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For the sake of variety, let’s forget about the highly publicized Goodmans, Dorseys and Shaws and devote some attention to' some more esoteric recordings, which the casual buyer of records might overlook.Trio RecordingsAs a beginning, we might mention the fact that one of our favorite pianists has at last made his debut bn wax. We refer to Clarence Profit, known to his confreres as “The Lamb,” composer of * Lullaby in Rhythm.” Clarence and his trio have just recorded two perennial favorites, “Tea for 1 wo’ and “There’ll Be Some Changes Made,” for Brunswick. Both recordings are in a slow, relaxed rhythm, containing reverie-like improvisations, reminiscent of some of Teddy Wilson’s solos. Profit, we feel, is deserving of considerable recognition, but is now, alas, wasting his fragrance at George’s Tavern, in the Village.Another interesting but obscure trio, recording under the name of “Three’s a Crowd,” has issued “Rosetta,” “S’posin’,” ‘T Would Do Anything for You,” “Dallas Blues,” “We Want Five,” and “That’s Got ’Em,” (Bluebird). This trio, consisting of a clarinet, guitar, and piano, manifests fine feeling and blend. The clarinet, Paul Ricci, who is the best imitator of Benny Goodman we have heard since Johnny Mince of Tommy Dorsey’s band, displays a fine technique. His tone, however, lacks the polish of Goodman’s. The guitar, Carl Kress, was nominated by Paul Whiteman forIn The Grooveshis All-American band. It is unfortunate that tlu* pianist, the weakest man in the band, prevents this group from really achieving heights in performance. We especially recommend to vour attention Dallas Blues” and “Rosetta.Hugue PanassieTo llugue Panassie, the great French critic, author of the world’s widest-read book on swing, Hot Jazz,” goes the credit for having 'selected the personnel for the best record issued this month— Really the Blues” and “When You and I Were Young. Maggie” (Bluebird), Panassie has selected some of the grand old men of swing, Tommy Ladnier, trumpet, and Sidney Bechet, soprano sax, who may now be coming into their own, after years of obscurity. We recommend the first side as being a classic example of the authentic “blues.” This group of records, while containing considerable drive and vitality, however, may seem crude to ears which are accustomed to the polished arrangements of larger bands.Out of the past also comes another great performer, James P. Johnson (piano), who is outstanding in the records issued by Frankie Newton and his orchestra: “Who,” Blues1 My Baby Gave to Me,” “Romping,” “Minor Jive,” “Rosetta” and The World is Waiting for the Sunrise.” Johnson combines with Cafe Society’s (also in the Village) Frankie Newton and other excellent performers in turning out six sides which really swing.Turning from the obscure,to the better known performers, we find among the. best recordings of themonth a reissue of Louis strong's “Potato Head Blues' “Put ’Em Down Blues” (I Hot Club). This is one of i most famous recordings, altl ,i-the accompaniment, while gtu its kind, is definitely dated a c ,,p back. You will be rewarded, )riiyou listen to this disc, with s« the greatest trumpet solo. ,.rwaxed. These choruses, ever !a their first audition, have beer; ;.n|as a guide and basis of comp .,,nfor later trumpeters. Armplays with great'feeling and in :i;l' ation, without the technical tin av-which have since come to ma die taste of his melodic invention.ResumeIt is apparent from this o mission that the reviewer is a enwfer against the commercialized type of jazz which masquerades under the name of swing.” By this we mean that the polish and expertnem of most current dance bands conceals a lack of imagination and feeling, which are the requisites of authentic jazz. It is unfortunate but true that these two qualities of feeling and polish are rarely evidenced, by the same group. We prefer to sacrifice the latter in favor of the former, and hope our readers’ tastes conform to ours. We feel that awareness of the crudeness in the background of a good jazz performance will dwindle as the record is heard. To those who persist in preferring smoothness to authentic and inspired jazz, we offer as consolation the fact that our future columns, being discussions of current releases, must of necessity include more of the former than the latter. j. m.
Newspaper Details
Barnard Bulletin
New York, New York, US
Tue, May 16, 1939
Page 1
Full Page
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New Y.
NY, USA 27 Jan 2025
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