FIRST HEARINGS IN JAZZ

New Zealand Listener, Volume 35, Issue 892, 7 September 1956, Page 26

FIRST HEARINGS IN JAZZ

‘New Orleans All Stars PERSONNEL: Raymond Burke (clarinet), George Giraud (tfumpet), Johnny St. Cyr (banjo and guitar), Jack Delaney (trombone), Sam Dekemel (bugle), Phil Stevens (bass), Stan Wrightsman (piano) and. Rolly Culver (drums). ITEMS: "That’s APlenty," "Tail Gate Ramble," "I’m Goin’ Home," "La Vie En Rose," "Farewell Blues," "Old Gray Bonnet," "Christopher Columbus," "Bugle Call Rag," "Basin Street Blues," "You Rascal, You," "Struttin’ With Some‘ Barbecue," FIRST PLAYING: Station 2YD, September 20, 9.0 p.m.

Every year, Frank Bull and Gene Norman present the Annual Dixieland Jubilee, and this recording is from the seventh held in 1954. Those of you who are familiar with recordings of concerts given by Louis Armstrong’s All Stars will have some idea of what to expect. The main difference, however, is in the approach of these musicians to their music. Items are not so obviously well rehearsed, corners are not rounded off and edges not smoothed down. During the concert, Johnny St. Cyr is interviewed, and he tells us that he has been playing banjo and_ guitar since 1908. He is remembered as a recording star of the mid 1920’s under such leaders as Louis Armstrong and Jelly Roll Morton, but little has been heard of him since. George Girard is excellent on "Farewell .Blues,’ deservedly receiving applause, and Sam Dekemel’s vocal on "Basin Street Blues" is strongly reminiscent of the Armstrong voice in the early 1930’s. The highlight of the concert is, however, Sam Dekemel blowing an army regulation bugle on "Bugle Call Rag." He does wonders with the three open notes available to him, for, unlike the trumpet, this instrument has no valves.

This is Néw Orleans jazz at its best, with every musician carried away by the joyful and exciting atmosphere created by their music. Buddy Rich and Harry Edison PERSONNEL: Harry Edison (trumpet), Jimmy Rowles (piano), Barney Kessel (guitar), John Simmons (bass), and Buddy Rich (drums). ITEMS: "Nice Work if You Can Get It," "You're Getting to be a Habit With Me," "Barney’s Bugle." FIRST PLAYING: Station 2YD, September 20, 9.40 p.m. (approx.). This is chamber music jazz, swinging in fine style, and with solos well spread over the group, it makes pleasant listening. "Nice Work" and "Habit" appeal greatly, but "Barney’s Bugle," better known as "Benny’s Bugle" (recorded by Goodman’s Septet, 1940), does not. As the session was recorded for Norman Granz I presume’ he wanted the usual "Jazz at the Philharmonic" blues formula followed out. Therefore, we are subjected to some rather tedious and tasteless choruses. Rowles seems somewhat of a misfit in the group, lacking the ‘conviction and ideas of the others, especially in faster tempos, but Edison blows authoritatively throughout, although sometimes at the expense of tone control.

Jack Millman Sextet PERSONNEL: Jack Millman (flugelhorn), Buddy Collette (flute, alto, tenor), Jimmy Guiffre (baritone, clarinet), Bob Harrington (piano), Harry Babasin (bass), Larry Bunker or Frank Capp (drums). FIRST PLAYING: Station 2YA, September 10, 10.45 p.m. These West Coast jazzmen have advanced ideas, technique and tonal quality with the classical approach, The unusual instrumentation colours the ballads and _ all themes are well stated. I recommend careful listening. __Ray Harris (First Hearings in Jazz will appear again in the issue of September 21.)