II/ModINCORPORATING

Vol. 27 No. 933 AUGUST 4, 1951

Maker'RHYTHM'

Registered at the G.P.O.I e.

1as a Newspaper EVERY FRIDAY - 6d.

DRASTIC RANDALL RESHUFFLE ONEVE OF BIG TOUR

`Must have musicians with sameapproach to Jazz as mine'

DRASTIC changes are pending in the line-up of theFreddy Randall Band. By the end of next week

only three of Freddy's present personnel will still beWith him.

" Individually, the members of my band are very com-petent and versatile musicians," Freddy told the MELODYMAKER this week. " But collectively they did not seem tomatch, which, in my opinion, should be the primary func-tion of any group.

" Consequently, I have been compelled to make changes."The four members of the band

affected by Randall's decisionare vocalist Jo Searle, trombon-ist Harry Brown, pianist StanButcher and clarinettist BernieStanton. They play their finalengagement with the band onSaturday week (11th) at theWalthamstow Assembly Hall.

Two men returnOn August 17, Freddy starts

an extensive tour of the countrywith a re-formed band, openingat the Savoy Ballroom, South -sea.

This new band will includethree of the present Randallmen-guitarist Don Cooper,bassist Ronnie Stone and drum-mer Len Hastings.

Only two of the new men arefixed as we close for press. Bothare former members of theRandall band.

One is pianist Lennie Felix.who was with Freddy's first bandfour years ago. He returned re-cently from a visit to the States.where he played with Wild BillDavison and other Americanjazzmen.

Norman Cave. pianist withFreddy for a year before he leftlast November. returns as trom-

(Continued on page 6)

Dank worth 7end 7 months'broadcast 'ban'THE Johnny Dankworth

Seven return to the airon August 29 after a lapse ofseven months. They willfeature in a " commercial "airing from 5-5.30 p.m.

The decision to keep the Sevenoff the air was Johnny's. InFebruary, he wrote to BBCDance Band Chief Jim David-son. informing him that he wasnot satisfied with the Seven'scommercial appeal.

Davidson told Johnny to getin touch with him when hethought the band was in a posi-tion to undertake commercialbroadcasts.

Three weeks ago Johnny feltthat moment had come, and re-corded a complete broadcast.The recording was played to JimDavidson, and the August 29 air-ing is the result.

STEEL BAND VISITS SOUTH BANK

A new sound came to intrigueFestival visitors on Fridaylast when the Trinidad All -Steel Percussion Band beganits 10 -week British tour withan open-air session. This" MM " photo shows some oftheir home-made instruments

Two disc firms makingimportant jazz releasesTHE George Lewis New

Orleans Stompers record-ings, issued in two limited edi-tions on the U.S Climax label,are to be released in Britain byVogue Records.

These ten records-made inNew Orleans by Bill Russell inMay. 1943-are acknowledged torank with the finest and mostauthentic New Orleans sidesrecorded since the 'twenties.

Originally 12 -inch recordings.

TENOR FOR TROMBONE

IN SHARON 6The Ralph Sharon Sextet has

undergone a change in instru-mentation, trombonist MickBryan having been replaced bytenorman Keith Barr.

This gives the group a front-line of two tenors and trumpet.

they are being issued here on10 -inch Vogue, each side runningabout five minutes. The firsttitles will appear this month.

Another important capture forVogue is a selected number ofsides from the Commodore cata-logue. First local releases, duein September, are Jelly RollMorton's solos, " Buddy Bolden'sBlues "I" The Crave," and theMorton Band's " Panama "/" Sweet Substitute."

These were made for General,but were subsequently takenover by Commodore.

News comes at last of the ap-pearance of the British JazzMan label.

Tom Cundall, who holds theBritish rights to the Jazz Mancatalogue, has reached an agree-ment with the Tempo Record

(Continued on page 6)

'MM' CAMERAMANGREETS THE

ANDREWS SISTERS

As the Andrews Sisters stepped out of the car that had driventhem from the boat to the Dorchester Hotel last Friday thefirst Londoner to greet them was the " MM " cameraman.Patti, Maxene (holding part of her £500 -worth of camera equip-ment) and Laverne opened at the Palladium on Monday for a

two-week season. (See review page 2.)

Dean, Moore, Dandridgeinjured in car crash

ALAN DEAN, Phil Moore and Dorothy Dandridge re-ceived injuries when a car in which they were travel-

ling hit a traffic island near Portland -place, W., on Wed-nesday afternoon.

The three were leaving the BBC when Alan, whowas driving, swerved to avoid a child. The car headedfor a crowded pavement, and Alan wrenched it round again,colliding with the island.

The crash occurred betweentwo broadcasts Alan Dean wasmaking that day. In the after-noon he had pre-recorded a

Summer Songtime " airing (forrelay next Monday at 2 p.m.)with Phil and Dorothy.

A few hours after the accident,with bandaged head, he broad-cast with the Nat Templeorchestra in " EnchantedRhythm."

Phil Moore and Dorothy Dan-dridge did their usual spot atthe Café de Paris the same even-ing.

Heath Band prepare

for ContinentTed Heath and his Music leave

on Tuesday next (7th) for theextensive Continental tourwhich they start the next dayat Timmendorf, German resorton the Baltic.

Heath looks forward to thetour, having completed last weekhis most successful season atBlackpool.

" Crowds at the Winter Gar-dens," he told the MELODYMAKER, " were almost doublethose we played to last year. Itis a promising sign."

This week the Heath aggrega-tion is at the Spa Ballroom,Torquay. On Sunday. it playsits last pre -Continental date atthe Pavilion, Bournemouth.

DECCA STAR HOWARDAS SOLOIST

Ex -Eric Winstone vocalistLeslie Howard, now freelancingand broadcasting with the BBCNorthern Variety Orchestra, hassigned a contract with Decca fora series of solo recordings.

His first session is on August9. when four sides will be madefor issue in September.

On two of these he will beaccompanied by a 20 -pieceorchestra conducted by NatTemple: on the other two hewill be supported by HarryBidgood and his Orchestra andthe Keynotes.

STOP PRESSTrumpeter Jimmy Deueliar

leaves Johnny Dank wort hithis week. Joins Paul AdamMonday.

BBC restorethose 'stolen'

15 minutesVROM September 15 " Jazz

Club " and " Jazz ForModerns " will once againshare a weekly 45 -minutespot. This quota, which, ifcontinued throughout theyear, would give fans anannual jazz ration of 39hours, was reduced by athird on May 5 to make wayfor sports commentaries.

On resumption of the 45 -minute spot, the cut will havebeen in effect for 19 weeks.

Randall, Tito firstAs before, John Hooper's

" Jazz Club " will be allocated25 minutes; Jimmy Grant's" Jazz For Moderns " 20 minutes.

First of the new series willfeature Freddy Randall and hisBand broadcasting from Cook'sFerry Inn, and Tito Burns andhis Sextet in a studio relay.

The following week (22nd)," Jazz Club " gives Manchester'sSaints Jazz Band its first airingsince it made such a success atthe Royal Festival Hall. TheCy Laurie Four makes its radiodebut in the same programme.

" Jazz For Moderns " bookingsafter September 15 are not yetconfirmed.

Further " Jazz Club " broad-casts, however, will includeFreddy Clayton and his Band(October 6) and Harry Gold andhis Pieces of Eight (13th).

STONE DRUM CHANGEBilly Lonsdale has taken over

on drums with Lew Stone's Or-chestra, at the Pigalle Restaurant.in Piccadilly. W.

He takes the place of NormanBurns.

,

41,

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DAVID NIVENVERA-ELLEN

CESAR ROMEROIN

GENERAL

RELEASE

SEPT. 10

aioar by,TEcHN/cotote

with BOBBY HOWES DIANE HARMSANDRA DORNE GORDON JACKSONScreenplay by VAL GUEST Music by MISCHA SPOLIANSKII

Directed by BRUCE HUMBERSTONE A MARCEL HELLMAN PRODUCTION

DISTRIBUTION BY ASSOCIATED BRITISH - PA THE, L

Hear the two great Hits byMISCHA SPOLIANSKY

'WOULD YOU''ONE, TWO, THREE'

(Waltz Mad)Published by Chappell & Co. Ltd. andavailable from your local music dealer.

2 THE MELODY MAKER: AND RHYTHM August 4, 195 f

RADIO-by MAURICE BURMAN

There's no tune quitelike an old tune!

IN COLLECTORS CORNER lastweek, Brian Rust sug-

getted that the New Orleansand Dixie bands should finddifferent tunes to play fromtheir usual handful, andWent on to offer them somerecords, made by commercialbands in the early twenties,which contained lovely tunes.

The numbers he mentionedwere: " If I Can't Get TheEweetie I Want," " Mean, Mean,Mama," " Listening," " NobodyLied;" " I Wonder Where MySweet Daddy's Gone? " "TellMe " and "Gone."

3. know most of these tunes,and many more of that ilk, andBrian's idea is one with which Ihave agreed for a long time.

But not only would I like theamateur bands to play them; Iwould also like our name bandsto consider playing tunes like" Somebody's Wrong," " SomeSunny Day," " Four Or FiveTimes," " I'll Build A Stairway ToParadise " and " Any Way TheWind Blows."

Before anyone starts to thinkI've become retrogressive, hereare my reasons.

The dance tunes of today, aswell as the modern jazz numbers,are, in the main, weak in musicalideas and jazz feeling.

These old tunes have finerhythmic, melodic lines and, ifbrought up to date with goodarrangements, would make ourbands sound more like good dancebands than do many moderntunes.

Furthermore, there are millionsof people who remember thesetunes and who will therefore beattracted to them (apart fromthe other millions who won'thave heard them at all).

One more very importantthing: the modern tune todayDias no verse worth speakingabout. Nearly all these old tuneshave lovely verses. and theyshould be heard.

THE SOUADRONA I RES10.15 p.m. 24;7.51

ACRITIC, like anybody else.is entitled to have a eel-

eonal preference, and for sometime now the Squads have ap-pealed to me as a musician'sband. Everything they did wasso right and so musical.

On this broadcast they did notlive up to the high regard inwhich I have held them.

For the first time, the intona-tion of the saxes was not entirelycorrect, while the solos by trum-pet and tenor were not up to theusual standard:

The commercial arrangementswere exceptionally good andbeautifully played, but the bandnumbers were rather dull and,forgive the term, old-fashioned.

The boys did sound like them-selves in " Senora," where theband really swung and phrasedwell. I feel that " Rose Room,"" Over My Shoulder," " Love ToKeep Me Warm " and " DancingIn The Dark " could do with newarrangements if the band is toshow itself off to advantage.

FRANK BARON11.30 a.m. 27/7/51

THE wire from my radio Ismixed up with one from a

lamp, and they both lie in a posi-

UGAR CHILE ROBINSON,the American coloured

boy who is said to haveamassed a fortune of nearly£200.000 by his blues pianoplaying and singing on U.Sfilms, radio, TV and stage,made his first public appear-ance here in TV last Satur-day night.

He was accompanied byLennie Bush (bass) and MartinAston (drums).

It may seem invidious to startcriticising anyone who canknock up more in a week thanmost of us make in a year.

But after seeing and hearingSugar Chile on my screen I wasleft with rather mixed feelings.

I was intrigued by what iswithout doubt a most unusualnatural talent-but astonishedto find_ that more steps had notbeen taken to cultivate it.

TOOYOU

Orchestrations now ready. S.O. 3'6 F.O. 4' -

SUN MUSIC PUBLISHIG CO. LTD.

23, Denmark Street, LNondon, W.C.2TEMple Bar 8651/2

KENTUCKY WALTZ(A natural to follow Mocking Bird Hill)

Backed with LIGHTLY COME, LIGHTLY GO (Waltz)

YOU BELONG TO MYHEART

Backed with CONGA BOOMS.O. 3'9 Post Free F.O. 4(3

Southern Music Publishing Co. Ltd.8, Denmark Street, London, W.C.Z. TEM. 4524

American composer Phil Moore (standing) directs the Britishgroup which accompanied him last week on a Columbia

recording session with vocal star Dorothy Dandridge.

tion where one can trip overthem. I have always ignored thesituation, confident in my abilitynot to trip.

But not only did I knock thelamp flying, I also ripped halfthe radio out and blew a gasketjust as I was walking over to hearFrank's band.

The hand shall be reviewed atthe first opportunity. Meanwhile,colleague Bill Badley will oblige.

. . . and BILL BADLEY, representingthe average listener, says:

APLEASING little interlude,though nothing to arrest

the attention.1 liked the piano of Frank

Baron and the nice beat theQuartet works up.

There was little jazz content,and one could, perhaps, best sumup by saying that this was apleasant session living up to itstitle of " Rhythm Rendezvous "-if one defines rhythm as some-thing which stimulates loot -tapping.

TV-by g SCANNER'

JACK NATHAN AND HIS BANDFREDDY RANDALL AND HIS BAND

10.20 p.m. 27. 7, 51

BOTH these bands were in finefettle, and between them

gave us a very competent andenjoyable show. They even in-termingled their styles-Jackgave us a rhythmic " Beale St.Blues," while Freddy did a com-mercial James in " I Apologise."

The addition of Tony Kinseyon drums has greatly improvedthe beat of the Nathan band-and no doubt helped to inspirethe fine solos from Freddy Syer,Aubrey Frank and Jack himselfwho, incidentally, played somemodern stuff in one number, andswitched over to the other kindin " Ivory Rag."

Good solos in Freddy's bandcame from the clarinet, tromboneand Freddy himself.

The singers with Jack were RayBurns, who is magnificent, DaveWilkins, who sings with a finebeat, and Marie Benson. who wasexcellent in " Baby I'm In Love,"but needed to be a little lesscommercial in her other number.particularly as I know how stylishshe can be.

The singer with Randall wasDiana Coupland, who has a ten-dency to wail in order to soundsincere.

BILL BADLEY writes:AFIRST-CLASS session. If any-

thing, honours went toRandall. His outfit again proveditself to be one of the very fewagainst which you cannot putthe label. "reactionary."

There were both good jazz andbright commercial offerings fromthe band, and some scintillatingtrumpet from Freddy.

The Nathan band gave me theimpression that it could playcapably in the bop idiom but.with the exception of one num-ber, it restricted its modernityto a few. phrases here and there.and in the main played gooddancemanne music in the West End

FRANK WEIR AND HIS BAND3 p.m. 28/7/51

THIS is a very good band, en-hanced by the playing of

Ronnie Ball's piano and Frank'sclarinet.Frankie was inclined to taketoo many solos and feature spots,and also gave singer GeraldineFarrar too many songs-sevenout of eleven numbers. With thisgood band Frank should featurehis boys more.

Apart from these easily reme-died faults, it was an excellentshow.

"JAZZ FOR MODERNS"5 p.m. 28.7, 51

KENNY GRAHAM, whose Afro -Cubists were the band for

this week, augmented with foursaxes, two trumpets and guitar.

The results were most satis-factory, and added colour anddepth which the normal band isunable to achieve.

The precision was remarkableEffective solos were taken byRalph Dollimore, Joe Hunter. RoyPlummer and Dickie De Vere.Revell Terry was informative, ifrather too enthusiastic, as com-pere

BURMAN'S BAUBLEI heard three excellent pianists

this week. with so little to choosebetween them that I am award-ing the Bauble to them collec-tively-Jack Nathan, RonnieBall and

NEXT WEEKJazz Club."

Sugar is a showman-hut he needsto learn more musk

Sugar Chile is said to be onlytwelve years old, admits he doesnot read music and that he isentirely self-taught.

Not that you'd notice it whenhe plays boogie-woogie. He hasthe true Negro sense of rhythmand bangs out his boogie with aspirit and an ability that wouldbe a credit to one much older.

He tends to overdo the actionand indulges in such unnecessarytricks as stamping out the beatwith his feet and hitting noteswith his fists and elbows.

But one can forgive this. It Isthe sort of thing that gets thecrowd and he probably indulgesin it only for that reason.

Despite his youth, Sugar Chileis already a showman.

The give-away came, however,when he attempted " I Can't GiveYou Anything But Love." Someof the harmonies were anythingbut professional.

What he needs is to be taughtmusic, and I suggest to papaRobinson that he takes SugarChile out of the limelight for acouple of years and has him musi-cally educated.

He may then find that he hasa real musician in the family.

Between his numbers, SugarChile was interviewed in an easy,casual and intimate manner byPeter Leslie-and it's not becausePeter is Features Editor of the" MM " that I say this.

He made a charming compere:I hope we see him again.

Jacqueline singsAFIFTEEN -MINUTE " Star-light " last Wednesday week

by French cabaret star JacquelineRichard. recently at London'sEmpress Club, provided an ac-companying date for pianistJohnny Franz, guitarist BertWeedon, bassist Bob Roberts anddrummer Ben Edwards.

They played excellently.Johnny is still among the best

accompanists we have.Jacqueline has an appealing

voice and a fair style by Conti-nental standards. But her mainattribute is her sex appeal. Anddoesn't she use it!

THEATRE-by PAT BRAND

Effervescent Andrews !AT the Palladium on Monday night, the Andrews Sisters

opened a two -wee season-avowedly for the purpose oftrying out material for a U.S television series.

" Trying it on the dog." they call this in theprofession. And the dog-in the shape of BritishVariety audiences-is without question a luckyone.

Equally lucky, for that matter, are any " cats "who may drop in.

For here we have the world's finest vocal triosinging at the top of their form in a presentationwhich never sage for one moment.

Mostly, It is Patty's evening, her very soft vibratotaking the lead in such well -remembered and con-trasting songs as " I Can Dream Can't I? " and" Rum And Coca-Cola," and soloing iii a brief spotwhich brings us " I Wanna Be Lovec12" " If I WereA Bell " and (she suggests) Britain% next No. 1." Too Young."

" Why," complain the other two, as Patty takesa breather, " Do They Give All The Solos To Patty(When There's So Much Of Us Going To Waste)? "And, to prove their capabilities as duettists-inci-dentally, for the first time in 15 years-they makethis one of the comedy hits of the evening.

Indeed, it is when the Sisters' sense of comedyis given full rein that we realise how much we missby merely hearing recorded versions of such of theirnumbers as " I Didn't Know The Gun Was Loaded."

They have brought timing, phrasing, pace andmovement to an art not yet reached in this coun-try. That they can equally well give dramaticquality to a number was exemplified by the fastand brilliantly arranged " Melaguena."

For the brilliance of their talents did not blindthis critic to the slight, serious -looking, youngishman in horn -rimmed glasses who stood modestlyconducting the Skyrockets Orchestra.

He was Vic Schoen. He has scored every number the girls haveever sung or recorded. And a very great deal of the success of this6U -minute vocal tour de force must be credited to him.

PATTY

MAXENE

LAVERNE

ONENIGHTSTAND

by ERNEST

BORNEMAN

THIS looks like footnote week.Max Jones' note in last

week's " MM," and the lettersfrom Messrs. Scudder andBloch, challenge the jazz filmshow at Holborn Hall.

As an appendix to our recentcolumn on the subject of jazzfilms, let me just add then-notso much in defence of the filmsat Holborn Hall as by way ofexplanation-that there is a realproblem, both technical andfinancial, in getting hold of thebest items in the field.

First of all, there are thetechnical limitations of 16 -mmfilm. Unless directly recorded onto 16 -mm stock and projected ina theatre equipped with the best16 -mm arc projectors, all 16 -mmfilms are inferior in pictorial aswell as sound quality to even theworst 35 -mm pictures.allTpen why use 16 -mm films at

The answer rests in the com-plexities of the film business.

To search for old films nolonger in active distributionmeans digging into film stores/"exchanges " and distributorsrecords.

i

All this costs money, and sine.)films don't break even, unlessthey run for a whole season in agreat number of cinemas, thewhole endeavour to find and shoalthem usually ends in defeat forthe courageous promoters whotry to run jazz film shows.

If a chain of such cinemas asthe proposed " Jazz Cinema " InParis could be set up all aroundthe globe, however, it mightbecome possible for the first timeto obtain and show the best ofthe countless half-forgotten jazzshorts, jazz features and Negrofilms of jazz interest.

But where are the promoters toset up that sort of chain?

French lessonFOOTNOTE to last week's

front page story and Mr.Butcher's letter in the same issueon a " Modern NFJO." 1 -lave wenot had enough of a lesson fromFrance to see the havoc whichtwo rival organisations in thejazz field may cause?

Is it not obvious that the NewJazz Society should join theNFJO-and reform it from theinside, if it feels so inclined?

What else is there left forpeople like myself except to joinboth of them if they insist onoperating in each other's back-yards?

And even then, how many ofus can afford to keep _payingmembership dues to two organ-isations whose overheads arebound to rise precisely because ofthe duplication of effort and per-sonnel?

DefinitionsITHINK Mr. Postgate has given

us the perfect simile by com-paring the folk enthusiastsamong the revivalists to the" folk " dancers who endangerthe peace of my domestic Chelseasquares with their Sunday after-noon antics.

All we need now is a series ofvegetarian milk bars with falsefronts imitating Storyville bor-dellos, to match the " quaint "tea shops of King's Road andtheir renovated antiques!

If Mr. Postgate " only calls jazza folk music when he wants toconfound ignorant criticism ofjazz," I only dispute his defin-itions when I want to confoundthe antique dealers disguised asjazz lovers.

Answer, please?I WAS asked at a recent recital

given to a traditionalistaudience why it was that none ofthe revivalists-or only very fewof them-used current tunes.

I said I didn't know. And whenone of the boys made a crackabout the courage of one's con-victions, I said: " Well, whatabout Harry Gold? "

The answer was largely in-articulate and, as far as I couldmake out, not entirely enthusi-astic.

May I ask why?Perhaps the correspondence

columns of the " MM " may pro..vide an answer: I admit to totalbafflement.

Surely, we can't have it bothways.

Humiliation!ONE of London's best -informed

jazz critics said, after aglance at the Press clippings ofthe Festival Jazz Concerts: " Thewisest thing, from the publicitypoint of view, is to exclude allbut the trade Press from the nextjazz concert anyone is giving inthis country."

Maybe that's a bit extreme --but has anyone seen more non-sense talked about anythingthan in the " reviews " of theconcert dished out by the dailyand the Sunday Press?

The only considered revieWwas, of all papers, in the "DailyWorker "-what a humiliation,for the others!

August 4, 1951' THE MELODY MAKER AND RHYTHM 5

Said Mr. It rown and Mr. Jonesto Master Robinson 4 4 0

HE was only four -foot three -inches tall; a tired little boy witha flashing smile and the courteous dignity of a grown man.

