Down Beat Magazine 1968-09-19

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Newadding machine for your orchestra.

Push a tab, add a bassoon. Push another, add anoboe, English horn, bass sax or bass clarinet.Eight different instruments.

Contra tab drops the voice two octaves,adds depth.

Natural amplification adds breadth.Fuzz Tone adds color.Just plug in a clarinet or sax (without alteration to

the instrument) Maestro follows the player's own

Subtracts hundreds of dollars frominstrument costs.

Multiplies the musicality of your orchestradramatically.

Divides the time between you and the double reed

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UBSCRIBE TODAY TOTHIS * * * * * ALBUM

F R E E !with your new or renewal subscription.

(For you and your gift list)

LIVE FROM LOS ANGELES

OLIVER NELSON'Sv y BIG BAND

o substitutions made on albums.

down beat®GET 26 ISSUES OF NO W MUSIC!

New, valuable how-to-play-it music: solos,

arrangements, improvisations, methods...

plus all the famous features: News/

Record Reviews/Columns/Blindfold Test/ Personalities

Live from Los Angeles

• HERE 'S MY S 7 . 0 0 —U . S . A .

• HERE 'S MY S8 . 5 0 — P a n - A m e r i c a n U n i o n c o u n t r i e s .

• HERE 'S MY $9 .50—Fore ign c o u n t r i e s , i n c l u d i n g C a n a d a .S t a r t s u b s c r i p t i o n for 26 i s s u e s and s e n d r e c o r d .

• BILL M E . S t a r t s u b s c r i p t i o n for 26 i s s u e s i m m e d i a t e l y .

(Yo u r r e c o r d wil l be s e n t on r e c e i p t of y o u r r e m i t t a n c e ) .

• New S u b s c r i p t i o n • R e n e w a l or e x t e n s i o n

Name

City_

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• Enclosed is my list of gift subscriptions each priced as above,including free record. 7F /I '



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THIS GREAT • • • • • ALBU

OLIVER NELSON

Live From Los A n g e l e s

(Impulse A -9153)Al /55 / • ' / « * ; Milestones; I Remember Bird; Night Guitar Blues; Down by the Riverside; Ja-Ua.Personnel: Bobby Bryant, Come Candoli, Buddydcrs, Ire ddy H ill , trumpets; Lou Blackb urn, Byers, Pete Myers, lirnie Tack, trombones; Baltazar, Jack Nimitz, Bill Perkins, lorn Scott, Strozicr, reeds; Frank StrazzorJ, piano; Monte Bbass; Mel Brown, guitar; lid Thigpen, drums; conductor, arranger, soprano saxophone.

Assembled with Nelson on this trip are vir tuosos, all cribbing on the West Coast days. Guitarist Brown, young tenorist trumpeter Bryant, altoist Strozier, and longgroove incentive Thigpen are highlights oall-star brigade. Alter you hear this jam,

pro bab ly won de r wh y I don 't just list the roster as highlights; nobody is shirking hisnoticeably. Big bands aren't old fashionsquare ; they're almost too hip. And this pais definitely an element of that syndrome

(Q

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Age 65 & Over — " I T ' S TOO DAMN LOU D."

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By CHARLES SUBER

WITH THE START of a new school year,be aware of some new attitudes to schoolmusic, or rather, the status of music inhigh school curricula. The new attitudesrelate to something as old as educationitself—the "humanities."

In yesteryear, humanities programs wereregarded primarily as college culture collations, an amalgam of the study of ancient classics and belles-lettres. "Musicappreciation" classes—bowdlerized versionsof Peer Gynt, Salome, and the Ring Cycle—were usually included in humanitiesclasses as good background to good breeding. Applied music within the humanitiesmight consist of plucking the virginal, akind of pre-hippy auto-harping. All in allthe humanities were a dusty repository of polite learning.

Today, high schools are more likely toregard the study of the humanities assomething much more pragmatic, and exciting, than did, or do, most colleges.

Many high schools in this new semesterwill offer new concepts in the humanitiesin which music plays an important part. Atypical modern high school humanitiesprogram includes social studies (history,geography, sociology, etc.); English (literature, grammar, and composition); visualarts (painting, sculpture, photography, etc.)and music. In some showcase schools otherperforming arts are added, such as dramaand dance.

Music, in this new concept, is made"part of the total learning process andrelated to an overall view of the activitiesof man"—which is a pretty accurate definition of modern humanities. And the highschool musician learns that music is not anabstract form but closely related to the

culture of many and different peoples. Andconsequently he learns how modern livingrelates to modern music. He learns whyhis own thing is important and fromwhence it came . . . and he gains someinsight on what is likely to come.

It's no accident that many prime moversof high school humanities programs aremusic educators, usually the younger ones,and usually appreciative of jazz. This newstyle music educator takes his title seriously. He wants to be much more than amarching band director intent on variationson steam boat (with real smoke!) footballfield diagrams, or a harried variety showband director accompanying flat girl trios.This new, jazz-aware educator thinks of the complete musician as a complete person. He knows—and makes it known tohis school administration—that schoolmusic can be a genuine course of study, not

just a gaudily uninformed parade posterfor the sports department.

When music is included in the schoolcurriculum, and particularly in a humanities program, it is less subject to arbitraryelimination or diminution. But if music isan isolated appendage, suitable only forspectacle and fanfare, it becomes an easytarget for "economy drives" or cries of "get rid of the frills."

So why make school music vulnerableto tin-eared school boards? Make music inyour school and your community an important and living thing. Remember that

you can create your own music in yourown time and still participate in a longand honorable musical heritage. Study itseriously, take it seriously . . . and relishits pleasures.

Come on.Youdeserve it.

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on one at your dea le r ' s .

OGERS DRUMS'U.S.A.

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COMMENTfrom Carl Fischer

M U S I C A L I N S T R U M E N T C O .

TH E S K I N Y O U LO V E T O HE AR!

B I L L B O A R D , r e n o w n e d m u s i c - r e c o r d

week ly , f ront-paged a story on the newest,hottest item on the musical s cen e, the H o l

lywood Tron icdrums. The story reported:

" A new set of electronic drums represent

ing a major brea kthr ough , have been placed

o n th e market by Carl Fischer Instrument

C o . " It was po in ted out that th e electrif i

cation is not so much for ampl i fy ing th e

drum s as for achie v ing a wide variety of

tonal effects. The new drums will a l low

drummers now to do live what they have

been doing in recording sess ions with stu

dio equipment. I t will also a l low rock 'n '

roll groups now to produce a sound closer

to their records during live performances.

Th e Hol lywood T ron icdrums, manufactured

for Fisc her by Meazzi of Italy, feature elec

tronic control of the bass drum, snare , torntoms and high hat. M a x Roach, w h o m m a n y

cons ider wi thout peer , has end orse d the

new Tron icdrums and is pl ann in g to give

spec ia l drum clinics throughout t he coun

try. Billy C o b h a m , featured d r u m m e r with

the Horace Si lver G r o u p , at the N ewp or t

Jazz Festival said his Tronicdrums widen

the th ings yo u can do in the Jazz fie ld,

c h a n g i n g t ones , getting into the full range

of harmonics . I f your local drum sh op does

not have its set yet, write Carl Fischer. At

the moment distr ibut ion is l imited and the

demand is outd istancing th e output .

B O B S N Y D E R M A X R O A C H

T E X AS HE MIS FAIR TO P S

Bouque ts to the Texas M u s i c Educators w h o

held their recent conference at the Texas

Hemisfair . Al l who participated are to be

compl imen ted fo r their outs tand ing o rgan i

zati on. It was a typical Texas eve n t . . . no th

ing shor t of t r eme ndo us!

BUFFET BRIEFS

Bo b Snyder ! Rem emb er the nam e. A superb

m u s i c i a n , out of India na, has wo n raves,

a l a the Goodman writeups in the early

days. Bob is a vir tuoso o n clarinet, saxo

phone and flute (Buffet all the way), and

ha s appeared at Al Hirt 's Club, Leb's Pig -

alley in Atlanta, and on the Steve Al len,

Bishop, an d Pat Boone T V s how s . Ins iders

say Snyder is finest n e w talent in the busi

ness to da y. . . Car l F ischer Cl in ics are bein g

booked fo r clarinet, s a x o p h o n e , brass an d

bas s oon . If you or your school are inter

ested, write today.

C A R L F I S C H E R M U S I C A L I N S T R U M E N T C O .

105 East 16th Street , New York , N.Y. 10003

September 19, 1968 Vol. 35 , No. 19

d o w n

E V E R Y O T H E R T H U R S D A Y S I N C E 1 9 3 a

On Newsstands Throughout the World

R E A D E R S IN 142 CO UNTRIE S

P RES I DENT

J O H N J . M A H E R

PUBLISHER

C H A R L E S S U B E R

EDITOR

D A N M O R G E N S T E R N

ASSOCIATE EDITOR

I R A G I T L E R

CONTRIBUTING EDITORS

L E O N A R D F E A T H E R

H A R V E Y S I D E R S

PRODUCTION MANAGER

G L O R I A B A L D W I N

CIRCULATION MANAGER

D . B . K E L L Y

c o n t e n t s

6 The First Chorus, by Charles Suber

10 Chords and Discords

13 News

14 Strictly Ad Lib

14 Bystander, by Martin Williams

15 TV Soundings, by Leonard Feather

16 The State of Jazz Education: Oliver Nelson's active involvement in an

concern for jazz education prompts him to tell it like it is. By Charles M

Weisenberg

18 Ladd Mcintosh: Bright Future: Nancy DeLong profiles the young compose

arranger-saxophonist.

20 No Bells and Beads: Trumpeter Kenny Dorham, himself again a studen

appraises the potential role of the academy in the future of jazz.

21 Jamey Aebersold: Jazz Teacher: The young alto saxophonist-educator

dedication and innovative techniques should set an example for the jaz

education field. By Tina Stettenbenz

22 Record Reviews

26 Blindfold Test: Thad Jones-Mel Lewis, Part 2

28 Caught in the Act: Kaleidoscope/Youngbloods/Steve Mil ler Band

34 Music Workshop: Patterns for Saxophone by Oliver Nelson • Improvisation al Methods by Jamey Aeberso ld • Und erst and ing Music by Robe

Share

38 12t h Annu al Down Beat Hall of Fame Scho larship Info rmat ion

Cover photo: Oliver Nelson, by Jan Persson

CORRESPONDENTS

Baltimore, James D. DiltsBoston, Bill TannebringBuffalo, James KoterasCincinnati, Louis F. LauscheCleveland, Len OrclnoDallas, Ron WorthamDenver, Thomas ReevesDetroit, Bill McLarneyIndianapolis, Les Taylor

Las Vegas, Pat Thompson

Louisville, Dave KaufmannMiami, Alan RockMilwaukee, Bob GruelMinneapolis/St. Paul, Dick WhitbeckNew Orleans, Charles SuhorPhiladelphia , Fred MilesPittsburgh, Roy KohlerSt. Louis, Phil HulseySan Francisco, Russ WilsonSeattle, Lowell RichardsWashington, D.C., Paul AnthonyArgentina, Walter Thiers

Australia, Trevor Graham

Central Europe, Eric T. VogelDenmark, Finn SlumstrupFrance, Mike HennesseyGermany, Joachim E. BerendtGreat Britain, Valerie WilmerItaly, Ruggero StlasslJapan, Max E. LashNetherlands, Hans F. DulferNorway, Randl HultlnPoland, Roman WaschkoSweden, Dick Idesfam-AlmquisToronto, Helen McNamara

Uruguay, Arnaldo Salustlo

Printed in U.S. A. second-class postage paid at Chicago, Illinois. Copyright 1968 by Maher Publications, adivision of John Maher Printing Co., all foreign rightsreserved. Trademark registered U.S. Patent Office.Great Britain registered trademark No. 71&.407. Published bi-weekly. We cannot be responsible for unsolicitedmanuscripts and photos. Member, Audit Bureau of Circulations.

Subscription rates $7 one year, $12 two years, $16 threeyears, payable in advance. If you live in any of thePan American Union countries, add $1, for eachyear of subscription, to the prices listed above. If youlive In Canada or any other foreign country, add $1.50for each year.

If you move, let us know your new address

with zip code (Include your old one, too) 6weeks In advance so you won't miss anIssue (the postofflce won't forward copiesand we can't send duplicates).

MAHEB PUBLICATIONS: DOWN BEAT:MUSIC '68: JAZZ I1EV1EW8:N.A.M.M. Dally

Address all correspondence to 222 W. AdamStreet, Chicago, Illinois, 60606.E X E C U T I V E OF F ICE , 222 West AdamSt., Chicago, IL., 60606, Financial 6-781Dan Morgenstern, Judith Gordon, EditoriaMargaret Marchi, Subscription ManageArch Pettigrew, Advertising Sales.E A S T C O A S T O F F I C E : 1776 BroadwaNew York. N.Y., 10019, PLaza 7-5111. IGItler, Editorial. Charles Collettl, Advertiing Sales.

W E S T C O A S T OF F ICE : 6269 Selma BlvdLos Angeles, CA. 90028, HO 3-3268. HarvSiders, Editorial. Martin Gallay, Adverting Sales, 3281 Oakshire Dr., Hollywood, C90028, 877-1080.

I P0BTMA8TEB: Send Form 1579 to Down BeatI 221 W. Adama Street, Chicago. Ill inois 60*M

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or any

combination

education in jazzby Robert Share

Robert Share,

Administrator

Berklee School

of Music

In the ten years that "Education inJazz" has been appearing in these pages,many knowledgeable people have hadmany good things to say about Berklee.

We are deeply indebted to Quincy

Jones, Stan Kenton,George Wein, Johnny Richards, DaveBrubeck and manyothers for their enthusiastic and enc o u r a g i n g c o m ments.

While most of these columns havedealt with the cons eq u en ces o f aBerklee education,I'd like to use this

one to explain some of the inner workings of the program of study here.

First, some attitudes that shape ourthinking:

1. Music education must relate to theexisting world of music. In addition toproviding a stimulating environme nt andinstilling a current and continuing awareness of the "joy of knowledge," a realistic education must equip the studentwith the tools and skills needed to meetthe demands of the professional world.

2. Music must be heard to be understood. A theoretical study of music is nomore valid than a theoretical study of language. Both must be articulated andheard. All students at Berklee hear allwritten assignments. To accomplish this,there are over two hundred regularlyscheduled ensemble meetings each week.

3 . Music as a profession demandsversatility. It is totally unrealistic forthe student to think in terms of becoming a narrowly stylized performer. Thedemands of the professional world aremany and varied. All programs at Berklee include comprehensive instructionin arranging, harmony, orchestration,composition, etc., in addition to privateinstrumental instruction, courses in improvisation, and ensemble experience ina wide variety of musical idioms. Included in the twenty-one arrangingcourses currently offered are Film Scoring, Jazz Arranging for large and smallensembles, Commercial Arranging forlarge and small ensembles, Arrangingfor Show and Theater Orchestra, Writing Radio and Television Commercials,

Arranging in "Pop-Rock" Idiom forLarge and Small Groups, Arranging inthe Style of Duke Ellington, Arrangingin Blues Styles (Tonal and Modal Techniques), Choral Arranging, Scoring forStrings, Scoring for Full Orchestra.

Berklee offers a Degree Program withmajors in Music Education, Composition or Applied Music and a DiplomaProgram with majors in Arranging andComposition or Instrumental Performance.

If you would like a copy of- our current catalog and more information aboutBerklee School of Music, please writeto me at the following addr ess:

Robert Share, Administrator

Berklee School of Music1140 Boylston Street

Boston, Massachusetts 02215

A Forum For Readers

Curdled CreamI'll believe Alan Heineman knows a

damn about rock when he stops treating

it as a debased form of jazz. There are

those of us for whom dynamic shadingis about as relevant as iambic control,

though that's a reference that Heineman,

with his fondness for the most solemnly

literary of Cream's lyrics, is unlikely to

understand.

Down Beat is so unfailingl y pom pou s

about popular music because it knows

jazz is "better." It's more complex, more

subtle, and requires more skill and atten

tion in performance and enjoyment, so

it has to be. But it doesn't, unless one's

esthetic assumptions adhere to a mold that

seems to me academic, snobbish and

moribund. The same non-swinging beat

that bores Martin Williams posseses me;

I'm bored by swing, which I think is chicand vapid.

Obviously, many of the musicians in

rock disagree with me, including those in

Cream. I think they are making a mis

take. By abandoning the rigid structural

framework that is a hallmark of rock,

they enter a half-world that pleases only

those (and there are many, some of them

young) who want rock to turn into some

thing more artisticilly respectable, namely

jazz, and are willing to undergo all kinds

of slop in the meantime. Cream's live

performances are interminable and un

even, mediocre jazz and mediocre rock

rather than a successful compound. The

reason Heineman and other jazz writersdig them so much is that they now feel

needed.

What Cream does in the studio is different, and can be enjoyed fully by a

12-year-old who doesn't know a chord

from a mode. Funny thing is, jazz used

to be the same way. No More. Tough—

for you fellows.

Robert Christgau

New York City

• Mr. Christgau writes the "Secular Mu

sic" column for Esquire. Alan Heine-

man's reply follows:

I'm trying hard to locate Christgau's

argument in order to reply to it, but the

damn thing's as elusive (and vapid?) asJo Jones' beat. Near as I can figure, what

he's saying is: don't drag rock down into

the dreadful abyss of Art Forms; leave

it up in the blissful ionosphere of en

tertainment.

Well, fine. The cardinal rule (too often

viol ated) of criticism is to trea t the ob

ject of art (or non-art) on its own terms.

Consequenly, that part of rock which is

meant as entertainment should be treated

as such. (Elvis, early Beatles, Fifth Di

mension, Supremes, et al.) But Christgau

should know from talking to members

of most of the important rock groups

that many of them think of themselves as

artists first and entertainers second. And

it seems more than coincidental that when

they reach that point, they frequently as

similate recognizably jazz-oriented tech-

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Gretschmakes it!

Art Blakeyplays it!

"That Great Gretsch Sound"

A drummer in great de man d allover the wo rl d is an ac cur at e

description of Art Blakey. Dividing

his time between international en

gagements and recording sessions

gives Blakey little time foranything

else but his chosen profession. His

newest album on Blue Note with

the Jazz Me ss en ge rs — " Like

Some one In Love" — is a testamen t

to his famous driving dexterity.

Yo u can be sure too the drums

this sta r-o n-t he- go choo ses must

be drums built to take it and always soun d grea t. It's no wo nde r

Art Blak ey is a Gret sch dru mmer .

He knows that Gret sch offers the

greatest measure of quality, crafts

manship . . . dep end abi lit y . . .

drums that can take the beat anddeliver the sound no matter how

de ma nd in g the sty le . They m ay

cost a little more but the craftsman

ship a nd reliability you get at yourfingertips when you need it make

Gretsch drums more than worth it.

Y o u don't have to be a top

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drums an d achieving "That Grea t

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For full color catalog write The

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Broad way, Brooklyn, N.Y. 11 211 .



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niques into their music. Th e Beatles, ocourse, are a major exception, the Motheranother.

De gustibus, to be sure; if Mr. Christgaprefers Somebody to Love to Spar

Chaynge, Sunshine of Your Love tSpoonful, or—this may be unfair—/ Wan

na Hold Your Hand to A Day in th

Life, that's his business. One of the reasons Down Beat expanded its coveragto include rock, however, is, presumably

that it recognizes rock as an emergenart form, deserving of treatment as sucI would concur, and will continue to dicuss art as art, whatever the concomitanaccrual of solemnity.

Why do writers attacking a point oview so frequently feel compelled to atack the proponent of that point of "viewby the way? Heineman is a doctoral canddate at Brandeis in English, and has hearsomewhere or other about iambs ansuch. Also, his mother needs him; hwrites about music only because of hdeep-seated sense of socio-cultural obligtion. And for the bread.

Alan Heinema

Cambridge, Mass.

Hodge-Podge MysteryI am pleased to read that Epic's Hodg

Podge LP by Johnny Hodges' Ellingtounits was selected Jazz Reissue of thYear. However, I suspect that onenough copies were pressed to cover thcomplimentary mailing list to the Intenational Jazz Critics!

