Jackson advocate. [volume] (Jackson, Miss.) 1939-current, 1941-09-06

dunn slow blues, are CUTTTN' THE
( BOOGIE and BARREL HOUSE
/ BUGGIE; BOOGIE WOOGIE MAN
and WALKIN' THE BOOGIE.
/ SIXTH AVENUE EXPRESS and
PINE CREEK; FOOT PEDAL and
MOVIN' THE BOOGIF. 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
In her ear on portable machine
SOLITARY CONFINEMENT
Try 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 Hold
ges taking a strong alto solo. And
of course, Coolies horn all but
meltS. Bob ChoSby sparkles on
ELMER'S TUNE for Decca. with
Jess Stacy's piano walking off with
honorS. The number is bouncev but
the performance is not DixieIand
Other side is 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 I HAD
YOU, bit slower and more sub
dued.
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 q
living but it's sorry jazz Larry
Clinton's Bluebird of TFNTMENT
SYMPHONY is a descriptive piece.
we'll drawn with yords and music,
Coupled is q killer diller on which
everybody rides, the Scotch song
COMM THRU THE RYE.
Here's another Raymond Scott orr
ginal that doesn't get across with
me, THE MERRY CARROUSEL on
Columbia. Scott used to be Clever,
now he just shows off. Other side
is 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, 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 1T COUNTS A LOT in which
ne also pounds lot of Steinway as
the white band jumps like his own
Other side is LONESOME, lazy
tune in Lunceford manner :. .Shep
Fields. on the Bluebird of HUN
GARIAN DANCE NO. 5. gets heat
ed to a boil, although there is the
impression his reeds and rhythm
try a little too much to be hot
Coupled is DON'T BLAME ME, ra-
ther enjoyable and a nice tempo
Long Decca of KISS THE
BOYS GOODBYE is an exception
ally fine version. The gal and glee
club vocal lend added punch Com
panion piece is DON'T TAKE
YOUR LOVE FROM ME, a pop
tune.
Tommy Dorsey rings the bell with
h II inch Victor pairing FOR YOU
with a sweltering. groovey version
Of SWING Low SWEET CHA
RIOT. The first has excellent BARI
tone sax. and the second shows
everybody stepping out The Cha
rioters have a hot pressing of
ONE, TWO THREE OLAIRY on
Okeh with a gorgeous piano. Coup
ling is I DON'T WANT TO SET
THE WORLD ON FIRE. beautifully
narmonizing The Mills Brothers
are in an sentimental mood onOkeh
with IF IT'S TRUE and THE
VERY THOUGHT OF YOU. They
are backed by small bano. Claude
'Thornhill plays sweetly. with his
careful piano. SING A LOVE SONG
ON Columbia. backed by I'M
THRILLED. GOOD commercial
,tiIff Tlnrrv Powell fa.ipc o,1t v,7c,