He had been in England for two -and -a -half hours-two hoursof it spent with Immigration officials at the airport. He had beenflying all night, on the way here from Havana.

He hadn't slept at all.But Frankie " Sugar Chile " Robinson took it all in his stride.

sat down with a glass oforangeade, and answered ourquestions as though he had justgot up after a full night's rest.

Here's how the interviewwent:

JONES : To begin with, how doyou put a number together?

ROBINSON : It usually comesnaturally.

JONES : But how do you get thechords right?

ROBINSON: I guess I've got avery good ear for music.

JONES : How do you manageabout the wide intervals; howfar can you stretch? And whatabout the foot pedals?

ROBINSON : Well. I can reachabout five keys, maybe four with-out stretching. The others I domy own way. When I go for anoctave, you know-well, if youwasn't lookin' at me, you wouldthink I hit an octave. because Imove my hands so fast, strikingthe second note while the other'ssounding.

The pedals I don't bother with,ordinarily. For jazz. I have a kindof a built-up board to stomp myfeet on.

A specific toneBROWN : Do you favour any

special kind of piano, Frankie-an upright or concert grand? Ordo you like one of those littlepianos?

RoenrsoN : You mean a spinet?No. Truthfully, it doesn't matterwhat kind of piano you have, solong as the keys are soft and it'stuned right. I like a tone that's

What they sayabout Sugar Chile

" Sugar Chile apparently eatsdynamite . . . he has eaves-dropped on boogie-woogie and hereproduces what he has heard atany cost."

-Chicago Tribune. 4%

" Sugar Chile is a pocket -sizedFats Walter . . . an amazingwelter of flying fingers, poundingfists, jabbing elbows, and edu-cated toes at the keyboard."

-Detroit Free Press." You have to ve and hear this

boy to realise what enormoustalent he has . . . and whatrhythm! "-Chicago Herald -American.

" He never gives his piano play-ing a chance to get monotonous,mixing it up with his digital exer-cises and mugging and vocalising.It all adds up to a big ses-sion. . . ."

-Variety." Sugar Chile is a piano -play-

ing natural."-Time Magazine

" A couple Ofthose chords Ifound. I don'thear very

often!"

*

" With bass anddrums, I can hit'em pretty

good."

specific-not a dull tone-but theimportant thing is that it's welltuned.

JONES: Do you always get thaton tour?

ROBINSON : No!BROWN : What do you do if it

isn't well tuned?RoisiNsoN : I have to play it

anyway, and make the best ofwhat I can do with it.

JONES : You attack those bassfigures hard, Sugar; on therecords they really come out.

ROBINSON : I usually hit 'emtiara because, you know, I havethe bass and drums playing withme, and when they play with n.athey just make me full of rhythm.and I can hit 'em pretty goodtben.

BROWN : You use bass anddrums, usually; do you like aguitar?

ROBINSON: Yes. The guitarmakes it sound very beautiful.and I get more beat with thesr.ares and bass and guitar. Ieven like horns, but they don'tpla5, with me very often becauseI don't have any music.

BROWN : You like to hear thechords?

ROBINSON : Yeah. that's right.BROWN: Do you know the

names of the chords a,t all? Ifsomebody wrote down F7. say,would you know what thatmeant?

ROBINSON : No-I don't knowany music.

BROWN : Your ear just tells youwhat it is?

RoanisoN : That's right.JONES: You seem to hear them

pretty accurately. Do you oftenfluff?

RoanasoN : Yes, sometimes Imess up, sometimes.

BROWN : Tell us how you prac-tise, Frankie. Do you play tunesor practise various chords andphrases?

ROBINSON : Mostly I try overphrases, but I don't practise a lotthat way. Usually when I playthe piano I'm always trying tolook for something new.

BROWN : Do you think you'vefound anything?

'MM' staffmen TONY BROWN and MAX JONES

took a tape -recorder to a London hotel last

week -end for this exclusive interview with

SUGAR CHILE ROBINSONRoeiNsoN : We -ell . . I found a

couple of chords that I don't hearvery often. I don't know howyou'd call them.

JONES Will you ever have aband-a group of your own?

ROBINSON : Maybe a little lateron I might want a band; notright now.

JONES : You like singing. Whatkind of numbers do you prefer,and what singers?

ROBINSON : Yes, I like verymuch to sing-any popular songs,but I sing mostly the blues.

Other singersJONES : Did you get the style

from anyone-listen to any onesinger particularly? I mean,have you listened to any singeron purpose?

ROBINSON : I wouldn't knowfor sure. I like them all aboutthe same. I guess I've got myown way of singing. I justcaught it.

BROWN : How did you learnthe piano, Frankie?RoantsoN : They tell me thata lady who was staying at our

house left her piano when shewent. I just started foolingaround on it; never had anyproper lessons.

" I guess I gotmy own way ofsinging. I iust

caught it."

did you spend aing?

ROBINSON : Yes I did.BROWN : Do you know the first

tune you ever played, Sugar?ROBINSON : " Tuxedo Junc-

tion." I can't remember whereI heard it, maybe on a record,but I don't know.

JONES : Do you listen torecords, to pianists, for instance?Did you learn from any pianoplayers . . . listen to anyonespecial?

Romusort : No, no specials.BROWN : Suppose we had a

phonograph here, and a bunchof records, who would you askto hear?

RoinNsoN : Nobody In particu-lar I don't have any favourites.Piano players? I like just aboutall of them.

BROWN : Erroll Garner, do youlike him?

ROBINSON : Yes, I like Erroll

I can't reallytell you how Ilearned, I justPicked It up. Iguess. z don'tremember if thelady played tome. You know,when I wasborn the pianowas there.

BROW N: Doyou rememberhow old youwere when youfirst tried toplay?

R OBINSON:Yes, I was ayear and a half.

BROWN: Andlot of time play -

Garner very much. Teddy Wil-son? Yes, I like him, too.

BROWN : Have you sat -in withany famous bands or musicians,Frankie?

ROBINSON : Yes, I've playedwith a lot of different jazzbands. I worked with Louisonce. and I've worked with TexBeneke, with Tommy Dorseyonce, and Lionel Hampton and

. oh, many others.BROWN : Which did you

prefer?ROBINSON : No special one.

They all played along with sme.Well, truthfully, I usually playmy own music and they followme.

JONES : Have you worked as anaccompanist to a singer at anytime?

Always soloROBINSON : No, I never have;

always as a soloist.BROWN : Do you have a fav-

ourite tune? What type of tunedo you prefer?

RoaiNsoN : I don't have anyfavourite tunes. I like to playwhat the people like.

For myself, I go for, oh, anykind of number-I don't preferboogie all the time. I play a lotof boogie, of course. Yes, I playsome ragtime, and I play the

. I've been playing too longto feel nervous."

classics. Really I prefer 'anymusic that's got a beat. I guessI like the blues.

BROWN : Are you going tostudy the piano seriously lateron?

ROBINSON : I imagine so. Iwant to learn to read music.JONES: How do you prepare

your stage act, Sugar? Do youvary the act?ROBINSON : Oh, I change it

according to the audience. Istart off with a fast boogie, andif they like that, very good; thenI play a blues. If that don'tseem to go so good-well, thattells me, see, that this crowdwants snappy songs. So fromthere on out I play snappy songs.

JONES: How do you get onabout the accompanying orches-tra, then?

ROBINSON : I don't have tobother. You see, I don't haveany music to give the orchestra.They very seldom play with me.

BROWN : Do you ever feelnervous before your act?

ROBINSON : No, I've never hada nervous moment. Reckon I'vebeen playing too long. . . .

Our Dutch correspondent is guest reporter in this week's

Round the ClubsBy ANTON KOP, jnr.

NEVER having heard KennyBaker and his Orchestra

before, I was really Iodatingforward to their appearance atthe Feldman Club last Sunday-and I was not disappointed.

The session tlItIlVd out to bewhat I had expected: good jazzplayed by one of the finestBritish trumpet stars in front ofa first-rate combo.

Kenny played wonderfulmusic, but not, as most of theother members of the band,great bop.

Fine toneHe has a fine tone and great

feeling-but I think he hadbetter not devote his un-doubtedly great talents to bop,because he excels much more inmusic like " I Can't Get Started,"which he performed splendidlylast Sunday.

Of the other soloists in theband. young Tubby Hayes'smature tenor -sax playing amazedme. He has the right ideasabout bop, and his tone isworthy of admiration.

Vic Ash played mostly clarinet.There are only a few people whocan get decent bop out of aclarinet. Vic is one of them.

The band's ensemble style wasvery attractive, and the voicingparticularly clean. Few of thearrangements were complicated,but they were played with a neatprecision that is one of the greatfeatures of the band.

The supporting group wasHarry Mead and his Afro-Cubangroup which, however, did notplay Afro-Cuban music. Theyjust gave out with some ordin-ary bop, backed by noises frommaraccas, bongoes and congadrum.

To become Afro-Cuban, a bopgroup needs more than just afew Latin-American instrumentsin the rhythm section. If youlisten carefully to Kenny Gra-ham's Afro-Cubists-and thenpretend the Afro-Cuban percus-sion is not there-you will seewhat I mean.

Surprise guests at the clubwere singer Alan Dean. drummerJack atrnell and American com-poser and arranger Phil Moore.

CHAPPELL'S BAND MUSIC SERVICECHAPPELL

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WALT DISNEY

ALICE IN WONDERLAND

THE UNBIRTHDAY SONG

I'M LATE

VERY GOOD ADVICE(From Walt Disney's "Alice in Wonderland")

WOULD I LOVE YOU

EDWIN II. MORRIS

MY RESISTANCE IS LOW

SWEET VIOLETS

NEW WORLD

TOO LATE NOW

(From M -G -M's "Wedding Bells")

I'LL NEVER KNOW WHY(Both from Paramount's "Here Comes the Groom")

THE MELODY MAKER AND RHYTHM Aiiiguif 4; T93T

Moody with strings

Vogue are this month issuing eightsides recorded in Paris two weeksago by James Moody with strings.Titles: " Aimer Comme Je T'Aime,"

Bedelia," " Autumn Leaves," " Sij olie," " Chanter Pour Toi," " UneB oucle Blonde," " Jackie My LittleCat " and " September Serenade."

WHAT has become of the big swing bands? Is bebopreally dead? Which way did the Dixieland revival go?

Who are really the top Jazz figures in America today?Questions like these, which are constantly cropping up among

British jazz fans, obviously cannot be answered simply or briefly.They require constant reference to, and contact with, the Ameri-can scene.

That is one of the purposes this page is intended to serve-togive an up-to-the-minute picture of what is happening to today'smusicians, today, on the transatlantic scene.

To start things off, however, itwould be appropriate to give asconcise an answer as possible tosuch questions as those men-tioned above.

Regarding the swing bands: asyou probably know, most of theleaders who were prominent in fans, and an even larger propor-the swing era are either semi- tion of critics, who feel thatretired (Benny Goodman, Artie much of Stan's music is preten-Shaw); active, but doing nothing tious and preposterous. No doubtnew musically (Jimmy Dorsey, Stan will be the subject of manyTommy Dorsey); hovering be- arguments on this page.tween a big band one month and As to bebop, it is the word-a small band the next, because not the music for which it standsof economic conditions (Count -that has died, as Charlie Par-Basie, Charlie Barnet); or, in a ker's or George Shearing's incomefew all -too -rare instances, still tax figures would show you!consistently producing good The synthetic Dixieland revivalmusic (Duke Ellington, Woody is petering out, but many Dixie -Herman). land combos find it much easier

Stan Kenton. of course, still has to get work than the modernists,the most popular band of all since they appeal to older people.among American jazz enthusiasts. The better Dixieland outfits-

However, there are a number of like those of Bobby Hackett,

This week sees the inauguration ofa new 'Melody Maker' feature. Fromnow on, this page will be devotedexclusively to the music and themusicians who make the jazz oftoday-and tomorrow. Here is..;

The American sceneby

LEONARD FEATHERMuggsy Spanier and Pete Daily-are working steadily.

But in general the musiciansof the '30s are almost strangersto the average young jazz fan inAmerica today. The typical jazzconcert -goer may idolise StanGetz, respect Lester Young as asort of dean of the modern schooland look on Coleman Hawkinsas a little too venerable.

His favourite singers will prob-ably be Sarah Vaughan and Billy

Eckstine; his preferred pianistmay be anyone from Bud Powellto Tristano or Shearing.

He will smile tolerantly at thework of Benny Goodman. who isold enough to be his father, butwill remind you to get the latestrecord by Buddy De Franco.

But these are vague generalisa-tions in a field that cannot beexplored so casually. Let us hopethat before long. in thesecolumns, the pieces of the jig -sawwill gradually fit together.

STAN GETZRONNIE SCOTT

SUGGESTS THE

* BEST OF GETZ *

THE best Getz record is. in myestimation. Stan's Quartet

version of " Strike Up TheBand." This disc, unfortunatelynot yet available here, reallyswings.

Another fast Getz which ranksvery high in my estimation is"Don't Get Scared." This wasrecorded only a few months agoin Sweden, and shows how Stan'splaying has developed since theearly " Strike Up."

Stan's sound in this later sideIs much better. Also, the record-ing is good, and there is someterrific baritone by Lars Guilin,who plays a lot like Gerry Mulli-gan.

For good examples of Getz inslow tempo I would recommend" Yesterdays " and " Gone WithThe Wind." In these-againsides unavailable here-he showsan extensive knowledge of har-monics.

The best Getz on English waxIs in Woody Herman's " EarlyAutumn " (Capitol CL13184). Hisplaying in this is beautiful.

A good runner-up is anotherHerman - " Summer Sequence(Part IV) " (Columbia DB2579).

Of the Getz Quartet sides avail-able here. I would pick out " TheLady In Red "I" My Old Flame "(Esquire 10-137) as the best.

And we mustn't forget " NoFigs " by the Metronome All -Stars(Columbia DB2718). More goodGetz here.

To my mind, Getz is definitelythe best of the tenormen. Apartfrom his jazz feeling, he has awonderful technique and even-ness of tone. His style is strictlyindividual, and his choice ofnumbers for recording very wise.Like Shearing, he goes for thepretty tunes.

AMONG the white musicians of theyounger generation, few merit greater

attention than 24 -year -old Stan Getz, who,during the last two years, has developed intoone of the most important personalities onthe current scene.

Despite the fact that he was this year votedNo. 1 tenor-saxist by " Dqwn Beat " and " Metro-nome " readers, Stan Getz seems to be endowedwith deep musical gifts-a quality which cannotbe said to pertain to all such winners.

Legitimate' toneThe most striking characteristic of Getz's style

is his tone, which represents something quite newin jazz, being completely " legitimate ' from aEuropean point of view.

It is this tone which has earned him the nick-name of " The Sound.''

His sonority is very polished and velvety. Itcan, at times, be very close to that of Lee Konitz.For instance, in the Metronome All -Stars' " NoFigs," where his solo almost continues that ofKonitz.

More than most cther white jazz musicians, Getzstresses the importance of swing-ing. He always keeps a steadybeat, and his improvisations are He always keepsmostly a simplification of the 'original theme. El steady beat

These themes are often seldom -played tunes such as " My OldFlame," " Strike Up The Band "and " It Might As Well BeSpring," which illustrate Getz'swell -developed sense of melody.

Unlike the boppers," whousually throw away the melodyand retain only the chordsequence, Getz generally usesboth the melody and harmony ofthe original tune.This returning to the originalmelody may well have greateffects upon the future develop-ments of jazz.

Lyrical styleThe source of Getz's style is

the playing of Lester Young; butfrom this starting point Stan hascreated a style that is unmis-takably his own. And thoughrooted in the Lester Youngschool, he has much in commonwith Coleman Hawkins.Both Getz and Hawkins areromanticists, while Lester's stylecan be defined as abstract realism.

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The romanticism differs, forHawkins is dramatic; Getz,lyrical.

I would go so far as to say, infact, that with Bix Beiderbecke,Getz is the only pronouncedlyrical musician of quality thatjazz has produced.

Lyricism should not be despised,even in jazz, though it often im-plies a flatness of temperamentand a lack of human depth. Inthis point lies the weakness ofGetz's music, compared to thatof the great Negro musicians.

Though he seems perfect inmany respects, Getz cannot com-pete with a Hawkins or a LesterYoung so far as temperament andhuman perspective go. His art isfar more limited, though withinits limits most pleasing andacceptable, even to listeners whowant their music to be strictly" jazz."

An examination of Stan Getz'srecords gives the picture of rapidprogress towards an original andnear -perfect style.

His first records were madeduring his year with Kenton.That was in 1944 when he wasonly 17. And he was already a" veteran "; he had played thenwith the Dick Rogers and JackTeagarden bands.

Herman solosThere was no solo work on the

Kentons, though. His first soloson wax came when, after a spellwith Jimmy Dorsey, he joinedBenny Goodman in late 1945.

His solos with Goodman. likethose during the same periodwith Kai Winding, Gene Nor-man's " Just Jazz " and his ownQuartet, show a tenor underheavy influence of Lester Young.

But in September. 1947, Getzjoined the Herman band, and hisfirst records with the Herd onColumbia show signs of a movingaway from the Lester Younginfluence.

There is, however, not much todistinguish him from Zoot Simsand Herbie Steward on theserecords, except that he uses asomewhat higher register.

Best known of these recordsare, of course. " Four Brothers "(order of solos : Sims, Chaloff.Steward, Getz), " Keen AndPeachy " (Getz, Sims, Swope,Chaloff, Royal) and " SummerSequence" (Part IV), on whichGetz has a good and personableeight -bar solo at the end.

Small groupsThe Herman sessions for Capi-

tol a year later produced a chefd'oeuvre of modern jazz-" EarlyAutumn." This finishes with abeautiful and well - conceivedGetz solo which Stan himselfrecently described as his best onrecord.

In the Spring of '49, the youngtenorman left Herman andstarted a long series of engage-ments with his own groups-alot of them at New York's " Bird -land." From this point on. most

of his records have been withsmall groups.

In March, 1949, he cut titleswith Terry Gibbs, best of whichwas the double -sided " Michelle,"based on the harmonies of " YouGo To My Head." The first sideis one long solo by vibist Gibbs;the second is divided betweenGetz, Earl Swope and Gibbs-theGetz solo being by far the best.

" Terry's Tune " and " TerryAnd Shorty " are not in the sameclass. " Cuddles " and " Speed-way " are evidently too fast forGetz to be feeling at ease.

Five tenorsThe series of records with five

tenors and rhythm are not toogood. The possibilities of arrang-ing for five unison saxes arerather restricted, and obviouslytoo little time was spent onrehearsals. As a result, theensembles are very muddled. Theonly interest is in the solos,which are not very inspired,except perhaps those on " Battleground."

Gerry Mulligan was at the ses-sion, but did not play. However,Getz borrowed his baritone forthe ensembles of " Five Brothers."

The Savoy session in May, 1949.was extremely successful. Bestside is " Stan Gets Along," whichfeatures Getz in slow tempo. Thearrangements for this sessionwere excellent, particularly thatof " Slow," which is, paradoxi-cally, a fast number.

" Mar-Cia " and " Long IslandSound " are very good examplesof Getz in slow and fast tempo.

Al criticalappreciation

by Danishwriter ERIK

WIEDEMANNAmong Getz's best recorded

work are " Too Marvellous ForWords " and " I've Got You und,erMy Skin." These are straight-forward, swingy sides which youcan hear time and again withouttiring, On these and other sidesfrom the same session he usesthat " whistling " or " breathy "intonation similar to Hawkinsand Young in slow tempo.

A rather badly recorded batchof Quartet sides for New Jazafollowed, lacking the necessaryclarity to display Getz's tone toits advantage. Nevertheless, thesides have considerable interest.for Getz plays well.

Swedish sidesOf Getz's Roost records I know

only a few. The best I haveheard are from the first sessionwith that wonderful rhythm sec-tion of Al Haig, Tommy Potterand Roy Haynes. " Yesterdays "makes interesting comparisonwith the Hawkins' version. It isa wonderful piece of music inslow tempo.

" Sweetie Pie " shows what hecan do in fast tempo.

Some of the latest Getz record-ings are those wade in March thisyear during the tenorman's visitto Sweden, and they are amonghis best sides.

There are eight sides withSwedish musicians accompanying,one of them a Swedish folk song," Ack, Varmeland Du Shone,'which is given a. beautiful jazztreatment by Getz.

" Don't Get Scared " has afascinating introduction and codaby two saxes.

Looking through Getz's records,one realises that the quality ofhis work is consistently highand that already his recordedwork has earned him a placeamong the best modern per-formers of jazz music.

He has, in fact. reached anartistic height and a degree ofpersonality that one would notthink possible for a white jazzmusician.

ERIK WIEDEMANNErik Wiedemann is a jazz dis-

cographer whose tastes are wide.As a jazz critic he has writtenfor numerous Scandinavian jazzmagazines. His series " &rig.kerportratt " ran for several yearsin the Swedish " Orkester Jour.nalen "; in it he wrote of suchmodern jazz critics as Ross Rus-sell and Sieve Race. He alsowrites regularly for the British"Jazz Music," and has hadarticles published in " Collectors'Corner."

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PHIL HARRIS and ALICE FAYEThe Letter

PHIL HARRISPossibilities

(HMY 810105)FORMER film -star Alice Faye

trips out of retirement tosupport husband Phil for the firsttime on record.

In " The Letter," a novelty songabout a GI who is " given theair " by a series of girl friendsin Paris, the mid -West, andpoints between. it is the warm -voiced Alice who steals the musi-cal honours.

Phil comes into his own in" Possibilities," a slam-bang.there's -no -chance -like -the -presenttype of number that epitomisesthe American outlook on life.

ROSEMARY CLOONEYCome On -a My House

Kentucky Waltz(Columbia DB2895)

YOU have to hand it to theAmericans. Name me one

British group that could generatesuch a heat as the line-up ofharpsichord, bass, guitar anddrums that accompanies theClooney girl in " Come On -a MyHouse."

This number, whose heart -crycalls to mind Nellie Lutcher's" Hurry On Down," may lackmany qualities-but swing isn'tone of them.

I admit that melodically andlyrically the song is limited (thelyric consists primarily of vocalrepetition of the title -line), butthese shortcomings are redeemedby the compelling and infectious

THE

METRONOMEModern Jazz Year Book

"JAll 1951Music U.S.A."

