St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1949-10-28
RATING TINE
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items favored nicely with q blued
tone, they utilize mellow reed to
set the mood. Good cocktail
lounge stuff Patti Page, out
of Mercury stable, hits out well on
the blues-type ballad, JUST GOT
TO HAVE HIM AROUND. Mate
is the plug song from Bob Hopes
newest flick, The Great Lover"
labelled A THOUSAND VIoLINs.
In Victor label, Pianist Andre
Previn foxily jazzes up the pop
ular DARDANELLA with a
string quintet and rhythm a la
Nat Cole, Mack Mclean sings.
Mate is the Instrumental THE
GYPSY IN MY SOUL
Floyd TiIlman and Margaret
Whiting have a field day on Capt.
toll with Jimmy Wakely's orches-
ira. Two Tillman originals, one of
which is a sequsl to the other, are
given good hinbilly treatment by
the duet; I'LL NEVER SLIP
AROUND AGAIN and SLIPPING
AROUND. Mate to these sides are
SIX TIMES A WEEK AND
TWICE ON SUNDAY and WED
DING BELLS, respectively.
Ella, Miss Fitzgerald to you,
handles two nice ballads in her
familiar style to the accompani-
ment Of Sy divers crew on Dec
ca. Sides are TALK FAST, MY
HEART, TALK FAST, a bouncey
item, which let's Ella put in on a
modicum of riffs in the second
chorus; and the ever-popular blues
item, with q new face, IN THE
EVENING. Ella also pairs q mood
piece, A MAN WROTE A SONG
WITH FOOLISH TEARS, the lat
ter resembling in spots the pop
tune Careless Heart" -. Vic
Damone on Mercury sings the
Alec Wilder adaptation of a for
gotten classical piece, labelled
LONELY NIGHT and revives the
perennial torchie, WHY WAS /
BORN. Eddy Howard, also on
Mercury, gets away on a bOuncy
ballad, CROCODILE TEARS.
Mate is EVERYTHING THEY
SAID CAME TRUE.
Four sides by Louis Arm
strong on Decca, show the "Ole
Satchmo" in fine form, doing
tune ripe for his talents. With
Gordon Jenkins DIRK and chorus,
Louis sings THAT LUCKY OLD
SUN and BLUEBERRY HILL.
Fronting his own group, he pairs
I'LL KEEP THE LOVELIGHT
BURNING and MAYBE IT'S BE-
CAUSE. The horn player on Blue
berry HIP has the Satchmo touch
down pat, as he doodles along be-
hind the vocal Bill Kenny, in a
single role, handles the strictly
mood item by Eden Mature Boy
Ahbez Of LAND OF LOVE, with
ork assist and flips to a western
favored, completed with hoof-
beats, ECHOES.
And very Xmas-y are the Mills
Brothers on Decca with two
quietly reflective tunes, ON THIS
CHRISTMAS EVE and MY
CHRISTMAS SONG FOR YOU,
the latter a Hoagy Carmichael
tune.
For her second Atlantic waxing,
Ruth Brown, with the Budd John
son crew, provocatively handles
ROCKING BLUES and breathes q
flaming torch on I'LL GET
ALONG SOMEHOW, an oldie =.
RhythmicaIly, Chriss Powell and
the Five Blue Flames romp
through I'VE MADE A, BIG MIS-
TAKE on Columbia. Duke Wells
handles the vocal with trio assist
apd a clarinet keyed in low regis
ter. Rhythm jazz is the mate, q
familiar oldie. SUNDAY. Eddie
Lambert takes the honors in soto
voice backed by a rugged tenor
sax.
Champion Jack Durpee is back
again on Apollo with his crew,
shouting some rugged blues on
MEAN MSTREATING MAMA
and ONE SWEET LETTER
VictoTs Count Basic, who has
shifted emphasis from reeds TO
brass, works on a steady and NOV
ing beat behind Billy Valentines
mournfuI tale in ROCKY NOUN
TAIN BLUES. The usual Basic
PROCEEDINGS spill through excit-
ingly on this medium-paced item.
Mate puts Mr.. s x g." Jimmy
Rushing up front on WALKING
SLOW BEHIND YOU, a tale well
calculated to keep you looking
over your shoulder.
Aristocrat has another Andy
Tibhs twosome which viii get
plenty of calls, HOW LONG and
I KNOW, familiar oldies gets
groovy treatment from Tibbs and
Leo's Trio -. A guilty beat makes
the Arthur Big Boy" Crudup vo-
cal of TIRED OF WORRY a good
blues item. So is II with HooDoO
LADY BLUES. Both are pennings
Of the Crudup lad on Victor.