Further discussion of Ellington's concert will have to be postponed for more immediate matters. Most immediate is the return of "Wild Bill" Davidson to the Ken with a de-luxe, all-star band. The outfit Bill brought from Chicago this summer was fine, with a few exceptions, but his present one is superior in every way. And for historical purposes, it is one of the first mixed Negro and white bands to play Boston.

To those who heard Davision this summer, his remarkable trumpet-playing needs no recommendation. At the time, however, he was overshadowed by Pee Wee Russell's name, though not by his playing. Now you can listen to five really great jazzmen whose names mean nothing to most people, and hear some swell music without regard to reputation.

On piano is one who might be called the originator of present day jazz piano, James P. Johnson. It was Jimmy who developed the powerful, rhythmic style of the left hand, and the melodic right hand. His pupil, Fats Waller, is far more famous, but there is growing opinion that Jimmy is less stereotyped, and more flexible.

Another real veteran is drummer Kaiser Marshall, who started drumming for Fletcher Henderson over twenty years ago. He was with Fletcher for over eight years, during which time the band reached its zenith and became the greatest jazz mer. He doesn't drum for the listeners, he drums for the band. He has a fine, crisp beat, and never get in the way of the soloists.

One of the better knwon men in the band is clarinetist Rod Cless, for his work on the iabulous Muggsy Spanier Ragtimers' records. Perhaps his cool, limpid tone is not as immediately satisfying as PeeWee Russell's hoarser clarinet, but after repeated hearings, Rod is just as exciting. He plays a fine, clear melodic line that is remmiscent of Johnny Dodds.

When Davision opened last summer, the biggest single defect in the band was the lack of a trombone. There's no such lack now, with Sandy Williams, ex-Chick Webb and Coleman Hawkins. Sandy was troubled with a bad lip last Tuesday night, but that didn't prevent him from proving that he is one of the most unappreciated trombonists.

Davison, himself, is undeniably one of the greatest living jazz trumpeters. He plays with tremendous drive and a raw, searing tone, yet at the same time he had a bautiful sense of melody, unfortunatly rare in most jazz musicians.

Proceeding to other matters, Frankie Newton was to return to the Ken, but was prevented by union trouble. Lionel Hampton is opening for a month's engagement at the Tic Toc February 28. Thus with Ellington at the RKO Boston for a week then, and with Davision at the Ken, Boston's in for a fine load of jazz.