Metronome's survey of the year'smusic. Articles by the leading jazzwriters, containing full -plate photos

of your favourite musicians. Beautifullyprinted, size 9" x 1211.

916 post free

INTERNATIONAL BOOKSHOP52, CHARING CROSS ROAD, W.C.2

TEMple Bar 2315THE LONDON CENTRE FOR MODERN

JAZZ RECORDS.

RECORD REVIEWS BY EDGAR JACKSON

Four stars for Georgeand the All -Stars

METRONOME ALL-STARS*Early Spring (Ralph Burns) (Am.

Capi(oH*e**Local 802 Blues (George Shear-

ing) (Am. Capitol)(Capitol CL13545-Bs.)

John La Porta inert.); Lee Konitz(alto); Sianley Getz (tor.); SergeChaloff (bar.): Miles Davis (tpt.); KaiWinding itns.ii Terry Gibbs (vib.i;George Shearing i pno.); Billy Bauer(gtr.); Eddie Safranski (bass); MaxRoach idrs.i. Recorded January, 1951.New York.

METRONOME'S " annualmusicians - of - the - year

poll went according to precedentWhen the winners of the 1950ballot, the results of which wereannounced last January, wereassembled shortly afterwardsinto an all-star band to makethe above records.

The " Metronome " poll wasinaugurated in 1939 and this wasthe ninth time the winners hadappeared on wax.

When assessing the accuracy ofthese ballots, it must be remem-bered that they are inevitablydependent, first, on the tastesand enlightenment of the votersand, secondly, on the frequencywith which any particular musi-cian may have been heard, espe-cially on radio and records.

Accurate resultsIn this case. however, the re-

sults are probably as accurate a.spossible. The " Metronome "readers are mostly musicians orfans. and their opinions coincidedsurprisingly closely to those re-vealed in the poll run byAmerica's other fan magazine." Down Read "

Did I say this latest All Starsdate was by the winners of the1950 poll? Actually there areeight winners and three deputies.

Runner-up altoist Lee KonitzIs in place of winner CharlieParker. Parker was under con-tract to Norman Granz, who re-fused to allotv him to play evenon this charity session.

Trombone runner-up Kai Wind-ing played for winner Bill Harris,who was unable to get away froman engagement in Philadelphia.

Sixth -placed clarinettist John

La Porter took over when it wasfound that all the black rods whowere voted above him were other-wise engaged.

But I don't suppose it made allthat difference.

" Early Spring " was writtenespecially for the session by RalphBurns, A re -hash of " I Found ANew Baby," it is hardly worthy ofthe man who wrote such wonder -fu! music as " Summer Sequence."

His involved. modernistic writ-ing for the ensemble at the startneeded more rehearsing than itseems to have had, to make itcompletely intelligible to themusicians, let alone to listeners.

Sequences of solos by most ofthe members of the group follow.Taken by and large, none is par-ticularly outstanding.

Concoction" Local 802 Blues "-named, of

course, after the New York branchof the American Musicians' Union,and a sprightly paced concoctionwhose only relationship to theblues is that it is in the 12 -barform-is a much better proposi-tion.

George Shearing worked outthe opening and closing passages;the rest was fixed up mainly bythe people featured in their re-spective movements.

The side is opened by GeorgeShearing, with Terry Gibbs inthe rhythm section. It. soundsvery much like a ShearingQuintet.

Stan Getz. Serge Chaloff, Shear-ing and Gibbs are given solos;they're all good, especially Shear-ing.

The remaining members of thecombination are featured in duets--La Porta with Billy Bauer, LeeKonitz with Miles Davis. KaiWinding with Max Roach.

Again, there are traces thatmore rehearsal would have re-sulted in cleaner performances.But the Konitz-Davis partnershiphas resulted in some more thanaveragely interesting sounds.and, although drums and trom-bone may not be an ideal mixtureby themselves, Winding does agood job.

All round, this is a side inwhich all concerned do justiceboth to themselves and to theoccasion.

VIC LEWIS AND HIS ORCHESTRA***Deed I Do (Hirsch. Rose) (V by

Marian Williams) (Esquire

***Vou Go To My Head (Gillespie.Coots) (V by Marian Williams.(Esquire P-7-132)

(Esquire 5-029-5s. 9d.)****Everywhere (Bill Harris) (Esquire

P-7-1751****The Apple

P-7-177)(Esquire 10-144--66. 51d.)

132, 133-Lewis (leader); RonnieChamberlain, Peter Howe (altos.;Ronnie Scott, Peter Warner (tnrs.);Jimmy Simmons bar.); Ronnie Sim-monds, Stan Reynolds, Dave Usden,Terry Lewis (tins.); Johnny Keating,Ken Goldie (tmbs.i; Arthur Green-slade (pno.); Alan Macdonald (bass);Peter Coleman (drs.). Recorded27/2/1951. London.

175, 177-Lewis (leader); Chamber.lain. Derek Hubble (altos); KathleenStobart, Warner (tnrs.); Simmons(bar.); Simmoads, Reynolds, Lewis,Bert Courtney apts.); Keating, Goldie(tmbs.); Greenslade (pno.); PeteBlannin (bass); Coleman tars.). Re-corded 7/5/1951. London.

"EVERYWHERE " and " The

Apple " are typical VicLewis modern jazz sides.

The former is a slow, nostalgicmelody by ex -Woody Hermantrombonist Bill Harris.

Presumably Harris wrote it asa trombone solo. Anyway, it isfeatured as such here-withJohnny Keating taking the starrole and giving a most impressivePerformance.The Apple " is a fast opus byGeorge Auld's saxist, Al Cohn.It features Vic's new trumpetplayer. Bert Courtney, and Kath-leen Stobart in good solos-andthere is some personable playingby Arthur Greenslade. Like thecoupling, it shows that this latestorchestra is about the best VicLewis has ever had, which Is say-ing quite a lot.

The other two sides, made byVic's previous band (which didlittle more than make a numberof records all on the Esquire" commercial " label) are, exceptfor Ronnie Chamberlain's alto soloin " Deed I Do," vocal records.

But Marian Williams's nicestyle and musicianly perform-ances of the excellent arrange -

(Al Cohn) (Esquire

* LAURIE HENSHAW'S `POPULAR' REVIEWS *

Two Alices one good, theother toomature...

The good one-Alice Faye.drive that permeates the wholeperformance.

The " dual vocal " trick treat-ment of the coupling-and tosome extent the song itself-isreminiscent of the " TennesseeWaltz " recordings by Les Paul(with Mary Ford) and Patti Page.

MINDY CARSON'Twas BrilligI'm Late

(HMV 1310094)

TWO tunes from Walt Disney's" Alice In Wonderland."

" 'Twas Brillig " (the CheshireCat's song) is a brilliant bit ofsong whimsy, but owing to chan-teuse Carson's indistinct deliverythe lyrical merit of this piece islargely lost.

" I'm Late " (the White Rab-bit's theme tune) is again notpresented here in an. adequatevocal setting. Mindy's voice isreally too mature to do justiceto a light-hearted children's songof this type.

PRANK DEVOL AND HISORCHESTRA

I'm A Little TeapotJing-A-Ling. Jing-A-Ling

(Capitol CL13552)

1Tis Indeed hard to believe thatthis is the same band that

gave us the brilliant arrangementof " This Year's Kisses ' (re-viewed 17/3/51).

For a musician of DeVol's cali-bre to be called upon to wax amusically sterile novelty like" I'm A Little Teapot " is nothingshort of a calamity.

" Jing-A-Ling " seemed to offermore promise after the openingbars (which have a flavour ofmambo rhythm), but this siderapidly deteriorates when thevocal group starts making sleigh -bell effects.

BUDDY GRECOIf You Could See Me Now

Cara Cara Cara, Bella Bella, Bella(London L987)

THESE sides will disappointthose who were impressed by

pianist -vocalist Buddy Cireco'ssmall -band recordings of " I Can'tGive You Anything But Love.Baby "/" You Meet The NicestPeople In Your Dreams " and" Keepin' Out Of Mischief Now "/" Honey Hush." (Reviewed re-spectively 26/3/51 and 2/6/51.)

Here, Greco leaves his pianokeyboard to concentrate onthroaty vocal stylings againstsvelte orchestral accompaniments.

Greco has quite a fair voice,but it sounds doubly effectivewhen backed by his rhythmicalpiano playing. He should leavethe plush stuff to King Cole (whohas virtually cornered the marketthese sides are apparently aimedat).

*FRANK CORDELL'S ORCHESTRA

AND CHOIR(Featuring Larry Day)My Truly, Truly Fair

With These Hands(HMV 810109)

RAY ANTHONY ANO HISORCHESTRA

My Truly, Truly FairPretty -Eyed Baby(Capitol CL13563)

HERE we have one of thoserare instances when a

British performance of a pop tunesurpases a State -side version.

While neither of these " Truly.Truly Fair " sides captures therollicking spirit of the GuyMitchell -Mitch Miller effort (Col.DB2885). the Frank Cordell re-cording, with its virile -voicedvocal by Larry Day, is far superiorto the uninspiring Ray Anthonystyling.

Moreover, Tommy Mercer's drabvocal refrain is no match forLarry Day's forceful delivery ofthis folky song.

Larry again acquits himselfwith distinction on Frank Cor-dell's colourful presentation ofthe hit ballad. " With TheseHands."

Anthony's " Pretty -Eyed Baby "makes depressing listening afterthe outstanding Prankle Leine -Jo Stafford recording (reviewed21/7/51).

Like the little girl of nursery -rhyme lore, Anthony is somethingof an anomaly. When he's good.he's very, very good; but whenhe's bad-oh, brother!

The bandleader and the vocalist-Vic Lewis and Marian Williams.

ments of modern accompanimenthelp to lift the records well abovethe usual " commercial " level,

STAN KENTON'S POLL CATS*"*bass Mood (Eddie Safranski, Pete

Rugolo) (Am. Atlantic A-92)"Sa-frantic (Eddie Safranski, B

Moore, Jnr.) (Am. AtlanticA-91)(Esquire 10-143-13s. 5)d.)

Art Pepper (alto); Bob Cooper(tar.): Ray Wetzel (tpt.); Eddie Bert(tn'tb.t: Pete Rugolo EddieSafranski 'leader, bass); Shelly Manne(rlrs.). Recorded December, 1947.New York.

THESE two sides are the sessionmates of " Jurnpin' For

Jane " and " Turmoil " onEsquire 10-113 (reviewed 24/3/

1951).The group consists of seven

members of the late 1947 Kentonhand, but Poll Cats doesn't inevery case mean poll winners.

Eddie Safranski won in boththe " Metronome " and " DownBeat " polls, for the year. ShellyManne also won in the " DB "ballot, although he was onlysecond in " Metronome's."

Pete Rugolo topped the " Met "and was second in " DB " events-but in the arrangers' class: fewseem to have taken any note ofhim as a pianist.

ReputationsBob Cooper managed to get

seventh and twenty-second in theDB " and " Met " polls respec-

tively; Ray Wetzel ninth andsixteenth.

Neither Art Pepper nor EddieBert was mentioned.

All of which merely proves thateven the best musicians have toachieve a reputation before theirability is reflected in these polls.

Eddie Safranski led the PollCats' session, and the numberswere designed mainly to featurehim.

" Bass Mood " is in fact a basssolo. The whole group is some-

times used for the accompani-ment, but it is Pete Rugolo'ssuave piano that provides most ofthe background.

Safranski displays his irre-proachable technique in thislanguorous morsel of Rugolofancifulness. But his part is lessmelodic than what goes on behindit, and I feel that the piece wouldhave been more effective had itbeen treated less as a solo andmore as a band presentation.

Despite the " up tempo," "Frantic " is not so frantic.

After the intro and ensuing 32bars by the ensemble, it developsinto a sequence of more or lessconventional solos by Art Pepper,Ray Wetzel, Bob Cooper and EddieBert, with Safranski conspicuousmainly for his neat work as arhythm man.

In its way a satisfactory, if notstartlingly original, record.

KING COLE TRIO* Prelude In C Sharp Minor (RaCh-

m a n inov ) (Am. Capitol 184)(Recorded 17/1/1944. U.S.A.)

*"*To a Wild Rose (Macdowell)(Am. Capitol 10701 (Recorded514/1946. U.S.A.)

(Capitol CL13535-6s.)Nat " King " Cole Irmo.); Oscar

Moore (gtr.); Johnny Miller (bass).TWO of the King Cole Trio's

early sides seem to havefloated to the top when Capitolwent to the barrel for this release-and very pleasant listeningthey make.

The charm of Edward Mac-dowell's " To A Wild Rose " (from.his " Woodland Sketches ") addslustre to the Trio-and the Triobrings a palatable new flavour toMacdowell's delightful tune.

This is swing with a taste thatbefits the tune and an imagina-tiveness that is well up to theKing Cole standard.

The Trio shows the same goodtaste and instrumental subtletyin the Rachmaninov " Prelude."and even manages to make it ride.once it gets started.

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APARAMOUNT PICTURE

LAMA

6 THE MELODY MAKER AND RHYTHM ATignsi 4, 19511

Change in

'Sky/on

leadershipGERALDO has decided that a

violinist would be moresuitable for leadership of hisEmbassy Hand for its open-airdancing engagement on theSouth Bank of the Festival ofBritain. Accordingly, Al Leslieis leading, and not saxist MickeySeidman.

The rest of the personnel isAlan Clarke, Ralph Bruce (altos),Mickey Seidman Les Watson(tars.), Roy Humphries (bari),Tony Osborne, Teddy Jepson(tpts.), Larry Clarke, Alf Edwards(trabs.), Sid Henry (pno.). GeorgeGibbs (bass), Cecil Black (drs.)and Ray Burns (vc1.), the latterby permission of Ambrose.

There will be an extra eveningof dancing next week, on BankHoliday Monday (6th).

Ken Davis and his Orchestra.who have played for open-airdancing in the " Band Box " atthe South Bank of the Festivalof Britain for almonth, have nowreturned to their semi -pro activi-ties around Bromley, Kent.

It was due to the success of thisorchestra that the Festival autho-rities decided to extend thescope of the open-air dancing andengage a name band. Accordingly,Geraldo's Embassy Orchestra tookover on Saturday 428th).

The Ken Davis Orchestra playsregularly for the LCC and is resi-dent at the Royal Bell Hotel,Bromley. and the Sundridge ParkHotel.

Ken Davis, who plays bass, leadsFred Redmond, Bill Paviour andLen Craig (saxes), Ernie Brooks,Les Parish and Don Glover(brass), Bert Thomas (drs.) andGeorge Bray (pno.).

Skyrockets signStan Roderick

Stan Roderick, star trumpetplayer with Ted Heath for sixyears, is to join the SkyrocketsOrchestra at the London Palla-dium on Monday week (13th).

Stan is one of the few remain-ing " originals " of the all-starband with which Ted rapidly roseto bandleading fame after leavingGeraldo in May, 1945.

Stan has been signed by theSkyrockets to replace Bob Park -man, who is leaving the orchestraafter two years to return to hisnative Bristol, where he is takinga commercial post and continuingto play as a semi -pro.

Bob lest on July 27, and BobbyMickleborough is filling -in for twoweeks until Stan Roderick arrives,then staying for two more weekswhile Les Lambert is on holiday.

Rumba leader opensown dance club

Former Hatchetts rumba leaderAlberto is giving up full-timeplaying to open his own dancingclub in the West End. Called theHarlow Academy of Dance Club,it will be open every night.

Trumpeter Eddie Dayson willlead a regular five -piece at theClub. which starts operations thisSunday.

Alberto (Al Smith to his associ-ates) will take over the band forLatin-American numbers. Amongthe line-up is a newcomer to theLondon scene-a Scots guitaristnamed Johnny Hems.

The Club is situated at 39.Gerrard -street, W.

LOSS LEAD TRUMPET WEDS

Confetti fell upon Joe Loss's lead trumpeterJoe Ward on Tuesday last (July 31) when heleft Douglas Register Office, loM, with hisbride, formerly Miss Barbara Kingshott. Top

left is Loss stage -manager Dennis Brown.

`Fabulous salaries awaitBritish bands in India'Says visiting leader Rudy Cotton

INDIAN bandleader Rudy Cotton, who plays at all the leading venues inIndia, is on a short visit to Britain to see the sights, pick up some

fresh musical ideas and try to arrange for his band to tour the BritishIsles.

Rudy told the MELODY MAKER " I feel surethat my band would make a good impressionand would prove quite a novelty. During thewar, servicemen visiting England compared itmost favourably with some of your leading bands.

" Some of our outstanding soloists have donevery well in Britain. Among them are guitaristIke Isaacs, vocalist Charles Judah, drummer LesWeeks and tenor-saxist George Bennett.

Star material" Others back home who could un-

doubtedly make their mark are trumpeter ChickChocolet, who plays like Louis Armstrong andhas his own band in Bombay; my own bassist,Tony Gonsalvez, who improvises brilliantly andreally plays melody on the bass; and FrankFernand, who is regarded as the Indian Bill Cole-man."

Rudy's band consists of three saxes, alldoubling clarinets and violins; trumpet doublingviolin, piano, drums, bass, and a glamorous girlvocalist, Rosanne.

While Rudy is away, his band, which is playingat Nirulas Rentatuant, the Gymkhana Club andthe Swiss Hote , in New Delhi, is being led by

his first alto, Frank De Souza.

Fox adds drummer asFeldman stays on vibes

LAST-MINUTE changes were effected in the Roy Fox orches-tra before it made its debut at Bognor on Tuesday. Most

notable was Victor Feldman's switch from drums to vibes.The drum stool is being taken temporarily by Kenny Baker

percussionist Pete Bray.Another of the Baker band

(now holidaying) will be withFox for two weeks. This is TubbyHayes, who takes over on tenorfrom Pat Bateson.

Next week the Fox band is atWorcester (6th), Hinckley (9th).Liverpool (10th) and Wisbech Piano -leader Eddie Carroll is(11th). lined up for two airings this

On Sunday (12th) it plays its month, first of which will be withfirst concert-at the Winter Gar- his band from the " 96 " Restaur-dens Pavilion. Bournemouth- ant, Piccadilly. where his Quintetwith guest artists Denny Dennis has been in residence since May(a former Fox vocalist) and clari- last year.net -leader Harry Parry. This airing is in " Mayfair

Merry -Go -Round" on August 13.As a soloist. Bddie will be heard

in " Piano Playtime " on August20 at 3.30 p.m.

Eddie has had only one changein his group since opening. Thisis guitarist Ike Isaacs, who re-cently took over when Micky

Billy Weedon, well-known Lon- Besse] returned to South Africadon semi -pro multi -instrumental- early this year.ist, has joined the sales staff ofMessrs. Selmer, the instrumentdealers, of Charing Cross -road.London.

He will be one of general mana-ger Sid Hooper's assistants.

He has won several awards inMELODY MAKER contests. In the1945 All -Britain he led the victors, On August 3 and 4, Vic Lewisthe Eltham Studio Band, and won and his Orchestra play a " two -individual awards on tenor -sax night " stand at the Astoria Ball -and' trombone. room, Nottingham.

Apart from his job at Selmer's On Bank Holiday Monday, theand his semi -pro activities, Billy Malcolm Mitchell Trio is theis shaping into a musical jour- attraction there and, on the Fri-nalist and wrote a provocative day of Bank Holiday Week, thearticle on saxophone mouthpieces 15 -piece dance orchestra of thefor the MELODY MAKER last week. 9th Queen's Royal Lancers, on

tour from Germany, play theAstoria.

Other bands booked to appearat the Astoria include those ofRoy Fox (August 24) and TeddyFoster (August 25, 26 and 27).

Contest winnerjoins Selmer's

Twins for trumpeterTrumpet player Charlie Evans.

who is playing with Lew Stone atthe Pigalle Restaurant. W.. be-came the father of twins on Sun-day (29th), when his wife, Mar-garet, presented him with a boyand a girl.

FELDMAN'S CURRENT SUCCESSES

NOT FOR ALL THE DREAMSIN DREAMLAND

THE DUBLIN JIGCAN'T WE TALK IT OVER

GIRLS WERE MADE TO TAKE CARE OF BOYS

B. FELDMAN & CO. LTD., 125/7/9, Shaftesbury Ave., London, W.C.2TEMple Bar 5532

HANS MAY'S THEME SONG

MASQUERADEFrom the film, "HELL IS SOLO OUT" S.O. 3/ -

Ill IIIEVRYBODY

CLAP HANDSA LARRY CLINTON ORCHESTRATION 5.0. 3/-

1 1 1 1 1 1

MOE SATURDAY WALTZDance Orchestration by JIMMY LALLY S.O. 3/ -

KEITH PROWSE & CO. LTD., 42.43, POLAND STREET, W.1. GER. 9000

OB, solo airingsfor Eddie Carroll

Bank Holiday starsfor Nottingham

ISLAND ATTRACTION

IS GONELLAPHONE'Nat Gonella is astounding Hay -

ling Island holidaymakers-andhis band-these days with the" gear " he is producing from anold mellophone.

Nat, currently leading a five -piece at the Coronation HolidayVillage, bought the instrumentfrom a junk shop some years ago.He recently salvaged it from hislumber room; now it is a regularfeature with the band.

Former Afro -Cubist pianistJack Honeyborne is with theGonella outfit, which is com-pleted by Eric Stroud (vibes). RoyDexter (bass) and Les Jessup(drs.).

The Bells call homeGraeme Bell and his Australian

Band are recording two morehalf-hour programmes next Tues-day (7th) for relay by the Aus-tralian Broadcasting Commission.

Numbers played by the bandwill include two new originals :" Festival Rag " by Graeme Bell,and " Redskin " by Sid Phillips.

Sid himself will be introducedon one of the programmes. andguest on the other will be JoeDaniels.

JAZZ DISCS(Continued from page 1)

Society whereby Tempo are topress and distribute the records.

Jazz Man discs will be pressedon Vinylite and will cost 6s. 6d.each.

The first couplings will be" Creole Song "/" South " and" Blues For Jimmie "/" Get OutOf Here," all by Kid Ory's CreoleJazz Band. Three of these titleswere placed among the first sixin the recent NFJO Record Re-lease Poll.

Later releases will includematerial by Lu Walters, BunkJohnson, Jelly Roll Morton,Johnny Witwer, Pete Daily andTurk Murphy.

Frank also plays clarinet, violinand piano and is a fine arranger.From what Rudy has heard ofBritish musicians on records,Frank is on a par with any of ourlead men.

