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I
ENTERTAINMENT
MOOD
(Continued from page 14)
with a thorough delight in keeping close
to melody. The result is an exceptionally
pleasant album of show tunes, very well
recorded, which allows for conversation
as well as listening. The beat is always
there, the sound is jazz, and the net effect
is broad audience appeal.
The Jazz Pickers is one of those tightly
arranged albums with the subdued
sounds of 'cello, vibes, and flute in a series
of neat and lightly swinging numbers.
Red Norvo is still inventive after almost
two decades as a jazz soloist, and the
music is still sufficiently jazz flavored to
warrant attention.
The Lennie Niehaus album offers that
sturdy alto soloist from Stan Kenton's
band in selections by two groups. On
Leroy Vinnegar, one of the best of the
California bassists, has deep, vital pulse
in his playing and his album efforts indicate
real work and planning. H ere, he
has assembled a group featuring three excellent
soloists-trumpeter Gerald Wilson,
a long-neglected jazzman; tenor Teddy
Edwards, also unaccountably overlooked
in recent years; and pianist Carl Perkins,
whose fine, deeply moving style will be
heard no more. He died early this year.
For these men, Vinnegar has provided
neatly mapped out arrangements by vibist
Victor Feldman, interspersed with "head,"
or on-the-spot, arrangements by the whole
group. Organization is the by-word here,
but never to the detriment of free inl-
,
provisation by the soloists. This is a superior
album in all respects and indicates
that the West Coast is undergoing a
change in its musical concepts.
The third album (from Sweden ) displays
the clarinet and alto technique of
Arne Domnerus, a fine jazz player whose
clarinet style seems to be more authentically
jazz than that of Jimmy Giuffre and
definitely more logical and arrestingly
alive than of either Tony Scott or Buddy
DeFranco. He has more in common with
Johnny D odds than anyone since Goodman
and a remarkable feeling for the
blues. On alto, he is alternately under
the spell of Parker and Desmond, but
still manages to remain individual. And
at all times, including the two large band
tracks, the Swedes do swing.
Turning to the other LPs, Art Blakey's
Jazz Messengers are in a surprisingly
quiet, ahnost lyric, mood despite the album
title, Hm'd Drive; the solos by trumpeter
B. Hardman and tenor J. Griffin are
clean and logical, and the piano of Junior
Mance, heard on most of the tracks, is
vibrantly alive to tl1e blues possibilities.
JULY 1958
one, the late Bob Gordon is heard on
baritone, on the other, Pepper Adams, the
recent baritone poll winner, is feahlfed.
It is with the second group that Niehaus
escapes from the baSically cold style that
has marked most of his work to blow
emotionally more satisfying jazz than is
usually heard from him.
R. J. G.
Lewis's Stately Elegance
• THE JOHN LEWIS PIANO with P.
Heath (bass). C. Kay (drums). B. Gal·
braith (guitarJ. J. Hall (guitarl.
Harlequin; Little G irl Blue; The Bad And
Th e Beautifu l; D & E; It Neve r Entered My
Mind; Warmeland; Pierrot; Columbine. At·
lantic 1272.
There are seven tracks to this LP and
Lewis is heard in four settings: on one
track, Harlequin, he is accompanied only
by drums; the accompaniment on the
others occasionally includes bass, and always
one or the other of the two guitarists.
However, the dominating voice is
Lewis's and the bulk of the numbers are
his own compositions.
As pianist, Lewis displays that same
stately elegance that has become the
trademark of the Modern Jazz Quartet.
There is the lyricism, the close tie to the
blues that Lewis brings to everything he
does. I was particularly struck by the
Similarity in emotional content between
Lewis and the guitarists, but it is on
D & E, his wonderfully moving blues,
that he sounds best in a jazz sense.
R. J. G.
Film, TV, Operetta
• CHAPLlN·MERCER: MERRY AN·
DREW-Sound Track featuring DANNY
KAYE, Pier Angeli. Salvatore Baccaloni
with Orchestra. Nelson Riddle condo
The Pipes Of Pan ; Eve rything Is Tickety Boo;
Salud & 3 others. Capitol T 1016.
• HUGH MARTIN: HANS BRINKER.
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