I have had this LP on special order athree different record shops in the TwCities since last February, and on repeatechecks, I' m invariably told "this LP is navailable."

If jazz doesn't sell like it used to, th

customer is not entirely to blame. Popromotion and distribution count too. Foyears, I spent $30 to $40 a month orecords, but now the shops are lucky tget four or five bucks out of me. I'm suhundreds of other Down Beat readeexperience the same situation.

Oh well, maybe Down Beat will off Hodge Podge as a subscription gift—if yoare able to get it.

Don SwensoMinneapolis, Minn.

Drum GaffeMichael Cuscuna's review of Andre

Hill at the Red Garter (DB, July 11was excellent except for one error. JoChambers was the drummer, not JacDeJohnette as listed. While, as Cuscunstates, the musicians interpreted Hill's music through their own individual stylinstead of playing it, Richard Davis anChambers came the closest to capturinHill's musical personality. Since Chambeand Davis (unlike Shaw and Kenyatthave both recorded with Hill, this was be expected.

It amazes me that Cuscuna could hamistaken Chambers for DeJohnette—thresemble each other neither physically nomusically. Where was he (Cuscuna) wh

the group was introduced?Scott Alb

Forest Hills. N.Y.• Out to lunch.



D O W N B E A T September 19, 1968

BUDDY IS NOT RICH:DECLARES BANKRUPTCY

Drummer-band leader Buddy Rich,

who was recently fined and ordered topay $40,000 in back taxes for failing tofile an incom e tax return for 1961, declared himself bankrupt in federal courtin Las Vegas, Nev. Aug. 1.

Rich listed his total debts at $328,250and his assets at $11,100, The debt figure includes $47,000 owed in income taxand more than $11,000 for withholding

Buddy RichWoes Galore

taxes, which he said was due the InternalRevenue Service.

As if this were not enough, Rich wasalso recently sued for divorce by his wifeof 16 years. These problems, however,are not expected to directly affect the future of Rich's band, which has been busyin recent months and is scheduled for afall tour of England.

REWARD OFFERED FORLOST GARNER SCORES

Some time ago, the complete scores forthe special arrangements used by pianistErroll Garner in his appearances withsymphony orchestras mysteriously disappeared in air transit from Chicago to NewYork.

Garner's manager, Martha Glaser, isoffering a reward of $1,000—no questionsasked—for the return of the scores. MissGlaser, who can be reached at 118 West57th Street, New York City, points outthat the arrangements are useless to the

present owner (should there be one) unless he plays the pian o and can afford t ohire a symphony orchestra to accompanyhim in the confines of his home.

RAELETS WALK OUT ONRAY CHARLES IN L.A.

The Raelets (Gwen Berry, Merry Cray-

ton, Clydie King, Alex andra Bro wn) leftRay Charles en masse two nights beforethe end of Charles' recent engagement atthe Cocoanut Grove in Los Angeles,which, incidentally, broke all attendancerecords at the club.

The girl singers, it was learned, hadasked for an increase in their $350 weeklysalaries, but were turned down. Beyondthis, members of the vocal group complained about rigid discipline.

The name Raelets remains with RayCharles Enterprises. A trio of new girlsnow with the Charles show has alreadyinherited the name. At the time of thegirls' walkout, saxophonists Curtis Amy

and Clifford Scott also left the Charlesband.

DONALD BYRD CONDUCTSN.C. COLLEGE SEMINAR

"The Quest for Black Identity in theFine Arts" was the dominant theme of North Carolina College's Fine Arts Festival, held July 18-25 at Durham, N.C.During the week-long program, a series of panel discussions and lectures by academicians, writers and musicians were interspersed with concerts by trumpeter-educator Donald Byrd and his quintet (tenoristJoe Henderson; pianist Stanley Cowell;bassist Rowland Wilson, and drummer JoeChambers) .

In addition to performing and participating in many of the seminars, Byrd wasco-organizer of the entire festival withN.C.C. music department head Dr. GeneStrassler.

One of the world's leading ethnomus-icologists, Dr. Fela Sowande of the University of Ibadan, Nigeria, led a discussion on African religion and lectured localelementary and secondary school teacherson African music. As an adjunct to thelatter discussion, Sowande played recorded

examples of Nigerian folk music. (Theeducator's annotated collection of Africanmusical styles, possibly the world's mostextensive, has recently been accepted forinclusion in the elementary school curriculum by the Board of Education of theState of New York.)

Discussing musicological and sociological aspects of the current jazz scene weremusicians-writers Don Heckman and BillQuinn.

Other panelists included two membersof the N.C.C. faculty, Dr. Earlie Thorpe,head of the history department, and Dr.Charles Ray, English department chairman. From Atlanta University came Dr.

Richard Barksdale, dean of the graduateschool; from Southern University cameDr. Blyden Jackson, chairman of the English depart ment; and from Moreh ouse

College, Dr. Steven J. Henderson, head of the English department. Two local ministers. Father E. N. Porter and Rev. Lafayette McDonald, rounded out the speak

ers' corps at the various seminars.A reading session for jazz arrangementswas held one evening with the Byrd quintet and a big band of professional andstudent musicians from the Durham area.Among the instrumentalists were altoistHeckman and trumpeter Ray Codrington,a former JFK Quintet member now teaching in North Carolina. Composer-arrangerMitchell Farber's Eldorado was the principal score rehearsed.

On another evening, Byrd's quintet journeyed across town to Duke University,where the musicians and their music weregiven an enthusiastic reception.

Intended to provide stimulation for the

N.C.C. student body in its quest for moresocially relevant and historically accuratecourse material, the festival was deemed asuccessful challenge to present educationalmethodology by all participants. Visitingeducators expressed a desire to host similar programs at their home institutions.Said Hubert Walters, a music instructor atnearby Shaw University in Raleigh, N . C :"We're going to have this program duplicated as nearly as possible at Shaw, justas fast as we can. The festival has shown

just how important music is to all areas of life."

Byrd, who is consultant to the NewYork State Board of Education, facultyadvisor in African-American music atHoward and Rutgers Universities, and adoctoral candidate at Columbia University, hopes to take similar programs to asmany black colleges as possible this fall.

"Black students all over this country aretrying to see themselves in what they're-studying," Byrd said. "In the final analysis, whether they're students of social science or art, it is these young people whowill determine what aspects of black history and culture will be retained andamplified."

POTPOURRIChicago's Grant Park was the sceneAug. 31 of a "Back-to-School Drum-In"sponsored by Drums Unlimited, a localpercussion shop, in cooperation with theDepartment of Special Events of the cityof Chicago and the Chica go .Park Dist rict.Scheduled to appear were drummers JoeMorello, Alan Dawson, Joe Cusalis andBarrett Deems; the Eddie Higgins Triofeaturing Marshall Thompson; nationalrudimental drum champion Mitch Marko-vitch; a rock group; a jazz group, anda drum and bugle corps.

•Duke Ellington dedicated a swimming

pool in memory of Billy Strayhorn atCamp Saugus near Los Angeles, whichprovides recreational facilities for youngsters from deprived areas. The $45,000



pool was donated by Bob Udkoff, president of Swan Pools and a lifelong friendof Ellington. A marble tablet beside thepool is inscribed with Ellington's eulogyto Strayhorn. Participating in the ceremony were John ny Hodges, Lena H om e,and Lennie Hayton.

Pianist, lecturer, television personalityand Down Beat columnist Ar t Hodes wasnamed Citizen of Achievement of Park

Forest, 111., the Chicago suburb where hehas resided with his family since 1950.

•

Guitarist Larry Coryell left Gary Burton's quartet in late July to join HerbieMann and was replaced by pianist Chick Corea, who left Stan Getz to take thegig. Burton's entire group now consists of former Getz sidemen.

•An unusual festival, Jazz on an Island,

was held Aug. 15 on the island of Yvoirin Belgium. A sizeable contingent of expatriate Americans participated, amongthem trumpeter Benny Bailey, clarinetist

Mezz Mezzrow, saxophonists Don Byas,Hank Mobley, and Phil Woods, trombonist Slide Hampton, blues singer-pianistMemphis Slim, organist Rhoda Scott,vibist Dave Pike, and drummers BarryAltschul and Stu Martin. Belgian guitarist Rene Thomas and Danish saxophonistBent Jaedig were also on hand.

»Drummer Grady Tate made his debut

as a singer with an LP, Windmills of My Mind, released by Skye Records in August.Prior to turning to drums as a full-timecareer, Tate wanted to be an actor-singerand studied at the American Academy of Dramatic Arts.

STRICTLY A D LIB

New York: On Sept. 21 at 8:30 TownHall will be the scene of Contemporary

Expressions, a concert presented by Al-stan Productions and featuring the groupsof Roland Kirk, Elvin Jones and DaveLiebman. Kirk will premiere his newsuite, Expansion, and unveil The Inflated Tear, a piece of sculpture he has workedon for five years . . . Blues chanterJ immy Witherspoon heated up the Village Vanguard in early August, backedby Coleman Hawkins' rhythm section:

Barry Harr is , piano; He rma n Wright ,bass, and Eddie Locke, drums. The Hawk himself was there, too, looking and playing well. Junior Mance came out of theaudience one night to sit in with 'Spoon,an d was promptly pressed into service forthe following night, subbing for Harris,wh o was committed to play for a privateparty aboard a ferryboat with Roy Eld-r idge and Char les McPherson . . . TheFreddie Hubbard Quintet was a late re placement for the Gabor Szabo Quintetin the Museum of Modern Art's Thursdayevening concert series. With the trumpeter were James Spaulding, alto saxophone, flute; Kenny Barron, piano; JunieBooth, bass, and Louis Hayes, drums. . . Chicago's William Russo had a busyweekend in New York at the beginningof August. He conducted the Goldman

Band in his own Legend of Theseus inboth Prospect Park (Brooklyn) and Central Park (Manhattan), and presented twoperformances of his multi-media rock cantata, Civil War, at the Electric Circus. . . The Duke Pearson Band and thepantomime duo of Frank ie Dunlop &Maletta did an outdoor Sunday concertat the Club Ruby in Jamaica . . . PianistWalter Davis J r . made appearances atSlugs', and at Studio "O " for Club "Jest

Us" recently . . . The Jazz Samari tanswere also featured in the Jazz On A

Saturday Afternoon series at Slugs' . . .Tenor man Paul Jeffrey did a Jazz Interactions session at the Dom with HowardMcGhee, trumpet; Wynton Kelly, piano;Larry Ridley, bass, and Billy Hart,drums. McGhee had Jeffrey with himwhen he took a group to La Boheme . . .Tubaist Howard Johnson's Substructurewas the resident band at Slugs' on Sundays during July and August. Other tubasin the band were manned by MorrieEdwa rds, David Barg eron , Jac k Jeffersand Robert Stewart. The pianist wasGeorge Cables, with Herb Bushier, bass,and Warren Smith, drums . . . H u g hMasekela's quintet and Jimmy Smith 'strio were at the Village Gate for twoweeks through Aug . 11 . . . DrummerChuck Spies' American Jazz Septetplayed a return engagement at the UticaArts Festival in Utica, N.Y. They performed Spies' History of Jazz program,written in large part by Rod Levitt. Thegroup included John Glasel, trumpet;William Motzing, trombone; GeorgeZinsser, reeds; Jaki Byard, piano, andMajor Holley, bass. Byard played excerpts from his European Episode . . .The Hartford Jazz Society is sponsoring

its 7th Annual Jazz Cruise down theConnecticut River to Long Island Soundon Sunday, Sept. 8. The boat, whichleaves Middletown Municipal Dock at 12noon, will have the Junior Mance Trioan d the Spider Martin Quintet aboard.The HJS' last indoor concert of the 1967-68 season was highlighted by the quartetof tenor saxophonist-bassoonist IllinoisJacquet. Brother Russell Jacquet was ontrumpet; Milt Buckner on organ, an dAlan Dawson on drums.

LOS Angeles: Ar t P ep p e r has joinedBuddy Rich's band . . . Red Mitchell

has left the U.S. for an indefinite period.The circumstances under which he leftseem to reflect a combination of manypressures: dissatisfaction, disenchantment,even domestic complications. Mitchellgave up a lucrative studio career that hasmade him one of Hollywood's mostsought-after bassists. But that in itself apparently contributed to his growing impatience with the musical scene. Mitchellis currently working with Phil Woods inCopenhagen . . . Reversing that process—at great expense—is blind composer-arranger-pianist Julian Lee. After emigrating from Australia four years ago,

Lee settled in Burbank, did as muchwriting and playing as he could, workingprincipally with George Shearing. Lastspring, Lee, disillusioned, returned to Syd-

/Continued on p a g e 39

I'VE OFTEN CONSIDERED writing a column

dedicated to the proposition that musicians are the only qualified critics.

It might begin this way: we all knowhow Miles Davis feels about Gil Evanshe has made it evident in actions if notwords. And the same may be said ofEvans' feelings about Davis.

Evans also thinks highly of a certainavant-garde composer-pianist. Evans hasused his work on his own LPs and hasaid of him that he is so talented that heis just bound to make it some day.

Davis, on the other hand, apparentlycannot stand that particular composer-pianist. At any rate, his first response onbeing played one of his recordings on a

Blindfold Test was: "Take it off."

Now, I could multiply this sort ofthing into a list of major disagreementsamong major musicians that would be along as it would be pointless.

Let's try something else that mightturn out not to be pointless. Pianist BillyTaylor tells a story of his younger daysin Los Angeles when he was (lucky forhim!) hanging out with Art Tatum.

Late every evening, after Tatum gotoff work, or after the two of them had

finished making the rounds of the localclubs where jazz could be heard, Tatumwould insist on dropping by a certainafterhours bar.

It seems there was a certain bluesman—we'll call him Old Joe—who playedpiano in the place during the late—orearly—hours, and Tatum wanted to hearhim. Taylor could not for the life of himunderstand why.

Old Joe, it seems, could barely stumblethrough a blues chorus without makinga major mistake; he never seemed toknow when 12 bars had passed as hechopped out chunks of perhaps UK or

13 or 14 measures. What in the worlddid a master pianist like Art Tatum wanor need with Old Joe?

Then one afternoon Tatum was playing the blues when Taylor heard him usea deft and beautiful bass movementTaylor indicated his delight, and the master remarked quietly, "You see, that'sOld Joe's riff. That's the one he uses."

A good jazz critic certainly does needto be musical. And a great jazz criticwill probably be a musician, just as mostgreat critics of poetry have been poets

But he will have to be critical, in thstrict sense of the word, and all musicians aren't critical. But a truly great

critic also will need—without being sentimental or indulgent about it—some ofthe understanding and largesse that ArtTatum had for Old Joe. g f g



TV SfllHHNGSBy LEO NAR D FEATHER

IN THE THREE months that have elapsedsince the last TV Soundings, there hasbeen much to celebrate.

On UHF and VHF, on regular network programs and in educational series, jazzhas been conspicuous, qualitatively as well

as quantitatively.Though they date back to May and

June, it is not too late to salute the seriesof four programs extracted from filmsmade at last year's Monterey Jazz Festival.Produced by Richard Moore and RalphGleason, the four one-hour shows werearticulately narrated by Gleason, with additional comments from producer JimmyLyons.

There were problems, particularly in thefirst program, involving the necessity of cutting down numbers that originally ranto inordinate length. There were also difficulties with the sound, more often in big

band passages than during combo sequences. Nevertheless, the musical and social atmosphere of Monterey was sensitively captured.

The bright colors of the spectators' costumes, the swirling light show in back of Don Ellis' orchestra, and the lush greeneryof the areas around the fairground all contributed to this mood. Musically, therewere too many great moments to list, butthe vital presence of one J. B. Gillespie—playing, mugging, lighting up the stage withhis peerless presence—stands out in retrospect, particularly the moment when hesurprised Carmen McRae by walking onunexpectedly during her set. Miss McRae

was lustrous and lovely as ever as she sanga richly lyrical Don't Explain.

The selection of music shown was asvaried as the festival itself, from B.B.

Lurlean Hunter

King's full-fathom-deep blues to the violinavant gardism of Jean-Luc Ponty.

The disappointments were due to suchsolecisms as a brutal decimation of BillHolman's Concerto for Herd, so little of which was presented that the overall valueof the composition and the Woody Herman Band's performance of it could nothonestly be assessed.

The educational stations stepped uptheir quota of jazz throughout the summer.

In addition to the Monterey sequences,there were a number of unexpected specials. One evening, I tuned in accidentallyon a half-hour of Lurlean Hunter, singingfor a live audience in a Chicago studio,backed by the Vernel Fournier Trio. Unless one listens to the Art hur Godfreyshow, it is hard nowadays to keep track of the gracious and musicianly Miss Hunter. Aside from her inclusion of Guess Who

I Saw Today, which becomes pretty muchof a bore when the "surprise" tag line is10 years old, her pro gra m was a flawlesspleasure.

Dial M For Music, a weekly series of half-hour color shows, began its third con

secutive season May 19. This is NewYork's contribution to the CBS-owned stations' Community Affairs Program Exchange—a roundabout way of saying thatit is seen only in New York, Los Angeles,Chicago, St. Louis and Philadelphia.

For those fortunate enough to regularlybreathe the pure fresh air of these megalopolises, there have been many Sabbathtreats. The first show of the season wassplit between the Modern Jazz Quartet andthe Nat Adderley Quartet (actually Can-nonball's group without the leader).

The audio (by Larry Schneider) hasbeen consistently excellent, the camerawork adequate, and the selection of talentcarefully aimed along a middle groundcapable of retaining the interest of thenon-jazz-oriented majority of viewers.

This means that easy-listening, hard-swinging veterans like Earl Hines, as wellas modern-concept groups with a compen-satingly gentle sound such as Gary Burton's have been included in the schedule.Natural entertainers like Gillespie have of course lent their presence. When entertainment brings with it a work of beautysuch as Con Alma, a bristling piece like Rush, even a Gillespie vocal on Something

in Your Smile, who can complain?

The programs include informal inter

views between the featured performers andthe host, Father Norman O'Connor. Alittle more preparation might be in order,for there are moments when a questionsuch as "How does an idea like this cometo you?" leaves the respondent at a loss.In general, however, the interviews providean effectively casual break that helps toestablish audience rapport. Jazz is fortunate to have as one of its champions aman like the good Father, without whomthis series might never have been inaugurated.

The best show I have seen to datefeatured the MJQ and Bill Evans. BothJohn Lewis and Evans were heard notonly with their own groups but also withAlfredo Antonini and the CBS Orchestra.Lewis' Jazz Ostinato was compelling performed by the orchestra and quartet.

Evans, Eddie Gomez and Jack DeJohnetteteamed with Antonini's men in Granadas.

Produced by Ethel Burns and directedby Merrill Brockway, Dial M for Music

deserves far wider exposure than it hasbeen given to date.

The various network programs dealingwith black-white relations have brought in

jazz tangentially from time to time. Body

and Soul, in CBS' Of Black America series,focused on the achievements of the Negro

in sports and music.Ray Charles served as narrator for themusic half. Though he never soundedstilted, his material had been carefullyprepared; he was most articulate and moving throughout.

Produced by Martin Carr, the segmentcame up with an astonishing series of oldclips, with snatches of Ellington, Basie,Armstrong, and Lester Young, and twolonger excerpts showing Jimmy Rushing in / Left My Baby and Billie Holiday, exquisitely beautiful in sight and sound asshe sang Fine and Mellow. Both thesewere extracted from The Sound of Jazz, aCBS special produced in 1957 and long

overdue for a full rerun.A ballad by Nat Cole, Gospel with

Mahalia Jackson, and a rare moment with

Ray Charles

Dinah Washington were among the othercollectors' items seen.

Passages in color offered Charles himself in Georgia an d The Sun Died, a su

perb song, and Aretha Franklin performing Respect in the Soul Together showpresented in June at Madison Square Garden.

At this, writing, an entire hour-lo ngprogram entitled Soul is in preparation. Itwill probably offer some memorable moments, but I can hardly imagine whereroom could be found for improvement onthe Soul that followed Body.

