The Phoenix index., 1941-09-06

BOOC1E and BARREL HOUSE
BUGGIE; BOOGIE WOOGIE MAN
and WALKIN' THE BOOGIE;
SIXTH AVENUE EXPRESS and
PINE CREEK; FOOT PEDAL and
MOVIN' THE BOOGIE. And if you
should be amazed some night by the
sight Of the Statue Of Liberty rock
ing, don't be alarmed. It'll Just be
somebody playing these selections
III her ear on portable machine.
SOLITARY CONFINEMENT
Try a bit of TOASTED PICKLE
served by Cootie Williams on Okeh.
This is a juicy Jump with rhythm
and drums especially raising sand
Flipover is TOP AND BOTTOM,
equally fine fare with Johnny Hod-
ges taking strong alto solo. And
of course, Coolies horn all but
neltS. Bob Chosby sparkles on
ELMER'S TUNE for Decca, with
Jess Stacy's piano walking off with
honors. The number is bouncey but
the performance is not DiXieland
Other side is a commercial number.
THE ANGELS CAME THROUGH
...Artie Shaw has a pair on Victor
that sound as good today as they
ever did. They are 1T HAD TO BE
YOU, very rhythmic and solid de-
spite the strings and with the Shaw
clarinet at its best, and IF T HAD
YOU, a bit slower and more SUBJ
dued. =.
hiss .izS see
Maurice Rocco goes barrelhouse
on HOW COME YOU DO ME LIKE
YOU DO for Decca, working hard
on the stompboX and singing while
a drum accompanies. This is prob
ably his best performance to date
The flipover, HOLD ME BABY, is
not equal to the other. Harry
James shows himself just another
commercial band leader on the
Columbia Of I'LL GET BY and
LOST IN LOVE. OF course it's a
living but it's sorry jazz. Larry
Clinton'S Bluebird of TENTMENT
SYMPHONY is a descriptive piece,
well drawn with yords and music.
Coupled is a killer diller on which
everybody rides, the Scotch song
COMM THRU THE RYE.
Here's another Raymond Scott ori-
ginal that doesn't get across with
me, THE MERRY CARROUSEL on
ouseinioF the
Columbia. Scott used to be cleve.',
now he just shows off. Other side
ic BEAU NIGHT IN HOTCHKISS
CORNERS, an undistinguished YER
sion.
Count Basic deserves a hand this
week for Basic BOOGIE, jump
with plenty of piano, and LET ME
SEE, a topnotch fast tune. The ten
or sax on this plays like a follower
Of Les Young. Basic is also on an
other Okeh with Sam Donahue,
called TT COUNTS A LOT in which
ne also pounds a lot of Steinway as
the white band jumps like his own.
Other side is LONESOME, a lazy
tune in Lunceford manner .Shep
Fields. on the Bluebird of HUN
DANCE NO. 5, gets heat
I'd to a boil, although there is the
his reeds and rhythm
try little too much to be hot
is DON'T BLAME ME, ra-
ther ENJOYABLE and a nice tempo.
Johnny Long Decca of KISS THE
BOYS GOODBYE is an exception
Ally fine version. The gal and glee
,lub vocal lend added punch. Com
oanion piece is DON'T TAKE
YOUR LOVE FROM ME, a pop
nne.
Tommy Dorsey rings the bell with
/ Il inch Victor pairing FOR YOU
With a sweltering, groovey version
If SWING LOW SWEET CHA
RIOT. The first has excellent bari
one sax, and the second shows
stepping out. The Cha
'ioteers have a hot pressing of
)NF, TWO THREE O'LAIRY on
)keh with a gorgeous piano Coup
ing is I DON'T WANT TO SET
HE WORLD ON FIRE, beautifully
larnlonizing- The Mills Brothers
re in an sentimental mood onOkeh
nth IF IT'S TRUE and THE
TFRY THOUGHT OF YOU. They
re backed by small band. Claude
7hornhill plays sweetly, with his
areful piano SING A LOVE SONG
n Columbia, backed by I'M
GOOD commercial
-uff Terry Powell tries out YES
T11,.01,s.,-J Il1I+