" Musicians in India," Rudytold us, " have to tackle every-thing from jazz to symphony,playing sessions all day long, forlunch, tea, dinner and dances,with a repertoire ranging fromnative melodies to Western swingmusic.

" They also have to accompanycabarets of every description andnationality.

" There is no union, and price -cutting is a serious menace, butthe top musicians can earnroughly £30 a month, and as allresident musicians get free hoardand lodging, their earnings reachabout £50 a month.

" Any British band going outto India would be greeted withopen arms, whatever their kind ofmusic, because their visit wouldbe such a novelty. They couldcommand fabulous salaries, pro-bably twice or even thrice asmuch as the local musicians."

TOMMY POLLARDHOME: PLAYINGIN WEST END-MODERN - STYLE pianist

Tommy Pollard has re-turned to London after a longsojourn on the Continent, and isnow playing nightly at theManhattan Club in Berwick -street, W.

Tommy went to Holland withthe Cab Kaye band. and stayedon with Cab when the bandfolded. lie was recently inParis.

Drummer Tony Crombie com-pletes Tommy's duo at the Man-hattan.

On Sunday afternoon (5th)the Pollard piano will be heardat the Down Beat Club (41, GreatWindmill -street, W.).

No`GloomySunday'with MackintoshKen Mackintosh and his

Orchestra are now firmly estab-lished in the Sunday morningair series, " Happy Days."

The programme, featuring alsothe Sam Browne Singers, isrelayed weekly from 10.30-11 a.m.in the Light Programme.Its regular items include analto solo by Ken, a novelty songby Gordon Langhorn, and othervocals by the Sam BrowneSingers, with the Ray HartleyTrio, Kenny Bardell and IreneMiller.

VOCALIST PAT BARRYTO WED TOMORROWLondon vocalist -leader Pat

Barry will be married at BrookGreen Roman Catholic Church to-morrow (Saturday) to Miss MarieScarsbrook, of Barons Court.

HYLTON PRESENTS CHALLENGE CUP

Impresario Jack Hilton pre-sents a Challenge rophy tothe Music Directors' Associa-tion for award in the annualOpen Golf Tournament whichthey are to launch in Sep-tember. Our photo showsJack Hylton handing the cupto MDA chairman, WynfordReynolds, watched by (l.)secretary Bill Sensier andvice-chairman Lew Stone, and(r.) treasurer Sydney Lipton.

RANDALL(Continued from page 1)

bonist. He has lately been lead-ing his own group on that instru-ment up North.

A vocalist is in the process ofbeing signed up, but clarinettistsare still being auditioned.Freddy told the " MM " : " Iwant a group of musicians withme whose approach to jazz is thesame as mine. By doing that Ishall feel happier in myself, andthis is bound to be reflected inmy playing.

The changes I am makingtherefore become essential. Forinstance, Stan Butcher, an ex-cellent all-round pianist, is reallyout to make a name in the fieldof arranging, and knowing hiscapabilities I am certain he will.But complications were bound toarise through his split interest.

" Bernie Stanton, about thekeenest musician I have yetknown, really has his heart seton fronting his own band, andhas now received a useful offerto do so. If it is in my power tohelp him in this venture I shalldo so willingly.

" Jo Searle I rate as one of thebest vocalists this country hasknown, but she feels that herstyle is not quite matched to thatof the band , and that conse-quently she cannot give of herbest.

" As for Harry Brown, despitehis obvious technique he againdidn't suit my particular style "

Geoff Howard to depat Cafe de ParisGeoffrey Howard, well-known

society leader, is to take his bandinto the Cafe de Paris fromAugust 6 to 18, while Sid Simoneand his Band are on holiday.

For many years GeoffreyHoward has played at leadingsociety events with a band of starmusicians.

His nine -piece. for the Cafe deParis will consist of GeoffreyHoward (yin., ldr.), Alan Clarke(1st alto), Tommy Davis (2ndalto), Les Watson (1st tnr.), StanJacobs (2nd tnr.), George Harper(tpt.), Pete Stutely (bass), JackRogers (pno.) and Max Abrams(drs.).

All these musicians work regu-larly for Geoffrey, but TommyDavis is deputising for Bob Wise,who is at present playing in theGeorge Melachrino Orchestra, atthe Empire Theatre, LeicesterSquare. during Laurie Payne'sillness.

Now in the Hit Parade

THE NEW SONG VERSION OF THEFAMOUS 'DESTINY

YOU ARE MY

DESTINY

SWAN & CO.24. GT. PULTENEY ST.. W.1. GER. 3265

August 4, 1951 THE MELODY MAKER AND RHYTHM 7

250 FANS MAROONED BY LOCK BREAK -DOWN ONLJC RIVERBOAT SHUFFLE

Six provincialjazz groups inbig air break

THE first " Jazz Interlude "-half-hour programme fill-

ing in the summer recess for"Jazz Club "-takes the airtomorrow (Saturday), when twoprovincial groups will broadcastfrom Edinburgh.

The following week's pro-gramme will come from Birming-ham; that on August 18 fromBristol.

Featuring in tomorrow's air-ing (5.30-6 p.m.) are ArchieSemple and his Dixieland Band,and a modern outfit, the JimmyWalker Group.

Similar contrasts will prevailthroughout the three-week series.On August 11 ( 5-5.30 p.m.)listeners will hear the traditionalstyled Ken Rattenbury Quintetand the Club Six Group. OnAugust 18 (5-5.30 p.m.) themodernist Ronnie Horler Groupand the Mac McCoombe Quintetwill air.

The regular " Jazz Club " and"Jazz For Moderns " seriesreturns on August 25 with aJimmy Grant programme intro-ducing the Joe Muddel Sextetand the Joe Saye Trio.

Paul Carpenter toboard 'StreetcarSinger, compere and radio

actor Paul Carpenter is to playhis first " straight " role on thestage. On Monday (6th) he stepsinto the part originally playedby Bonar Colleano in " A Street-car Named Desire."

This repertory company pro-duction of the show opens at theEssoldo Theatre, Penge, and willprovide Paul with his most ambi-tious undertaking to date.

He is still appearing in the radioproduction, " Riders Of TheRange."

Ralfini augmentingwith vocal -violins

Bandleader Jan Ralfini. who hasbeen resident at the Orchid Ball-room, Purley, for four months, hasbeen given a long extension of hiscontract and is about to under-take a novel augmentation of his12 -piece band.

He is adding four girl violinist -vocalists to his present instru-mentation of five saxes (doublingflutes, clarinets and oboes), threetrumpets and one trombon(doubling French horns), piano(doubling Clavioline), bass anddrums.For this purpose he requiresfour girk fiddle players able tosing. They should apply to himc/o the Orchid Ballroom, Purley,by letter, sending photographsand details of experience. Audi-tions will commence immediately.

Beri Shaw rejoinsthe Serenaders

Singer Beni Shaw has rejoinedFelix Mendelssohn's HawaiianSerenaders after an absence ofone -and -a -half years, bringingthe touring unit up to 15 -strong.

Beri's former association withFelix lasted three years.

The Serenaders are now inthe midst of an extensive stringof concert and dance engage-ments, with a number of shortseasons lined up.

On August 20 the Mendelssohnentourage goes into the SeaburnHall, Sunderland. for two weeks.On September 17 it commencesa similar period at Green's Play-house, Glasgow.

The Serenaders broadcast onAugust 7. August 18 (FestivalMusic Hall) and September 4.

String airing fororganist CroudsonOrganist Henry Croudson will

he heard conducting his ownstring ensemble in the radio series" Strings In Rhythm," whichnext airs on August 28.

The combination consists offour violins, two violas, two 'celli.bass, piano, and guitar.

'FATS' WALLER'SGREATEST.

NORMAN iMPEY'S ARR. ii -HARRY GOLD'S OCTET ARR. 31 -

Keith Prowse & Co. Ltd.,W.1. Ger. 9000

Bands play on-and 1,000 linebanks for free show

SHORTLY before midnight on Sunday, 250 cold andexhausted jazz fans were landed at Richmond after

being stranded at Shepperton aboard a Thames riverboat.They had been 13 hours on the water.The fans had left Richmond in the morning on the London

Jazz Club's fifth Riverboat Shuffle. They reached Chertsey andwere returning down river when Shepperton lock was found tohave broken down.

For three hours the Christie Brothers Stompers and Eric Silkand his Band played to the marooned passengers and a fast -

assembling riverside audience.At 7.30, well over a thousand

people were taking advantage ofthe free jazz show.Wildeman selects

Festival QuintetPIANIST -LEADER Jan Wilde -

man, who is to remain at theDance Pavilion of the FestivalGardens with his band reducedfrom eight to five after August 13,has now chosen his revised per-sonnel.

Playing piano and accordionand singing, Jan will lead LenJames (pno.), Vic Gatehouse(tnr., clt.), Hugh Carpenter (bass,gtr., flute) and Reg Clamtree(drs.).

Apart from the three musiciansJan is required to drop, there arechanges on bass and drims. HughCarpenter returned a short timeago from a job in Nairobi. RegClamtree is a well-known. EastLondon musician.

Jan's band will continue to playafternoons and evenings at theDance Pavilion, alternating asusual with Nat Allen and his Sex-tet, who are now doubling atthe neighbouring Amphitheatrewhere they give a half-hour con-cert twice nightly.

AMBROSE PLAYSTO ROYALTY

Ambrose appeared with hisorchestra and supplied a support-ing rumba band at a big danceon Thursday (2nd) for Lord andLady Louis Mountbatten, at theircountry residence at Broadlands,Romsey, Hampshire.

Among the guests present wereH.R.H. Princess Elizabeth and theDuke of Edinburgh and H.R.H.Princess Margaret.

They booked againEventually, another steamer

was sent up from Richmond, andthe tired fans went ashore, by-passed the lock, and clamberedaboard the rescue vessel.

Three hours later they wereback at Richmond, a numberfaced with the problem of gettingtransport home.

Notwithstanding the day's ex -

The Christie Brothers Stom-pers snapped in action during

the " Shuffle."perience, many before leaving thesteamer asked for bookings on thenext LJC Shuffle on August 19.

LOVE IN THE CHARING CROSS ROAD

Two Moore 'originals'on first British waxing

THERE was a last-minute hitch when pianist -composer -band-leader Phil Moore and vocalist -actress Dorothy Dandridge

were about to make their first British record, on Columbia, onThursday (26th).

Accompanied by an all-star British band, they were to have re-corded Phil's original " Blow Out The Candle," and " Moanin' InThe Morning," written by " Yip " Harburg and Harold (" StormyWeather ") Arlen.

Permission for the use of" Moanin' in the Morning " (nec-essary because it is being featuredin an American musical) did not

Phi KP to join FD&HPhil therefore set to workarrive in time from New York.shortly before the session toscore another original. " I Just Keith Prowse staff arrangerCan't See It Your Way." Harry Dexter is shortly taking

The accompaniment on " I Just over the light orchestral andCan't See It " was provided by educational music section ofPhil Moore (pno.), Sid Jacobsen Francis Day and Hunter.(gtr.), Tiny Winters (bass) and He will thus sever a four-yearJohnny Wise (drs.). " Candle " connection with Keith Prowse,received the additional support which has seen him scoring forof Arthur Mouncey apt.). Moss Louis Levy. Sydney Torch, GeorgeKaye and Les Watson ( tnrs.) and Mitchell. Rae Jenkins and BobAl Baum and George Curtis Busby.(altos). The record is to be re- Although his work with Keithleased in September. Prowse has involved mainly

Phil and Dorothy broadcast in a orchestral and choral arrange -musical show, " Summer Song ments of " pops," Harry has strongTime," on August Bank Holiday associations with the straighter(6th), with Stanley Black and type of music.the BBC Dance Orchestra. Messrs. Keith Prowse wish to

They televise again on August 7. point out that the price of their" Blow Out The Candle " is to Diane " and " Charmaine " or -

be published by Chappell's in chestrations is 3s. 6d. and not 3s.September. as advertised last week.

Harry Dexter leaves

DECCA WAX STRICT -TEMPO SESSION

Discussing orchestrations at the first Decca recording sessionof the new strict-tentpo orchestra formed by ballroom championWally Fryer are (1. to r.) Wally Fryer; his manager, FrankAtherden; his wife and dancing partner, Violet Barnes; andrecording chiefs Dick Rowe and Bill Fyffe. First titles, forrelease on September 1, are " Too Young," "How High The

Moon," " Diane" and " The White Carnation."

Members of his Astoria,Charing Cross -road, bandgather round Geoff Loveand his trombone. L. to r.are Cyril Garlick (tpt.), DillJones (pno.), Barbara Jay(vol.). Don Raine-Young(bass), Harry Klein (alto),Benny Green (tnr.). MartinAston (drs.). The band openedas holiday dep" for theJack White Band on July 22.

PIANIST WANTEDBlanche Coleman needs a

pianist for her Ladies Band.Applicants, who must be able totackle both pit -work and modernorchestrations, should contactBlanche c/o the Grand Theatre,Llandudno.

rntitiie '4.41WI?

FOUR AUGUSTAIRINGS FORTEDDY FOSTER

TEDDY FOSTER and hisOrchestra, back in the South

this week after a Scottish tourand a week of Variety at Pwll-hen, have four broadcasts thismonth.

Today (Friday) they air from12-12.45 p m. Other airings areAugust 7 (10.20-11 p.m). 24th(5.45-6.15 p.m.), and 30th (11-11.45 a.m.) All these airings areon the Light Programme.

Recent newcomers to Foster's17 -piece are vocalist AnnetteKlooger and trumpeter DerekSewell.

Annette replaces Muriel Max-well, who, as Judy Joy, has joinedthe Roy Fox band. Derek hastaken over as lead trumpet aftereight months with RonniePleydell at the Trocaclero. W.

Loss v. Stapletoncricket series

The Joe Loss and Cyril Staple-ton bands met for the first of aweekly series of cricket matcheson Tuesday last week.

The match was at Douglas, IoM,the bands' summer " home." TheLoss band batted first and scored48 all out. Stapleton and his boysreplied with 50 for 7.

DEEPS VISIT loM:TOUR NEARS END

The Deep River Boys, whostarted their third BritishVariety tour in May, return to theU.S on October 15 on expirationof their Ministry of Labour per-mit.

The close -harmony team con-tinues its tour, and makes anappearance at the Villa Marina,Douglas, IoM, this Sunday (5th).

The New BOPS

BOPS -A -DAISYNeal Heiti's

SLOPPY JOE

DOO-BLU-DAHCharlie Parker's

BARBADOSOrchs. 3/- each

Send for Complete Bop List

B 0 SWORTHS'

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Bernie Fenton's Arrgt. of

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THE MELODY MAKER AND RHYTHM August 4, 1951'

TECHNICAL PAGE

I

A few words about FINGERS-LET me say right away that

I believe every correctmethod of drumming incor-porates the use of the fingers insome way.

I was fortunate enough to beable to study drumming in NewYork, and I observed that allgood drummers and teachersuse their fingers while playing,no matter what method theyplay. In fact, a certain amountof finger control is absolutelyessential.

I had most of my tuition fromBill West, who has taught someof the best drummers in theStates-men like Ed Shaugh-nessy and Sonny Igoe.

Bill teaches an old Frenchsystem in which the fingers areused more than in othermethods. Both sticks are heldapproximately half an inch fromthe drum and all beats start andfinish in that position.

The left stickThe left stick is held in a

similar fashion to that advo-cated in the Gene Krupa drummethod. It is not gripped, butrests at the base of the thumband forefinger. The thumb isover .the stick and its first jointtouches the second joint of theforefinger. The second fingerrests as a guide on the stick andthe third and fourth fingers lieunderneath and act as levers.

To make a beat, the wristturns upwards and the fingersslide slightly up the stick awayfrom the palm of the hand. Asthe stick comes down, the fin-gers slide back into theiroriginal position. The handshould be in a line with theelbow and not turned either in-wards or outwards.

The right stick is held lightlybetween the first joint of thethumb and the first and secondjoints of the forefinger.

The butt end of the stick restson the other three fingers point-ing toward the centre of thewrist, and should make contactwith the base of the hand. Thehand itself should look flat overthe drum.As the hand turns upward tomake a beat, the stick mustmove away from the base of thehand, though the fingers shouldremain in contact with thestick.At the same time as the wristturns downwards, the fingerspull the stick into the startingposition again.

While practising this, greatcars must be taken to ensurethat the sticks are held ex-tremely delicately.

Sortie English drummers havemisinterpreted so-called fin-ger -style drumming and havetried to play by using the fingersalone. In so doing, they cut outall the natural actions of thearms and wrists.

It is possibly because of thisthat some say that the system isno good for big -band work andis only suitable for playing withsmall combos.

I am inclined to think thatsny drummer who tries to playby using his fingers alone willget negative results, whether heis a member of a trio, BoyScouts' Band, or with DizzyGillespie.

All the successful drummers I

. . . for drummers

by

Tony Kinseyhave seen-Rich. Roach, Haines,Krupa and Bellson-co-ordinatetheir fingers with their wrists,arms and shoulders. In otherwords, they use what will movenaturally, because when they playthey make certain that theirmuscles are relaxed-and relaxa-tion is 90 per cent. of the battle.Many drummers tell me thatthey spend hours practising in-dependence of hands and getlittle in the way of results.

They want to know if I canadvise them what to do.

There are two things whichare very important for playing bytoday's standards. The first is agood basic snare -drum technique.This is absolutely essential,though it often doesn't seem soin the early stages of drumming.The other is musicianship.

Tony Kinsey

I'VE just been listening to arecord of Sugar Chile

Robinson. He doesn't playreally remarkable piano unlessyou take his age into considera-tion.

But there are one or twoaspects of his playing thatmight be overlooked by peoplewho will only hear him onrecord.

The first is that he has verysmall hands=a much smallerstretch than mine or any otherpianist known to me. The secondis that his feet don't touch thepedals.

It might not be obvious to allpianists that an abnormally smallhand in piano playing is going tocause bother.

To start with, unorthodoxfingering is inevitable becausethe normal methods are imprac-ticable.

Then, again, the art of touchis practically unattainable.

Now, although Sugar's playingis not likely to be of technical in-terest to pianists, he copes verywell despite these handicaps.

A beat -producerHe plays jazz; he produces

beat; his fingering is fairly clean;and, although he doesn't go farbeyond the twelve -bar -bluesformula he obviously " hears "these chords and is able to phraseon them.

This bears out a long -held be-lief of mine. This is that pianofingering " by the book " is some-times more hindrance than helpwhen it comes to playing jazz.

I know that this is a verysweeping statement to make, butreflect for a moment.

What pianist has not, at onetime or another, tied himself in aknot trying to finger a jazz phraselegitimately? There was, anyway.a time when I struggled todo things the right way-thoughoften I had to give it up.

Eventually, I got to thinking

. . . for pianists

by

Ralph Sharonthat the end is more importantthan the means, and took theeasy way when it could make allthe difference between playingsomething or not playing it atall.

I found out that I was not theonly one. George Shearing'slocked -hand double -tempo play-ing sounds easy-coming fromGeorge.

Many pianists after attemptingthe style have come to mein despair, asking how it is done.

They have wanted to know thecorrect method of playing thisway. The answer 'is that thereisn't one. This style was a

natural " to George, and I'mwilling to bet that he never wor-ried about correct fingering.

He just felt that way andplayed.

The same applies to Erroll Gar-ner. Some of his right-handplaying is completely unorthodox,especially the weird intervals hepicks on.

Garner is self-taught and can-not read music, so how can he be

How to get pit experienceIWANT to make a suggestion

here that will help anyoneseeking experience of pit play-ing. That is that you try to getto know one of the musiciansworking in a theatre orchestra.

If you are acquainted withone already, all the better. Ifnot, approach one of them andexplain what you want.

Ask him to take you along toa rehearsal. Sit next to him inthe pit if possible, watch the con-ductor and read the music as ifyou were playing.

Buy him a beer!After the rehearsal, buy your

friend a beer and then get himto go through the book with youand explain anything youcouldn't understand.

Should you ever reach thestage when you feel confidentenough to accept some deputywork in a theatre orchestra (thisis undoubtedly the best way tostart gaining experience), alwaysturn up well before the showstarts to look through the music.

You should, to be thorough, gothrough the " book " first withthe musician for whom you aredepping. and then spend sometime with it on your own to getfamiliar with markings, cuts, etc..and to play any passages thatmight be difficult.

Every experienced player who

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is conscientious does this, so itwill be more necessary for thenewcomer to pit work.

I think the difference betweenthe experienced and inexperi-enced pit musician is that thefirst knows when not to play. Bythis I mean, if he is not sure ofa passage he either leaves it tothe others or plays it double ppto avoid making any dominoes.

A " domino," by the way, isthe name given to those notes youplay when you shouldn't. Theyusually occur when the entireorchestra has stopped playing.

Anyone who has played a nicejuicy domino right in themiddle of a silence will rememberthe horrible hot and cold feelingthat runs up and down the spine.The basilisk glare of the con-ductor and the amused taunts of

your fellow musicians only_ addto the agony.

So whatever you do, try toavoid dominoes. If you're notsure of anything, stop playing orkeep it down.

The important thing to remem-ber is `hat any bits of solowritten for you must be playedwhatever else happens.

I have known deputies whofaked and fumbled their waythrough an entire show, but whounhesitatingly played all thelittle solo parts. After the show,the conductor voted them gooddelps.!

I have known others whoplayed the show well but fumbledtheir solos. Result-they wereout.

So if you want to play in thepit remember this above all else.Suck your instrument and lookintelligent without playing anote and you might get away withit.

But if you don't play your solobits you'll be rumbled and yourcareer as a pit musician will endspeedily.

CONTEST RESULT

Jimmy Kerr winsta o nor tgidnby individuall skilled

, e,rgrlgeh the

THE 1951 South Coast Cham-pionship, held at the Rex

Ballroom, Bognor, on July 26, sur-passed all previous contests heldat this resort.

There were nine competingbands and seven of these weremusically interesting enough tokeep the non -dancing memberstoes.festhe capacity crowd on their

It was gratifying to see StanFry and his band take the stagefor the fourth time this season.The performance of the band atan earlier contest at Chathamwas well below form, whereas onthis occasion it topped all itsother efforts.

At most contests, this wouldhave been enough to get the firstaward. Unfortunately for theFry band, however, Jimmy Kerrand his orchestra were amongthose present.

