St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1951-04-06
RATIN 9 THE
REC OR DS
creGf Numes on creaf Sides.
By ]. Henry Randall

Eddie Haywood, Albert Ammons,
the Departs Brothers are among
the top figures in the Jazz Hall
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 greats figure,
either alone or severally, or with
such other stalwarts as the re-
Gently deceased Sidney Big Sid"
Catlett, drummer-eXtraordinaire:
Trumpeters Doc Cheatham: and
Hot Lips" Page; Vic Dickinson,
genius of the velvety smooth
slide trombone; Don Byas, tenor
saXist, Specs" Powell, another
outstanding percussionist, and
others.
To paraphrase a familiar slo-
gan, for treat instead of a
treatment" spin these. Represen-
ted in the % numbers making up
the three discs are some of the
personahzed and easily recogniz-
able favorites of various segments
of jazz lovers, the tunes, which in
terpreted 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
ragtime to swing in Swing Ses-
sion" by Edmond Halls quartet
with Teddy Wilson assisting; to
blues and boogie in 'Boogie
Woogie and the Blues" by Albert
Ammons' Rhythm Kings, the Ed
mond Hall six with Eddie Hey
wood; and the Departs Brothers;
to the sophisticated bistro swing
heard in Eddie Heywood's "selec-
ted performances"
Xlg o ut-aryc ent
Easily the most familiar of the
% Tunes are the Eddie Haywood
staccato treatment of Begin the
Beguine, his Lover Man., Blue
Lou, 1 Cover the Waterfront and
Love Me or Leave Me. These are
five of eight sides performed by
Haywood with his all-star crew of
Cheatham, Dickinson, Lem Davis,
alto sax; Al Lucas, bass; and
Jack Parker, drums. The remain
ing trio are Carry Me Back To or
Virginny, Save Your Sorrow. i
Can't Believe That You're In Love
With Me-"
"Virginny', bears close re-
semblance to the Lunceford treat
ment in that Davis and Dickinson
make with the "growl" sounds
while Doc wakes brilliantly solo
wise on his horn. The same sort
of thing was heard in the Lunce-
ford version, except that the num-
Der of musicians participating in
the "growl" was considerably
more (Commodore).
In Swing Session" by Sirs Hall
and Wilson, there are the Juan
Tizol-Duke Ellington classic,
Caravan; a Hall original, Show
piece; the Cole Porter Night and
Day, Sleepy Time Gal, It's Only a
Shanty In Old Shanty Town,
Where or When, i Want to be
Happy, and 1t Had to be You.
The quartet consists of Hall and
Wilson, both making wonderful
music on their respective instru-
ments. clarinet and piano; Billy
Taylor, bass; and Arthur Trappier
on drums. (Commodore).
The "Boogie-Blues" LIP pre-
sents three different approaches
to the medium AmmOns,
the Departs Brothers and Ed
mOnd Halls sextet with Eddie
Haywood sitting in.
The late Ammons, who carved
a niche for himself in boogie and
blues interpretations alone and
with Pete johnson and Meade
Lux Lewis, does two boogie solos
in the ripping rolling boogie
style for which he is famous.
Titles are AIbert's Special BOOgie
and The BOOgie Rocks.
With his Rhythm Kings, con-
sisting of Page. Dickinson, Byas,
Israel, Crosby, bass; and Big Sid,
he punches out Jammln' the
BOogie and Bottom Blues.
Supplanting Wilson at the
piano, Eddie Haywood joins the
Hall sextet on a pair Of original
items which zap tribute to the
Cafe Society Uptown and Down
town, popular night spots in New
York. One is Downtown Cafe
BOOgie, a Hall Haywood concoc-
ton; and the mate is Uptown Cafe
Blues, A Hall Dickinson writing.
Al Casey, guitar, Billy Taylor,
bass, and Big Sid round out the