Minneapolis spokesman. [volume] (Minneapolis, Minn.) 1934-2000, 1951-04-06
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Eddie Haywood, Albert Ammons,
the DeParis Brothers are among
the top figures In the Jam Hail
OF Fame who have made note.
worthy and long'living contribu-
tons TO the idiom,
We have just finished listen
ing to a set Of three LIP discs, In
which these jazz grCats figure.
either alone or severally. or with
such other stRlwarts as the re-
Gently deceased Sidney Big Std"
CRtlett. drIImmer-extraor
Trumpeters Doc Chatham: and
Hot Lips" Page; Vic Dickinson,
genius OF the velvety smooth
slide trombone: Don ByRs. tenor
saxist, specs" Powell, another
outstanding pcrcusSionist and
others.
To parRphrase a familiar Slo-
gan, for a treat instead Of a
treatment" spin these, Represcn.
ted In the % numbers making up
the three discs are some Of the
perSonGliEed and easily recogniE-
able fRvoritcs of various Rcgments
Of jazz lovers, the tunes. which in
terprcted by an artist or group OF
artists, have remained the top
choices when one gets to discus
sing who had the best version.
The selections range from light
rRgtime to swing in Swing Scs-
sion" by Edmond Halls quartet
with Teddy Wilson assisting; to
blues and boogte In 'BooRie
Woogie and the Blues" by Albert
Ammons' Rhythm Kings, the Ed
mond Hall six with Eddie Hey.
wood and the DcPariB Brothers:
to the sophisticated bistro swing
heard In Eddie Heywood'S "Scleo-
ted performances"
xIE o ut-Rryc ent
Easily the most familiar Of the
% Tunes are the Eddie Haywood
staccato treatment Of Begin the
BeguIne, his Lover Man., Blue
Lou, Z Cover the Waterfront and
Love Me or Leave Me, These are
five of eight sides performed by
Haywood with his all-star crow Of
CheathAm, DiCkenson. Lem Davis,
alto sax: Al Lucas, bass; and
Jack Parker drums. The remain
ing trio are Garry Me Back To or
VIrKinRy. save Your sorrow. .
Can't Believe That You're In Love
with Me"
'Virginny'', bears close re-
srmblance To the LunccfOrd treat
ment In that Davis and DickenRon
make with the "growl" sounds
while Doc wakes brilliantly solo
wise on his horn. The same sort
Of thing was heard In the lance
ford version. except that the mum.
Der Of musicians participating In
the "gr0wl" was considerably
more tCommodore)
In Swing Session" by Sirs Hall
and Wilson. there are tho Juan
Tizol-Duke Ellington classic.
Caravan; n Hall original, SHOW
piece: the Cole Porter, Night and
Day. Sleepy Time Gal, IT'S Only
Shanty In Old Shanty Town.
Where or When, . Want % be-
Happy, and u Had 90 be You.
The quartet consists Of Hall and
Wilson, both making wonderful
music on their respective instru-
mcntR, clarinet and piano; Billy
Taylor. bass, and Arthur TrappIer
on drums, tCommodOrcD
The "BOogie. Blues" LIP pre-.
sents three different approaches
TO the medium Albert Ammons,
the DeParis Brothers and Ed.
mOnd Halls sextet with Eddie
Haywood sitting In.
The late Ammons. who carved
q niche for himself In booRie and
blues Interpretations alone and
with Pete johnson and Meade
Lux Lewis, does two bOoEie solos
In the ripping rolling bOoRte
style for which he IL famous.
Titles are AIbsTt'a Special BOOEie
and The BOORie Rocks.
with his Rhythm Kings. con-
SistInR Of Page. Dicksnson. Byas,
Israel, Crosby. bass; and Big Sid.
he punches out JAmmiB' the
BOoKie and Bottom Blues.
supplanting Wilson at the
piano. Eddie Haywood JOHNS the
Hall sextst on q pair Of original
items which zap tribute 70 the
Cafe Society Uptown and Down
town, popular night spots In New
York. One IL Downtown Cafe
BoOKie, a Hall Haywood cOncoc-
ton: and the mate In Uptown Cafe
Blues, A Hail DicksnSon writing.
Al Casey. guitar. Billy Taylor.
bass. and Big Sid round out the
asxtet