Finals favourites ?These Southampton semi -pros.

put up a show that will makethem odds-on favourites for win-ning the Area Final. Not onlydid the band get the cup andwinners' bannerette: in theopinion of both judges, it playedbetter than any outfit heard sofar this year.

To quote Ralph Sharon, " theKerr boys played their particu-lar numbers as well as any pro-fessional band using the sameinstrumentation could haredone."

In this company, the Stan Fryband did well to achieve secondplace, while the Top Five, regularcontestants front Twyford, were acreditable third.

But several other bands whichwere not placed might havemerited an award in a lower -standard contest.

One interesting point is thatalthough the Four Deuces wereapt to sound monotonous as anensemble, three out of four of

remaining member rated an hon.mention.

This proves once again that acollection of good soloists do notnecessarily make the best band.

First-class organisation byveteran promoter Billy Stonemade the contest run with clock-work precision, and Maxie Stoneproved again that he is a lucidand intelligible compere.

Band Steward Jimmy Drum-mings worked behind the sceneswith his customary quietefficiency, and the house banddirected by Billy White suppliedsustaining music between theCompeting bands.

THE SOUTH COAST DISTRICTCHAMPIONSHIP

Judges: Ralph Sharon, Leslie Evans.For the " MM ": Tony Brown.

Winners: JIMMY KERR AND HISORCHESTRA (trumpet, two altos, twotenors, baritone, piano, bass anddrums). All Come. to: 39, Acacia -road,Merry Oak, Southampton, Hants.

Second: STAN FRY AND HIS BAND(three trumpets, trombone, two altos,two tenors, piano, bass, drums andleader). All corns. to: 55, GrenvilleGardens, Woodford Green, Essex.

Third: THE TOP FIVE (alto, trom-bone. piano, bass and drums). Allcorns. to: N. L. J. Jennings, High -street, Twyford, Berks.

Individual Awards for: Alto (CohnBradfield), trombone (Walter Walter)-bbth of the Top Five; tenor (Nor-man Duval)-of the Dyma KermeloQuintet: trumpet (Ken Bain-of StanFry and his Band: piano (PhillipShipp), guitar (Edward Piggott).drums (Daniel Huntley)-all of theFour Deuces; bass (Edward Bishop)-of Jimmy Kerr and his Orchestra.

Hon. Mentions for: Alto (PhillipSyms), trumpet (Roy Bishop), drums(James Milner)-all from Jimmy Kerrand his Orchestra; trumpet (ArthurDyson)-Of the Dyma Kermelo Quin-tet; piano (Charles Paine)-of theCharles Paine Quintet; bass (LaurenceEnglish)-of the Four Deuces.

regarded as an orthodox player?tBouttithe shouldn't be condemned

The moral is, of course, thatfingering systems should never beallowed to be the pianist's master.If you hear a phrase which youcannot execute the " right " way,try another way..

It is obvious that Sugar ChileRobinson will get better andbetter as time goes on and gobeyond the limitations imposedby his youth.

It is equally obvious to me thathe will always have a " fake "technique, but I shall be the lastto criticise him on that score aslong as he turns out the pianisticgoods.

And this applies to all pianists-in fact to all musicians andartists of any kind If they canproduce original work I don't careif they do some of it with theirelbows. Sugar Chile does!

Ralph Sharon

BERT WEEDON brings-

GOOD NEWS FORGUITARISTS

IN order to give the Hexatoneguitar pick-up a fair test. I

called in to a leading West Endmusical instrument dealer andasked to try one straight fromstock.

From the beginning, I was veryimpressed by the lightness of theunit and the ease with which itcould be attached to any 'cello -built guitar.

It is extremely small and com-pact, in spite of the fact that ithas a separate pole -piece for eachstring. These are, moreover, in-dividually adjustable, so that theguitarist can get a perfectly evenbalance whatever make ofstrings or instrument he uses.

The tone and volume are bothvery good, and there is a generouslength of flex attached.

Incidentally, the tone andvolume controls are on a separateunit which, though designed forthe Hexatone, can be used onmost pick-ups,

The unit is nicely finished, andit is a very satisfactory job ofwork and a welcome addition tothe guitarist's equipment.

One of the Hexatone's biggestadvantages is that, being solight, it does not detract fromthe acoustic tone of the guitar.

fr HE Heratone guitar unit is avail-! able direct from the manufac-turers-the Westbourne Sound Equip-ment Co., Ltd., 15, St. Stephen'sHouse, Victoria Embankment, Lon-don. S.W.1-or from dealers.

The unit retails at £5 53., or canbe obtained complete with volumecontrol switchgear for £7 12s.

Famous Band Leaderand "M.M." Musician of the Year

JOHNNY DANKWORTHleads on Grafton "Acrylic"

says

"I have usedthe 'Acrylic'since its in-ception. Myhigh opinionand pleasurein playing in.creases everytime I play it."

Fitted with a4 or 5 star bysuper DEARMANMOUTHPIECE.

PRICE - SS Gns.including Pur. Tax

Ask your loca dealer for details ofthis superb alto-guaranteed for10 years.Send for art brochure "A Tone Poem in

Ivory and Gold"-mention

CAOCUSDALLAS BUILDING, CLIFTON ST.

LONDON. E.C.2

Alig11Si T, 1-9-5T THE MELODY MAKER AND RHYTHM

ROY STURGESSScot Joplin Rags

Easy Winners Elite Syncopation(MeIodise 1028)

" QT LOUIS boasts a composerL./ of music, who has written

possibly more instrumental suc-cesses than any other localcomposer. His name is ScottJoplin, and he is better known as' The King Of Rag Time Writers'because of the many famousWorks in syncopated melodieswhich he has written." (St. LoutsGlobe -Democrat, June 7, 1903.)

This report was published someforty-seven years ago, and, so faras I know, nothing has occurredsince that date to depose Mr.Scott Joplin from the monarchy-he is still the King of Rag TimeWriters.

Both 'these compositions are

ErrollGarner

CONI'ESTFIXTURES

WESTON-SUPER-MARE. - Wednes-day, August 15 18 p.m. -midnight), atWinter Gardens Pavilion.-The 1961Severn Estuary District Champion-ship. House Band-Vernon Adcockand his Orchestra. Price of tickets5/-, obtainable in advance from theManager, Winter Gardens Pavilion.

Organiser: Mr. I. Davies, Directorof Entertainments for the Borough ofWeston -super -Mare, Winter GardensPavilion. (Phone: Weston -super -Mare512.)

SWANSEA. - Tuesday, August 28(8 p.m. -1 a.m.), at the Patti Pavilion.-The 1051 West Wales District Charmpionship. House Band-The CarltonOrchestra. Price of tickets in advance3/6, obtainable from the Organiserand Mr, R. Bateman, 7, Singleton -street. Price of tickets at door, 4/-.

Organiser: Mr. J. South, 34, Mansel-street, Swansea.

NEWCASTLE -ON -TYNE. - Friday,August 31 (8 p.m. -I a.m.), at TheOxford Galleries, New Bridge-street.-The 1951 North Britain (EasternRegion) District Championship.

Organiser: Mr. Clement Millard,Westgate House, 6a, Fenkle-street,Newcastle -on -Tyne, 1. ('Phone: New-castle 23839.)

Rules and entry forms for the abovecontests are available from the re-spective organisers. Early applicationin each case Is advised.

COMPLETE LIST OF AREA FINALSBIRMINGHAM.-Thursday, August

23 17.30 p.m. -12.30 a; The GrandCasino. Corporation -street, THE MID -BRITAIN AREA FINAL House Bands--Freddie Barratt and Mannie Berg.Price of tickets 4/-, obtainable inadvance from The Grand Casino.

TOTTENHAM (London), - Friday,August 24 (7 p.m. -midnight), at theRoyal Theatre of Dancing. THESOUTH BRITAIN (EASTERNREGION) AREA FINAL. House Band-Ivor Kirchin and his Band. Priceof tickets 3/, not obtainable inadvance. Special attraction: BertQuarmby and the Solovox.

EDINBURGH.-Thursday, August 3017 p.m. -I2.30 a.m.), at the Palais deDense. Fountainbridge. THE ALL -SCOTLAND AREA FINAL. HouseBands-Maurice Sheffield and TheJimmy Walker Quintet. Price oftickets 4/-, obtainable in advancefrom the Palais de Danse. Edinburgh.

MANCHESTER.-Thursday, Septem-ber 8 17.30 p.m. -1 a.m.(, at the RitzDance Hall, Whitworth -street West,THE NORTH BRITAIN (WESTERNREGION) AREA FINAL. House Bands-Harry Bostock and his Orchestra,Les Bayliss and his Boys. Price oftickets 3/8. obtainable in advancefrom the Ritz Dance Hall.

WESTON-SUPER-MARE. - Tuesday,September 11. at the Winter GardensPavilion. THE SOUTH BRITAIN(WESTERN REGION) AREA FINAL

STREATHAM (London).-Thursday,September 13 (7 p.m. -midnight), atThe Locarno, 158, Streatham -hill,THE SOUTH BRITAIN (SOUTHERNREGION) AREA FINAL. House Bands-Sammy - Ash and his BallroomOrchestra, the Billy Harrison Quartet.Price of tickets 4/-, obtainable inadvance from The LOcarno Ballroom.

LEEDS.-Thursday, September 20,at The Locarno, County -arcade, Brig -gate. THE NORTH BRITAIN AREAFINAL.

Ask your Denieror write for leaflet:

114-116. Charing Cross Rd.. London, W.C.2

From St. Louis .ragtime tomodern piano jazz SINCLAIR TRAM

Jazz Record Reviewsfrom Joplin's earliest period," Easy Winners " being writtenfifty years ago, and its backing ayear later; but they sound asfresh now as on the day theywere written.

Rags cannot normally bejudged by ordinary jazz stan-dards. One does not look forimprovisation, for rags weremeant to be played as written,nor will you get an impression ofany great swing - a steadyrhythmical lilt, maybe, but noswing.

It Is a type of music that reliesto a very great extent on itsmelodic content only. The thingsto listen for, therefore, are themelody, the composition, andthe spirit of the performer.

The latter comes last, for theperformer is merely the vehiclewhereby the composition is trans-ferred note -for -note to thelistener.

Written ideasIn jazz, the performer usually

gives you his idea of what a tuneshould sound like; in ragtime,you get the composers ideas aswritten. n this respect pureragtime is much more allied toclassical music than any otherform of jazz.

Perhaps giany of you will saythese piano' solos have little todo with jazz idiom. I cannotagree, for it is my earnest beliefthat this complicated, syncopatedpiano style gave more to the earlyjazz musician than we have everbeen led to believe.

These two fine Joplin tunes arecompetently, if not brilliantly',played. Rags are never easy, andone rather admires the courageof Mr. Sturgess (not to mentionhis sponsors. Messrs. Melodisc) intackling this different, and ratherdifficult, jazz medium.

Far and away the better sideis "Easy Winners." To startwith, it is much the better com-position, full of fine melody andingenious syncopations.

It is made up of four themes(of 16 bars each), the last themein particular being extremelyfascinating.

It is said that Joplin wrotethis tune after a trip to St. Louis.where he had been listening to

the untutored pianists of thesporting houses, and it is certainthat it has in places quite abarrelhouse quality.

The reverse is not nearly sogood. The themes are not soeasily defined and, although' ithas a good cakewalky flavourabout it, it does sound immature.

Sturgess's playing Is ratherlaboured and stilted and he doesnot get going until the lasttheme, which he has reallymastered and which he plays withfine assurance.

There are not nearly enoughexamples of Joplin's fine musicto be had on record in thiscountry. and I heartily recom-mend these to you, withoutreservations.

ERROLL GARNERHoneysuckle Roseley Heart Stood Still

(Columbia DC555)AND here is the very anti-

thesis of ragtime. A pianistof the modern school but whosework is so full of jazz that Ihave purloined this for reviewfrom friend Edgar Jackson.

There are probably some of youwho, whilst interested in pianojazz, have shunned Garner be-cause you have heard he was amodern. He is modern with adifference.

Garner has two distinct stylesof playing-one which, for wantof a better term, I describe as" cocktail music," and the othera very ebullient swing piano. Intothe latter category comes thisversion of " Honeysuckle Rose."

IndividualErroll Garner's style is his own,

for although you will hear tracesof Hines and Waller in his play-ing, he is still as individualisticas it is possible to be these days.

His style is easily recognisable,by reason of a dragging righthand which lags so far behind thebeat at times he sounds like twopianists.Sometimes he breaks up thebeat so much that you think heis changing tempo, but the pulseis always there, and he comeshack on the beat without anyslackening of the rhythm.

He is also the only pianist Ihave heard who, although modernin conception, still remains loyalto " melody," and who plays withgreat warmth and fine attack.

Please listen to "HoneysuckleRose," for I am sure you will begreatly interested in this mostindividual rendering of Waller'sold classic.

Garner plays a really hot piano,and his original chording is asfascinating as it is. at times, un-expected.

If you find yourself listening to" Tea For Two " for a few bars,don't worry-it was also a goodmelody and fits very neatly intoplace here.

The reverse is very pretty andjust the thing for that Sundayafternoon when the Aunt, whohates jazz, has arrived for tea.This has always been a favouritetune of mine ever since I saw aravishing young woman, EdithBaker, play it on a white piano inan early Cochran revue.

Erroll Garner treats It inrather a Garland Wilson manner.First the melody in slow tempoand then his improvisationsplayed with a nice, gentle swing.You will discover a whole lot ofsubtlety in this side, after youhave played it a time or two.

RAY McKINLEY TRIOChina Boy, Shoemaker's Apron

(Esquire 10--150)" Peanuts " Hucko (clt.); Mel

Powell (pno.); Ray McKinley (drs.).Recorded Paris, 1945

TWO competently played sidesby a trio from the old Glenn

Miller band.There is nothing very exciting

here, although Mel Powell (whostill has many admirers in thiscountry) plays some good, fastswing piano in " China Boy." andMcKinley lays down a solid beat.

I have never been a great loverof the work of " Peanuts " Hucko:he doodles too much for me, buthis playing is rated extremelyhighly by Louis Armstrong, whoat one time wanted him as amember of his All Stars, so per-haps I am missing something.

I can't see a shoemaker's apron

Collectors' CornerEdited by Max Jones and Sinclair Traill

IN response to our review ofPiano Red's HMV disc

(CORNER, July 14), and requestfor information about him,comes a letter from Bert Whyattenclosing Walter Allen's Perry-man Discography.

Whyatt asked us to fill in anymissing catalogue numbers thatwe might know. We have addedtwo, and assume that the othersare not yet released:

"It should perhaps be noted,"Whyatt concludes, " that Formandid not state that Piano Redwas the vocalist-Allen presumesthat he was (maybe the HMVlabel states whether or not?)"

The label does not refer to avocal at all, but there is nodoubt that the singing is Red's.

Digging through Victor" flack " on the subject, we haveunearthed this note about Red'sfirst record - released lastautumn.

" Piano Red makes a red-hotVictor disc debut with 'Rockin'With Red ' and Red's Boogie.'

" Alias Willy Perryman. he hasacquired no mean reputation forhimself round about Atlanta.Georgia, where one day' hestrolled into a recording studio

and knocked out some pianopyrotechnics.

"Result was this disc, releasedat first in the south-east region,where it achieved such outstand-ing success that It was madeavailable nationally.

Red hot debut"On the strength of this

sizzling sleeper, Piano Red nowhas several radio shows and nightclub engagements in Atlanta."

The note to his second releasepins down the singing:

" As he did on his debut disc. . . . Red pounds both pianokeys and vocal chords for somelow-down mean shoutin' on ' TheWrong Yoyo,' a traditional,honky-tonk wail . . .

" On the flip, Red sings hisown ' My Gal Jo.' On both sidesbass and drums enhance thiskeyboard -killer's lusty vigour."

There is no mention of altosax on either title. About histhird " etching," the note says:

" ' Jumpin' The Boogie' and'Just Right Bounce' are twoPiano Red originals which arerespectively vocal and straightinstrumental."

So we can add this pair to the

A discographyPIANO RED (Willie Perryman, piano,leader, vocals; W. J. Jones, bass;William R, Green, drums),Recorded at WGST, Atlanta, Ga., July25, 1950.

EO-vb-5220 Jumpin' The BoogieVictor 22-0118A.

EO-vb-5221 .Rockin' With RedVictor 22-0099A, 50-0099, HMVJ0244.

EO-vb-5222 Let's Have A GoodTime Tonight Victor

EO-vb-5223 +*Red's Boogie Victor22-0099B. 50-0099, HMV J0244.

(L. Johnson, alto sax; Willie Perry-man, piano, leader, vocals; W. J.Jones, bass; W. Harper, drums).Recorded at W GST, Atlanta, Ga.,October 18, 1950.

EO-vb-5949 .;The Wrong YoyoVictor 22-0106A, 50-0106.

E0-vb-5950 *My Gal Jo Victor22-1016B. 50-0106.

EO-vb-5951 *Baby, What's Wrong?Victor 22-0130. 50-0130.

EO-vb-5952 Weil, Well, BabyVictor

(Willie Perryman, piano, leader,vocals; W. Jackson, guitar; W. J.Jones, bass; J. Williams, drums).Recorded at W GST, Atlanta, Ga.,February 22, 1951

El-vb-1319 Just Right BounceVictor 22-0118B,

El-vb-1320 Diggin' The BoogieVictor

El-vb-1321 *Layin' The Boogie.Victor 22-0130, 50-0130.

El-vb-1322 Bounds' With tiedVictor

NOTES.* These titles. at least, are com-

posed by Perryman.t No vocal on this title, at least.I No audible sign of the alto sax

on this side; tune is " traditional."The above information came

from E. C. Forman, RCA.

of Piano Redby Walter C. Allen

In an accompanying letter, hereplied to my query as towhether Piano Red was any rela-tion to Speckled Red (RufusPerryman) as follows:-

" According to the informationin our files, the real name ofPiano Red is Willie Perryman.We cannot say whether or not heis the same man or related toRufus Perry, as we have nothingon file that would answer thisquestion."

(Note: Brunswick 7000 seriesrecords identify Speckled Red asRufus Perryman, but Bluebirdsare as Rufus Perry.)

New ReleasesHMV: International List: Duke

Ellington Ork., Royal Garden BluesTell Ya What I'm Gonna Do (J02921;Glenn Miller Ork., Starlight Hour AMillion Dreams Ago (MH1451: andMoon Love/Sold American (MH147).

Columbia: International List:Machito Afro-Cuban Ork., ArthurMurray Mambo/Donde Estabas Tu(DC5561: Erroll Garner, My Heart

Stood Still/Honeysuckle Rose (DC555) ;Cootie Williams Ork., West EndBluesiG-Men (M03408).

Esquire: Charlie Parker Quintet,Klacktoyeeesedstene / Parker Sextet,Charlie's Wig (10-139); ChristieBrothers' stompers, Weary Blues/BillBailey (10-140); Ronnie Scott Boptet,Chasin' The Bird/Little Willie Leaps(10-1411; Tommy Pollard Five, JustFriends/The Way You Look Tonight110442); Stan Kenton Poll Cats. BassMood/Sa-Frantic (10-143); Vic LewisOrk., Everywhere/The Apple (10-144);Lennie Tristan Quintet, Progression/Retrospection (36-145).

list of titles composed by Perry-man, and add "Just RightBounce " to " Red's Boogie " asa non -vocal item.

On the fourth release, "Layin'The Boogie " and " Baby, What'sWrong," the sheet confirms thatboth are originals and revealsthat both are vocal items. Thisone came out in June, and wehave seen no subsequent PianoRed issues.

The Victor sheet containsnothing about accompanists, but" The Billboard " review (issue ofJune 9) of " Baby, What'sWrong " says: " Red chants aslow blues as an alto joins himand the rhythm section."

Of the backing: " Victor's newboogie woogie piano find fromAtlanta registers again witha rocking, romping boogie picnicon the keys." There is almostcertainly no alto on this side, andno mention of a vocal is madeby " The Billboard "

The Savoy seriesVic Schuler. who is agreeably

active on our behalf lately, sendsa few additions and correctionsto Erik Wiedemann's listing ofthe Savoy 5500 Race Series (July21). Here they are:-5534-should read: Easy Ridin' Buggy,

not Easy Ridin' Blues5538-Brownie McGhee: Auto Mech-

anic Blues/Country Boy Boogie5541 -mat numbers are: I'm Talking

About It (3929)/Dollar Bill(S-39301

5604-Joe Turner with ColemanHawkins: How Long How LongBlues Shake It And Break It

5553-Alabama Slim: Eloise/Boar HogBlues

5554-Byllye Williams and Orch: Dis-gusted Woman Blues Good LuckOld Boy

5557-Brownie McGhee with HalSinger: I Was Fooled/Confused

5558-Birmingham Sam and hisMagic Guitar: Landing Blues/Low-clown Midnight Boogie

5559-Brownie McGhee: RunningAway From Love/Wrong ManBlues

5561-Brownie McGhee: New BaseballBoogie/Good Thing Gone

5585-Brownie McGhee: Three WomanBlues/Poor Boy Blues.

Mel Powellhaving much to do with jazz,either here or at any other time.

SANDY BROWN'S JAZZ BANDOf All The Wrongs You've Done TO

Me Melancholy BluesAlexander Irish Black Bottom

Willie The Weeper I'm Going AwayTo Wear You Off My Mind

(S and M 1001, 1002. 1003.-7s. tid.,from Miles, 86, Bargain Centre, Peck-

ham.)Sandy Brown (cit.): Al Fairweather(tat.); Stan Gregg (lino.); John Twiss(b)o.); Will Refipath (bass); Willie

Burns (drs.).REVIVALIST groups would

seem to be busting out all.over, and here's the first to arrivefrom across the border.

They are a solid little group,even if they are not without acertain roughness that mighthave been polished out with alittle more rehearsal.

The emphasis is on ensemble,and they play well enough to-gether, with the clarinettistbeing the outstanding memberof the group.

The trumpet lead is a trifle un-certain in places and the rhythmsection is woefully dumpy, but allin all these sides are no better,or no worse, than the noise wehave been hearing up and downthe country for the past twelvemonths.

Recording and surface are allright. except for 1003. which is somuffled it sounds as if the bandwas playing in a sack. Perhapsthe recording engineer wasfrightened by the addition of atrombone or something.

CORNER ,A,FORUM "

I RECEIVE most MELODYMAKERS from a friend in

Littlehampton, and have recentlytaken note of your series on theTed Lewis band.