One might quibble that the term wasnot properly defined; that too much stresswas laid on the soul aspects of black music, as opposed to the many forms of jazz that are of Negro origin but are notusually defined as soul sounds. Be thatas it may, th ere has been little roo m forcomplaint about any shortage of jazz—soul or non-soul—on the TV screen duringthe summ er season. gflg



T e r r o r

THE STATE OF JAZZ EDUCATIONan interview with Oliver Nelson by Charles M. Weisenberg

O l i v e r n e l s o n — c o m p o s e r - a r r a n g e r

and saxophonist—is one of the increas

ing number of top professionals who

have involved themselves in the proliferating jazz education movement.

Nelson has been teaching, consulting

and conducting on college campuses

for some five years. H e brings to these

tasks both a thorough academic back

ground an d years of practical experi

ence as a writer and a player. While

he has found th e work gratifying an d

stimulating, he is also seriously con

cerned about th e future of jazz educa

tion in the U.S.

"The jazz education movement, it

must be recognized, is still in its infant

stages. As a movement it isn't reallyenough, not nearly enough," Nelson

says. "Most of the activity occurs only

from May to August. A lot more in the

wa y of education is needed if this

American music is to continue to

grow."

Nelson views th e stage band and

jazz clinic movement as a valuable

thing, but is far from satisfied with

what is being done. If the movement

does no t begin to grow in several ways,

he will probably wind up being dis

appointed and perhaps even disenchant

ed. Nelson's pri me concerns include

the need for a better understanding

of th e place jazz should have in the

music world, the need fo r year-round

jazz education programs, greater in

volvement of young black musicians

in th e movement, and a better under

standing of jazz history.

A growing number of scoring as

signments fo r television, combined

with th e opportunity fo r motion pic

ture work, led Nelson to settle with

his family in Los Angeles in 19 67. His

reputation as a conductor, arranger

and composer is growing with increasing

speed. And as Nelson's earning capac

ity climbs, it becomes less and less

practical for him to take time out from

his busy schedule to teach.

"I do it because I love to be in

volved with this movement," Nelson

explains. On more than on e occasion,

he said, it has actually cost him money

to do a clinic, but he doesn't regret it .

"I would love to be a composer or

artist in residence at some university.

I really couldn't afford to stop what

I am doing and go away to teach fo r

a year, but I might find a way to do

it if I thought a university would be

interested. Of course I' d have to have

a lot of freedom to do what I want to

do."

A few years ago, Nelson returned to

his alma mater, Washington Univer

sity in St. Louis, to teach a six-week

jazz class. It was the first time th eschool had done anything like this, and

there wa s quite a bit of apprehension.

"The people were a little surprised

that everything went so smoothly,"

Nelson commented.

On the subject of "stage bands", Nel

son says he doesn't know where th e

name came from and doesn't really

know what it means. In saying this,

he is aiming an indirect barb at those

who hesitate to use the term jazz. H e

sees this fear as an indication that

many music educators and college ad

ministrators still think of jazz as "somekind of dirty linen."

"I suppose th e stage band is really

just a popular dance band. They elim

inated th e word jazz in order to find

something suitable to call it," says Nel

son. "Even when jazz is involved in a

study program, the schools often down

grade it by offering fewer credits and

by offering th e classes at odd hours."

One of the most important things

that a clinic or college band festival

ca n do, according to Nelson, is to stim

ulate both students an d teachers to

push fo r jazz education on a year-round

basis. He is quick to point out that a

weekend, a week or even six weeks ar e

hardly enough to prepare a young mu

sician to become a creative jazz artist.

It is only sufficient to open th e door

so that th e students can see the po

tentials, but only a few of the more

talented ones will be able to go far

enough on their own to achieve significant goals, he thinks.

Nels on's c ampu s visits hav e' con

vinced him that there are two majo

reasons for the lack of good educa

tional opportunities in jazz throughou

the year. The first is the attitude of- the

educators towards th e music, and the

second is the inadequacy of too many

of the music teachers.

"We were at one eastern university

for a week. We had all of their facili

ties, including rehearsal rooms, tape

recorders for the kids to hear them

selves, an d record players fo r albumswe wanted them to hear. We had

everything, but I didn't see one mem

ber of the music department. As soon

as it was turned over to jazz, everybody

evacuated th e place. They should have

been there to find ou t what was go

ing on so they could deal with their

students after we left," Nelson says.

In West Virginia, one school sent a

man who plays casual weekend jobs to

the airport to pick up visiting instruc

tor Nelson. " I guess they felt he could

communicate with me better. None of

the music instructors came. Perhaps

they felt that if they'd sent the guy

who teaches vocal music, fo r example

we wouldn't have been able to talk."

These provincial snobs would have

blushed, no doubt, if they had been

4tm

P

MP*' \



told that Nelson is also a respected

"classical" composer. His works in this

realm include a woodwind quintet, a

song cycle for contralto and piano,

Dirge for Chamber Orchestra, an d

Soundpiece for String Quartet and

Contralto.

When Nelson speaks of music teach

ers, he points out that while his conserv

atory training gives him a background

comparable to theirs, the teachers do

not have a jazz back grou nd comp arab le

to his. He is anxious to find ways to

reach out to music teachers as well as

the students. Too many of these teach

ers, Nel son says, do not see the differ

ence between creative jazz and com

mercial music. Little wonder, then, that

they are not able to provide the kind

of education that is needed. His cam

pus visits have led him to believe that

the level of musicianship among teach

ers is not high enough.

"I kno w a wood wind instru ctor w ho

cannot play in time, and yet he is

teaching improvisation," Nelson re

called. "This is terrible, because I can

see how he can lead so many kids in

the wrong direction." Nelson says that

while many students can learn to play

their instruments in high school, they

must get their polish in college. "As a

result of all this, the training is ade

quate for hotel orchestras or small

combos," Nelson says.

Nelson doesn't have a solution to

offer for year-round jazz education, but

he is hopef ul th at the summ er cli nics

will stimulate enough people to recog

nize the value of creative jazz so that

the basic problems will be attacked

and solved. He sees ho pe in plac es like

Indiana University, the University of

Illinois, and North Texas State. Al

though these schools represent a move

in the right direction, it is not enough

to satisfy the 35-year-old composer-

arranger .

One outgrowth of Nelson's repeated

experience of having to work with stu

dents who could not improvise was the

writing of a saxophone study book,

Patterns for Saxophone, which Nelson

prints and distributes himself.

"The book had to be written because

there was no way in the world to teach

these kids about what I had come to

teach," he says. "Everybody is starting

to write books these days, but I find

that they lean very heavily on classical

techniques. I guess that's all right, but

it 's up to somebody like me to break

out of that."

Musicianship isn't the only educa

tional lack Nelson has found on the

college campuses. He also discovered

a big gap in the knowledge of jazz

history. Very little is known about such

important people as James P. Johnson,

Jelly Roll Morton, Sidney Bechet, or

Meade Lux Lewis. A lot of important

jazz is not popular today. Nelson has

had to explain this to his own son as

well as to his students. The problem

is th e absence of jazz histo ry cours es

from the regular school curricula as

well as from the jazz clinics. Jazz his

tory, he feels, should be a part of all

clinics, but time rarely permits that

luxury.

Nelson would prefer to discuss jazz

as a musical art or to talk about such

things as a commercial music, film

writing and television writing. He is

reluctant to apply white or black labels

to music. But as he delves into his own

attitudes and opinions of stage bands

and clinics, Nelson finds it impossible

not to take up social and racial prob

lems.

"One of the things that has disturbed

me since I began going to these clinics

and festivals is tha t very few N eg roe s

participate, either with mixed groups

or with all-Neg ro gro ups . Yo u find

almost no big Negro bands, and very

few of the individual soloists that do

show up are outstanding. I started to

ask myself why this is and what is go

ing on," Nelson says.

One of the answers he has come up

with is that black educators still look

upon jazz as something soiled. There is

not much difference here between them

and their white colleagues. Nelson sug

gests that because many of the Negro

schools have a religious basis they con

centrate on vocal and choral music.

Not only is there no jazz, except what

is played underground, but there isvery little chamber music. Nelson

pointed to Lincoln University in Jeffer

son City, Mo., as an example:

"The head of the music department,

Dr. Fuller, had the kind of attitude

I'm talking about. He is a Negro, ed

ucated at Iowa State University, has a

Ph. D. His attitude about jazz was that

it was not to be played in the Fine

Arts Building. If he happened to be

walking through the building and heard

something that even remotely sounded

like jazz, he would ope n the door and

say, 'We'll have none of that. '"I 'm aware now that I can't say that

the reason why there are so few Negro

college groups is because of white prej

udice, because that's not so. It 's black

prejudice. It 's the fact that the black

schools have no use for this music, and

therefore would not dare to start a

fund-raising campaign to send a jazz

group to compete in one of the college

festivals. The schools have got to say,

'We are going to send our band just

like the football team, and we want

them to win! ' "

Most of the young music students

Nelson has met in the past five years

apparently come from white middle-

class famili es that can afford goo d

ins tru men ts and good lesson s. H e finds

that the se stu den ts bri ng first-rate

equipment with them, which is an im

portant starting point. They also know

how to phrase, can make a clean at

tack and can play with other musicians.

But while many of the white students

have a fair amount of technical ability,

they do not seem to be able to im

provise.

The problem among many white stu

dents, as Nelson sees it, is that they are

emulating their white instructors. The

young musicians are excited by the

modern jazz to which they are listen

ing, but their instructors are not teach

ing them the things they want to play.

"I find that too many of the white

students have enough technical ability

so that you can tell them what to do

and they can do it, but they are not as

able to let their emotions come out.

Once in a while, a Negro student will

show up who has no discipline, but

turn him lose with five or six choruses

on Cherokee and you'll hear some

th ing . "

Aside from the Negroes who are

attending black schools where jazz is

not recognized, Nelson is aware of an

other group in the ghettos who can't

even go to college and are completely

out of the reach of most clinics and

stage band festivals. Nelson is cur

rently involved in one attempt to reach

some of these underprivileged young

sters in a section of Los Angeles, but

is worried that the effort will simply

not be enough.

Nelson complained about inadequate

financing of jazz clinics and stage band

programs, which makes it difficult to

consistently get the best jazzmen as in

structors. Money is needed to improve

the publicity surrounding these events,

so that the entire community can be

come involved. Nelson sees the jazz

performer as needing a good audience

with which he can interact. Additional

funds would also help to set up tougher

standards, so that every kid who ap

plies is not automatically admitted.

Finally, more money could providelonger planning periods to assure bet

ter programs.

Nelson doesn' t know where that

money is going to come from, but he

feels it would be available if enough

people realized how important these

programs really are. He warned against

becoming too self-satisfied with the

progress that has been made in this

area, because so much still needs to be

done .

Despite some of his critical views,

when Nelson was asked to sum up his

attitudes toward the jazz clinics andthe stage band movement, the first

word he came up with was "exciting."

/Continued on page 3 8



LADD MclNTOSH:

BRIGHT FUTURE

a profile

by

Nancy DeLongLADD MCINTOSH HAS BEEN infusing col

lege jazz festivals with excitement and

originality since 1964. T h e 26-year-old

composer-arranger-saxophonist has kin

dled the imaginations of jazz authorities

and students alike, a fact witnessed by

the acclaim he an d the Ohio State Uni

versity Jazz Orchestra have received

from many sources.

A brief sampling of the raves Mcin

tosh and his men have earned will makethe point.

"Ladd Mcintosh is a genius and

definitely one of the most impor

tant men to emerge from the col

lege jazz festivals." —St an K ent on

" M c in to sh is a gifted writer and

orchestrator with his own ideas."

—Dan Morgens te rn , Down Beat

"Ladd, I like the way you write .

You're beautiful!"

•—Gerald Wilson

"Beautifully written! Beautifully

performed! Beautifully conducted."

—Gary McFar land"This is powerful, exciting, richly

creative music by a collection of

gifted young men who care."

—Gene Lees, High Fidelity

"Mcintosh's creative vita li ty . . . is

star tl ing."

—John S. Wilson, New York Times

After scoring several successes at the

Villanova and Not re Da me festivals,

the Ohio State Band competed with the

top college jazz bands in the country at

the first annual Intercollegiate Music

Festival in Miami Beach in May, 1967.

Th e band was the undis puted champi on,winning the Duke Ellington Award.

Mcintosh ' s Forever Lost in My Mind's

Own Eye received the Stan Kenton

Tr ophy fo r best composition.

Mcintosh's diversified stylings and

rhythmic innovations—complex voic-

ings, unusual instrumentation, and rich

blend of sounds—leave his musicians

without conventional hiding places.

Every player is exposed in the demand

ing ensemble scoring.

A Mcintosh arrangement is charged

with variety. He can take a melodic

line and create a full spectrum of orchestral colors around it .

He employs an instrumentation of

five trumpets doubling fluegelhorns, four

IS ' * V

trombones, five saxophones (all dou

bling clarinets and flutes), four French

horns, a tuba, and six r hy thm — dr um s ,

piano, bass, guitar, and two percussion

ists doubling vibraharp and t impani.

Mcintosh features the band as a unit

—a driving unit. H e does not overlook

soloist talent, however, but he makes ita part of his total approach.

Many musicians today understand the

principles of orchestration and are able

to compose, but they may not have

fresh ideas. Mcintosh not only has such

ideas, but also has the ability to ex

press them in a context that has musical

vitality.

Mcintosh has been composing for

only six years. Born in Akron, Ohio,

into a musically oriented family (his

father plays nine instruments and his

mother is an accomplished pianist),

Ladd began to study the saxophonewhen he was 12.

When he entered Ohio State Uni

versity, he knew he wanted to become

a serious musician, but "I couldn' t put

Bach, Beethoven, and Brahms in or

der ," he said. "I ha d no solid knowledge

beyond what I felt inside."

Mcintosh dropped out of college

after hi s freshman year. H e wanted

more time to listen to and analyze the

works of the great composers.

One of his mos t power ful influ ences

became Bela Bartok, the great 20th cen

tury Hungarian composer noted for hisunusual and complex rhythms and tex

tures . Of the modern jazz composers,

Ladd was most attracted to Gerald Wil-

wm

son. He has dedicated several original

to Wilson, including Machu Picchu an

Someone Else's Blues.

In 1961 , Mci nto sh went to the N

tional Stage Band Camp in Indiana t

find out if he had a future as a jaz

musician. He met peers and instructor

who were concerned and found stimulation and encouragement. H e wrot

his first arrangement shortly thereafte

and returned to college to learn theor

and concentrate upon becoming a mu

sician.

In 1963, he started his own ban

with 13 hand-picked men. H e used th

smaller instrumentation fo r precisio

and immediately achieved good sounds

Bu t he knew that not enough goo

arrangements would be available for th

smaller band, and that he would hav

to supply the band's book. During th

next three years he produced no fewe

than 75 arrangements.

About that time, the Ohio State Uni

versity Jazz Workshop, under hi s direc

tion, began to make its impact on co

legiate jazz festivals.

"I 've never experienced anything lik

the festivals," Mcintosh said. "All you

marbles are on the table. You play fo

the untouchables—the worshipped me

of jazz—and you give them the be

you have to offer."

Mcintosh won instant acclaim as

composer but felt he had to d o it con

sistently to prove hi s initial success wa

not a fluke.

Then came the 1966 Villanova Inter

collegiate Jazz Festival, and with it th



decisive moment in his budding ca

reer. Kenton recognized his talent.

"I knew then that I was doing the

right thing . . . was on the right track,"

Mcintosh says. He enlarged th e band to

21 pieces. He pressured his saxophon

ists to double on flutes an d clarinets.

He began to use more unusual percus

sion effects, to experiment with French

horns and a tuba and the various voic-ings offered by this instrumentation. He

wrote arrangements that were tough and

challenging, bu t still made them fun for

the men to play.

Drummer Lyle Preest ha s said, "Ladd

writes with a great deal of considera

tion for his men. His charts are de- .

manding, but he knows what we can

handle. He directs ou r personalities.

Ladd sees what we are—better than we

see ourselves. What comes across is

honesty. I consider him an original

genius."

The original compositions Mcintoshused in the 1967 national competition

in Miami Beach employed everything

he ha d learned.

And So We Swang is an exciting ar

rangement with a ridiculously fast tem

po. N one of the competit ion attempted

anything close to it.

In Forever Lost in My Mind's Own

Eye he tried to capture an d make con

crete an aspect of his imagination.

"The en d result was nothing like what

I originally heard in my mind, " he said.

"I toyed with rhythmic an d harmonic

changes an d constantly worked some of them out; others I took at face value

and left alone. It can be frustrating to

tr y to bring ou t what your mind hears."

A depressing factor in the last five

years for Mcintosh and his men has

been th e lack of interest an d support

shown by the Ohio State University

School of Music. The men practiced on

their ow n time an d earned the money

to go to the festivals. When they wo n

national recognition, the school sudden

ly discovered them and made the jazz

la b a credited course. Bu t Mcintosh

failed to get an assistantship to con

tinue directing th e orchestra.

Mcintosh will no t return to Ohio

State in the fall. With his departure,

the successful five-year jazz program

has come to an end.

In early March, the Ohio State Uni

versity Jazz Orchestra, no w number ing

26 , traveled to the Collegiate Jazz Festi

va l at Notre Dame. The band walked

onto the stage "like they owned th e

place" (in the words of bassist Ray

Brown, one of the judges) an d pro

ceeded to bring th e house down with

three Mci nto sh originals-—Galadriel,

Elfstone, and Grooveness.

Mcintosh won the award for out

standing composer-arranger.

Mcintosh is a craftsman He demands

perfection from himself as well as from

hi s men. There is a great deal of emo

tion in his music, which is reflected in

his personality. And he is straightfor

ward, a quality that also shows in his

work.

" I 'm no t trying to put anyone on

with my music , " he said. " I 'm just tell

ing them honestly what is. I will no t

compromise my music. If people likewhat I am, groovy. If not, well. . . ."

Mcintosh writes most of his compo

sitions' at home. H e lives with his wife,

Roberta , and their two children, Danny,

4, and Erika, 9 months. During the last

five years , he has spent more than half

his waking hours composing. He is also

at work on a book, Creative Arranging

for College Stage Band.

" W he n I write a char t , " Mcintosh

said, " I become so completely involved

that I climb inside it and write all

around myself—from the inside out.

My mood, my inner self, comes out inthe music. Then I leave a little hole to

crawl ou t once th e chart is finished.

"Once I leave the composition, it is

impossible to get back inside because my

objectives have changed. Sometimes

while playing or conducting the char t—

listening to audible thoughts—flashes of

what happened while writing come back.

But they ar e only flashes. The exact,

over-all mood or experience of compos

ing cannot be re-created.

"But th e total involvement of writing,

the creative bag, is not enough. The per

formance, the audience, hearing thefinal product make it all real . I'm ex

posing my religious self, what I believe

in , an d when it's accepted—it 's beauti

ful!"

Last August, Mcintosh an d some of

the men from th e Jazz Orchestra formed

a smaller, more commercial group billed

as Ladd Mcintosh and the Live New

Breed. This group of 13 musicians an d

a girl vocalist has had more public ex

posure than the Jazz Orchestra. They

have played numerous engagements

ranging from high school proms to

country-club dances and night-club en

gagements in the Columbus area.

The Breed was recorded live at one

of its club engagements. The engineer

was Reice Hamel, who has recorded

many famous performers, including

Tony Bennett, Frank Sinatra, an d Judy

Garland. Expecting to find "a big band

with an amateur sound," Hamel was so

impressed with the first-rate quality of

the Breed that he donated a week of his

time to building extra equipment in

order to get the best possible sound

under the difficult acoustic conditions in

the club.

Ham el used individual microp hones

on each instrument and taped smaller

microphones to the bells of the saxo

phones an d t rombones his own inno-

vation. This enabled him to get excellent

separation, individualized sounds during

solos, and contrast control. The result

wa s a high-quality live recording.

