and they're both very capable. Allyn, we suspect, might be the same chap of whom we spoke pleasantly in a recent issue. The other one (if it's not the same man) spelled his with an "e," but they sound so much alike we're confused. Anyway, it's all good, so, if they're twins, more power to 'em. THAT should catch it for this edition, men. Look for us again in October when we'll offer you words about music on the schoolyard kick. And, in the event you don't remember, it's back to the campus in September! So, (all this to be read with an Alma Mater background) until we again walk the hallowed grounds of ivy-covered professors and bearded walls, let us pause a moment to bemoan the fate of Mario Lasagna, songster and pizza-dispenser, who was inadvertently wrapped in a ravioli and devoured by Louis Prima and the band at the 17lst annual meeting of the Music Lovers Society of America, Atwater Branch.