Although I'm not a Ted Lewisfollower-or, for that matter, acollector of recordings of thistype-I do happen to have oneTed Lewis disc in my collectionhanded down to me from a col-lection accumulated in our atticby my parents many years ago.

The record in question is on aColumbia gold label with theadded notation of it being asample record selling for 25 cents.

One side is titled " SchubertSerenade," with the ColumbiaSymphony Orchestra. The otherside, the one in question, is titled" Ted Lewis Popular Favorites,"and bears four melodies in medleyform. I'm not familiar with thefirst three. but the last is - WhenMy Baby Smiles At Me." Thisside bears matrix 81218

The disc is complete with aspecial paper folder outlining thefact that this is a demonstrationdisc, and is offered to demonstratethe new process oi laminatedpressings.

Little information is given onthe material on the record, how-ever, and I've often wonderedabout personnel, recording date,etc. The first item listed in yourcolumn in the April 28 issue bearsmatrix 81909, which is close, so Itmust have been recorded some-time around the middle of 1924,if the matrix numbers followedany consecutive order in thosedays.

I would like to know moreabout this record (out of curio-sity) and if. by chance, the discis of any value to Ted Lewis col-lectors I'd be willing to dispose ofit. -Jack. Hartley, 88. DiamondBridge-arenue. Hawthorne, NewJersey, USA.

BIG BILL DATESAfrANY readers have inquired11 about Big Bill Broonzy's

engagements in France. His tourbegun on July 20: here is the pro-bable itinerary for the future.

August 4-Le Havre, 5-Trou-ville, 6-Les Sables D'Olonne.Coutainyille. 9-Arcachon, 13-Royan, 15-Saint-Jean-De-Luz. 16-Biarritz, 17-Hendaye. 19-Hyeres, 21-Nice, 22-Mentone, 23--Cannes. 24-St. Raphael. andfinally August 25 --St. Tropez.

AUTOCR

Illustrated Leaflet and name of your neareststockist on application to the makers

JOHN GREY & SONS (LONDON) LTD., 74.76 IRONMONGER ROW, LONDON.

THE MELODY MAKER AND RHYTHM 4, 195r

I GENUINE I

Ii. ZILBJIANCYMBALS !

JACK PARNELL (Britain's Top -of -the -Poll drummer) will personallyselect and autograph your " Hi -Hat "or " Top " Cymbals." TOP " CYMBALSI6in. Autographed f12 16 8 eachI8in. OP

£1520in. £18

(Tax paid)

" HI -HAT" CYMBALSI4in Matched and £20

autographed15in £22 9 6 ,,

" (Tax paid)

Order from your local dealer,or write to

4 34 10

5 10 pair

BOOSEY & HAWKES LTD.295, Regent Street, London, W.1

SAXOPHONEr SHOPJOHN PAUSEYALTO SAXOPHONES

GOLD LACQUERED. THOROUGHLY RECON-DITIONED, FULL ARTIST MODELS IN CASE.Coon 140- £70Coon, Conqueror .. 175Adolph Sax. (Selmer) 135Martin £40, £50, £60King. Zephyr 136XXth CenturyNickel plated, low pitnit, 212

TENOR SAXOPHONESGOLD LACQUERED. THOROUGHLY RECON-DITIONED, FULL ARTIST MODELS, IN CASE.Selmer Super.. 165Martin, nickel keys, late .. £85

Buescher 170

Varsity 255XXth CenturyMartin

Buescher. Tenor, G.L.. perfect £55

All instruments on 7 days' approval. PartExchange, Hire Purchase, Instruments Bought,Overhauls, Repairs. Silver-plating, Gold Lacquer-ing, Saxophone. Woodwind and Brass Repairswhile you wait.BERG LARSEN MOUTHPIECES z Clarinet, Alto,Tenor. £4 17s. 6d. ,Post 6d.), Baritone 16 10s. 9d.

156, SHAFTESBURY AVE., W.C.2(Opp, FELDMAN'S, CAMBRIDGE CIRCUS)

Phone t TEMple Bat 9919

BOBBYMICKLEBURGHBRASS INSTRUMENTS6, DENMARK ST., LONDON, W.C.2

TEMple Bar 0079MOUTHPIECE TROUBLE P

I may have the mouthpiece you need. Largestock of Antennae Trumpet. Trombone andCornet Mouthpiece.. Allowance made on yourold Mouthpieces and Free Advice. Costello, RudyBook, Bach, Parduba. Holton, eto.

ALSOThe World Famous Arban" Tpt. Method 80/ -Complete Trombone Method by Lidos.,

(Paris Conservatoire,, 2 parts. Each pt. 25/-"Arbses" Caraoterieliquee and Etude for

Trombone .. 10/6Reinhardt'. Trumpet Meciantents .. 6 /-Reinhardt's Trombone Meehanisms 5/ -Oust arrived from U.S.A. Complete

Trumpet Method by "EBY," (4 parts) 88/ -Please include Postage

MORE AND MORE PLAYERS

ARE CHANGING TOTHE

TRUMPETMOUTHPIECE39/5 POST FREEFrom

Risgs ECM.15, WEST STREET,LONDON, W.C.2 Tern. 9018

AUTOGRAPHED

TRULY THEKING OF ALLREEDS

Guaranteed the choicest selection of thefinest French cane, selected and hand -traded by experts in eight strengthsNo. I, Very soft ; No. 2, Soft ; No. 3, Halfsoft; No. 4, Medium soft ; No. 5, Medium;No. 6, Medium resistant ; No. 7, Mediumbard ; No. 8, Half hard. The variousstrengths are always constant. Speciallypacked 3 reeds in a wallet.8677 By Clarinet ft 2 6 doz.(Tax pd.)8681 EP Alto Sax. £1 II 78682 BS Tenor So. LI 19 5From your local dealer, or write-

BOOSEY 6L HAWKES LTD.295 REGENT STREET, LONDON, W.1

-"OPPORTUNITY KNOCKS"(FESTIVAL PROGRAMME SOLUTION)

CLARINETS, TRUMPETS, SAXOPHONES, ETC.SEND r uR LIST. STATE INSTRUMENT.

OVERHAULS & REPAIRS.Clar. S.S. £2 .4 0 Boehm SYst. £2 15 0Altos £4 15 0 Tenors £5 5 0

Special prices for silver plate and gold lacquer.NYLON DRUMHEADS 29 6. guar. Send old hoop.

MASTERCRAFT4 LO SOHO ST.. ONDON. W.1. GeXFORr.

D ST..1604

TED WARREN DRUM SHOPEVERYTHING SUPPLIED. SECONDHAND.

REBUILTS, NEW. CASH or H.PSpeedy MailOrderSer vice. S.A.E. requirementsALL REPAIRS, RENOVATIONS. GUARAN-TEED BEST CALF HEADS 30!- Double

Lapped, per return.4IAo Saturdays till 6.0

544, Old Ford Road, Bow, E.3, London(No. 8 Bus Terminus) ADVance 1695

MUSICIANS WANTED 6d. per wordAMATEUR New Orleans Musicians,

West London area. -D. J. Read, 22,Hadley Gardens, Southall.

BAND OF 2 KRRC requires Instru-mentalists, particularly boys between15 and 17 years. who wish to makemusic their career. Suitable applicantsentered for year's course at R.M.S.M.Applications and enquiries: -Band-master R. Rodgers, A.R.C.M., 2 KRRC.Assaye Barracks, Tidworth, Hants.

BANDSMEN and Boys. The StaffBand, R.A.M.C., has vacancies forBandsmen and Boys on all instrumentsexcept percussion, Permanent station;band duties only; excellent prospectsfor advancement. Apply: -Director ofMusic, R.A.M.C. Depot. Crookham.Hants.

BASS and Tenor. Young, keen semi-pros, required, for small combination.South London. -Gip. 2332.

CELEBRATED MILITARY Band ofwell-known engineering works havevacancies for all Military Band in-strumentalists, especially FrenchHorn, Bass and Bassoon, also StringPlayers, doubling Military Band in-strument. Employment found; bonusto suitable musicians. -Box 1464," M.M."

DANCE VIOLINIST, " Grappelly "stylist (Sax double preferred); hotel,permanency. Particulars, photo-graph, to: -Maurice Little, GeorgeHotel, Edinburgh. 'Phone: Central6811 (evenings).

LEAD AtTO/CLAR., perm. -CharlesWail. Palais. Aberdeen.

LEAD ALTO, young, keen, modern;permanent -Ted Astley, Sale Lido,

Cheshire.PIANIST and Reed Players required

by fine Cavalry Band. Engagementsand broadcasting; duties entirelymusical; enlistment necessary. -Apply.Bandmaster. 3rd. Carabiniers, Tid-worth. Hants.

STAFF BAND "Cambrai " RoyalTank Regiment. A few vacanciesexist for first-class instrumentalists,re -enlistment or transfer. Permanentstation, band pay and good engage-ments. Vacancies also for boys, ages15 -171. -Apply, Band President, RoyalTank Regiment, Bovington Camp.Wareham. Dorset.

TENOR and Rhythm wanted, forAmateur Chicago Jazzband.-'Phone:Elm. 8031.

TROMBONE and Alto 'Bar. wantedimmediately: permanency for rightmen. -Sonny Rose. West End Ball-room, Birmingham.

TROMBONE. Permanent, only first-class players considered. -HaydnPowell, Pavilion Ballroom, Bourne-mouth.

VACANCIES EXIST for the follow-ing Instruments in the Band ofMarine Mountings. Ltd.; Bassoon, 13I3

Clarinets, Cornets. Horns. Trombone.Euphonium and Basses. Employmentwill be found for suitable applicants.Apply: Musical Director. MarineMountings, Ltd., Swindon Rd.. NorthWroughton, near Swindon. Wilts.

WANTED: STRONG Lead Alto, semi-pro., Lutbn-Aylesbury area. Workwaiting. -'Phone: Luton 3929.

SITUATIONS VACANT 44. per

WANTED: EXPERIENCED Saxo-phone and Clarinet repairer, at ourAldershot branch. Please apply inwriting to: -Mr. V. Caney. Boosey andHawkes. 45. Station Road. Aldershot.

WANTED: Smart person to learnthe specialist musical trade of MuteMaking. Five-day week, good wages.Apply personally. -Henri Selmer. 114.Charing Cross Road. W.C.2.

BANDS 64. per wordALL BANDS --all functions -always

WILCOX Organisation. -4, EarlhamSt.. W.C.2. Temple Bar 1762/3/4.

BILLY WALLER'S Band. -Col. 4918.DAVID WHITEFORD'S Band free

from October. -22a. Baylin Road,Wandsworth. London.

HOWARD BAKER Bands andCabaret. One-night stands or resi-dent. -69, Glenwood Gardens, Ilford.Valentine 4043. or Temple Bar 7662.

LONDON'S BEST. - Fred Hedley'sBand. -50, Lavenham Road, S.W.18.Putney 7643.

LOU PRAEGER'S AmbassadorsBand, especially chosen combination;one-night stands anywhere. - LouPreager's Presentations. 69, GlenwoodGardens, Ilford. Val. 4043.

OLIVE GAYE Dance Band.-Gla.3586.

RON FRANCIS BAND FOR GIGS, 8OR 3 PIECE. -NOR. 4704.

VICTOR STRATFORD Dance Or-chestra (3-7 piece). -Met. 8223, even-ing For. 4483.

INSURANCE 9d- per wordFOR " ALL RISKS " Insurance of

instruments: W. C. Collins and Co..14, Queen Victoria Street. E.C.4 (City6875). For up to £50. Annual pre-mium 11/6d. For values over £50. 1/ -per each additional £5 required. Fire,Life, Motor insurance, Terms quotedon application.

INSTRUMENTS FOR SALE.1.0.---ALTO SAX, with case, bargain, £12.

-Si, Marlborough Rd., Southall.BOOSEY AND HAWKES "Im-

perial " Alto Sax, Berg Larsen Mouth-piece, 245. -Box 2889, " M.M."

CONN " COMMODORA " Tenor,perfect condition, Larsen M/p., case.£50 or nearest offer.-Mou. 0455.

ELECTRIC PLECTRUM Guitar,Selmer Amplifier, 220.-E1t. 4374.

GRIMSHAW ELECTRIC Guitar.and 10 -watt Amplifier, both new, un-marked, £55 no offers. -8, SuttonDwlgs., Coventry Rd., London, E.2..

LESLIE SHEPPARD for all high-class Musical Instruments, cash orterms Test In the comfort of yourhome. Straightforward mall ordertransactions a speciality; instrumentssent carriage paid on satisfaction -or -money -back guarantee. Supplier tothe world's leading performers. Freedescriptive lists, please state in-terests. -Musical Instruments, BurgessHill, Sussex. 'Phone: 3041.

SELMER BALANCED Action AltoSax, in case, gold lac., new 1950. littleused, £85: Selmer Baritone, withstand, £55. Apply: -R. Pryce, 7,Kirkley Park Road. Lowestoft, Suffolk'Phone: 638.

SELMER TENOR Sax, silver plated,p2,erfectueensbury

Qcondition,

Rd.,280 or. offers.-4.9

SELMER TENOR,N.Wgold lacquered.

perfect, £70: ' Couture " BoehmSystem Clarinet. £25; also DukoffTenor Mouthpiece, £7 10s.-2, Marl-borough Cottages, Lechlade, Glos.

SPANISH GUITAR, good tone, newstrings, 25. -Box 2890, " M.M."

TENOR SAX " Bouville Lamy,"F.A.M., S.P., L.P., perfect, £30. -Morgan. 6, Butts, Ilminster, Som.

TROMBONE. CONN, S.P.G.B., first-class condition. perfect slide, £40.-Darrah, 46. Knowe Park Ave..Carlisle.

TROMBONE, Rudy Muck Mouth-piece, £10 o.n.o.-1, Richmond Rd..Swindon.

DINNER SUITS Modern, perfect fitting, ready to wear.BEST UTILITY Double-breasted 2 -piece DINNER SUITS. Indis-tinguishable from high-grade dress wear. £11.11.6 post free.Sizes: 34, 36, 38, 40, 42 Chest (and 38, 40, 42 short). State height and waist.LARGEST Call or send cash with order. IMMEDIATESTOCKS Satisfaction or ntoney refund guarantee. DELIVERY

J. SHONE, 391, Coldharbour Lane, Brixton,LONDON, S.W.9. Brixton 6887

MELODY MAKERClassified Advertisement Ratesare indicated again:: each heading,Traders' Announcements under r -sheading, gd. per word.Please allow for 2 extra words if Box No. isrequired and add if -for our fee herein.All words (after first two) in BLACACAPITALS, double rat-.Insertion cannot be guaranteed for anyspecified date.All Small Advertisements must be pre-paid, and sent to: Classified Advt. Dept.,"The Melody Maker," 96, Long Acre,London, W.C.2. Temple Bar 2468, Ex. 282- - _ Abu,

SPECIAL NOTICES 94. per wordAAA. FIRST-CLASS Quartet avail-

able for Winter contract; ideal club.relief band, etc. Go anywhere, audi-tion given. Enquiries treated confi-dentially. -Box 2899, " M.M."

AGENT REQUIRED for Vocal Quar-tet: Variety, Cabaret: Airing August9th, 9.30 p.m. -Webb, 16, Broad Street,Staple Hill, Bristol.

NOVACHORD for hire, for period orseason. -Bert Shipton, 72, SinclairRoad, Chingford. E.4. Silverthorne4433.

TONY CARR'S Concert, Dance.Colonade, Carrissima Orchestras.Fleetwood Corporation Sept.. 1949-51.-Blackpool 24638.

WEST END premises, suitable Sun-day Dance Club, required. -Box 2897.

PERSONAL 94, per wordFREDDY CLAYTON for the finest

personal, class, postal Trumpet tui-tion. -22. Greville Place., N.W.6Maida Vale 4560.

JOHNNY SHAKESPEARE, TrumpetTuition, Advanced or beginner. -5l,West VCe11sington Mansions, W.14Fulham 9639.

MUSICIANS -Be Wary. All GordonBeeson overhauls, whether Trade orotherwise, always carry the nameGordon Beeson in full on the BellPads.

ENGAGEMENTS WANTED 4d. per wordACCORDION amplified, car. Dance

trio available.-Bri. 6091.ALTO doubling Clar/Violin, large

car. rehearse.-Mit. 1341.ALTO/CLAR/Violin, gigs/perm.-

Gul. 5442.BASS.-BARTON, Fulham 6759.B ASS, exp. S/13. -Tut. 5097.B ASS. -BENJAMIN, Brixton 8524.

Transport.BASS. -Tottenham 5985.BASS, Transport.-Feltham 3857.BASSIST.-Gla. 0511.BASSIST, first -class. -Mal. 3407.BASSIST, own car. -Hatch End 2102.CELLO/BASS.-53, Warwick Road,

Thornton Heath.DRUMMER experienced.-Clissold

3133.DRUMMER, reader, library, trans-

port. -Kingston 3024.DRUMMER. -Webb, 23, Moat Lane,

Solihull. Birmingham.DRUMS/BASS, experienced, trans-

port.-Derwent 8104 (evenings).DRUMS.-Bec. 5674,DRUMS / VOCALS. -Reg. Clamtree.

Gra. 5453.PIANIST. -Bernie Smythe, Glad-

stone 9263.PIANIST.-Car.-Colindale 4918.PIANIST, DRUMMER. - Elmbridge

8990.PIANIST / HAMMOND Organ,

modern dance style, would work withsmall outfit or solo. -'Phone: Becken-ham 0300. 10-1.30.

PIANIST, library. -Key. 7847.PIANIST, library.-Rippleway 1997.PIANIST. -Shepherd's Bush 6820.

3605.PIANIST.-Sta. 9596.PIANIST. -Vic Mundy, Maida Vale

2726.TENOR. -Euston 7900.TENOR, Second Alto. -Pop. 6715.TENOR. -Wembley 8420.TROMBONE.-Liv. 4742.TRUMPET.-Hou. 4856.TRUMPET, reader, willing to re-

hearse with any group. -Ter. 9026.TRUMPET, reliable, library, ampli-

fication. -Ste. 3665.TRUMPET, read/busk; gigs. -Prim-

rose 4210.TRUMPET. read/busk.-Sou. 1977VIOLINIST, S/D. specialiser in

Gipsy Music, car. -Ham. 1541.

INSTRUMENT REPAIRS 9d per wordACCORDION REPAIR Service. -

Tuning and pitch alterations, trem-olo or straight; new bellows supplied.old ones repaired; every conceivabletype of repair undertaken by experi-enced Italian craftsmen in our ownfully equipped workshops. -Jennings(M.M.1.1. 100, Charing Cross Road.London, W.C.2. Temple Bar 2857.

FOOTE DOES IT! Finest recon-ditioning. Saxes, Brass, Woodwind.Drums. etc. Loans to callers. -Chas.E. Foote, Ltd., 40, Rupert St., W.1.Ger, 1811.

HOHNER SERVICE for repairs iscompletely comprehensive. Brass.Woodwinds, Saxophones, Percussionas well as Piano Accordions and Roh-ner Chromatic Harmonicas. Expertcraftsmen only.-Hohner. 9. Earring -don Road, E.C.1. Hol, 8650.

LEW DAVIS specialises in the over-haul and repair of Saxophones andClarinets. Gold lacquering. S.P.-G.B.; guaranteed seven day's service.-134, Charing Cross Road, W.C.2Temple Bar 6562.

THE FINEST repair shop in thetrade for all Woodwind Instruments.We are experts at repairing Saxo-phones, Clarinets, Flutes, Oboes andBassoons; complete satisfactionguaranteed. both in the quality ofwork and price. Write, call or 'phone.-Howarth and Son, 96, SeymourPlace. W.I. Pad. 8113.

INSTRUMENTS WANTED 64. per word

BESSON.-Best cash offers made forSecond-hand Brass and WoodwindInstruments and Saxophones. Wood-wind in low pitch only. Anything inreasonable condition. Part exchangearranged.-Besson and Co., Ltd., 15.West St.. London, W.0.2. TempleBar 9018/9.

LATE TYPE Multi Couplers wanted:top price paid -All Accordions, 156,South Ealing Road, W.5. Ealing 1303.

TROMBONE, BASSOON, Oboe, Flutewanted. -BM 'LOCAL, London, W.C.1.

RECORDS FOR SALE 6d- per wordBECHET, MORTON, Mezzrow, Lad-

nier, Ellington, Spanier, etc. S.A.E.for list to: -Orr, 10, Park Ave., Timperley, Cheshire.

JAZZ, SWING and Bop, good con-dition. -124, Ashleigh Road, S.W.14.

750 JAZZ and Swing records 1928-50.complete or separately. -369. LondonRoad, Romford. Rom, 3855.

RECORDS WANTED 6.1. per wordBILLIE HOLIDAY, all labels. -

Daniels, " Hollowdene," SandwichKent.

LONDON JAZZ CLUB Record shop.will buy your unwanted records. -82High St.. N.W.8. Primrose 6725.

SOUND EQUIPMENT 6d. per ,cordR.S.A. U.12 Amplifier, seldom used,

perfect condition. £35.-Springpark7418.

DANCES 9d per wordB ELMONT ASSEMBLY Hall, Har-

row. August 9th, 7.30. Listen andJive to the Gallion Jazzband and theLondon Chicagoan's. Admission 2/6d.

JOE DANIELS presents on Saturday.August 4, 7.30, at Assembly Hall.Pinner, two Bands: Len Beadle's JazzBand, winner of the 1950 N.F.J.O. JazzContest, and the famous River MouthJazz Band from Newcastle. Admission

-3/-. Car park.OZZI DACOSTA Sextet. -St. Pancras

Town Hall, August Bank Holiday. 7.45-11.30. Admission 4/6.

CLUBS 9d. per wordAAAAAH! FABULOUS FELDMAN

Club, 100, Oxford St., Sunday. KennyGraham's Afro -Cubists, The BopBrigade, Maurice Burman. Meet thestars!! Distinguished visitors includeMiss Susan Shaw. Festival visitorswelcome.

AAAAH " BOP -INN " the " Roseand Crown," Tottenham, and" Hear the Gear in Atmosphere," withHank Shaw, Johnny Rogers, TonyLaurence, Timmy Mahn. and JohnnyDevelin!! Fridays, 7.30-10.30; Sun-days, 7-10. Members 2/6, guests 3/6.Come early to be sure of admission

ACADEMIC HAMMERSMITH, closed6th August, open 13th.