In performance, Mcintosh said, "the

guys blow their guts out and drive like

hell. They love what they're doing, and

they really perform. We lift the audience

up—then there are lulls, up again, and

then smash! Right between the eyes."Percussionist Dan Ruddick said,

"There is a oneness in performance

which Ladd perpetuates. Even though

he is not a schooled conductor , no one

can conduct his music as well as he.

Ladd puts so much of himself into it .

His expressions an d body movements

say much more than a mere hand mo

t ion."

Picture, if you can, M c in tosh in

command, soprano saxophone dangling

from his neck, playing the flute and

reading the score, conducting with his

head an d body, an d occasionally findinga free hand to straighten his glasses.

The collegiate jazz festivals made it

possible fo r M c in tosh to grow. He was

able to distinguish himself amid top-

notch competit ion and was given im

portant exposure.

"The festivals, with the high degree of

excellence expected an d displayed, have

been an incentive to me," he said.

"Without the exposure they afforded me ,

I would probably still be cranking ou t

two-beat charts for 15 bucks apiece—

but more than that, I would be terribly

unha ppy . "

M c in to sh has no thought to be any

thing but a composer an d musician,

saying, " I 'm writing contemporary

American music . My music communi

cates with people. Maybe that's one way

I'm different."

One of the first reviewers to notice

M c in to sh wa s Bill Mathieu in Down

Beat who wrote in 1964, "If M c in tosh

chooses, he can expand to any size, an d

I hope he so chooses, because jazz will

gain from such men."

A more recent prediction comes from

K e n ton : "In 10 years everyone willknow the name Ladd Mcintosh. He will

succeed because he is a man with fresh

ideas who knows how to use them."

On March 10 at Otterbein College,

the Ohio State University Jazz Orchestra

played its final concert under Mcintosh's

direction.

Through much hard work, he and

hi s men had become a first-class jazz

group, an d that was the way he wanted

to leave them.

"This time there will be no encore,"

Ladd told th e audience. "We will close

with an original chart. The title sayswhat this orchestra, and all that we've

accomplished together, have been fo r

m e. I coined the word. It means a state

of being groovy Grooveness " g j g



No Bells and Beads... by Kenny DorhaThe famous trumpeter, himself again a student, appraises the

potential role of the academy in the future of jazz-

THE N E W YORK College of Music has

become an incorporated division of

New York Universi ty (WashingtonSquare b ranch) . The NYCM has i t s

own jazz band, a 21-piece unit under

the direction of Dr. Joseph Scianni,

who is both a jazz pianist and a clas

sical composer. Dr. Scianni also heads

the music theory depar tment at the

school .

With the start of the academic year

this month, NYCM will have some

3-400 music students. Many of these

are from the High School of Music

and Art and the High School of the

Performing Arts in New York City,

where music theory is taught on a higher and more sophisticated level than

usual. These students generally do not

have to take college preparatory theory.

On April 19 and 20 the N Y C M Jazz

Band played at the Intercollegiate Jazz

Festival at Quin nipi ac College in Ha m-

den, Conn., where 16 colleges and

universities were represented. The band

took first place in the competition, and

brought home the big gold cup. The

band also came up with a first place

winne r in dru mm er Bill Mint z. (Ke nny

Do rh am wo n first plac e in the t rump et

category, but declared himself out of

competition in view of his status as a

professional . —Ed.)For better than two years now, the

N Y C M has had a jazz pro gra m in

additi on to its regula r progra m. T her e

haven't been any bugles or promotional

fanfares, but something that is really

happening, that has something to offer

and is meaning ful, doe s not necessarily

need a fanfare—or does it? Bassist

Ahmed Abdul Malik was in the teach

ers' degree program for approximately

four years. Jackie McLean's son Renee

is enrolled in the progra m. (I am also

in the program, working toward a mas

ter 's degree.)The school offers in its degree pro

gram, among other things, an ensem

ble program which includes large group

playing as well as small group playing,

wood wind and brass. The Jazz Ens em

ble Program is an accredited course at

the school. Scholarships are given to

qualified jazz-oriented musicians. Train

ing and experience are offered in "jazz

swing" and improvisation. The writing

and style come s from within the en

semble itself. This is a chance to learn

jazz on a concert level with dignity and

integrity. (By this I mean no bells and

beads.)

Performances by the band includ

appearances at schools in deprived

areas of New York City to bring th

message of jazz and to urge the stu

dents to stay in school. There hav

been a ppe ara nce s on television, .at

Martin Luther King memorial and

benefit, at Qui nnip iac College, and a

the intercollegiate competition at MIT

in Bosto n, whe re the band took fir

place. As a result, the band appeared

at the Newport Jazz Festival, where i

opene d the prog ram. Unfortunate ly

many people came too late to hear us

With all due respect to the grandios

musical geniuses of yesteryear, jazz

current linear, rhythmical and vertica

cons truc tion is a modified sophistica tio

of that past, and is being constantl

built and extended. Jazz is emergin

from the smoky barrooms where i

has served for many years, often a

background music for conversation, t

the intellectual level of the universit

and the academy in general. Jazz ha

emerge d from a multit ude of source

to become the cosmic ambassador of out

going music: from the 14th-centur

caccia to European-classical sophistication; from the jungle drum of Afric

to the New Orleans brass band; from

folk-country-western-sanctified, middl

Eastern, rock and blues to the Copa

cabana Beach at the foot of Sugar Loa

Mountain in Rio De Janeiro, home o

the last intravenous transfusion int

the mainstream of jazz.

These are some of the things jaz

is about. The college band is abou

jazz. I think jazz musicians are lookin

forward to the day when a musicia

with talent, ambition and other attr

butes can attend the academy with th

belief, at least, that he is going t

emerge with more potential than h

would have if he were just a musicia

with an informal background; of th

streets, so to speak.

Mo st of the schools that offer mu si

courses in the south that I know abou

have music appreciation courses—play

ing records, learning the difference i

major and minor scales, and really jus

merely passing the time of day. Th

northeast isn't doing much better, bu

is probably three or four years ahead

I'm looking forward to the future

when the academy in general will reall

stretch out.



JAMEY AEBERSOLD: Jazz Teacher

5

WH Y DOES JAMEY AEBERSOLD, the young

alto saxophonist who devotes most of hi s

time an d energy to teaching jazz, prefer

jazz to other types of music? His an

swer: "It is more of a challenge to be

right on the edge of your creativeness.

When you're playing jazz for an audi

ence, the chips are down, and you al

ways have to perform. The situation

constantly keeps changing, depending

on who you're playing with and for."

Whether he is performing or teach

ing, Aebersold is so completely involved

in the music that it becomes a projection

of himself—not just of a part of hi m

but of all of him. It is easy to see why

his pupils become devoted to jazz.

Aebersold's enthusiasm is catching. H e

challenges his pupils without seeming

to do so, and draws from them to the

margin of their abilities.

The current plateau of his achieve

ment is seen in the first volume of a

book and accompanying record, A New Approach to Jazz Improvisation, that

wa s two years in the making. Vol. 2 is

almost completed at this writing.

Aebersold is a native of New Albany,

Ind. He ha s a masters degree in music

from Indiana University. His septet was

voted best jazz combo at the 1964

Notre Dame Intercollegiate Jazz Festi

val, and Aebersold himself wa s judged

best saxophonist at the previous year's

festival. He also won a scholarship to

the famed but short-lived Lenox School

of Jazz.

H e is now on the faculty of two summer jazz clinics each year: at Milikin

University in Decatur, 111., and at the

University of Connecticut. H e is a

composer, performer, lecturer, author

and clinician.

Duri ng years of studying music, Aeb er

sold discovered there was no cogent

method of teaching jazz improvisation.

The student groped in the dark, usually

by himself. It wasn't long after Aeber

sold began to teach that he realized the

need for a method of instruction in this

essential element of jazz.

Fo r two years, Aebersold worked outhis book, and along with it the record

of a modern rhythm section playing

appropriate accompaniments. The rec

ord includes a blues in F, a blues in B

flat, a standard tune for jazz improvising

(All the Things You Are), a cycle of

dominants, and four tracks employing

various minor, major, and dominant-

seventh scales and chords.

His book-and-album package is being

used in schools and by private students

throughout the U.S. and Canada .

T o the author , the most gratifying

thing about the work is the results ithas elicited from students.

It has, he said, opened well-springs

of creativeness. One of the most re

k bl l f thi i L

Blues, a piece written by fifth-grade:

Roger Wiseman, one of Aebersold's

students.

Would it have been possible fo r Roger

to have written the piece if he had not

had the chance to study with Aebersold?

Certainly the basic talent was there, but

to one who has observed Aebersold's

methods at firsthand, it soon becomes

clear that his students are advancing at

a faster rate than ordinarily would be

possible.

One of the reasons for this rapid

advance is another of Aebersold's firsts,

one he hopes will catch on with teachers

of jazz improvisation everywhere. This

is the workshop clinic he holds for the

students each Saturday afternoon in his

soundproof basement studio. H e makes

no extra charge for the workshop, a fact

that comes as no surprise to those who

know him.

One of Aeberso ld's favorite pasti mes

is selling others on jazz, an d he is re markably successful at it. His method is

simple. H e introduces people to jazz by

giving them a chance to listen to it. If

he has the opportunity, he also gives

them the basic facts about the music

along with a sprinkling of jazz history.

Aebersold, who is treasurer of the

nonprofit Louisville Jazz Council, con

stantly listens to other jazz musicians,

in person or on record. H e also tapes

his own concerts and plays them back on

hi s car radio, listening and hoping to

improve hi s own playing.

The walls of his studio are lined with

shelves holding jazz records and books

on jazz and music in general.

One afternoon Aebersold's students

were playing at a clinic, having their last

practice run before taping for a Louis

ville television show giving teenagers

a chance to play before a large audience.

Aebersold first directed the boys and

then joined in the playing himself. H e

stopped when he heard a wrong note .

The boys suggested the culprit, indi

cating everyone but themselves, but

Aebersold had located the t rouble and

the rehearsal proceeded smoothly.

The piece was an original, and he

asked for suggestions for an ending.

One boy responded kiddingly with a

cliche ending. >.

"You're docked half a solo fo r tha t , "Aebersold kidded back. "We'll have to

fix it so he gets sjtuck in the elevator

going up."

Getting down to business again, they

played Maiden Voyage. "You're drag

ging—take too long, and they'll run you

off with a soap commercial ," Aebersold

joked again.

This time they do it right. The frus

tration has been removed.

Though he has humor , and uses it,

Aebersold is firm, a taskmaster , the kind

who makes the best teacher. He listened

as on e of the boys improvised and was

pleased with the results.

"Do tha t , " he encouraged. "I t gives it

that Oriental sound."

Aebersold uses humor, body English,

hand movements and facial expressions

while working with the students, and

they respond well. H e is a teacher

who constantly challenges his students,

br inging the best out of them without

driving them.

"Several of my students are interested

in making a career of music, or going to

college for an education in music , "

Aebersold pointed out.

" M a ybe I just found it out that I a m

a teacher first of all," he said. " I wanted

to play at first, to be a performer, but

then I'd hear a kid who showed promi se

and I' d want to get with him and teach

him all I could, help him to develop his

inborn talent as a jazz musician. One

comes along who has talent, and I'm

hooked." /continued on page 38

A b ld d t d t T Sl R Wi T L



Records are reviewed by Don De Micheal, Gilbert M. Erskine, Ira Gitler, Alan Heineman, Ralph Johnson, Bill Mathieu, Marian McPartland,

Dan Morgenstern, Don Nelsen, Harvey Pekar, Bob Porter, William Russo, Harvey Siders, Carol Sloane, and Pete Welding.

Reviews are signed by the writers.

Ratings are: * * * * * excellent, * * * * very good, * * * good, * * fair, * poor.

When two catalog numbers are listed, the first is mono, and the second is stereo.

Me l Brown • " • • i ^ i ^ i ^ i ^ * *THE WIZARD—Impulse 9169: Ode to Billie

Joe; Swamp Fever; Blues After Hours; AfricanSweets; Stop; Chunk A Funk; Miss Ann; W-2Withholding.

Personnel: Mack Johnson, trumpet; CliffordSolomon, tenor saxophone; Brown, lead guitar;Terry Evans, rhythm guitar; piano, organ, electricbass, drums, unidentified.

Rat i ng: * * * V 2

On this record Brown lays down agroove somewhere in between r&b andblues-oriented jazz, though closer to theformer, particularly on the tracks with thetwo horn players. His playing also liessomewhere between startling and comfortable; no single lick he gets off everknocks you out, but he never falls back on cliches, and his lines are always sensibleand interesting. Technically, he's rightthere.

The rating is somewhat arbitrary. (Allratings are, of course.) For sheer goodlistening, this is a five-star session. Itnever stops swinging, due mainly to Brownand the inexcusably unidentified drumm er,who is down with it from start to finishand has a fine solo chorus on the marchlike Fever. The reduced rating results froma certain lack of scope and variety on the

date, and the utter certainty that Brown iscapable of greater things.

Solomon, the hardest of Brown's cohorts, contributes some mean blues choruseson Chunk and W-2, and Johnson stayslowdown and dirty with the plunger on

Blues. And some of the tunes are verynice, indeed: Billie Joe can be horriblyrepetitive, but Brown varies his attack enough to keep it interesting, and knocksoff an astonishing run in the coda; andSweets is a joy, and serves to remind youof what Hugh Masekela is trying to soundlike and can't.

But it's Brown's show, and he acquits

himself nobly. He sticks mostly to single-note runs, using chords almost solely aspunctuation. All his solos are at least good;he knows when to use repeated riffs andwhen to break away, as he demonstratesin the middle four bars of his last choruson Blues, and he's very, very swift. Histone isn't well-enough defined—again,neither fish nor fowl, neither acrid enoughfor r&b nor mellow enough for jazz. Butthe distance between this album and hisfirst is considerable. It shows how fast he'slearning, and at no point has he been uninteresting.

It's a pretty good bet that Brown will

be one of the guitarists in not too long atime, and The Wizard, with its unpretentious soul and unfeigned joy, is some finestuff to listen to while we're waiting.

Heineman

Don Ellis • • • ^ H ^ k ^ k H M i

SHOCK TREATMENT—Columbia CS9668: A New Kind of Country; Mercy Maybe Mercy;Opus 5/ Beat Me, Daddy, Seven to the Bar;

Milo's Theme; Star Children; Homecoming; Seven Up; Zim.

Personnel: Ellis , Glenn Stuart, Alan Weight,Ed Warren, Bob Harmon, trumpets; Ron Myers,Dave Sanchez, Terry Woodson, trombones; RubenLeon, Joe Rocc isan o, Ira Shul man, Ron Starr,John Magruder, woodwinds; Mike Lang, piano,clavinet, Fender piano; Ray Neapolitan, bass,sitar; Frank De La Rosa, Dave Pariato, basses;Steve Bohannon, drums; Chino Valdes, conga,bongos; Mark Stevens, timbales, vibes, miscellaneous percussion; Alan Ester, miscellaneous percussion.

Rating: see belowEllis deserves a good deal of credit for

his experimentation with unusual meters,metrical division, and electronic effects. Heand some of the other composers who havecontributed to his band's repertoire arecertainly breaking new ground. On thisalbum, for example, Zim is written in 13.Electronics help create some strange, ethereal effects on Milo's Theme.

Yet the band's work is far from completely satisfying—it can even be calledgimmicky. Unique in some ways, it is unremarkable, even trite, in others. A New

Kind of Country is in 7/4, but is still acorny, down-home composition. Mercy

Maybe Mercy is a trite, funky piece, and Beat Me Daddy Seven to the Bar, theworst selection on the LP, is a raucous,banal drag.

The arrangements are generally disappointing. Too much of the writing is cluttered and musclebound, a la bad Kenton.

There are some good compositions here,though. An intricate piece by Magruder, Zim, has a buoyant, flowing quality. Milo's

Theme contains some lovely colors andtextures.

Ellis' playing is good, but he has donebetter elsewhere. (He has, at times, beenan outstanding and highly original soloist.)

Here he displays a big tone, swings forcefully and plays some melodically attractivephrases. However, he also plays too manycliches, apparently succumbing to the cornaround him, and his improvising is notas dari ng or thoughtful as it has been atits best. Indeed, his playing sometimes reminds me of the technically proficient butstylistically anonymous work of certainstudio trumpeters.

The playing of the other soloists lacksindividuality.

In view of the harmonic and melodicfreshness of the solo work on, say, hisPrestige New Ideas album, it's difficult to

understand how Ellis could have toleratedsome of the glaring faults of this LP.

A rating has not been assigned to thisrecord because it would not adequatelysummari ze its value —Pekar

Booker Ervin ^ ^ ^ • • • • ^ ^ ^ ^ ^ • • i ^BOOKER 'N' BRASS—Pacific ST-20127: Eas

Dallas Special; I Left My Sugar in Salt LaCity; Do You Know What It Means to Miss

New Orleans; L.A. After Dark; Kansas 'C Baltimore Oriole; Harlem Nocturne; I Left Heart in San Francisco; St. Louis Blues.

Collective Personnel: Johnny Coles, CharlesTolliver, Freddie Hubbard, Richard Williamstrumpets; Ray Copeland, Martin Banks, trumpetsfluegelhorns; Ben nie Gre en, Garnett Bro wn, BrittWoodman, trombones; Benny Powell, bass trombone; Ervin, tenor saxophone; Kenny Barronpiano; Reggie Johnson, bass; Lenny McBrownedrums; Teddy Edwards, arranger.

Rat ing : * * * %

After a series of small group albums(most of them for Prestige) Ervin hasnow been placed in a more "commercial"setting. Backed by a brass ensemble andstandard rhythm section, he was alsogiven an album theme—songs about citiesin the United States.

The least Pacific Jazz could have doneafter giving him this restrictive formatwould have been to carry it through inthe packaging. If the original concept hadbeen simply Booker 'n' Brass, arrangerEdwards would have had quite a bit moreleeway, to say the least. The companyalso intended to garner airplay by keepingthe tracks short, but only one number

the three-minute Kansas City, is under4:00. That extra minute is what keepsmany a deejay—I'm not talking aboutstrictly jazz jockeys—from playing a record. So Pacific Jazz didn't do Ervin anyfavors in that department either.

With all these harnesses on his shoulders, Ervin still manages to play his singular brand of emotional tenor—warm, passionate, and with a sound as big as thegreat outdoors. His own East Dallas isa kind of train blues with a heavy back-beat. Ervin's solo is solid, building andsoaring, and there is good, bluesy Greentrombone. Kansas City is in a similar

backbeat groove, but seems superfluousafter Dallas. Barron has a short solo. / Lost My Sugar and Do You Know

What It Means are not the greatest tunesever written but, Ervin invests them withhis own feeling. On the former he usesthose broad, long, moaning tones to enhance the melody and his improvisationsare power-packed. Green contributes another fine solo, extremely relaxed, with afat sound. On the latter, Booker's readilyidentifiable sound makes for a lovelytheme statement. Brown (not Green, asthe notes state) has a short break on thefirst bridge. There is a nice trumpet spot,credited to Hubbard but more likely by

Copeland. The trumpet section sounds abit sloppy here.

St. Louis has good brass backingstraight-ahead Booker and a solo by Hubbard that is facile yet intense with that



TheGiants

are sti l l onPRESTIGE!

bite all really good trumpeters have. Dig

the brass shouts behind him. Harlem, the

piece a stripper most often uses as her

second number, doesn't happen, even

though Ervin does his best, double-timing

and moaning. The brass is strained. In

all fairness to Edwards, there is not much

you can do with this warhorse.

The ballads, Left My Heart and Oriole,

do make it—thanks to Ervin. He is mel

low on the first, rambling around on the

comfortable beat. The brass doesn't add

much more than window dressing here,

but on Oriole Edwards' chart really gets

a mood, aiding Ervin in stating the theme.

His solo has the depth of feeling one has

come to associate with him.

For the most part, Edwards' arrange

ments are workmanlike and functional.

