St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1951-03-02
r ATTN 9 THE
r Ec Q r DS
A Session With "Satehmo"
BY J. Henry Randall

and his crew of mighty mighty"
jazZmen, who appropriately bear
the title Of An Stars, " appear IN
an album packagcd Jam session
which is definitely must" for
all platter fans The album issued
on Up is entitled New Orleans
Jazz style, or what the oldstcrs
used to call "ragtimc."
There art only two tunes on
a side, but there is enough musi
cianship displayed i'm the total
four TO make one wish for "A
longer playing time for each
number.
Lead-off item is that never-dy-
ing favorite of "ragtimcrs. Pan
anna, which sports a brief opener
by the Satch, followed by the
Fatha' rolling the worries for a
spell Shaw tools his bass in mag
nificent fashion with Hines and
Cole pacing, and Bigard rambles
dehciously via the clarinet The
rest of the crew join in for a stir
ring close.
Paired with Panama is what
Louis calls a good old good one, /"
New Orleans Function, in which
the Satch takes over as narrator
In two parts Function" consists
of Flee as a Bird" and "Oh
Didn't He Ramble." The tunes de-
pict funeral procession enroute
TO and returning from a cemetery,
Bird" is the dirge, as Louis ex-
plains, and after the body of the
deceased is consigned TO its burial
plot, the preacher signals with
his handkerchief" and the band
breaks out in a hot-paced two
beat "Ramble."
ON the flip, Satch and Jack
son" Teagarden put their vocal
talents to work on the slow
stomp, MY BUCKETS GOT A
HOLE IN 1T. IA Clarence vii
liams' opus. About halfway
| down the disc, the Ail-Stars
break out into BUGLE CALL
RAG, which features Cory, Ole
Miss" Cole at the drums and
gives each member two chorus
es.
In case there are those who as
yet do not know the luminaries in
this All-Star group, they are
Louis Armstrong, trumpet; Earl,
"Fatha" Hines, piano; Jack Jack
son" Teagarden, trombone; Ar
veil shaw; Barney Bigard, clar-
met, and Cozy Cole, drums
This platter is the first of a
series by the Al-Stars. Later for
the second of the series tDecca)
Talmlah Bankhead. currently
! mistress of the Big Show
huskily intones the lyrics of two
evergreens, I'll BE Seeing You and
You Go To My Head. Her hand
ling of the sides is such as to put
the most hardbitten cynic in the
| mood. Accompaniment is by Joe
Bushkin and his (aptly namedl
Singing Strings (Columbial
| Earl Bostic, leading contender
in the reed field with his soprano
sax artistry gives a brilliant con-
ception of the oldie l Can't Give
You Anything But Love. Tune is
in waltz tempo. with Bostic ex-
ploratively blowing his heart out
in a wild and yet fascinating man
ner. Mate Is a boogie blues, Rock
in and Reelin', With Clyde Ter
rell and the ensemble on vocal
(Kingj.
Arnett Cobb, who hasn't ap-
peared in this column since his
switch to another label, gets all
hot and bothered on a pair of foxy
vehicles labelled That's All
Brother and Bee-Bee. Best of the
two is Brother" but each are
built around Cobb's tenor sax
artistry and have that Cobb hall
mark of climbing bass" At the
close of Brother" Cobb's reed
spells GU the title of the tune.
| (Columbia.D
The next recording star who
will come to the Twin Cities
under the sponsorship of Webster
and Black is Lowell Fulson, whose
records are now tops among
Rhythm and Blues disc best
sellers.
Those listed are Blue Shadows,
Everyday 1 Have the Blues and
Baby Won't You Jump With Me"
Fulson and his aggregation,
with vocalist Ray Charles, will be
at Minneapolis Labor Temple