AT COOKS Ferry Inn. Angel Road.Edmonton, every Sunday, 7-10, AGrand Jazz meeting next Sunday,Eric Silk and his Southern Jazzband,and the River Mouth Jazzband.Commere, Beryl Bryden.

AT ISLEWORTH, Thursday, TubbyHayes. his Sextet, and tenor.-" JollyGardeners," Chi. 0848.

AT SOUTHALL! Holiday Tuesdaypresentation! Star Bands, guests, barand Bop!-" White Hart," Chi. 0848.

ATTENTION . . . " All Dancers."Grand opening Sunday. August 5th,7.30. Harlots Dancing Club, 39,Gerrard Street, W.I. Your M.C., AlSmith. For membership apply Secre-tary. -11, Old Compton St. Ger. 1913.

B OLTON RHYTHM Club, HenryStreet. Saints Jazzband, Friday 10thAugust. Tickets 3,6d., S.A.E.-17,Woodgate Street, or at door.

CHRISTIE BROS. Stompers. DebutL.J.C. August 11th. Remember thedate.

DELTA JAZZ CLUB, 6, New Comp-ton Street. Saturday and SundayJazz. Sat. 4th, 8-11 p.m.: Eric Silk'sSouthern Jazzband. Sun. 5th. 7.30-10.30 p.m.: Welcome back from holi-day. Mike Daniels Delta Jazzmen.Guests, Jellyroll Milborne's Trio.

DOWNBEAT PRESENTS every Sun-day, 4-7. Europe's greatest Jazz stars.Ronnie Scott, Ronnie Ball, Leon Cal-vert, Tony Crombie, Lennie Bush:plus sensational return of AMAZINGTommy Pollard. -41. Gt. WindmillStreet. Piccadilly Circus.

EVERYBODY WELCOME!! Dancingtonight with Charlie Galbraith's Jazz-men, Jazz record interlude. -DutchHouse, Lee.

FREDDY CLAYTON'S RichmondRhythm Club. on holiday, ResumingSunday, August 26th.

HUMPHREY LYTTELTON CLUB.Opening Macks, 100, Oxford Street.Wednesday, August 15th, 7.30. A Freeevening for all members; then everyWednesday, admission 3/- members,41- guests. Particulars of Club from: -84. Newman Street. W.1 Lan. 5861.

KENNY GRAHAM'S Afro -Cubists atKenton -Anton Club.

KENTON-ANTON CLUB. ThanksKenny Graham for a wonderful show.This Sunday, a repeat booking ofKenny Graham and Afro -Cubists.-' White Lion " Hotel, Edgware Road(hospital end), Edgware, 12 noon.Dancing. Bix Curtis. Watch thiscolumn for return of Toni Anton'sProgressive Orchestra, from holiday.Join now! 800 members in 5 weeks.3/-, S.A.E.-48, Hazeldean Road, Lon-don, N.W.10. Nation wide concertssoon.

LONDON JAZZ CLUB. 100, OxfordSt., W.I. Big Bank Holiday session,at Britain's Premier Jazz Rendezvous.Special presentation, Royal JazzFestival Stars, Saints Jazzband. IanChristie Trio. Members and guests.Membership 3/6, S.A.E.-4, EarlhamSt., W.C.2. Tem. 1762/3/4.

LONDON JAZZ CLUB sixth RIVER-BOAT SHUFFLE. Sunday, August 19th.Tickets 15/-. Members and guests. -4. Earlham St., W.C.2.

SAINTS JAZZBAND, See Bolton,STUDIO 51, 10-11, Great Newport

St. FRIDAY: Joe Muddel Sextet.SATURDAY: Kenny Baker's BandRonnie Ball Trio. SUNDAY: Big AllStar session; Ronnie Ball Trio.WEDNESDAY: Kenny Graham's Afro -Cubists and the Ronnie Ball Trio.The programme LEOPOLD STOKOW.SK I enloyed. Resident compere,Tony Hall.

THE SAINTS!! Come down from thehills, for a " One Night Stand " atWood Green. Compere ???

WEST END Jazz Club, 44, GerrardSt., W.1, every Friday, 7.30-10.30.Chris Barber's Band,

WOOD GREEN this Sunday. 7-10(doors open 6.30). The apnsationalSaints! Compere, Ernest litorneman!Don't miss this really terrific session,at the Fishmongers Arms (nearTube).

PUBLICATIONS 6d- per wordAMERICAN JAZZ Magazines, Books,

-Cook, " Palmer Grease," Salesbury,Blackburn.

AMERICAN MAGAZINES: "DownBeat," " Metronome." etc., by postalsubscription. Send for details.-Thomas and Co (MMK), 111,Buchanan Street, Blackpool.

AMERICAN MAGAZINES. -1 year'ssupply " Metronome." 32'-, with 1951Jazz Book, 40/-; " Down Beat." 43/-;2 years, 71/6. Free booklet listingall others sent on request.--Willen,Ltd. (Dept. D), 101, Fleet Street.London, E.C.4.

DRUMS 64. per wordCARLTON DRUM Kit, 6 -valve

Amplifier, £65 or near. -63, SuffolkRoad, Gravesend.

HUNT FOR HEADS. - Hunt forHeads. -Hunt for Heads. -Hunt theDrum Head Kingt

RENO DRUM Kit. as new, 15 x 15T.T.T., Premier H/H., 2 14 -in, ZynCymbals, 1 14 -in. Super Zyn, Beverleystool; all aces., cases. nearest £65. -Box 54, Smith and Sons, Broad St..Welshpool.

VIC O'BRIEN, Drum reducingB.D. and S.D.. plastic finishes. ex-pert work. -100, Gt. Russell St., Lon-don, W.C.1. (nr. Dominion). Lan8316. Sats. 2 p.m.

VIC O'BRIEN, Cymbal Tilts, 5/-.VIC O'BRIEN. Bongoes, Tunable.

£5.

MOUTHPIECES 64. per wordHARRY HAYES will buy that

Mouthpiece you are not using. Sendit for valuation. -20, Romilly St.. W.I.

ORGANS 6d. per w"raSOLOVOX or similar Instrument re-

quired immediately for cash. -Box2860, " M.M."

MUSIC 6d. per wordDANCE LIBRARY for sale.-Cun

1425.PIANISTS, let his keep you posted

with all the Top Hits regularly. -Write for details, Top Ten Club, 33.Darlington St., Wigan.

84 LIGHT Orchestral numbers, £5,-4, Dymchurch Close. Barkingside.

LEW DAVIS OFFERSSPECIAL SAXOPHONE WEEK.

H.P. TERMS, PART EXCHANGE.Coon, Soprano, curved, sit. pfd., L.P. .. 1

ALTOSPaul Cavonr. L.P.. artist's, silver .. £22 1Dearman, L.P., artist's, silver .. £30Buffett, L.P., full artist's, lac., late mod. 232 ILewin. L.P., full artist's. LP., 0.B.. ex... £37Dore, Special, L.P., full artist's, lac. .. 240Martin 'De Luse,' L.P.. lull art., new, lac, £45Selmer, cigar cotter, new, Ise. . 252Conn, U slung,' newly lac.. Pert . £80Bnescher 'Aristocrat,' 1950 mod., lac... 175Selmer, bal. action, newly lac. £80

I All with caws and an aranteed perfect,.

SPECIAL THIS WEEK.Boosey & Hawkes 'Imperial 23' Trumpet.large bore, gold lac., nickel mounts, just asnew, with ease and L.D. Multi Mute, £37,10.

Deposit £9 10, 12 6 weekly.

LEW DAVIS PRODUCTS LTD.134. Charing Cross Rd., London. W.C.2

Phone: TEMple Bar 6562

ACKROYDSTHE BAND SHOP

SPECIAL SUMMER"ALTO WEEK"

Completely overhauled where necess-ary. Complete in case with all access-ories.1. Boom, Infer -pitch, S.P.... HIS 02. Adolphe, S.P., full rge. £25 03. Hawkes XX Century, S.P.,

full range £354. Messy, L.P., S.P., full range £30 05. Dupont, L.P., simple syst.,

very good ... £15 06. Armand, L.P., S.P. 622 107. Dearman, L.P., S.P. £25 08. Grafton, L.P., plastic,as new £55 09. Selmer, L.P., gold tact]. £47 1010. Buescher, L.P., Aristocrat,

gold lacquered ... 170 011. Conn, L.P., Conqueror.

gold lacquered STS

Hire Purchase Terms with pleasureMessrs.

ACKROYDS(Musical Instruments) LTD.,144, WOODHOUSE LANE, LEEDS, 2

Tel. 28486

FOOTEHAS

ITSend for FREE bargain list of YOURinstrument. Easiest Terms. Sacs. till 5.

Ger. t811CHAS. E. FOOTE, ltd., 40, Rupert Street, W.1

THEWORLDFAMOUS

sKOSIKUPMOUTHPIECE forTRUMPET and TROMBONECushion rim, heavily silverplated, supplied in shallow ordeep cup (1 or 3) for eachinstrument. The popular choiceof leading players.Crumpet M./P., 23/8 each (Tax paid).trombone M.IP., 35/6 each (Tax paid).Leather Wallet for Mouthpiece: Trumpet3/3 Trombone 3/9 (Tax paid).

From your local dealer, or write:

BOOSEY 6L HAWKES LTD.295, REGENT STREET, LONDON, W.I

IF YOU WANT THEHEAVY SOUND

ergen/04

REEDS WILL HELP YOU

2, High Street. Potters Bar, Middlesex

ErAntr Battres3 6 per Set !CAD. it desired, I,S. Thompson's March Medlar

# Festival of Britain t W, Mississippi DipL The Galloping Major Olympia Glide

Savoy Schottische Lola Tango#Walt. Coquette Wild Roses

Marine Four Step leas TwinkleL Barn Dance Fylde WaitsV Veleta False Superbhe Boston 2 Step Ecstasy Walls# %rinse Cotillion DestinyL Eton Boating Song Eileen AllanahV March Gay Gordons,a, Lancers Marie Stuart,41. Saunter Naval 3 StepL Quadrilles South Bank ShuffleV Galnsboro Glide False La Panne44' Mamas Klass Walt,41' Military 2 Stop Le Nationale

1,Send for Lull het of 300 Dances

# PICCADILLY MUSIC SUPPLIES 51, NEAL STREET, W.C.2 L19 TEM. 9579. GER. 401611788 D

DRUMSDOC. HUNT says:"You will get big dividends for everymoment you spend al the practice pad."

REPAIRS, REDUCING dcDEALS OF ALL KINDS

EXPRESS flemiet SERVICE!

L. W. HUNT DRUM CO. LTD.The Drummers' Headquarters

1001. Archer St., Shaftesbury Ave..London, W.1. GERrard 8911

rA7,7iiiii 4, 195 f THE MELODY MAKErt AND RHYTHM

Fire eaters, acrobats and dancersthat's all jazz' to the London dubs...

WRITING of the present" modern " jazz club apathy

towards any form of organisation,I think Derek Young (" MM,"21/7/51) puts his finger on thespot when he mentions asexamples the people who " go tothe various clubs in and aroundtown" (my italics).

London club visitors just don'tknow they're living. They havea surfeit of both modern andtraditional jazz. If they have tocross the river (" MM," 14/7/51)they think they are hard doneby, indeed.

On top of this, the modernistshad turned on them, in the earlydays, a ferocious barrage of fire-eaters, acrobats and dancers. Nowonder they have become blaséabout it all.

In the desperate scramble to

Britain's Top TunesTHIS list of the 20 best-selling songs

for the week ended July 28 isSupplied by the Popular Publishers'Committee of the Music Publishers'Association, Ltd.

1. MY RESISTANCE IS LOW (AlMorris

2, WITH THESE HANDS (A) Dreyer3. IVORY RAG (A) . Mac Melodies4. I APOLOGISE (A) Victoria5. BE MY LOVE (A) .. Francis Day8. MOCKING BIRD HILL (A)

Southern7. JEZEBEL (A) Campbell Connelly

ON TOP OF OLD SMOKEY (A)Leeds

9. MY TRULY TRULY FAIR (A)Dash

10. TOO LATE NOW (A) New World11. SHOT GUN BOOGIE (A)

Campbell Connelly12. 'THE LOVELIEST NIGHT OF THE

YEAR (A) Francis Day13. OUR VERY OWN (A)

Bradbury Wood14. GOOD LUCK, GOOD HEALTH,

GOD BLESS YOU (B) Carolin15. YOU ARE MY DESTINY (B)

Swan16. SEPTEMBER SONG (A) Sterling17. UNLESS (B) Francis Day18. WOULD I LOVE YOU? (A)

Walt Disney19. LIFE'S DESIRE (B) Cecil Lennox20. SPARROW IN THE TREE TOP (A)

Cinephonic.A-American; B-British.(All Copyright Reserved.)

gain notice in the national orpictorial Press, some clubs-oneSunday venue in particular-often resembled a circus ratherthan a jazz club.

The modern clubs have hadmore than their share, too, ofloud -mouthed ignorance, fright-.ening away the first -timers whoare the ordinary folk of jazz.

The new, intelligent membershaving been successfully scaredoff, the way was left clear for thefools, clowns and barrow -boys:and these are the people who arenow expected to take an intel-ligent interest in music, and-save the day-in committees.

The only real strength ofmodern jazz now, outside themusicians themselves, lies in theprovinces, where-as in the WestCountry-jazz musicianship isoften almost nil.-R. W. Coole,Bristol, 1.NO INTELLIGENT INTEREST

HOW right Derek Young is(21/7/51) about this apathy

on the part of modern jazz fans.Sure, they hang around bop

clubs, utter " Cool, man," andsuch phrases, and condemn assquare anything more than aweek old. But take an intelli-gent interest in the music itself?No I

Let's face it. the majority don'tknow much about their ownmusic, let alone other forms ofjazz, and, be it good or bad, aslong as it's 1951 jazz then it'sthe " greatest."

And our jazz can be bad whenplayed by inferior musicians whoare apparently incapable of sus-taining a note, playing a melodyor constructing a logical sequenceof phrases.

Forgive me if the New JazzSociety crops up again here, butas a committee member andcompere -host of the NJS I speakwith authority on this point.

The fact is that the NJS is theonly club in Town offering thisfacility. i.e., a study of modernmusic through the latest Britishand U.S. releases and, in thefuture, a study of the history ofjazz to show how our music hasgrown and, a point unsuspectedby many fans, just how closelythe old and new jazz are, in fact.linked.

There should be enough sin-cerely interested fans in theLondon area to maintain suchan organisation. though this has

not always been the case, provingthat this apathy does exist.-Arthur Jackson, Regent's Park,

MELODY MAKER I

MAILBAG

SO, when Mr. Borneman refersto jazz as an " urban folk

music," we are to .understandthat he is talking only of " folkjazz." One cannot dispute atautology like that!

May I suggest another point ofview on the subject? The " inter-penetration of musical influ-ences " is not the only charac-teristic of a folk music, and it isperfectly legitimate to refer tojazz as a folk music because ithas analogies to other folkmusic in structure and origins.

Consequently it is legitimate to

refer to the revivalists as folkmusicians, just as one refers tomembers of Cecil Sharp Clubsand the like as folk dancers.

Personally, I only call jazz afolk music when I wish to con-found ignorant criticism of jazz;this was Mr. Dixon's admirableintention in his letter to the" Manchester Guardian." - JohnPostgate, Twickenham, Middx.BING RE -ISSUES

REGARDING Les Gaylor's re-cently published letter

(" MM " 20/6/51), I wish to sup-port his plea for Columbia toissue some of the Crosby " gems "which have been on their shelvesfor so many years.

Most young people of todayhave never had the chance to ap-preciate vintage Bing; if some ofthese earlier numbers were re-issued (and so many of the tunesare again becoming popular) theEMI group, I feel sure, would findthe proposition financially worth-while.-Ronald E Davies. London,E.6.

For touring and one-nighterswhy not take a caravan ?

Air USICIANS browned -off with.1.111. summer train or coachtravel, and the usual accommoda-tion -fixing routine-particularlywhen on tour or on one-nightstands-could find an easy answerto these problems by consideringthe advantages of the moderntrailer caravan.

The freedom and independencegained by havingm one's own

accomod a t io nwith one at alltimes-on tow-require little em-phasis here.

Licensed cara.van parksabound, and listsa r e obtainablefrom motoringand caravan asso-ciations. Localauthorities,recognising a nanswer in thecaravan to theiraccommoda t i o nproblems, a r e

building official sites, details ofwhich are usually sent uponenquiry,

Site charges vary, but average2s. 6d. nightly, or 10s. weekly forlong let. Charges include(usually) hard -standing, wateravailability, mains electric andgas services, ablution blocks andlaundry services. And often arestaurant or club house, some-times a shopping centre, exist onthe spot.

A musician booked on a sum-mer season resident job mightprefer to fix a farm site.

RegulationsIn that case he should be fully

acquainted with all relevantrules and regulations-particu-larly the Public Health Act(1937), which deals with maxi-mum length of time an un-licensed caravan site may beused without permission.

Tradespeople will, by arrange -

WHO'S WHERE(Week commencing August 61

ANDREWS SISTERSWeek: London Palladium.

Graeme BELL'S Australian BandThursday: WarringtonFriday: Manchester.Saturday: Burnley.Sunday: Aberdeen.

Tito BURNS SextetWednesday: RamsgateFriday: Chingford.Saturday: Guildford,Sunday: Dudley.

Johnny DANKWORTH SevenWeek: West End Theatre, Edin-

burgh.DEEP RIVER BOYS

Week: Empire Theatre, Swansea.Ray ELLINGTON Quartet

Thursday: Winter Gardens Theatre,Ventnor.

Saturday: Guildford.FRASERHAYES Quartet

Week: Empire Theatre. York.Lee LAWRENCE

Week: Alhambra Theatre. Brad-ford.

Vic LEWIS and OrchestraTuesday: Wimbledon Pa)ais.Friday: Cambridge.

Rose MURPHYWeek: Chiswick Empire.

Jack PARNELL and Music makersSeason: Prince of Wales Theatre,

London.Sugar Chile ROBINSON

Week: Empire Theatre, Newcastle,TANNER SISTERS

Week: Open Air Theatre, FinsturyPark,

ment, usually supply you on thesite, or you can obtain provisionsthrough the adjacent farm house.

The fresh farm produce-andnatural amenities-will outweighcomparatively minor snags pecu-liar to this country way of life.

Caravan prices vary from about£200 for lightweight three-four-ber thers (furnished) upwards.Living models (requiring moretowing horse -power than eight),fully furnished, with gas cookingand full heating arrangements,sell from about £400.

Easy terms, up to three years,may be arranged if required.

BURNS BARGAINSBRITAM'S BEST!!!Bass Drums by Premier Carlton, 28,15 from £9 0Cabart Clarinet in A. L.P., S.S., lb key,wood 111 0Boehm Clar., Kohlert. 17 6, wood, art., Git £25 0Guitar, R 'thole with unit heitatone,ease,ete £18 10Buescher Trumpet, slide to A, S.P.. L.P... £22 10Lewin Alto, G.L., full artist's model, L.P... 232 10Buffet, Alto, S.P., L.P., fall artist's,case,etc. £25 0Soprano Sax., S.P.. H.P., Alliance, in case.. £11 10Conn, C Melody Sax.. S.P.. L.P., full art. .. £25 0Lewin Clarinet, Boehm system, 17 6,

wood. Tenable barrel .. 122 10Alto Clarinet, L.P., NS., by Huller, in case £32 IVCor Anglers, L.P., semi auto, new, by Gras

(Paris) £90 0Guitar, Earphone, Masterbnilt 'cello, s'burst £19 10Trumpet, Skyliuer. my G.L., L.P., slide, etc. £14 0Trumpet, Vincent Back Mercury mdl., gold

Trumpet, New Yorker, S.P., L.P., slide toA with high slide.. _ 417 10

Trumpet. Melody Maker, nly. gold Inc., L.P. £15 10Pierret, Alto, L.P., S.P.. art. model, M case £24 0Boehm Flute, H.P., metal, chid. GS, in case £11 10Tenor Sax., Jacques Albert. S.P., L.P., art.

model .. £32 10

Tenor Sax., Dearman, new super, nly.gold Inc.., L.P. _ .. 665 0

T., Cornet. Conn. toed. L. bore. illy. G.L., b £29 10T..Cornet, Reyr,olds, LP., med. bore,

L.P., as new £27 10Trombone, Buescher Aristocrat, nly.

gold lac., L.P. .. 152 10Trombone, Conn Cavalier, nly. gold lac.,

L.P.. with f slide.. £311 0Trombone, Majestic, nly. gold lac.,

L.P. with I slide £2710Martin Colletti. round I.. hole Guitar,

brown, in case 114 0Selmer, balanced action, Alto, ply. gold

FAA., in ease £77 10Selmer. Baritone, Sax., S.P., L.P., full

artist's, in case .. 142 10Dore A Clarinet, Boehm, 17:6, wood,

brand new 137 10John Grey Tom-tom, Orchestral. blk. and

chrome, IIXS . . £8 0Guitar, 'cello bM1t, 'Lombardi. cod. Pboard £17 10P. Are.. Soberano. 24 bare. o'hanled as new £14 0P. Ace.. Tonella, 48 bass. treble cobra o'hld. £15 0P. Ace.. Bellor,c,32 b.s,s"line, as new, blk. £16 10

ALEX BURNS LTD., 114 Shaftesbury Avenue. W.1 GERrard 3796 & 5183

CASH OR EASY TERMSAlto SW, fluent, artist's model, cold IA An new 032Alto Si,., Super Selmer, full artist's, gold lac... 45Alto Sara Martin Handcraft, full artist's, gd. lac. £45Alto Sax., Buescher. artist's model, gold lac. .. 138Alto S.., Conn, fell artist's model, gold lac.,

re new, with R.O.C. mouthpiece .. . £47Alto Sax., Selmer, artist's model, gold lae. .. £40Alto S.., Buescher, Aristocrat, hill artist's, gd.