I'm sure it was not the easiest assignment

to be saddled with. If the charts are not

spectacular, at least, as written by a fel

low tenorman, they let Ervin breathe. Ed

wards' one original, L.A., is a simple but

effective minor-key mover with a wide-

open sound. Booker is the cooker, cutting

right through to the heart of the matter.If Ervin and Edwards had been al

lowed to combine like this on more tracks,

something might have happened. As it is,

the album is a picture of a man often

rising above his material. That says a lot

about the size of Ervin's talent. —Gitler

Freddie Hubbard m^tmmmmm^Kt ̂ mmt HIGH BLUES PRESSURE—Atlantic SC 1501:

Can't Let Her Go; Lalina; High Blues Pressure; A Bientot; True Colors; For B.P.

Personnel: Hub bar d, trump et, fluegelhorn;Kiane Zawadi, trombone, euphonium; HowardJohnson, tuba; James Spaulding, flute, alto saxophone; Benny Maupin, flute, tenor saxophone;Weldon Irvine or Kenny Barron, piano; HerbieLewis, bass; Freddie Waits or Louis Hayes,

drums; Roman Broadus, conga.R a t i n g : * * * *

This uneven but generally interesting

LP highlights Hubbard as a composer

{Lalina, High Blues Pressure, True Colors

and For B.P. are his) and arranger (he

arranged all of the pieces here) as well as

an instrumentalist. He scores well in each

area.

Latina is a hard swinging, richly orches

trated Latin-tinged selection. A Bientot,

by Billy Taylor , also has a Lat in flavor.

It is a gentle piece on which the melody

is stated by Hubbar d on fluegelhorn, ac

companied by two flutes.

High Blues Pressure is a melodically

spare composition with a strong, building

arrangement. True Colors and For B.P.

are intricate stop-and-go tunes (For B.P.

is especially complex) which I hope will

catch on with other groups. Hubbard and

some of his contemporaries, such as Wayne

Shorter, have wri tten a. number of fine

pieces in recent years which seem to have

been taken for granted by too many fans

and musicians.

Can't Let Her Go, a funky tune by

Irvine, is the only uninteresting composi

tion on the LP.

Hubbard, one of the major trumpeters

of the '60s, plays well here, although he

can be heard to better advantage on certain other LPs. He is an extremely daring,

inventive improviser and his solos have

content. However, his trumpet playing is

sometimes marred by a stiff musclebound

quality, and while he is very powerful, he

is not always tasteful. Interestingly, his

fluegelhorn improvisation on A Bientot is

soft-toned and restrained.

It's doubtful that Spaulding has per

formed more impressively on record than

here. He plays quite forcefully on alto

without sacrificing the fluidity that has

marked his previous work. Particularly

impressive are his solos on True Colors

and For B.P., on which his "mean" toneand slicing runs are reminiscent of Willie

Smith. The way he slides into and down

from the upper register on True Colors

also reminds of Smith. (I'm merely calling

attention to the similarity; I don't know

whether Spaulding is an admirer of Smith's

playing, or has even heard much of it.)

He takes an economical, biting alto solo

on Can't Let Her Go, while his warm,

delicate flute solo on Latina displays the

gentle side of his nature.

Though he may not yet be well known

to the jazz public, Maupin is already a

major leaguer. A strong, thoughtful per

former, his tenor work is sometimes spare,

sometimes many-noted, and marked by avariety of colors and textures. His playing

is at once gutty and sophisticated. One of

the highlights of the LP is his tenor spot

on True Colors, which builds like an

avalanche.

Barron's soloing (he appears on every

track but Can't Let Her Go) is inventive

and graceful. He has already established

himself as a fine pianist in the Al Haig-

Hank Jones-Tommy Flanagan tradition. It

will be interesting to see whether he will

remain content with that or will evolve a

more unique, advanced style in the years

to come. —Pekar

Charles McPherson ^ ^ ^ M B M B B I ^ ^ ^ ™FROM THIS MOMENT ON—Prestige 7550:

Little Sugar Baby; Once in a Lifetime; The Good Life; I Like the Way You Shake That Thing; From This Moment On; Without You; You'veChanged.

Personnel: McPherson, alto saxophone; CedarW a lt o n , piano; Pat Martino, guitar; Peck Morrison, bass; Lenny McBrowne, drums.

Rat ing: * • • •

If, while in a contemporary art gallery,

one were suddenly confronted with a su

perbly realistic portrait or landscape, there

would be two possible reactions: yeah, but

nobody's doing representational stuff any

more; or, yeah, nice picture. It is to be

hoped that we are free enough of bias to

accept and appreciate first-rate works informats other than those we prefer.

Consequently: yeah, nice session. There

is little on it that couldn't have been played

15 years ago or more; but these men are

their own men, and there is very little on

it that has been played before. All five

musicians are flawless here, each contrib

uting toward the whole, and the cohesion

achieved is remarkable, particularly for a

studio group, though some of them have

played together before. The only thing

that keeps it from being a five-star date is

McPherson: he's a fine altoist and does

well enough here, but he seems to be hold

ing back a little, and has played betterelsewhere.

Besides the good selection of tunes (in

cluding two lightly but firmly swinging,

eminently hummable McPherson originals

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Baby and Shake) and the high calibre of

all the soloists, what makes this album very

special indeed is the astonishing rapport

between Walton and Martino. Each at all

times is tuned in to the other as well as to

McPherson when he solos; one will begin

a riff or chord pattern and the other will

instantly be there. During Martino's Good

Life solo, for instance, Walton weaves his

right hand lines so presciently around the

guitarist's that the listener is hard put in a

couple of places to tell which is the guitarand which the piano. Walton is one of the

finest 'compers currently playing; he's not

just biding his time waiting for his space,

he's constantly broadening the base of the

other solos, with never an intrusion or ob-

fuscation. A nearly lost art.

And speaking of lost arts: if McPher-

son's solos are less than his best, pick up

on his melody statements, especially Good

Life, Changed and Moment. (Liner notes

author Mark Gardner is clearly right when

he speculates that McPherson's reading of

Moment is very close to what Bird's might

have been.) He has great respect for the

tunes—his Good Life solo never gets far

from the melody—but is highly imagina

tive in note-bending and in slightly alter

ing time values of short phrases. Changed,

in which McPherson evokes with his in

tonation the same shade of melancholy

with which Lady Day indelibly stamped

the song, is a fine example of the altoist's

sense of logic: he stays with the melody

in the opening statement, adding several

figures around it; then, in his chorus, he

retains the general time values of the song's

phrases (most obviously on the bridge)

but bases his improvisation on the upper

intervals of the chords. The final eight

bars of his chorus forcibly recall Bird,

without being a pastiche or parody. Healso gets off a lovely obbligato at the end

of the track. (Some of his best playing

occurs at the ends of songs. Dig the fleet

series of figures over a suspended riff to

close Lifetime and the inventive, bubbling,

building filigree he paints over a similarly

suspended Latin riff that ends Without

You. His solo on the latter, fast and con

trolled, is his best of the session.)

Walton and Martino both have fine solo

moments throughout. Walton is as two-

handed a pianist as there is. He's mellow

on Lifetime, funky on Shake—on which

he ends his solo with a phrase so absolute

ly right he can't have thought of it, but

did—invents a whole series of perky melodies during his excursion on Changed, and

alternates single-note runs, right-hand har

monies, trills and big, rolling chords in

Good Life to produce a solo of richly

variegated texture.

Martino is rather banal on Changed, but

makes some firm and impressive statements

on Good Life—with a big assist from Wal

ton—does great work with Walton behind

McPherson on Without You and then steps

out and lays it down, finishing his solo

with some octave improvisation that man

ages to sound not at all like Wes Mont

gomery, no small feat.

Lest we forget: no complaints about therhythm, either. Neither Morrison nor Mc-

Browne has any solo space, except for the

latter's perfect intro and sign-off in Shake,

but their support is solid and unimpeach

able; McBrowne's light, sure touch is an

incalculable asset to the record.

This album, obviously, is sincerely rec

ommended; had McPherson and mayb

Martino (whom you will be hearing a lo

from) been a shade more together in thei

solos, it'd be one of the albums of the year

—Heineman

Don PattersonB O P P I N ' & BURNIN'—Prestige 7563: Pisce

Soul; Donna Lee; Island Fantasy; Epistropby Now's the Time.

Personnel: Howard McGhee, trumpet; CharleMcPherson, alto saxophone; Patterson, orgarr; PaMartino, guitar; Billy James, drums.

Rat ing:

Patterson might well wonder what a mu

sician has to do to get the kind of praise

he deserves. He is a fine player—one o

the relatively few organists in jazz whos

work deserves rapt attention—but despit

his achievements, his work is seemingly

ignored by a large segment of the jazz pub

lic.

Patterson's playing here bears out m

high opinion of his work. He plays rich

complex lines and swings with grace and

power. He constructs very well, building to

climaxes lucidly. His work is generally

tasteful, although the sustained "factory

whistle" effect against which he play

funky phrases on Pisces Soul is a drag.

Patterson's rhythm section work is also

praiseworthy; he's a thoughtful, unobtru

sive accompanist. Here is a jazz organis

who is a real musician. He merits a carefu

hearing.

McPherson has been described as

good Charlie Parker disciple and, whilit's obvious that Parker has had a very

strong influence on him, he has also lis

tened to post-Bird altoists. Within the con

text of modern jazz, he is a traditionalis

whose work is not anachronistic. He is a

classicist and constructs his solos thought

fully. Note, for example, how unpredicta

bly and interestingly he fragments his spo

on Pisces Soul.

McPherson's playing on this LP is quite

lyrical. His choice of notes is very intelli

gent; his playing doesn't sound far out bu

is melodically fresh and pretty. He has

fine tone, pure and penetrating.

The altoist's best work here is on Epis

trophy: rhythmically sophisticated andvaried, as well as melodically imaginative

He uses certain subtleties on this track

that are derived from Parker but which

few Parker-influenced altoists seem awar

of. He appears to know Bird as only a

handful of jazzmen do.

McGhee, who has played on far too few

recording dates in the past 15 years or so

considering his stature, turns in a good bu

imperfect performance. He plays with th

vigor of a teenager and his solos are ful

of ideas, but they are marred by sloppy

execution. McGhee also contributed two

compositions to the session. Pisces Sou

a medium-tempo blues, and Island Fan

tasy, a pretty, rather exotic tune with

Latin beat, are his.

A fine LP which should appeal particu

larly to bop fans. —Peka



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North Texas Slate Lab BandLAB '68—Century 30178: Codify; Childhood;

Who Will Buy?; Sweet William; NorwegianWood; 01' Five Spot; Hello, Young Lovers;Flashes.

Personnel: Gary Grant, Jay Saunders, Sal Mar-quez, Mark Hettle, Fletch Wiley, trumpets; TomMalone, Bruce Fowler, Jeff Sturges, ChuckCompher, trombones; Jim Clark, bass trombone,tuba; Jack Karhu, Dean Corey, French horns;Mike Campell, Chuck Wilson, Lou Marini, RayLoeckle, Tom Boras, reeds, flutes; Bobby Hen-schen, piano; Frank Kimlicko, guitar; JohnMonaghan, bass; Ed Soph, drums; Fred Stites,vibes, miscellaneous percussion; Leon Breeden,

conductor.Rati ng: • • • *

The famous Lab Band's second LP iseven better than its impressive first. Interms of musicianship and polish, the bandhas long been able to hold its own withprofessionals, but the material has beensomewhat lacking in originality. Here,however, that problem has been overcome.

While the band is the thing, the albumdoes have an individual star: young reed-man-flutist-composer-arranger Lou Marini.He is responsible for three of the bestcharts in the set: Codify, Sweet William,

and the exciting Flashes (all his own compositions as well), and also contributessparkling solo work on soprano and tenorsaxophones, various flutes, and recorder.He is definitely a young man to watch,and has recently joined Woody Her man' sband, where it is hoped he will get something to do.

Colleagues Soph and Monaghan, anexpert rhythm team, are also currentHerdsmen. Soph's solo work in Flashes isoutstanding, but perhaps more essentially,he handles his job in the driver's seat withverve and assurance. Monaghan's fine timeand tone also make themselves felt.

The Lab Band (best of six full-time en

sembles at the school) has until recentlybeen cast in a post-Kenton, etc. mold—the mold that initially contributed muchto collegiate jazz but eventually becamesomewhat of an albatross. But the fresh,often experimental and always unhackneyed student arrangements by Marini,Loeckle (Who Will Buy?) and TomBoras (Charles Lloyd's OV Five Spot)

mark a definitive and welcome break withthat past, the only echo of which on thisalbum is Hello, Young Lovers, a flag-waving showcase for the expert (but inthis case musically empty) trombone pyrotechnics of Bruce Fowler.

In fact, the ingenious and tasteful employment of "free" and "outside" devices in such arrangements as William,

Five Spot, and Flashes sounds quite unlike anything being done in big-bandwriting elsewher e, and might profitablybe studied by some of our ranking pros.In my opinion, it musically outweighs therather precious experimentations of DonEllis and his staff, without swollen rhythmsection and amplification gimmicks. (Marini does play an electric flute on Nor

wegian Wood, and it sounds pretty.)

The brass section work is precise andexpert, and the reeds are no slouches,either (there is a splendid sax-section

chorus on Codify). Trumpeter Sal Mar-quez has several good solo spots, notablyon the moving Childhood, and other nicesolo efforts spot altoist Mike Campbell(Wood) and big-toned tenorist Loeckle

(Codify). The solo work, too, is fresherand more inventive than in previous years.

If North Texas can come up with newblood to replace the now departed keymembers (and doubtless they will be ableto) , we can continue to expect surprisesfrom this already laurel-laden talent incubator. This album, highly recommendedto all big-band fanciers, is available for $5from The North Texas Lab Band, Box5038, N.T. Station, Denton, TX 76023.

It's non-profit and for a good cause. —Morgenstern

Ka! Winding-J. J . Johnson M H M ^ ^ MISRAEL—A&M 3008: My Funny Valentine;

Israel; Catherine's Theme; Am I Blue/Sonnyboy; Never My Love; Saturday Night Is the Loneliest Night of the Week; St. fames Infirmary; Django;Try to Remember.

Collective Personnel: Bernie Glow, trumpet,fluegelhorn; John son, Win di ng, trombones; PhiiBodner, Walter Kane, George Marge, RomeoPenq ue, Frank Schwart z, reeds; Herbie Hanc ock,Ross Tompkins, piano, electric piano, harpsichord; Eric Gale, Bucky Pizzarelli, guitar; LewisEley, Leo Kruczek, Charles Libove, David Na-dien, Eugene Orloff, Tosha Samaroff, violins; AlBrown, viola; George Ricci, cello; Ron Carter,Richard Davis, bass; Grady Tate, drums; EugeneBianco, harp.

Rating: if

The star is for a nice, light, chords-be-tween-beats solo by Hancock on Israel andfor the occasionally intrepid attempts byJohnson to transcend the quagmire of schmal tzy , prec ious a r ran gement s—towhich he and Winding contributed, thoughthe villain of the piece is Don Sebesky.

Sebesky is capable of producing first-rate string charts, as his work behind WesMontgomery, among others, has demonstrated. Not here. It's no small accomplishment to have dragged Django, one of the most beautiful tunes ever written, intocloying sentimentality. But Sebesky's doneit, and has also cutesie-wootsied Valen

tine and the Am I Blue/Sonnyboy super-imposition to death. His pseudo-baroquearrangements of Valentine and Django—

complete, in the former case, with quotefrom a Brandenburg concerto—are tooclever to beat. And Johnson, who shouldhave known better, has utterly eviscerated

Infirmary, evening out the accents and laying it on the long white table of someheavily maudlin strings.

This isn't a jazz album. The only near- jazz on it is Israel, on which Johnsonstretches out pretty nicely and Windingyawns a bit and Hancock contributes theaforemention ed solo. For the rest, short

breaks, occasional improvised counterpoint, and endless arrangement-showcasingand showboatin g. The only really first-class chart is Winding's for Never; there'salso a fine moment in Django where lohn-son accelerates bluesily, sounding as if he'sabout to take off, then suddenly ritardsinto a restatement of the slow first theme.He also has a nice break over some muddy,mucky, mushy strings on Theme.

A&M has a great gift for recording goodmusicians in frameworks which obscuretheir talents. This session is clearly aimedat getting airplay on those fence-sitting,daytime, background-music AM stations.It's a good match . — Heineman

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Though many younger jazz studentsbecame fully aware of Thad Jones andMel Lewis only when their big band waslaunched less than three years ago, bothleaders have an impressive list of credits.

Thad, born in 1923, is in the center of three famous Jones brothers. (Hank wasborn in 1918, Elvin in 1927.) He workedwith Sonny Stitt in the early '40s, spent2/» years in the Army, then led his owngroup, worked for two years with BillyMitchell and toured in a Larry Steele revue. He joined Count Basie in May 1954,

remaining until Jan. 1963. Since leavingBasie he has been constantly busy inNew York, doing free-lance work as aninstrumentalist and composer-arranger.

Buffalo-born Mel Lewis, 39, mad e hisprofessional debut at 15. He made thetouring name band scene for many years:Lenny Lewis, Boyd Raeburn, Alvino Rey,Ray Anthony, Tex Beneke, and two yearswith Stan Kenton (1954-6). He co-led acombo with Bill Holman on the WestCoast during the 1950s. In 1963, Lewismoved to New York from Los Angeles.He has played in recent years with DizzyGillespie, Gerry Mulligan, Terry Gibbs,Benny Goodman (in the Soviet Union),Friedrich Gulda, and on staff at ABC.

—Leonard Feather

1 . O LIV E R N E L S O N . Flute Salad (from Sound

Pieces, Impulse). Conte Candoli, trumpet; Shel

ly Manne, drums; Nelson, composer.

T J : T he style is very reminiscent of Billy Byers, so I'll go out on a limb andsay that was a Billy Byers arrangement,and what impressed me most was theuse of flutes and French horn backgrounds.It was a very lush and beautiful soundand always moves. He manages to keepthe harmonic structure very interesting. Asa matter of fact, Billy is one of my favorite arrangers anyway. I'd rate that at least

4K.ML: I don't think it's Byers, but I

think it was definitely made out here onthe West Coast, because of all the flutes—using all the flutes like that, bass flute,alto flute, and I have a feeling it's eitherJohnny Williams or Mancini.

The rhythm section, I don't know whothey are—the drums do sound a little likeShelly to me, it was just plain straightrhythm. It was nice, a good chart, pleasant,simple, good melody. I know it's WestCoast.

TJ: That's what makes it so complex;it's such a simple thing, but so well con

structed.ML: Yes, Thad knows more about that

aspect of it, the voicings and construction;he can hear something more than I wouldthat way. I would r ate it a little differently,too. I'd rate it about three.

LF: What about that trumpet solo?TJ: Well, from what I heard of it, it

was very nice. He may have had a littleproblem with the background. You know,playing with a Harmon mute, that muchbackgrou nd might crea te a few difficulties,and it sounded rather as though the background sort of buried him at times. Butwhat I heard of him was excellent.

ML: It sounded like Conte Candoli.

2 . DUKE P E A R S O N . Ne w Girl (from Introduc

ing Duke Pearson's Big Band, Blue Note). Burt

Collins, trumpet; Lew Tabackin, tenor -saxo

phone; Pearson, piano, composer; Mickey

R k

TJ: I know the piece—and he's ourstrong rival, lives right across the street.That was Duke Pearson's big band. BurtCollins on trumpet, and it sounded verymuch like Lew Tabackin. Great record.

ML: Yes, I liked the record. The recording sound didn't please me too much;there was a little too much room there.For those ensembles, there was some distortion for the drums, and it wasn't thedrummer's fault. That was Mickey Roker,and it's the first time I got to hear himwith that band—I never heard him with

a big band.TJ: Yes, that's true, because every

time we saw him—he was with loe Williams for a while, Art Farmer . . . allsmall combos.

ML: He really sounds marvelous withthe band. I'll rate the band five, but whoever recorded it needs some drapes in hisstudio, so I'll take one star off for that.

Incidentally, we know this from PepperAdams, Duke is really a romantic in hiswriting, and in his playing he's a prettyplayer. It's always pleasant listening—Ilike listening to his piano playing.

T J : I'd like to rate that all the way,

five stars.3 . B U D D Y R I C H . Luv (from The Buddy Rich

Big Bond, Pacific Jazz). Charles Findley, trum

pet; Gerry Mulligan, composer; Bill Holman,

arranger.

