The Miami times. [volume] (Miami, Fla.) 1923-current, 1950-07-29
Rating The Records
By J. Henry Randall For AMP
SPIN THESE

SPIN THESE
Tram artist Will Bradley, regarded and rightly as
of the greats in the Dxieand idom momentariy de-
that style to dish out music in the bop VEIN
There doubt many who will decry his shift but on
this one platter think he exhibits performance which,
while not sensational tags him goodman IN any other
idiom
Bradley and his ork tie in with pair of oldes. You
remember I'M NOBODYS BABY and JUNE NIGHT.
might, all wrapped up in that Latn-Amercan rhythm,
follows fairly closely the Hearache line with some OF
the strains the intro closely denfabe with the Pea
nut Vendor Cool soft and unsteady satisfying it has the
ensemble backing Dorothy Ann the vaca The mate has
that Observation-Disclosures shop group sound OF the two
Dorothys voice sounds better the latter (Atantc)
"Mr. Pano"-Errol Gamer-has conceived bril-
liant arrangement Of LULLABY OF THE LEAVES, quite
in keeping with his progressiveness paced lovely
this musical excursion literally soohes the listener. Gar
to be playing in huge empty all by him
setha is with the rhythm pair supporting of course
big sound in big empty space Flip is MARGIE which
leaps off with Fats Waller style of delivery and then
ambles along nicely la Garner Both sides great stuff
(Atlantic) And speaking of pianos, Joe Bushkin -
limelghter instead of background runner (hes fig
ured sdeman with of the greats in the busnes)
lifts pair from his recent Up 81 Love Piano" for the
78 rpm dscing. Titles IF | KNEW YOU WERE
THERE, his composish and the Rodgers-Hart 1T
NEVER ENTERED MY MIND (Atantic)
Hats off Al Hibber for his excellent versions of
DANNY BOY and SONG OF THE WANDERER. AS usu-
al Al gives his own special Interpretation of the lyrics
and he has accompaniment which is superb for it's
pathetic treatment of the music Billy Kyle conducts the
"Wanderer' opens with combination of the Sy
Oliverionel Hampton brassy sOund-very effectveand
PAGES down esurey Between chorses there tenor sax
passage which draws attention, does the vbes which
follow (Atlantic)
Una Mae Carlisle has pair of ballads worth hearing.
She does TIRED HANDS and STRANGE The DIRK under
Don Redman gives sort of Dxiefied accompaniment
(Columbia). Roy Milton and his Solid Senders do
pair of blues crier Speciality King Perry and his Sex
tette leap blues roller in MELLOW GAL BLUES and
a rhythm vehicle in EVERYTHING'S GONNA BE ALL
RIGHT TONIGHT. Vocals by Parry Speciality.
ORIGINALS OR NOT
Rugged blues shouting is done by Eddie Banks on
HEARTBREAKIN' BABY and ROCK WITH ME MAN.
MA, the latter with the "hey, ba-bareba hey sound.
Buddy Tates orchestra accompanies Best thing heard
the Tyree Glenn tram growl on Mamma" (Columba)
Stick McGhee and the Spo-De-O-Dees has promising
twosome in LET'S DO IT. guitar-boogie PAGER and
SHE'S GONE. In both, Brownie joins Stick the vocal.
Although these called originals Gone sounds too
much like keep Dollar In Your Pocket to be orig
inal" better title for T would have been Rock Away
Your Blues" (Atlantc).
Laurie Tate, newcomer, is in the vocal spot for Joe
Morris crew COME BACK DADDY DADDY and ANY
PLACE ANYWHERE. She has good set of pipes but
to be forcing her voice The sound CRATES in spot
especially anytime When it settles down normal
good talent heard What's the tune that goes eff
can't have you for myself don't want nobody else -
Dnah Washington number? Daddy" has close affin-
ity with it (Atlantic).
Blues not guilty but mellow and the sophisticated
side done by Jimmy Lewis with his Trio Sides ALL
THE FUNS ON ME and I'm STILL. IN LOVE. Both
handled WE'LL but Jimmy sound like of the Three
Blazers (Atlantc).