Short time ago. Boston swing critic George Frazier was taken to task in the letter columns of "Jazz Information" for his language in an article on swing. His apply is worth printing:
"The gentlemen who have taken my pants down are sweet characters and I love every one of them. It is my sincere conviction that an unflagging application to the bulk of my critical work will aid them immeasurably in their eagerness to learn about hot Jazz."
Notes between the notes: This "Vargo of a Merge" tune recorded by Mitchell Ayres is the result of a song-writing contest and in written by two residents on San Quentin Penitentiary... Heard Ovie Alston's band playing at an obscure ballroom a short time ago in New York, and they certainly, deserve better work. Most of the band being out of the old Claude Hopkins gang, they play fine stuff, especially the tenor man, first trumpet man Alston, and the second trumpet. Both the latter, by the way, have something unusual-clear easy tones and unhurried, subtle styles...
Bob Eberly, singing with Jimmy Dorsey, in suffering from Laryngitia. Does he call in a doctor? No-he writes Bing Croshy, who in supposed to have a cure-ail honey and orange juice confection... Good stuff by Lionel Hampdon, slapping at those who claim all musicians are dope hounds... Also by Coleman Hawkins for taking his band out of a New York spot rather than play music he considered unsuited to his band.
Decca turned out an album by Art Tatum, blind pianist extraordinaire, last week. This reviewer still stubbornly insists that Tatum is not such a terrific piano man, that he doesn't have taste, fluent ideas, or touch, though he does have enormous techniques. Trumpeteer Roy Eldridge thinks he's the greatest around. Listen for yourself and see whether you think it's meaningless runs or inspired genius.
"Listen to "Sleep" and "Slow Freight" by Benny Carter and "Bugle Call" and "Slow Freight" by Glenn Miler if you want to hear the difference between a band of men that can really play, and a bunch of kids straining and not getting there. Carter's arrangement of "Sleep" is just as fast if not faster than Miller's "Bugin Call," but it has none of the tenseness and lack of molo-Ideas that the Miller does. Glenn copied Carter's record of "Slow "Freight" and even then it isn't as good as a total picture or as good Jazz. And for rendition of "Bugle Call," we'll still take the Goodman made in '36.
"Daphne," by the Quintet of France, is rather meaningless... Mary Martin's album of Colo Porter tunes is okeh. We prefer Lee Wiley's records (General Records)... "Baby Won't You Come Home" is better rendered by the O'Neil Spencer Quartet than by Ella Fitzgerald; both Deccan... Fats Waller is still very funny, "Square From Delaware" being a good example... Even better though is the living Bing Crosby and Jobnny Morcer do on "Mr. Meadowlark" two swell showmen... "Bye Bye Blues" by Seger Ellis ain't nothing much other way... "Tired Socks". by Johnny Hodges sounds as if the Ellington combo were a little weary when it made this one...
"Solitude," by Joe Sullivan, is something this famous pianoman won't live down for a long time-it's that bad... While Father Hincs is still the king of all pianomen to me, his work on his theme "Deep Forest" sounds a little listless... "W.P.A.," by Jan Savitt, is worth getting. While you may agree or disagree with its lyrics. It's one of the few times a Jazz song has had words that were really meaningful...
"Contrasts," his theme song and the best record Jimmy Dorsay has made in some time. This is a really unusual record, beautifully recorded with James playing superb six... "Beautiful Dreamer"-more Stephen Foster by Cana Loma, and well done... "No Name Jive," by Charlie Barnet, shows once again how few ideas are in this band, how noisy
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