ML: It sounded to me like it niight beBuddy Rich's band. I haven't heard this,it might be from their new album. I'mnot really sure, though some of the littlefills sounded like Buddy, or a guy playinga little like him. And the band had thatclean, well rehearsed sound. The tunesounded like an English folk song. Idon't know who wrote it, and I don'tknow who the soloists were or anything,but it was a very good, clean ensemble.

I'd rate it around three stars for a niceclean performance. It didn't really swing—actually, it sounded like it was beingread, or something, so it wasn't reallyd b t it d

TJ: I thought the arrangement was little busy. He didn't really take full avantage of some of those harmonic-typstructured things. It was a little demaning, and that probably accounts for thfact that it sounded like the musicians ga little tired near the end. There wequite a few notes to be played.

I liked the melody, and I agree wiMel that it did sound like an English fosong. I liked the idea, the thought behinit, but I feel that possibly a little mocould have been done with it.

ML: Yes, it seemed like it was all esemble—excellent ensemble—althougthere was a very good trumpet solo, whoever it was. It was as though they we

just going for a short track period, athey had to get it all in in a short timThere were several places there it couhave been stretched out and given thfellow a rest and maintained some kinof strength at the end, instead of peterinout. I rated it earlier at three, and Istay with that.

T J : I'll go along with that, three staalso.

Afterthoughts:

L F : Can you think of some other reords that you would have given five star

ML: That's very difficult to answer. Ieasy to say "anything by Duke," the waso many people do—that's the easy waout. Nothing else comes to mind at thmoment, except that I'm very proud oour own band and I hope we'll continualong the lines we've been going.

T J : I always look for shading, powegood intonation, and a sense of the guyinvolvement—there should be examplof these qualities somewhere or oththroughout the whole album. On thbasis, I'd say that Duke's Afro Bossa

a complete five-star album. All the tun

were so great, and it was made whiSwee' Pea was still with us—he played othat wonderful composition of his, Asinthe. You won't find any greater albuthan that gJJ



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K I NG M U S I C A L . I N S T R U M E N T S

CAUGHT IN THE A C T

Kaleidoscope: top (I to r): John Vidican, Fenrus Epp, Lloyd Darrow; bottom: DavLindley, Solomon Feldthouse. • •

Kaleidoscope/Youngbloods/Steve Mil

ler Band

Carousel Ballroom, San Francisco, Calif.

In operation only about a year, theCarousel is one of the newer of the largepsychedelic total-environment dancehallsthe San Francisco scene has spawned. Italso is one of the handsomer, boasting anumber of comforts that the large, better-

known rock halls do not possess: a decent,well-appointed restaurant adjoins the halland offers moderately priced meals, a largesnack bar dispenses the more usual fare,and there is a seating area where one maytake a respite from the hectic dance flooractivities. Too, there is the usual top-notchlight show that one has almost come totake for granted, this one by the NorthAmerican Ibis Alchemical Co.

And the hall books top groups, as thisrecent billing of three popular bands demonstrated. A mixed grill, this. The Millerband is a San Francisco-based quintet thatdispenses a heavy, blues-based, very electric brand of rock. The Youngbloods, atrio hailing from the New York City area,pursue a type of rock that is genteel andsomewhat cool. The Los Angeles quintetKaleidoscope hews to an approach thatmight be described as electric eclectic.

The latter led off the evening's activitieswith'a Set that was strong, full of variety,and totally professional, fully eclipsinganything I've heard from them in a longtime. During the last year or so, I'vecaught them a number of times, generallyin the L.A. area, but I can honestly saythat this was the best music I've ever heardfrom them. They've gotten so tight in thelast few months.

It's a curious, stimulating, unique group.In their choice of material they range allover the place: old-timey hillbilly music,contemporary country-and-western, modern-styled blues from Chuck Berry to

Howling Wolf, latter-day Cajun-cum-coutry-and-western, good-time jazz hokuflamenco, modern Arabic cabaret mustheir own brand of psychedelia (the leainteresting music they' perform, unfortnately), and just about everything in btween.

The truly surprising thing is not ththey do so many different types of mu

during the course of a brisk set but ththey are so comfortable in all of theThey're equally at home, for example, wiCharlie Poole's version of Hesitation Bluas with Emin Gunduz' Shish Kebab (whithey do as Egyptian Gardens), or wRusty and Doug's Louisiana Man. And things considered, they do them well, wthe same kind of joyous expertise. Yet thhave an indentifiable sound, despite teclecticism of their approach and the fthat one can pretty much identify tsources of the individual pieces they pform. Much of that identity is probabaccidental, the result of the vocal blend Solomon Feldthouse and David Lindle

who handle the bulk of the vocal chorwith the group. And naturally, of courthe very breadth of the material impaits own kind of identity—there's' simply other band around nowadays that does many different kinds of things so suplatively well.

What particularly struck me about tband this particular evening was its nefound strength, assurance, and cohesivness. It seems to be more than the meprecision that results from playing tsame tunes over and over again. No, ifar more than that mechanical kind of pfection. It's as though the band has gott

a new intensity of focus. The interactiwas absolutely splendid, like a precisiwatch, delicate and tensile at the samtime. Listening to the first set, I was dlighted to hear this new strength of pu



PERFECTLY MATCHED ROY HAYNES/LUDWIGTo watch and hear the "d yn a m ic " Roy Haynes per form

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jazz musician. "Total ly Talented" Roy Haynes, the man

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that there is nothing more important to his sound than

the drums he plays. And his choice is Ludwig!

Roy Haynes demands of his drums the kind of feel and

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pose, this rapport, this maturity to theirmusic.

Lord knows the raw materials werethere; there's never been any shortage of instrumental skills in this group, whereeveryone seems to play a dozen instruments. In the past, however, the energiesseemed too diffuse, needlessly dissipated.Now that virtuosity, it seems, has beenharnessed, directed by a common set of goals. Kaleidoscope has become a tight,

disciplined band rather than a group of fiveuncommonly talented individuals.

Its first set demonstrated just how farit has come, for it moved expertly andspiritedly through a demanding, always interesting program, the highlight of which(for me at least) was an extended bluesthat revealed unsuspected depths of jazz

skills, culminating in an unexpected buttotally effective—in context—use of Monk'sStraight, No Chaser as a climactic riff overtwo choruses. Good improvising too, primarily by lead guitarist Lindley. Then therewas a fairly well-done piece from therepertoire of Howling Wolf; a hauntingelectronic updating of the old Anglo-American ballad Down By the Greenwood Sidee

(Child #20, The Cruel Mother); severalattractive, nicely moving samples of con

temporary country-and-western music, including a handsomely turned Buck Owenssong, with its pleasant semisweet harmonies. All in all, a good set, done withpower and taste, and with plenty of invention.

Next up were the Youngbloods, andwhile they offered a generally appealing,

We found the sound, man.

Fantast ic sound. The k ind you get f rom qual i ty in s t ru me nt s- bu t a t pr ices we cou ld

afford. We sho pp ed ar oun d. You kno w how i t is. An d we ende d up with a great grou p of

ins tru men ts. . . al l of 'em Yam aha . But that 's not al l . We even got Yam aha 's ampli f i er

with the revolut ionary "natural sound" speaker. We found the sound that turned us on.

And you c an , too. Right at your Yama ha deale r 's. (Now al l we nee d is a name fort hp group!)

I N TE R N A TI ON A L C OR P O R A TI O N • S ince 1 887 addre :

7733 Te leg raph Rck>; Mont ebe l lo , C a l i f o rn ia

P lease sen d me f u l l de t a i l s , p r i ces and new c i t y —

co lo r ca f a log f o r E lec t r i c Gu i t a r s

D r u m s C o m b o O r g a n A m p l i f i e r s s t a t e -

fast-moving set, I can tell you very littabout it. The trio's guitar-bass-drums music, you see, was thoroughly competent b

just as thoroughly unmemorable. They pdown a program of glossy, well-executepieces that had been so skillfully evisceated of any real emotional or intellectusubstance that one was almost gulled inthinking that he was listening to somethinmeaningful—the surfaces were that hansome. Pleasant enough while you heard i

their music was like Chines e food: tasbut unfilling. Ten minutes after tney haleft the stage one was left with absoluteno impression of their music.

In a way, it's too bad, because the grouis composed of obviously gifted singers aninstrumentalists, particularly the guitariswho also doubles on keyboard, playinboth with equal facility. Its approach basically a kind of folk-rock, rooted in bocountry blues (its first single on RCVictor, Grizzly Bear, was, significantly, remake of lim lackson's 1928 recording oThis Morning She Was Gone) and coutry-and-western, lead singer lessie ColYoung's orientation being primarily of thlatter. As I said, their songs and performances were capable enough but just toephemeral, too bland to make any real impact beyond a mere immediate kind oenjoyment.

Now the Miller band. Good and stronto be sure but, for me, a little too hectic, bit too excessive. There's no denying thenergy of the band: it puts out plenty othat hard, edgy, controlled hysteria; its amplifiers are perfectly calibrated for just thright shade of fashionable distortion; anits textures are of just the proper densiof fudginess. But the music doesn't movthough there's certainly a great deal o

activity through it. The trouble is that athat activity is just so much busynerather than forward motion, noodling istead of directed improvisation.

It is Miller's lead guitar that sparks thgroup, and when he's on, he drives it to repeaks. He's still too erratic, however, antoo often relies too heavily upon his abudant technique as a substitute for inventioAt these times he quickly gears up to aexcessive, forced-climax style of playinthat's nothing so much as electronic schizphrenia: disconnected, agitated outbursof notes and phrases, delivered at frantspeed and full of a kind of nervous excitment. Fission rather than fusion, with gre

quantities of misspent energy careeninfrenziedly across the surface of the musiAnd so much nervous agitation, so muamphetamine guitar, so much texturbusyness, so much noise quite numbs yoto the fact that beneath those writhinsurfaces there's no heart, no emotional intellectual content. It's the nervous systegone mad.

A few positive notes: the band is cosiderably tighter and is operating at a mumore consistent level of performance nothan in the past, possibly as a result of having had to get itself and its material tgether for a recent Capitol LP. And work does evidence a greater concern wirestraint and disciplined control nowadayThen, too, it has begun to temper theaviness of an unrestrained blues-basapproach with a few lyrical, more son



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like pieces. And Miller's singing has iproved vastly. But the over-all impressionstill one of an excessive busyness and a tgreat reliance on effects as ends in theselves rather than as means to a more fective musical expression.

When the Kaleidoscope returned fits second set, it sounded as though had been infected with the same viru

Low point of the set was a lengthy anin the end, tedious exercise in feedback guitarist Lindley. This occurred as t

middle section of an extended performanof Howling Wolf's Killing Floor, whiboasted a rather wooden vocal by Felhouse over a generally idiomatic renderiof the instrumental parts of Wolfs originrecording of the song. Then, for 10 mutes or so, Lindley fiddled with his" diaamplifier, and strings, creating a veritabblitz of electronic shrieks, burps, groanbleats, and other assorted noises. One the episodes in this barrage was a kind rock version of the Big Noise from Wnetka ploy. Turning his amplifier contrfull up, Lindley strolled across the staand j amm ed t he neck of h>'s guita r into ttop of the hi-hat cymbal rod. Every timdrummer John Vidican struck the cymba shuddering percussive shock was emittfrom the guitar speakers, Lindley all twhile pinching and striking at the guistrings. It had to be heard to be believeWhen this pointless display was ended wa return to Killing Floor, one experienca tremendous sense of relief (perhaps tvery effect Lindley wished?). I then nticed that I had been grinding my teeWelding, you old reactionary you!

Two other features of the band's were unusual enough to warrant a few marks. Kaleidoscope has in its repertoirenumber of samples of what might be call

exotic musics, and on this night Feldthouhad decided to provide visual samples well. Therefore, the band cleared the staof microphones, etc., and made way forpair of flamenco dancers who performwhile Feldthouse provided suitable musicaccompaniment on acoustic guitar, as was furnishing a curdled vocal.

The dancing was not particularly gobut adequate enough for the by-this-timoverstimulated audience, who lapped it uUnfortunately, the guitarist's time was nwhat it should have been either.

This same trouble with time marked tsecond foray into the unusual. The fband returned for one of its Arabic ftures, Taxim, with Feldthouse on ouLindley on harp guitar, and Maxwell Buda on violin—all amplified, and w

joined by belly dancer Princess Tahe(Glyn Deffry). The band's performanwas spirited but the time erratic. It donot seem entirely comfortable with thunusual (for Western ears) time signaturthough it does make a manful attempt re-creating them. Despite the rhythmic varies Taheyya danced beautifully, with elegant restraint and graceful sinuosity tcontrasted strikingly with the disjunct frenof the music. Her performance, in fact, wthoroughly professional in every respe

and her command of this difficult type dancing was such that she made one ovlook the time problems—no mean feat. Sgot a huge, well-deserved hand. —Weld



PATTERNS FOR SAXOPHONE

by Oliver NelsonOliver Nelson's Patterns for Saxophone are designed as an

aid to developing improvisational facility. It is assumed thatthe student has already mastered the major and minor scales,the construction of simple chords and their inversions, and anunderstanding of musical forms.

The examples are to be played with a melodic, legato jazzconcept and not in a classical manner. They may be playedas fast or as slowly as the student wishes.

Example 1

This is a Cycle of Fifths. Four note pattern, high and lowoctave, 1st, 2nd, 3rd and 5th notes of the major scale.

U P 1 rg 1 i J , i l |T i r r r3 | r f . i r [ r r%r l i r r >

Example 2

Triads ascending. First triad in root position upwards;second triad half step up (reverse order beginning with 5th) .Each major triad follows in sequence.

34 D O W N B E A T

Copyright 1967 by Noslen Music, Inc.; used by permission



UNDERSTANDING MUSIC By Robert Share

Modal Scales

Two important terms in analyzing themelodic and harmonic content of a composition are "tonality" and "modality."Tonality refers to the actual notes usedas the scale basis for a piece of music;modality refers to the intervallic arrangement of those notes.

f the C Major Scale contains the notesC, D, E, F, G, A, B, then any other scaleontaining these same notes would be inhe same "tonality" as the C Major Scale.f, however, the order in which the notes

of the scale occurred were to be changed,he "modality" would be different.Example I. Same tonality, different modal

ty.

a.

0L g

Using the Major Scale as a basis, thereare seven different tonally similar andmodally related scales that may be derived. Following is a listing of these scaleswith the names conventionally assigned tothem as well as an intervallic indication of heir structure.

vE

* -L

- C IONIAN (MAIOR)

b Dorian

E NUtlfclldl

7\.S

a ^ : A r / ^ t 7

As stated above, modality would be controlled by intervallic arrangement. A Dorian Scale, therefore, could be built on anystarting note by simply using the sameseries of intervals. (For proper spelling,be sure to use seven adjacent letter names.)

Zi.l 0 bftftlK*

C DbWMi

To form a "C" Phrygian Scale, refer toand use the intervals of the PhrygianScale structure as indicated in Example 2.

Ex.t C P T O M i

7 mIf you are familiar with all of the Major(Ionian) Scales, there is a simple way tofigure out any of the Modal Scale signatures. The procedure is as follows:To get Dorian from Major, add 2 fiats.To get Phrygian from Major, add 4 fiats.To get Lydian from Major, add 1 sharp.To get Mixolydian from Major, add 1 flat.To get Aeolian from Major, add 3 flats.To get Locrian from Major, add 5 flats. Example V

C IONIAN t MUbliblAH

c mm

c m u m c LottlMt

C LiblAH

& AEOLIAN

& LOIRIAN

Note: Sharps cancel out flats.

D Major ( 2 sha rps ) + 3 flats = D Aeolian(1 flat).E Major (4 sha rps ) + 3 flats = E Aeolian(1 sharp).If all of the preceding is clear, you should



WITH MILES DAVIS' 1959 recording of So

What (o n Kind of Blue [Columbia CS8163]), jazz education was given a tremendous boost. So What is a modal pieceemploying two scales, both minor (doria nminor), and therefore emphasizes melodyand rhythm rather than harmony. Sincethe appearance of this famous recording,

jazz musicians all over the world havetried their hand at writing modal songs andimprovising on a modal structure. A

modal piece employs one scale, usuallyminor, for four, eight or more measures.In the course of one song, you may playin several tonalities, staying in each keyfor four, eight or more measures beforemoving to the next key. Major or dominant7th scales may be interspersed among theminors to add variety. The early '60sserved as a proving ground, and the impactof modal music has made the teachingof jazz improvisation a reality.

This lesson is the first of three designedto provide a guide to improvisation throughthe use and manipulation of scales, modesand chords.

In order to improvise on any piece or

prearranged set of chords or scales themusician must know and have memorizedthe notes of each scale which appear inthe song. The majority of jazz pieces andstandards, modal or otherwise, use combinations of major, minor (dorian minor),and dominant 7th scales. This lesson willconfine itself to ways of familiarizing oneself with these three types of scales.

Since the modal approach to improvisation is an excellent way for beginners tolearn, let us start by practicing three minorscales, F minor, Eb minor and D minor,in eight-measure phrases and then transpose these exercises to other keys: major,

dominant 7th and minor. Practice Example1 over and over, gradually increasing thespeed until you have the three scalesmemorized. Slur all examples.

After practicing these three scales atvarious tempos, play them in thirds asnotated in Examples 2 and 3. Memorizethese examples as quickly as possible. Asoloist who does not have his scales andpatterns memorized will find it difficult tocreate meaningful melodies because he willbe struggling to play correct notes.

After playing Examples 1, 2 and 3, play

these same patterns, but substitute other

scales (major or dominant 7th). For in

stance, Example 3 played in C Major

would sound like Example 4. (All of the

examples in this lesson are to be used as

a guide and should be transposed to all

other keys: minor, major and dominant

7th.)

Next, practice Examp le 1 in quarter-notes, making each scale last eight measures. Example 5 demonstrates this. Besure to slur.

Examples 2 and 3 combined and played

in quarter-notes will sound like Example 6.

Play all examples with an even, steadypulse. Work for speed and do not avoidpassages tha t req uire unfam ilia r fingerings.

Transpose all of the above examples toother keys.

The next lesson will introduce rhythmand actu al impr ovisa tion. T̂T?̂

IMPROVISATIONAL METHODS

By Jamie Aebersold

Example 1

F met

Example 2

F in * *

-a—-— Example 3

F mulct

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jpf [> If .1 If J I J Example 4

Example 6

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Y f P i f r ' T r l r W r d f f r Jft-

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AEBERSOLD(Continued from page 21)

Aebersold recently played at the sum

mer art festival sponsored by IU south

eastern campus in Jeffersonville, at the

r eq u es t o f t h e s ch o o l . H i s c o m b o

played a mixture of jazz and pop tunes

and drew crowds of people.

The demand for Aebersold to come

to schools across the country to teach jazz in private lessons and to play with

the school bands and combos is growing.

His enthusiasm for jazz and his own

playing seem irresistible to some young

musicians.

The people range from youngsters

and young men to those who are middle-

aged. Included are men already well

established in music who want to learn

improvisat ion.

At the end of one of his clinics some

of his students v/ere talking.

"You talk about talent, but it's en

thusiasm—that's what he does for you,"

said a drummer.

"H e's something else," the dru mme r

said, "and he doesn't get paid for thiseither. Just helps anybody that comes

along. . . . Man that's something."

"Yeah, dedicat ion—that 's what you

gotta have, and, man, he's got it," an

other student said.

Three of Aebersold's students were

among the top four winners in the audi

tions sponsored by the Louisville Jazz

Council to send students to the 1968

summer jazz clinic for a week at Mili-

kin. They are Danny Roseberry, piano

Jim Denny, tenor saxophone, flute; and

Ken Slone, trumpet.

Aebersold has been asked to instruct

at the Shell Lake stage band clinic in

that Wisconsin community. And recently

Aebersold taught at New Trier HighSchool in Northfield, 111. He held classe

on improvisation daily for two days and

rehearsed with the stage band and com

bo after school. Aebersold played in a

concert with students in the New Trie

stage band his last night there.