Alto Sax., Ilawkes XXth Century, gd. lac., as new 640Tenor Sax., Selmer, Adolph, full artist's, gold

lac., as new .. £65Tenor Sax., Selmer, bal. action, gold lac., as new,

with Berg Larsen latest metal mouthpiece .. £110Tenor San., Boosey A Hawker, full artist's, e.p... £58Tenor Sax., Super Selmer, full artist's, g.I.,ae new £87Tenor Sax.. Conn, full artist's, gold lac., . new.. £79Tenor Sax., Dearman, artist's model, gold .. £50Tenor Sax., Conn, artist's model, g.l. (high pitch) 126C Melody Gras, artist's model, silver plated ..£15En Baritone Sax., Selmer, full artist's model,

gold lac., as new..Repairs and re -lacquering to all instruments by the trade's experts. Estimates free on request. Mennen "MM"

Xylophone, 21.ortaye, 00 Stand. no rage f12Xylophone, Leedy, American, St -octave, com-

plete with trunks 645Xylophone, Benton 3.octave . £32Vibraphone, Alan lie Lane, 3-octave,. late model,

today's price over £200, unique bargain .. £110Drum Ontat, including 20" x 15' Bass Demo,

14" Side Drum, all MIMI accessories, as new £27Bass Drarn,20".3',white finieh,shop-coiled only £15)3(1. Cornet, DLvIeland model .. £12By Trumpet, dance model, gold lac. .. £14Bb Trumpet, " New Yorker," gold lac., as new .. £18En Trumpet, Manbatten, gold lac. . £17Bb Trumpet, Boosey a Hawk.,, Regent, ptd. 118By Trumpet, Beeson, gold lac. .. 1125Be Trumpet, York AMe, lean, gold lac. £22Bin Trombone, Lincoln model, large bore,

complete with case, brand new .. £22BY Trombone, Boosey a Hawker Imperial mdl.,

gold as newHigh Hat Pedals. ahoy ,oiled, 36 /-. each; llmitedetlotgekHigh Hat Pedals, complete with cymbals, 651 -

PART EXCHANGE CONSIDERED * ALDERSHOT and district musieians can obtain these bargainsfrom the Aldershot branch, 45. Station Road. Tel. 341.

BOOSEY & HAWKES LTD. 8L"gbOND.EwNhAiANGESTREET

NEW ACCORDIONS RECONDITIONED ACCORDIONS

Co-operative de Luxe, 9 Plus, 2 Stradelia, 120 /4, 3 Couplers ... 48 0 0

Couplers, with Case 166 17 6 Frontalini, 129 /4, 3 Couplers ... 45 0 0... _Pietro La Scala, 41 120, 4 Plus, 1 Settimio-Soprani Cardinal, 120

...Coupler, with Case ... ... 65 17 2 BT. Couplers ... 36 0 0

Frontalini, 41'120,4, 4 Couplers, Casali, 120 Bass, T. Coupler ... 35 0 0with Case trf 10 0 Rohner Verdi Ill, 120 Bass,

Busilacchio Diatoms, 21:8 ... 25 11 7 T. GpIr, 33 0 0Geraldo, 120 Bass, T. Coupler 30 0 0Busilacchio Diatome, 231 ... 31 4 9

Rohner Diatome de Luxe, 21 /8... 25 13 0 Hohner Tango III, 120 Bass, T.Rohner, Diatoms, 10;4 ... 8 5 9 Coupler ... 27 10 0

Crucianelli, 120 Bass, T. Coupler 27 10 0Signs Bulten Accordion... ... 8 2 6Hohner Mignon, 17;8, Piano Scandalli Scott -Wood 111, T. Cplr, 27 10 0

Accordion ... ... 10 11 6 Alvari, 48 Bass ... 12 12 0

Part Exchange. H.P. Terms Arranged.

FRANCIS, DAY & HUNTER, LTD.138/140, Charing Cross Road, London, W.C.2. Tem. Bar 9351/5.

MELODY MAKERINCORPORATING 'RHYTHM'

Member Audit Bureau of CirculationsEDITORIAL OFFICES:

189, High Holborn, W.C.1.Telephone: TEMple Bar 2468

Editor: PAT BRANDassociateEditor: JACK MARSHALLADVERTISEMENT OFFICES:96, Long Acre, W.C.Z.

Telephone: TEMple Bar 2468Advertisement Manager: F. S. PALMER

MANCHESTER OFFICE:Provincial News Editor: JERRY

DAWSON, 2-4, Oxford Road,Manchester 1. Phone: Central3232.

DUBLIN Office: Irish NewsAgency, 76-77, Grafton Street,Dublin. Telephone: Dublin79821.

NEW YORK Office: LeonardFeather, 1, Sheridan Square,New York, N.Y.

HOLLYWOOD Office: Stuart Allen,3369, Charleston Way, BlairDrive, Hollywood 28. California.

PARIS Office: Henry Kahn, 16,Rue Clause], Paris 9e.

MONTREAL Office: Henry F.Whiston, Radio Canada Build-ing, Montreal.

SYDNEY Office: Frank OwenBaker, 40, Parkview Road,Fairlight, N.S.W.

COPENHAGEN Office: HaraldGrut. 9, Ved Volden, Copenhagen.

HANOVER Office: Dr. DietrichSchulz - Kohn, Mendelssohn-strasse 18E. Hanover.

ROTTERDAM Office: Anton Kop,Jnr., Allard Piersonstraat 5B.Rotterdam, W.

LEN WOOD MUSICALS108 Shaftesbury Ave., W.1. Ger. 3884

H.P. (Easy Terms) WITH PLEASURE Alto, Lewin -Martin, FAIL, G.L., as new 136O Alto, B'aey & Hawker, Predominant. ditto £36 Tenor, Dearman Super, F.A.M., 01.1.,

Tenor, La Grande, SP., bargain .. 132 Clarinet, Boosey & Hawkers, Boehm .. £20 Clarinet, Cadet, metal, Boehm .. .. £14* Trumpet, Buescher. G.L., as new .. 128 Guitar, Selmer, Elec. Hawaiian .. £0 Olympic Drums, Catalogue Free.

Dearman Mouthpieces, Free Exchange.

BASS DRUM COT DOWN TO ANY SIZE.RE -SPRAYED AS NEW. 10 DAYS'

SERVICE. 65 10s. Carrtaze Free.

Drum Heads Re -Lapped, by Return 251 -

WE OFFERVandoren, Derue, Pichard, Berg Lar-sen, Roe, and all makes of Reeds.Alto Saxes, All geld lac., as new, Conn, u al. £03

Buescher Aristocrat £65. Martin Skyscraper£55, Selmer Bal. Ac. £75.

,Tenor, "Martin Imperial," gold lac., F.A.M.,31.11E. F, perfect bargain. 495.

Bass, " Tbibouville-Larny," ideal for dancework, comp. ochd. and varniehed, £87.

AMPILISIV, Several firetalass Guitar Amps.,ost over £20, alaolutely new, £12,10.

Guitar. " Epiphom. Masterbuilt," AS new in fineshaped ,-are, 018.

Trumpet, Menhaden, gold la,. new, £21,H.P. A SPECIALITY.

Same day C.O.D. on all accessories.

DANCE BAND INSTRUMENT SUPPLIERS24, Rupert St., London, W.1. Ger. 7486.

(Near Coventry St. Corner Howe.)

r404 IM .M.411111.41111140,o-MO 4111.IMli!. 0111141111DMlialr

29-31, OXFORD STREET,(Opposite Frascati's) !

LONDON, W.1Nearest StatIon-lattenha(n Court Said

S

S

SON

7

CURRENT "POP" ORCHESTRATIONS S.O.

$My Truly Truly Fair OW; .Because of You ..

IPernambuco (Samba)With These HondaBroker, Heart 'QS)You Belong To My Heart. Conga Boom 'Conga)Dreams In Dreamland ..

IP The Dublin Jig ..a For The Want Of A Kiss ..I For Me The Memory ..

Festival HopVenesuela (Samba)

Too Young (QS)I Love a Man ..A Little Rag Doll ..VamPio ..The Bridal WaltzIf You Could Care For Me..Pretty Eyed Baby (QS)Satins and Lace (QS) .

A Beggar In Love ..So Long Sally ..Jezebel ..Fifty Years Ago .. .

Nashville Tennessee (QS) ..I Still Feel The Same ..Maggie Blues (QS)..Festival of Britain..Silver Dollar Moon.. .Cross My Heart ..The Hot Canary ..Somewhere, Someday,

Somehow ..Chou Choc Samba. ..

316

3:6

3)6

3/6

Sis

sto

3,8

4/-

8 /6

3;8

3,11

6

3,'6 3 '6' Vitu94(1eIl Yon 1'316Mocking Bird Hill 111 ..So Goes My Heart ,Close 01 Long Day (W'Beautiful Brown Eyes OWBuono (SambaWhy Can'l Yon Behave ..That Special FaceThe Roving Kind..So Long (W)September Song ..Daybreak WJest A Smile (W)Life's Desire (W) ..So In Love (QS/

-

True In My Fashion (QS)..Gipsy Samba'I Do Do DoBe My Love .

Dream Awhile ..M'selle De Payee (WI ..Abbe Dabba (QS)Would I Love You.. ..Peaceful Pastures .

Transatlantic Lullaby .-She's A Lady ..My Heart Cram (11)Good Luck.Good Health (W)Mary Rose (W)Rose I Love YouGoofyEverybody Clap Bands ..River Flows On 'V: I .

You Are My Destiny IA)

Our Very Own ..Cold Winter ..Tennessee Waltz ..TzM Tann Tzan ;Rumba).Mambo Jamb° ..Rumba !Ceara ..Too Late Now ..Every Night At Seven :

Across Wide Missouri ..London MelodyUnbirthday Song (QS)I'm Late (QS) ..Agee In Wonderland ..On Very Good AdviceShot Gan Boogie ..Resistance Is Low 1W)Top Of Old Smokey (W)Ivory Rag (GS) ..He Likes It (Rumba)MariandlFriend Of SolnanysLoveliest Night (WI .

The Irish In Me .

I'm Cuckoo-Razy (GS)To Be Kissed With .

The Minute Waltz ..Land Of Make Believe .

Sentimental MusicBit Of Irish ..Girls Were MadeCan't We Talk It Over ..Sparrow In Tree ToyOver My Shoulder (GS) ..Penny A Kim (GB) ..The Chicken Song..

3,6

1/63 I-3 /6

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'12 THE MELODY MAKER AND RHYTHM August 4, 1951'

`Nonsense' that alien bandsbenefit Irish musicians

Club 6 Boptetmakes air debutwith two datesTHE Club Six Boptet from

the Springfield Ballroom,Birmingham, make their radiodebut with two broadcasts inone week-on August 7 and 11.

The first date is on MidlandRegion in a programme called" A Tale of Two Trumpets," inwhich Ken Rattenbury is alsofeatured.

The group will also broadcastwith Rattenbury in " Jazz Inter-lude " on the Light Programmeon August 11. This programmewill be relayed from the Birming-ham studios.

Birmingham leader SydneyBeere manages the Boptet, theline-up for the broadcast being:Harry Smart (tpt.), GeorgeWatts (alto), Laurie Monk (tmb.),Vic Mortiboys ( bass) , HughieO'Shea (drs.) and Jimmy Walker,(pno.).

Vic Mortiboys is a visitor to thegroup; Ted Rowley normally playsbass.

Oscar Rabin Bandrevisits Dunoon

Oscar Rabin and his Band willbe the first guest name band atthe Castle Gardens, Dunoon,this season when they provide aconcert for holiday-makers thisSunday (August 5).

Last year the Rabin outfit wasone of three big bands visitingDunoon during the summer-theothers being the Squadronairesand Harry Gold.. The Sunday concert will end

a week of one-night standswhich the band has been carry-ing out before its four weeks'tenancy at Green's Playhouse,Glasgow. beginning on Monday(6th).

Other dates for Green's are :Hedley Ward and his Band withthe Hedley Ward Trio on Septem-ber 3 for a fortnight; FelixMendelssohn and his Hawaiiansfor a fortnight on September 17;and Leslie Douglas and hisOrchestra for a fortnight onOctober 1.

Both Hedley Ward - whoappeared at Green's for a week inApril-and Leslie Douglas willundertake a week of one-nightstands following their Glasgowvisits.

`GOLDEN' HOLIDAYAT SEABURN HALL

Harry Gold and his Pieces ofEight are again playing to BankHoliday crowds at Seaburn Hall,Sunderland. Teddy Foster andhis Orchestra will be residentfrom August 13, followed byFelix Mendelssohn for two weekscommencing August 20.

Oscar Rabin, who takes over onSeptember 3, will see the open-ing of the Autumn Illuminationson his final night, September 8.Then follow Kenny Baker (Sept.10). Leslie Douglas (17th) andTrevor Brookes (24th).

The programme of entertain-ment at Roker Park, Sunderland,during the illuminations periodSeptember 8 to October 20 willinclude band performances andHammond organist Jerry Allen.

Frank King Quintetin Channel Isles

Clarinet -leader Frank King Isthis year leading a quintet at theChannel Islands Hotel, Guernsey,where the main feature is thegroup's nightly cabaret spot.

Comedy, patter and a littlejazz is the routine, and the localPress have given the boys a bigbuild-up, with a personal men-tion for pianist -vocalist ChuckOates.

The quintet is completed byGerry Fitzgerald (bass), Al Beau-mont (gtr.) and drummer -comedian Cecil " Flash " Win-ston.

Ban postponed till September 1:Mansion House to be ' black'?

IT is sheer nonsense to maintain that " foreign " bandsbring increased employment to Irish musicians. So

said Patrick Malone, General Secretary of the IrishFederation of Musicians, this week.

He was answering the " challenge " issued last week by Dublinpromoter Jimmy Carr, who stated that he would continue to bringin British name bands despite the IFM ban (now due to com-mence on September 1).

Carr had maintained that byengaging leading Irish bands toappear concurrently with Britishorchestras, employment of Irishmusicians was increased.

Whilst this may be true inMr. Carr's case," said Mr. Malone," usually such bands are em-ployed for paltry sums and forface-saving purposes only."

Reduced engagementsMr. Malone referred the

MELODY MAKER to his Federation'smemorandum to the IrishMinister for Industry and Com-merce, dated April 24, 1951, which.stated:

" We should explain that inthe provincial areas. a certainnumber of licences is allocatedannually to each ballroom. Theeffect, therefore, of these touringbands is apparent, since they re-duce the incidence of engage-ments for Irish musicians.

" In addition, the dancing pub-lic is more apt to attend thebigger attractions to the detri-ment of other functions. thus re-ducing the spending potential sofar as Irish musicians are con-cerned."

Provincial impetusHe went on to point out that.

so far as the employment of" foreign " bands in the City andCounty of Dublin was concerned.the IFM was able to exercise somedegree of control, since it wasin a position to insist upon theemployment of a local band vis-a-vis the touring band.

" But the opposite applies inthe provincial areas, where nocontrol can be exercised as yet,"he said. " It must be remem-bered that, in both town andcountry, the bulk of our member-ship consists of casually em-ployed musicians, and it is thissection which is suffering most.

" But," he added. " in takingour present action we have given

a lead to Irish musicians and, wemay state, a, very considerable im-petus has been given to ourorganisational drive in provincialareas.

" If any n,pgotiations are totake place on this issue, we pro-pose to enter into them from aposition of strength."

Of the Federation's clampingdown in Dublin ballrooms, Mr.Carr had said: We can use theMansion House to start our Irishtours." To this, Mr. Malone addsa warning of the shape of thingsto oome:

" For some considerable timepast we have been seeking anagreement with Dublin Corpora-tion re the sole employment ofunion bands at the MansionHouse.

Will they cross?" To date, no satisfaction has

been obtained, and we shall becompelled, very shortly, to takeappropriate action. As a tradeunion, we shall invoke the assist-ance of the appropriate unionscontrolling Mansion House em-ployees.

If the Mansion House be de-clared black ' to our membersbecause of the continued use ofnon-union bands, will membersof the Musicians' Union. London,cross the picket line? "

To British bandleader TommyKinsman's statement last weekthat British bands spent far morein Ireland than they earned, andthat his own band made theirannual Horse Show Week engage-ments the opportunity of an ex-tended holiday for themselvesand their families, Mr. Malone re-plied:" We are not in the least in-terested in such musicians' holi-day arrangements except whereour members' interests financethem in part or in whole.

" The fact remains that it isnot our members who are spend-ing such money."

Geraldo in the North forbusy seven weeks'season

LIERALDO and his Orchestra are appearing this week at thePavilion Theatre for the Festival of Britain celebrations in

Liverpool, and are in the midst of one of their busiest periods forsome time.

Last Sunday (29th), the bandflew to the Isle of Man for twoconcerts at the Villa Marina,Douglas, and last Monday andWednesday travelled to Blackpoolfor two after -theatre late -nightdances at the Winter GardensBallroom.

This Sunday (5th), the bandappears at the Pier Pavilion,Llandudno, and on August BankHoliday commences a six weeks'season at Blackpool. This sea-son is interspersed with Sundayconcerts at the Winter Gardens,Morecambe (12th); Spa RoyalHall, Bridlington (19th); FloralHall, Scarborough (26th); Win-ter Gardens, Morecambe (Septem-ber 2); and Lonsdale Cinema,Carlisle (16th).

The band will continue to giveits regular broadcasts whilst inBlackpool.

U.S. SINGING STARSAT BLACKPOOL

Bank holiday-makers at Black-pool will be able to see and hearthe " Chee-Ghee Girl," RoseMurphy, who is appearing fortwo concerts at the Opera HouseTheatre this Sunday (5th).

The attraction for next Sun-day (12th) is the famous AndrewsSisters. who will also appear atthe same theatre for two eveningconcerts.

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PROVINCIAL PARSWEST Bnomwicu - Walsall

branch of the Musicians' Unionheld its second annual dance atWalsall last Friday (27th). Pro-ceeds were in aid of the MUBenevolent Fund and bandstaking part were those of GeorgeBirch, Stan Avery, Stan Leonard.Jack Harrison and Arthur Syl-vester. Compere for the eventwas W E. Jones, who fronts theHarrison band.

ERNIE McCLEARY, at present withSonny Rose at Birmingham, is to takeover the trombone chair with HaydnPowell and his Orchestra at thePavilion, Bournemouth, where he re-places Bram Fisher.

ROY ADDINELL, who won thetrumpet prize whilst playing withJack Mann and his Music at the"MM " 1951 West Riding Championship, is now with George Murphy atthe Locarno, Leeds. Roy's wife.Jeanne, recently presented him witha baby boy.

ERIC PEPPERELL and his Musicwere playing at Warrington GrammarSchool recently when a switchboardburst into flames. The band con-tinued playing, the fire was put out.and for the rest of the evening theboys carried on without any stagelighting.

JACK HARRISON, vocalist withJimmie Ferguson at the Orpheus Ball-room, Belfast, is at present on holi-day in his home -town of Liverpool,and will appear at the Locarno Ball-room with Stanley Osborne and hisOrchestra this week -end, thusrepeating his successful stint lastFriday and Saturday.

STAN HARGREAVES and his Band,of Sheffield, open at the Clifton Hall.Rotherham, on August 20, and willappear there three nights each week.

TED ROWE is to leave the trumpetchair with Jimmy Nowell at BaltonPalais to join Johnny Rodway at theCasino Ballroom, Warrington, wherehe succeeds Reg Carnage.

DOWNBEAT Rhythm Group is ap-pearing each Saturday evening at theSpeke Airport Lounge, Liverpool, andcomprises Les Woolley leading onswing fiddle and tenor, Ted Coleman(ono.), Ron Griffiths (bass), and JoeBeecroft (drs.), with Terry Hayes(vocalist).

HAL BAKER, Walter Chappelle,Stan Dawes, Stan Hardcastle and TedNeedham will each lead his own bandat the Cavalcade which is to be heldon September '7 at the Cutler's Hall.Sheffield, in aid of the local branchMU Benevolent Fund.

HILLPARK has been added to thelist of Glasgow tennis clubs tenantedby a Gordon Smillie Band, Personnelis Gordon Smillie leading, Bill StewartftnrJ. Tommy Wilson (drs.), AndrewBinnie (bass), and Clem Adamsipno.). Gordon is also supplyingbands for Broomhill, P011okshieldsand Bellahouston clubs.

JERRY DAWSON.

DANCE BAND STARS TURN OUT FOR'NEWS CHRONICLE' GARDEN PARTY

More than 20,000 people attended the " News Chronicle" secondannual Stage and Radio Garden Party at Stanley Park, Black-pool, on Thursday last week. All the star musicians appearingen and around Blackpool were present, and this " MM" photoshows (1. to r.) Palace Theatre MD Danny Walters, TommyGlenman (proprietor of Dundee's Locarno Ballroom), Irene

Miller (vocalist with Ken Mackintosh) and Ted Heath.

A 'musical line-up with (1. to r.) Art Gregory (Spanish Hall),Derek Newall (pno.), Allan Young and Sam Skirrow (bass). 01Allan's Organtones (Central Pier), Bill Gregson and Jack- Taylor

(manager of the Tower Ballroom, New Brighton).

Here, " Jazz Club" producer John Hooper (left) and BBC balanceand control engineer Johnny Kingdom chat with Kay Winstan-ley. disc -jockey Wilfred Thomas, vocalist David Hughes and BillGregson, who, with Ted Heath, supplied the occasion's dance

music.

Death of notedNorthern organistWilliam Whittle, 37 -year -old

Gaumont-British resident organ-ist at Preston New Victoriasince 1933, where he succeededhis teacher, Stephen O'Callaghan,has died at his Freckleton homefollowing a long and painfulillness.

Mr. Whittle was well known inthe Gaumont houses at Man-chester, Chester, Morecambe.Southport, and Blackpool, wherehe regularly presented popularand classic recitals before hebecame seriously ill two and ahalf years ago.

HULL 88 -ER NETSBIG SUMMER CATCHPianist Tommy Fisher is cur-

rently leading one of the busiestoutfits in Hull. His regular en-gagements include three nightsweekly at the Regal Ballroom,Beverley.

He is also being featured forthe summer months at the RegalBallroom, Bridlington. In addi-tion, the Tommy Fisher outfit willbe playing at the City Hall, Hull,at a special August Bank Holidaydance.

For his regular appearances atBeverley and Bridlington, Tommyuses a 12 -piece outfit, but forhis date at the City Hall a 10 -piece will be featured.

SCOTTISH BELLSGraeme Bell's Australian Band

is to undertake a week of one -night -stands in ScOtland commencingAugust 12. The band will visit Aber-deen, Leith, Falkirk, Ayr and Kirk-caldy.

Mutes to hootsPreston trumpeter Johnny Keighley

has turned down a 12 months' Irishcontract to devote whole -time atten-tion to new job of running a shoerepair store.

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