"I think it's just about the greates

thing going," Aebersold said, referring

to the work Roger Mills, band directo

of the New Trier West High School, is

doing.

"He has the ideal setup. He's got a

great stage band and sextet, and he'

also training an octet made up of freshmen. The enthusiasm of those kids i

fantastic. With the training octet, you

get better musicians in the stage bands

The kids like it more and try harder so

you're getting the best musicians among

them in the stage band. They think it'

more fun than any other ensemble. They

just seem to be intrigued by it."

The versatile Aebersold is rising in

the jazz education field. And he is stay

ing on the edge of his creativeness. ggf

NELSON(Continued from page 17)

H e finds it exci ting to see the look of

discovery on the face of a young musi

cian as he begins to see more clearly

into this thing called jazz. "When I se

someone frowning and looking up a

the ceiling I can almost see the door

opening. That's exciting," Nelson says

"It is a great thrill to hear 16 or 1

kids that sounded plain rotten on th

first day actually sound good at th

end of the fifth day. Sometimes the

are so enthused that they have eve

asked me if they should go out on th

road ."

Nelson expects to continue to fin

the time to participate in educationa

work for many reasons. He obviousl

likes to help young musicians to fin

their way into the jazz world. He feel

a responsibility to the music as well a

to the students. He is still young enoug

to remember his own problems in gain

ing experience and insight, and he als

finds that interaction with the student

helps him learn more about himsel

and his music.

It is fortunate for the students a

tending clinics and festivals that the

are able to study under such gifte

and dedicated professionals as Olive

N el so n. |

1969 Grants Total $6,500.00

Down Beat's 12th Annual

Hall of Fame Scholarship GrantsIn 1956 Down Beat established an annual scholarship program in honor of its Jazz Hall ofFame, suitably located at the internationally famous Berklee School of Music in Boston,Mass. , U.S.A.

The Hall of Fame Scholarship progra m provides for fourteen (14) scholarship grants to beawarded to student musicians on the basis of their potential and current abilities.

Members of the Jazz Hall of Fame whom these scholarships honor are elected by DownBeat's annual Readers and International Jazz Critics Polls. The Berklee School of Musicoffers a four-year music and academic curriculum leading to the Bachelor of Music degreein Composition, Music Education or Applied Music; and a four-year professional diplomacurriculum with recognition in Arranging/Composition or Instrumental Performance.

WHO IS ELIGIBLE? Anyone, male or female, regardless of national residence, fulfillingthe following age requirements is eligible.

Junior Division (under 19 ): An y instrumentalist or arra nger/ compo ser who will have graduated high school and who has not reached his 19th birthday on or before September 1, 1969.

Senior Division (over 19 ): An y instrumentalist or arra nger/ compo ser who will have had his

19th birthday on or before September 1, 1969.

DATES OF SCHOLARSHIP COMPETITION: Official application must be postmarked

not later than midnight, December 24, 1968. Scholarship winners will be announced in anApril, 1969 issue of Down Beat.

HOW JUDGED: AH decisions an d final judging are the exclusive responsibility of DownBeat and will be made on the basis of demonstrated potential as well as current musicalproficiency.

TERMS OF SCHOLARSHIPS: All Hall of Fame Scholarship grants are applicable againsttuition fees for one school year (two semesters) at the Berklee School of Music. Uponcompletion of the school year, the student may apply for an additional tuition scholarshipgrant.

AM scholarship winners must choose one of two possible starting dates: September, 1969 orJanuary, 1970, or else forfeit the scholarship award. Scholarships are not transferable.

The 1969 Hall of Fame Scholarship grants are made in the following amounts:

Two scholarships valued at $1,000.00 each $2,000>.00Six scholarships valued at $500.00 each $3,000.00

Six scholarships valued at $250.00 each $1,500.00Total value of Down Beat's 1969 Scholarships $6,500.00

HOW TO APPLY: Fiii out the coupon in this announcement, or a reasonable facsimile, andmail to Hall of Fame Scholarship, Down Beat, 222 West Adams St., Chicago, Illinois 60606.Yo u will be sent immediately a n official app lication form. Wit h the official appli cation , youwill be required to send to Down Beat a tape or record of your playing an instrument or ofan ensemble performing your original composition and/or arrangement.

Hall of Fame S chola rsh ips Date

D O WN BEAT • 222 W e s t A d a m s St. • C h i c a g o , III. 6 0 6 0 6

Please send me, by return mail, an official application for the 1969 Down Beat Hall ofFame Scholarship grants. (You or your teacher or your guidance counselor may requestadditional ap plicat ions at no cost.)

Name ,

City State Zip .

hfsa



D LIBontinued from page 74)

ey, which has lately become receptive tomerican jazz. But Shearing recently reeived a call from Lee announcing his imending return . . . A strange one-nighter

Hollywood Bowl found Duke Ellingn headlining the concert minus his band,

ut accompanied by some of his sidemen:o hn ny Hodg es, bassist Jeff Ca stle man,

nd drummer Rufus Jones. Duke alsod a symphony-sized orchestra in theest coast premiere of The Golden

room and the Green Apple. Receptionas definitely unenthusiastic. Oscar Peter

o n and his trio were featured on theame program, as was pop singer Vikkiarr. The band backing her boasted localazzmen Bill Hood, Ralph Pena, Jack imitz and John Rotella . . . Stan Getzade some west coast appearances re

ently and had problems trying to line upcal musicians. Getz called Joe Pass toin him at the Trident in Sausalito, butass could not give up his job with theoger Pearsall Quartet on a morning

how on local TV. Getz called Ralphena to join him at the Penthouse ineattle, with Mike Nock, piano, and Ede Marshall, drums. That gig lasted only

ne night. Pena has been traveling arounde west participating in stage band clins in Portland, Sacramento, and Saltake City with Neal Hefti, Toshiko, andtan Kenton trumpeter Ja y Daversa. . Hampton Hawes is now a Sunday

xture at Redd Foxx's. He had Albert

Stinson, bass, and Carl Lott, drums forthe kick-off matinee. What happened toStinson recently could serve as a warningto other bassists who have not yet "givenin" to today's sound: He lost a chance torecord a movie score at Universal because he did not have an electric bass. . . A recent pairing at Shelly's Manne-Hole found conga drummer Big Black and singer Letta Mbulu there for twoweeks. Miss Mbulu used her own pianist,

Clarence McDonald, along with Black'sgroup: Owen Marshall, trumpet; Thur-man Green, trombone; Chet Washington, tenor sax; Ro n Johnson, bass; Benny Parks, drums . . . The Tonight show,which has been making semi-annual visitsto the west coast, will now emanate fromBurbank's NBC-TV studios three timesa year—and that's good news for Local47, because the only musician to travelwith Johnny Carson is his music director, Doc Severinsen. The remainder,contracted by AI Lapin , are local studioswingers: Jo hn Audi no, Conte Cand oli,Maurice Harris, Jimmy Zito, trumpets;Gil Falco, Nick DiMaio, Ernie Tack,

trombones; John Bambridge Jr. , BillPerkins, Plas Johnson, Pete Christl ieb,Jim Horn, reeds; Ross Tompkins, piano;Joe Mond rago n, bass; Louis Bellson,drums. These musicians played the showfor its two-week stay in July, and according to Lapin, the same sidemen will be inthe band when Carson and entouragehead west again in November . . . GeorgeWein's (and Schlitz') Salute to Jazz

played an extremely successful one-night

er in San Diego's International SportsArena. Drawing well over 7,000 fans, theconcert featured the combos of Cannon-ball Adderley, Herbie Mann, Gary Burton, Jimmy Smith, Thelonious Monk,and singer Dionne Warwick. The evening marked an interesting transfer asguitarist La rr y Coryell defected fro mBurton's group to join Mann. Since bothgroups were on the same program, SanDiegans had the rare opportunity to hear

Coryell's last appearance with Burton andhis first contribution to Mann's combo—which, incidentally, already has a guitarist: Sonny Sharrock . . . Tony Bennettenjoyed a celebrity-sprinkled, often SROtwo-week engagement at the CocoanutGrove, backed by Frankie Ortega's band.After Tony's opening, his fiancee, SaudiGrant, pulled off a surprise birthdayparty for Bennett by gathering PeggyLee, Duke Ellington, Quincy Jones, Louis Bellson, Neal Hefti, Jo hn ny Man deland Cy Coleman. Bennett and MorganaKing, who just appeared on TV's Playboy

After Dark, will be together on the newsyndicated Corbett Monica Show, for

which Mike Melvoin was recently namedmusic director. Miss King subbed for thepop group The Let te rmen at the Century Plaza's Westside Room when amember of the vocal trio became sick.At the same time, in the Century Plaza'sLounge, the Hong Kong Bar, Joe Williams followed the Jonah Jones-Joe Passpackage. Following his Hong Kong gig,Jones flew to Detroit for some "current-sound" recording for Motown . . . Ella

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T h e r e i s n o t h i n g l i k e i t !

Fitzgerald will appear with Carol Bur

nett on Miss Burnett's show this fall . . .

When Diana Ross and The Supremes

and Stevie Wonder played the Forum in

Inglewood, gate receipts flirted with the

$100,000 mark for that one-nighter, thanks

to the largest indoor crowd in California

history: 18,537. There weren't nearly as

many at the Shrine Exposition Hall in

Los Angeles for a three-night jazz, blues

and rock (and psychedelic light) show.

Among those participating: Charles Lloyd,Ornette Coleman, Ike and Tina Turn

er, Big Mama Thornton and the Origi

nal Hound Dog Band, and the Butter-

field Blues Band . . . The Sound of

Feeling made its first local appearance

since returning from the Newport lazz

Festival, playing a one-nighter at Donte's.

The Craig Hundley Trio also returned

to Donte's for the Sunday matinee por

tion of a day-night double header. The

team playing at night was Clare Fischer's

big band. Vocal night at Donte's began

with Mary Ann McCall, backed by the

Marty Harris Trio, and Trombones Un

limited, fronted by Frank Rosolino and

Mike Barone, did three weekends . . .Bobby Troup, expanding his trio (John

Collins, guitar; Whitey Hoggan, bass) to

a quartet on weekends, has used Nick

Ceroli, Norm Jeffries and Panama

Francis (a recent emigre to the west

coas t) . . . When Clara Ward and her

singers finish their fifth year at the Golden

Horseshoe at Disneyland, they'll embark

on a tour of Japan in September, and a

tour of England in November . . . Dolo

Coker and his trio are now in their third

year at the Club Casbah. Coker, piano;

Harper Cosby, bass; and Everett Brown

Jr., drums, are backing vocalist Sam

Fletcher. Recently they had the extra

kick of backing Sarah Vaughan, whowas in town for a brief visit . . . Vi

Redd followed Bobby Hutcherson-Har-

old Land into the Lighthouse. During her

two-week stand, the altoist-singer was

backed by Joe Sample, piano; Andy

Simpkins, bass; and Stix Hooper, drums.

Chicago: Pianist Eddie Higgins' house

trio (Eddie DeHaas, bass; Marshall

Thompson, drums) headlines at the Lon

don House through Sept. 8, with Higgins

doing his "salute to the London House

greats," pastiches of the styles of Erroll

Garner, Oscar Peterson, George Shear

ing, and Ramsey Lewis. Mongo Santa-maria's Latin jazz group follows through

Sept. 29, and Earl Hines and his quartet

take over Oct. 1 . . . Kenny Burrell re

ceived first-rate backing from sidekicks

Richard Wyands, piano; Martin Rivera,

bass, Bill English, drums, during his

Plugged Nickel engagement, with Wyands

particularly outstanding. Cal Tjader's

group followed . . . Singer Joe Williams,

backed by pianist Larry Novack's trio,

taped a special for WTTW-TV . . . The new

Tejar Club booked Young-Holt Unlimit

ed , with pianist Ken Chaney, as their

second attraction . . . Count Basie head

lined a blues show at the Regal featuring

B. B. King, Bobby (Blue) Bland, Little Milton, Albert King, and Junior

Parker. Miriam Makeba and Jack Mc-

Duff also performed at the theater in

August . . . The Who and the Mother

of Invention played the Electric Theate

where Big Brother and the Holdin

Co. also held forth . . . Aretha Frankli

packed them in at the Auditorium Au

2 . . . Carmen McRae headlines at M

Kelly's through Sept. 15, followed b

Mara Lynn Brown (Sept. 16-29) an

Frank D'Rone (Sept. 30-Oct. 10) . .

Trumpeter Norm Murphy's houseband

the Pigalle celebrates its ninth month i

residence there during September . . Woody Herman cut his first album fo

Cadet, with charts by Richard Evans.

Detroit: Trombonist Jimmy Wilkin

big band was set to back singer Carme

McRae at Ford Auditorium Aug. 9 . .

The Detroit Creative Musicians Assoc

ation, which had been operating from th

Universal Kingdom Afro-Culture Cente

pulled out following disputes with th

management. The move caused temporar

cancellation of their afterhours session

as well as a July concert. Progress is b

ing made toward finding a new home fo

the organization, according to presideJames Brown . . . Farr and Farr's Au

ust Jazz Festival at the Art Institute fe

tured bassist Ernie Farrow's quint

(John Hair, trombone; Joe Thurma

tenor; Teddy Harris, piano; Bert Myric

drums); organist Charles Harris' tr

(Marvin Cabell, reeds; lames Brow

drums), and pianist Kirk Lightsey

trio, with a recent arrival from Clevelan

Charles Dungey, bass, and Doug Ham

mon, drums. Lightsey's trio also did on

weekend at the Robbin's Nest . . . Farro

and pianist Ben Jones continue in drum

mer J.C. Heard's trio at the Playbo

Club . . . The Farr and Farr concert waa farewell appearance with Harris f

Brown and Cabell, as Brown's new grou

The New Art Jazz Quartet opened

the Fireside Lounge of the 20 Grand, r

placing reed man Mike Olsheski's grou

Rounding out the quartet are reed ma

Charles Miles and organist John (Yog

Collins, a holdover from the Olshes

group. Harris remains at the Argy

Lanes. His new group features altoi

Larry Smith, recently returned from

long stay in Pittsburgh, and another new

comer, Byron Lyles, drums . . . Follow

ing Sonny Stitt's successful engagemen

pianist Kenny Cox brought his Ja

Masters (Charles Moore, trumpet; LeoHenderson, tenor; Ron Brooks, bas

and Danny Spencer, drums) back to t

Drome. Spencer has been nursing a bad

injured foot, but has managed to ma

every set. He did relinquish his spot wi

the Detroit Contemporary Five to Do

Hammon or Bud Spangler several nigh

The group had been appearing af terhou

at the Society of Experimental Ar

which is at least temporarily closed d

to what is variously described as "licen

ing problems" or "harassment" . . . la

can once again be heard weeknights at t

Hobby Bar. Responsible for the soun

are organist Clarence McCloud, guitarJames UUmer, and drummer Isaac Dan

. . . Tenorist Flip Jackson's group at t

Town Bar in Ann Arbor has become



uintet with the addition of trumpeter

esse Virdon.

New Orleans: The Sunday Afternoonazz Society continues to import modernazz stars to play with top local rhythm

ections. Milt Jackson, Sonny Stitt, andames Moody were recent attractions,nd Cal Tjader, Jerome Richardson,nd Roland Kirk are set for Octoberppearances . . . Pete Fountain has

moved into his big new club in the 200

lock of Bourbon Street after almost aecade on the fringe of the show-and-jazzrea in the French Quarter . . . Tradionalists Billie and Dede Pierce and

heir Preservation Hall Jazz Bandlayed for a Jazz Boat Ride on theteamer President in early August . . .

Organist Willie Tee was in California lastmonth, completing his album which wasut in part here under the supervision of

Cannonball Adderley . . . Pianist Buddyrima filled in for Ronnie Kole on a

ecent Sunday session at the latter's Westank club, Cozy Kole's. Kole and his trio

were among the acts featured on theBiggest Show in Town, a police fund

enefit at City Park Stadium last month. . Bassist Bill Huntington returned to

New Orleans for a brief visit while oneave from an Atlanta, Ga. engagement. . The Tulane Jazz Archive moved into

arger quarters when the new Tulane Uniersity Library opened this summer . . .rumpeter Dutch Andrus' combo subbed

for a month for the Crawford-FergusonNight Owls on the President while trombonist Paul Crawford toured Europe witha Louisiana goodwill delegation . . .British clarinetist Bobbie Douglas, formerly at the Dungeon annex here, hasbooked a tour of South Africa and Rhodesia next year.

Washington, D.C.: Charlie Byrd re turned recently from a very successfultour of the Far East for the State De

partment. While he was away, GeorgeShearing and Erroll Garner visited theByrd's Nest in suburban Washington, andlater, Brazilian singer Joao Gilberto andthe Ray Bryant Trio shared the bandstand . . . Jimmy McPhail's Gold Roomhas instituted a name jazz policy with Al

Hibbler, Junior Mance, Young-HoltUnlimited, Wynton Kelly's trio, andsinger Irene Reid appearing in successiveweeks . . . The Bohemian Caverns hasfeatured Les McCann's trio and a quartetled by vocalist-artist-musician Lloyd Mc

Neil (Lawrence Wheatley, piano; Marshall Smith, bass; Eric Gravatt, drums).More local groups will be featured incoming weeks . . . The Carter BarronAmphitheater had a couple of weeks devoted to jazz. Th e first week's entertainment was provided by Ella Fitzgerald,Herbie Mann's quintet, and CharlieByrd's group, followed several weeks laterby Sergio Mendes' Brasil '66 . . . Roberta Flack and her trio took a vacation

from Mr . Henry's on Capitol Hill. Subbing ably in their absence was singerMarge Dodson. Miss Flack has reportedly signed a recording contract with Atlantic . . . For the last seven months,Hysear Don Walker, formerly of Young-Holt Unlimited, has been playing at thepiano bar of the Carroll Arms Restaurantin relative obscurity from which manylocal jazz fans hope he will soon emerge. . . Frank Hinton's trio returned to theTalleyrand . . . The ubiquitous JohnEaton is now house pianist at the Corsi-can, and John Malachi and his trio havebeen playing an extended engagement atthe Shoreham Hotel.

Philadelphia: Betty Green is sounding and looking quite beautiful since herreturn to singing after a long convalescence. Miss Green brought in guitaristBert Payne, a former member of theLouis Jordan Tympani Five, for an appearance at the Sahara Hotel's DesertRoom on S. 15th St., joining organistEddie Christopher and his group. Vocalist Billy Paul, back in town for a fewdays, sat in with Miss Green. Paul hasadded guitarist Eddie McFadden an dbassist Tyrone Brown to his group . . .St. John Terrell's Lambertville, N.J. Music Circus had Lo u Rawls an d Stan GetzAug. 4 and 5 . . . Jackie (Mr. Hot Pi

ano) Lee has been playing at Elmers inWildwood, NJ. . . . Damita Jo was infor a one-nighter Aug. 4 at Atlantic City's

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42 • DOWN BEAT

Hotel Traymore . . . In Trenton, N.J.,th e Wolverines have added trumpeter Ed-

die Paulsen to their Saturday night Dixieland sessions at the Gaslight. Dixielandfans in the Reading, Pa. area were treatedrecently to an evening with Craig Fisher's Dixielanders with Dan Deturck onbanjo at the Ponderosa Inn in Werners-ville, Pa. . . . The Showboat Jazz Theatr'slocal talent summer policy recently foundvocalist Ernie Banks backed by tenorsaxophonist Bootsie Barnes, pianists

Johnny Ellis and Kolman Duncan, bassist Spanky DeBrest, and drummer EddieCampbell. Alto saxophonist Danny Turner joined the group for a set . . . Trumpeter Charlie Chisholm has formed anew group known as the New Philadel-phians, with Elsworlh Gooding, tenorsaxophone; Herbie Nix, organ, and Sonny Gillette, drums. The group has beenacting as houseband at Laurettas Hi HatClub with vocalist Eula Lawrence added.The group has a single coming out onthe Quaker City label, and an LP of Chis-holm's "Boss-tet", recorded live at theCadillac Club, was set for August release. . . AFM Local 274 recently had trum

peter Kit Carson, pianist Sam Dockery,and bassist Skip Johnson on hand backing vocalist Vivian Hutchenson for aroom full of listening musicians and theirguests. Trumpeter Johnny Coles wasamong those near the bandstand . . .Max Roach recently dropped in at theMusic City store operated by drummersEllis Tollin and Bill Welch during theweek of his engagement at West Philly'sAqua Musical Lounge. It was interestingto hear him explain the difference between Cuban and Afro styles of drumming and watch as he and a young friendtried various conga and bongo drums.Drummer Chuck Lampkin (formerlywith Dizzy Gillespie and Ahmad Jamal)has been teaching at Music City for aspell . . . Saxophonist Muhamad Habee-balah was slated for a week at SonnyDriver's First Nighter Supper Club . . .Th e big Frank Sinatra fund-raising showfor Hubert Humphrey held at the Spectrum was booked for the same hours thatfound a big rock 'n ' roll show at the JFKStadium (the last of the Schmidt Beer $1concerts).

Las Vegas: Th e Harry James Bandplayed its first date at the Frontier Hotel

in July, and with drummer Sonny Payneand singers Joanie O'Brien and ErnieAndrews featured along with the Jamestrumpet and the sounds of the big band,the package proved to be a strong attraction during the peak summer season. Personnel was Tommy Porrello, Tony Scod-well, Bob Faust, Al Yeager, trumpets;Jim Huntsinger, Ray Sims, Marty Har-

rell, trombones; Joe Riggs, Corky Corcoran, Don Mohr, Ro d Adam, JackO'Keefe, reeds; Jack Percival, piano;Don Baldwin, bass; Payne, drums . . .A belated birthday celebration was givenLouis Armstrong during his recent engagement at the Tropicana's Blue Room,

and was highlighted by a musical tributeto Louis played by New Orleans trumpeter Wingy Manone and his group . . .

3 8- 01 2 3 R D A V E N U E

L O N G I S L A N D C I T Y . N.Y. 11105

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44

TODAY'S

CYMBAL SOUNDFrom P R E M I E R dea le r s th roughou t the wo r l



Mongo Santamaria returned to Caesarsalace for another successful mid-summerate and presented exciting sets for bothhe listener and the looker in the lounge.

Also at Caesars Palace, and alternatingwith Santamaria, were the dynamicCheckmates Ltd. (Bobby Stevens, Son

y Charles, Marvin "Sweet Louis"mith, Harvey Trees, and Bill Van Bus-irk), with strong backing by the Steveerlow Band, with Dick Hammergren,

Al Longo, Verne Guerlin, trumpets;Vince Abbatiello, Al Leonard, Hooteterson, trombones; Tony Osiecki, Per

ow, reeds . . . The Ramsey Lewis Triolayed a highly successful two-weeker athe Blue Room following Armstrong, and

return booking is anticipated in theear future . . . Bassist Rex Thompsonjoined the Carl Fontana Sextet at theilver Slipper . . . Guitarist Don Over-erg, while playing the Connie Stevenshow at the Flamingo Hotel, commutedack and forth to Los Angeles to tape theerry Lewis TV show. . . Former Kenton-

Herman tenorist Bill Trujillo recentlyjoined the relief band of Lewis Elias

fter some years in the houseband at thetardust Hotel . . . The swinging littleand backing the Vive Les Girls show at

he Dunes Hotel is led by trumpeter BillChase and features Phil Scellato andByron Lingenfelter, trumpets; Jim Walace, trombone; Jimmy Cook, Harry

Gard, reeds; Eddie Weid, piano; RoyShain, bass, and Tony Marillo, drums.

Japan: Miriam Makeba gave concertsn Tokyo in July . . . Dakota Staton was

booked at military clubs throughout Japann late July and early August . . . The

Ronnie Fray Trio, with guitarist-bassist

Alan Clark, arrived back in the Far Eastn late July to begin a two-month tour of

military clubs on Okinawa, Taiwan, thePhilippines, Thailand, and Japan, windingup here some time in early September

. . Mac's Hall, an afterhours memberhip-type club, was a favorite rendezvous

for sidemen of the Thad Jones-Mel LewisBand during its recent stay in Tokyo. Muicians taking part in all-night sessions withhe Yuji Ohno-Nakajima house trios in

cluded Jerome Richardson, Danny Moore,Pepper Adams, Jimmy Knepper, Richard Williams, and Seldon Powell . . .Although the Ventures and Gary and

Scott Walker had been booked for Julyand August tours of Nippon, interest inock appears to have passed its peak here.n recent weeks The Tigers and The Spi

ders, as well as Jackie Yoshikawa and theBlue Comets have all but disappearedrom the TV screens. Individual members

of these groups have taken on new careersas movie personalities. Rumors are thatwithin a few short weeks some of the topock groups will reappear as pseudo-soul-sts as a result of the fantastic success of

The House Rockers, an American soulgroup, in luring huge crowds to The Mugen,a recently-opened "psychedelic" club inAkasaka, Tokyo, in Sunday night appear

ances in July. Among the listeners weremembers of every leading rock group inTokyo, including the Big Three mentionedabove.

MUSIC SHOP classified ads are accepted for all items and services bought and sold in the wide,international Down Beat market. Classificationsinclude: methods, books, record collections, tapes

and records, musical instruments (for sale, re pair, exchange, etc.), uniforms, accessories, jobs offered (and xvanted), arrangers, lyrics, corre spondence courses, schools, studios, colleges, clinics, camps, personals, vacations, travel, hobbies, audioequipment, copying, music typewriting, transcrip

tions, texts, reference works, record duplicating, music dealerships, bus charter, booking services,

talent agencies, posters, manuscripts, etc. (you name it). Acceptance of advertising copy subject to publisher's approval. Rates (minimum tenwords per.insertion): one insertion, 65$ per ivord.Special multiple insertion schedules: three times.60$ per word; seven times, 57$ per word; 13

times, 55$ per word; 26 times, 50$ per word. Full payment and copy for each issue must be re ceived 28 days prior to "on sale" date. Address Down Beat Music Shop, 222 West Adams, Chicago, Illinois 60606. (Send for special display advertising rates for "Where To Study" and "Where ToGo" classifications.)

ARRANGEMENTS

(24) B BLUES JAZZ CHORUSES written for all Instruments. Full of exciting ideas, usable for othertunes ($2.00). Herb Lenhart Music Co. P.O. Box 592,Livingston, N.J. 07039.

BOOKSAFTER HOURS POETRY. For your copy send $1.00 toJake Trussell, Box 951, Kingsville, Texas 78353.

IMPROVISATION METHODS

Dave Baker: DEVELOPING JAZZ IMPRO VISATION (Basedon Lydian Chromatic Concept)—$7.50; DEVELOPINGIMPROVISATIONAL FACILITY: The II V? Progression—$5:75. George Russeli: LY DIAN CHROMATIC CONCEPT

—$18.50. Aebersold: NEW APPROACH TO IMPROVIS ATION (Book/LP)—$6.95. Coker: IMPROVIS ING JAZZ

—$1.95. Mehegan: JAZZ IMPROVISATION, VOLS. I, IV —$15.00 each; VOLS. II, 111—$12.50 each. Four

Mehegan volumes—$49.49. 48 PAGE CATALOG—$1.00or free with order. FREE POSTAGE ANYWHERE. TODAY'S MUSIC! Box 169-D, Libertyville, Illinois 60048.

METHODS

MUSIGRAPH HARMONY VISUALIZER. Revolutionary newconcept relates all harmonization, chord voicing, pro

gression, substitution etc. to seven-rule formula, thenmakes application of the formula easy and automaticthrough telegraphic text and unique graphic design. Comprehensive reference charts are always in front of youdue to multiple lie-flat plastic binding and 4-way design.The most practical and usefull tool ever developed, foreveryone from student to working musician, and forevery kind of sound from commercial to ultra modern.VISUALIZER will literally revolutionize your techniqueand competence from the moment you open the cover.Just $10.00 direct from publisher, with 10-day moneyback guarantee if you are not delighted. FIRST EDITIONLIMITED. Order today from: MUSICGRAPH, Suite 304C,51 Clifton Avenue, Newark, N.J. 07104.

NEW SOUNDS IN MODERN MUSIC• Colin/Edmonds: DUETS COOL SOUNDS $3.00• Clark Terry (Treble) URBIE GREEN (BASS)

DUETS BY CHAS. SMALL $2.00• Houston: AVANT GARDE DUETS (TREBLE OR

BASS) also TRIOS (TREBLE or BASS) $2.00• Charlie Parker: YARDBIRD ORIGINALS $2.00

• Recorded Estate Series $3.00• Miles Davis: COOL SOUND INTERPRETATIONS

$3 00• " Bugs" Bower—Colin: RHYTHMS COMPLETE

(TREBLE or BASS) $2.95• Marshall Brown: STAGE BAND DRUM, CHARTS

$3.50• McGraime: WIPE OUT BEATS FOR DRUMMERS

$2.00• Deardoff: ENCYCLOPEDIA OF ROCK AND ROLL

BEATS $2 50• Billy Bauer: BASIC GUITAR STUDIES $3.50• Kenny Burrell: JAZZ GUITAR $2.50• Johnny Smith : GUITAR INTERPRETATIONS $2.50

Free Postage — Free Catalog Anywhere

New Sounds in Modern Music

315 W. 53rd St ., New York City, N.Y. 10019

INSTRUMENTAL METHODS

John La Porta: STAGE BAND COURSE (22 vols)—$75.00Joe Viola: SAXOPHONE SCALE STUDIES; SAXOPHONECHORD STUDIES—$4.00 each. Lateef: BLUES FLUTESOLOS—$2.50. Mann: FLUTE JAZZ—$2.95. Kotwica/Viola: TRUMPET CHORD STUDIES—$4.00. Panico/Wiskirchen: STAGE BAND TRUMPET MANUAL—$4.00.Phil Wilson: TROMBONE CHORD STUDIES—$4.00.Progris: BERKLEE KEYBOARD PROGRAM, VOLS. 1,11,lll,IV—$4.00 each; MUSIC EDUCATION SUPPLEMENTS

—$3.50 each. Bill Evans: PIANO SOLOS; JAZZ TRIOTHEMES—$2.50 each. Hefti: PIANO ORIGINALS—$2.50.Billy Taylor: JAZZ TRIO SKETCHES—$2.50. Dawson/DeMicheal: MODERN DRUMMERS MANUAL—$4.00.Lalino: DRUM SIT-IN (Parts/LP)—$4.98. Perry: DRUM

M ER 'S JAZZ READING (Music/LP)—$5.95. Curtis:MODERN STRING BASS METHOD—$4.00. Leavitt: BERKLEE MODERN GUITAR METHOD—Vols. I, II—$4.00each. Almeida: GUITAR TUTOR—$5.00. Charlie Christian: ART OF JAZZ GUITAR—$2.50. Mairants: FLAMENCO GUITAR—$10.00. Chierici: 2400 GUITAR CHORDS

—$5.95. Burrell: JAZZ GUITAR CLASSICS—$2.50.Palmer/Hughes: R & B GUITAR COURSE (Book/LP)—$4.95; IMPROVISE LEAD GUITAR (Book/LP)—$5.95;ROCK GUITAR COURSE (Book/LP)—$5.95; ROCK COMBO ORGAN COURSE (Book/LP)—$6.95. 48 PAGE CATALOG—$1.00 or free with order FREE POSTAGE ANYWHERE. TODAY'S MUSIC, Box 169-D, Libertyville,Illinois 60048.

MELODY METHOD FOR UKE. $1. Fascinating, Original!VON SCHERB, 2003 E. Main, Danville, III. 61832.

RECORDS & TAPES

FAST RELIABLE JAZZ record service—many rare items —foreign orders welcome—send for FREE LP sale list.HARRY FROST, Box

4935—4930DELMAR, ST. LOUIS,

MO. 63108.WANTED TO BUY—(Tape or LP) Stan Kenton Presents"The Music of Bill Hoiman", also "Fabulous Bill Holman" or Bill Holman's "Great Big Bands". H. K.Bunnell M .D ., NAMI , NAS, Pensacola, Fla.

DONATE JAZZ LP's FOR FREE DISTRIBUTION BEHIND IRON CURTAIN, JAZZ-LIFT, BOX 980, BATTLE CREEK, MICHIGAN.

THEORY & ARRANGING METHODS

Ricigliano: POPULAR/JAZZ HARMONY—$7.95. Mancini:SOUNDS & SCORES (Book/three 7" LP's)—$12.50.Garcia: PROFESSIONAL ARRANGER-COMPOSER—$5.00.Delamont: MODERN HARMONIC TECHNIQUE VOLS. 1,11;MODERN ARRANGING TECHNIQUE—$12.50 each. ThreeDelamont volumes—$33.33. Oliver Nelson: PATTERNSFOR SAXOPHONE—$7.00. Mutchler: BAND ARRANGING/SCORING—$7.50. Rizzo: THEORY (METHOD & WORKBOOK)—$7.50; FIRST STEP TO IMPROVISATION—$3.50;SPREAD CHORD VOICING—$3.50; SCALE VARIATIONS

—$2.50; EAR TRAINING—$2.50. Five Rizzo volumes—$17.50. Schaeffer/Colin: SCALES ENCYCLOPEDIA—$7.50. RUTGERS MUSIC DICTATION SERIES (Ten 12"LP's)—$50.00. Laporta: DEVELOPING SIGHT READINGSKILLS, VOLS. C, Bb, Eb—$2.50 each. 48 PAGE CATALOG $1.00 or free with order. FREE POSTAGE ANYWHERE. TODAY'S MUSIC! Box 169— D, Libertyville,Illinois 60048.

WHERE TO STUDY

PLAY JAZZ through the POLYTONAL RHYTHM SER I ES.Call or write Emile De Cosmo, 1611 Kennedy Blvd.,No. Bergen, N.J. 07047—(201) UN 4-4073, (201) U5-3362.

SEE PAGE 38 FOR DOWN BEAT HALL OF FAME SCHOLARSHIP INFORMATION

Stanley Spector wr i tes—I'm over thirty but I dig that rock music. That

is, in my living room where I can control thevolume of sound and the health of my ear drums.I think that Sgt. Pepper and his enlisted men makethe best music to come out of England since HenryPurcel) (1658-1695), but while you rock drummersmay or may not blow your minds, I find it rathersad that you are certain to blow out your eardrums. Man, your "new sound" is going to besilence, because you are doing permanent physicaldamage to your hearing by your misuse of electricity. You might just as well take off those darkglasses and stare at the sun for three hours. Men,I'm over 30 but you can trust me, for there is theexception to every dogma. As a combination guru,shrink, zen master, and camp counselor, for yearsand without drugs, I have been turning on drummers who have been interested in the question.HOW CAN A GOOD DRUMMER GET TO PLAYBETTER? For further information about our recordedHome Study Course, write to the

STANLEY SPECTOR SCHOOL OF DRUMMING200 West 58th Street (at 7th Ave.) Dept. 194

New York, N.Y . 10019 Phone: CI 6-5661Foreign inquiries are invited.



t o assist

T H E T E A C H E R

t o e n c o u r a g e

T H E S T U D E N T

"In the tone of the flute

—Vibrato has beendiscussed endlessly the

past seventy-five toone hundred years." So

states David Vornholt

in the introduction of hismonograph regarding

this somewhat debatable

subject. Firmly believing that healthy discussion can spark interest andattention in such matters, the W. T. Armstrong Company is pleased

to have made this brochure available. As illustrated, one of Mr. Vornholt'sinstruction techniques reveals by "touch" how the effect is produced.

Mr. Vornholt serves as flutist, piccoloist and personnel manager with theDallas Symphony. He also teaches flute and piccolo at

Southern Methodist University.

Copies of this brochure, fifth in an

educational series regarding the

flute, are available al music deal

ers throughout the country.

The name to

remember in flutes

W. T. ARMSTRONG COMPANY ELKHART, INDIANA

Makers of flutes and piccolos

NAM

1

iTHE SOUND OF

The power behind the Gretsch F U R Ypiggyback amp may be more than you'llever need. Bui it's the power you'll wantat your f ingertips for screaming treblesand blasting basses . Th i s f abu lous tubeamplifier del ivers f lawless, undistorteddriving s o u n d with breath-taking p o w e r -over 140 watts of peak power. It featuresexciting built-in t remolo and reverb effects. Overbuilt and made to take anya b u s e on the road, the Gretsch F U R Ypiggyback separates a powerful amplifierf rom i ts speaker enclosure that includes

tw o giant 12-inch Maximum Performancespeakers. Let your Gretsch dealer showyou what Gretsch power really is. He'sf ea t u r i ng t he exc i t ing G r e t s c h F U R Ypiggyback amp now. Listen! You canalmost hear it f rom here. Write for F R E Ecatalog:

The Fred Gretsch C o m p a n y , Inc. ,

60 Broad way, Broo kly n , N.Y. 11211

—readers—poll

instructionsVOTE NOW!

The 33rd annual Down BeatReaders Poll is under way. Forthe next eight weeks—untilmidnight, Oct. 25—readers willhave the opportunity to vote fortheir favorite jazz musicians.Facing this page is the officialballot, printed on a postage.-paid, addressed post card. Simply tear out the card, fill inyour choices, and mail it. Nostamp is necessary. You neednot vote in every category, butyour name and address mustbe included. Make your opinioncount—vote!

VOTING RULES:

1 . Vote once only. Ballots mustbe postmarked before midnight,Oct. 25.

2. Use only the official ballot.Type or print names.

3. Jazzman of the Year: Votefor the person who, in youropinion, has contributed mostto jazz in 1968.

4. Hall of Fame: This is theonly category in which personsno longer living are eligible.Vote for the artist—living ordead—who in your opinion hasmade the greatest contributionto jazz. Previous winners arenot eligible. These are: LouisArmstrong, Glenn Miller, StanKenton, Charlie Parker, DukeE l l i n g t o n , B e n n y G o o d m a n ,Count Basie, Lester Young, Dizzy Gillespie, Coleman Hawkins,Billie Holiday, Bix Beiderbecke,Miles Davis, Jelly Roll Morton,Thelonious Monk, Art Tatum,Eric Dolphy, Earl Hines, JohnColtrane, Charlie Christian, Bessie Smith, Billy Strayhorn, Sidney Bechet, Fats Waller.

5. Miscellaneous Instruments:

This category includes instruments not having their owncategory, with three exceptions:valve trombone (included in thetrombone category), cornet, andfluegelhorn (included in thetrumpet category).

6. Record of the Year: Selectonly LPs issued during the last12 months. Do not vote forsingles. Include full album titleand artist's name. If your choiceis part of a series, indicatevolume number.

7. Make only one selection in

each category.

VOTE NOW!

44 • D O W N B E A T



INDIVIDUAL AWARDS

A HALL OF F A M E

B J A Z Z M A N OF THE YEA R

C TRUMPET

G B A R I T O N E S A X

H C L A R I N E T

J M I S C . I N S T R U M E N T

K V I B R A H A R P

S M A L E S I N G E R

T F E M A L E S I N G E R

GROUP AWARDSU B I G J A Z Z B A N D

V J A ZZ C O M B O |2 TO 9 P I E C E S )

W R O C K / P O P / B L U E S G R O U P

X ALBUM OF THE YEA R — A R T IST :

Y O U R N A M E

CITY STATE

SU B SC R I B ER • YE S • N O 919



FIRST CLASS

Permit N o. 15 10

Chicago. III.

B U S I N E S S R E P L Y M A I L

N o postage stamp necessary if mailed in the United States

—Postage will be paid by—

d o w n bea-8-222 West Adams Street

Chicago, Illinois 6 0 6 0 6



Gibson, the workingman's guitar.



A jewel to the finest detail,

this beauty ha s close—up

elegance of gem—like

craftsmanship. Note

the faceted caps.

Not available at Tiffany's,

but it could be someday.

The Holton T-100 isthe jewel ofall trumpets

^ made today.

It's simply the finest.

Down Beat Magazine 1968-09-19

Documents

Transcript of Down Beat Magazine 1968-09-19