St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1954-03-05
RATING THE
r z c o r D S
Hot Harmonlca and jazz

Eddie Shu. triple threat man Of
the modern school, makes 1t an
Instrumental foursome with which
he has more than a nodding ac-
qiiaintance when, as sideman Of
Gene Krupa Trio, he takes in hand
a harmonica for some very UNI
usual and moving solo flights on
an original, HARMONICA BOO
Gle and the standard SEPTEM-
Der SONG. shu ia essentially
reed man-tenor sax and clarinet
but at times, hen double in
brass-trumpet.
The "Boogie," for which credits
90 to Krupa, Shu and Teddy Ma
poleon, sS-member of the trio, is
reminiscent of the old "fire-and-
go" boogies. Shu shows some fas-
cinating ideas In his solo work
both on this and the mate. Gene,
of course. sets the pace. punctuat-
ing the breaks. while Teddy's
chording job adds much luster to
an already nice affair Cleft
Still with the moderns and on
the cool side, there Is the latest
Shearing happenings, in album
form --pleasantly nostalgia music
styled by Georges five-man group,
entitled, WHEN LIGHTS ARE
LOW. The fifth such package
since Shearing and men invaded
the American scene, II is collec-
ton Of the CUNTS most requested
numbers. Selections are ] HEAR A
RHAPSODY, DON'T BLAME ME-,
THINE ALONE. INDIAN SUM-
MER, THERE'S A LULL IN MY
LIFE, I DIDN'T KNOW WHAT
TINE IT WAS and WHEN
YOUR LOVER HAS GONE. Sorry
no Shearing original this time
(MGM).
A couple of new Basic discs are
out and well recommended. The
personnel on both discs are the
same Basic, organ-piano; Joe
Newman. trumpet, Paul Quini-
Ghetto, tenor; Buddy Rich, drums:
Freddie Greene, guitar; and Gene
Ramey, bass. For one platter, the
real heavy six offer X. C. ORGAN
BLUES and STAN SHORTHAIR,
on the other. Basic BEAT and
COUNTS ORGAN BLUES.
Both organ" items are ex-
amples of that matchless approach
to the blues which has typified
Basie's earlier works. On each,
Basic let's his presence be known
by the throbbing chords and peal
! ing walls of the organ. Solos by
the front row, though excellent,
just don't seem long enough. The
respective mates, with the tempo
upped somewhat, has the Count
tickling the worries in his usual
fascinating manner, and the gang
holding down in fine fashion
| (Clef).
Earl Bostic comes up with an
original labelled CRACKED ICE,
and from the sound of things, this
would crack all the ice on the
North and South Poles-it's just
that hot. Bostic, of course, is in
front on his alto. The mate is a
Bostic version of a semi-classical
item-this time from the pen of
Camille Saint Saens. Selection is
MY HEART AT THY SWEET
VOICE (King).
The newest Les Paul discing
picks n jazz favorite OF yester-
year. SOUTH, and gives it new
and swingy sound via his peculiar
ly interesting guitar work Mate
is Mary Ford's ballad newie, I
REALLY DON'T WANT TO
KNOW, which is currently top
per on the country and western
hit parade, Moody and slow. it's
another "goodie" (CapitoD.
Styles OF Voices
The Louis Armstrong way with
sentimental ballad is always
something TO hear for his is a
style that defies duplication. His
latest pairing are THE GYPSY,
an oldie, and I CAN'T AFFORD
TO MISS THIS DREAM. The
Catch is in fine form on both. On
the former, his instrumental assist
somes from the Commanders,
while on the latter, Sy Oliver con-
ducts the ork. Dream" is espec-
tally recommended because OF the
way Satchmo delivers the lyrics,
with the lazy instrumental pace
baekdripping, On both his famous
horn comes in for chorus. dec
cal.
Another name" we like to lis
ten 10 is Jimmy Kicks and His
Ravens. Their latest are up to the
usual snuff. One side is SEPTEM-
BIER SONG, In which Ricky takes
I the hackseat, while the top tenor
handles the lead vocal. The accom-
paniment might be classified as q
quiet" Kenton type, that is, with
out the loud brasses II changes
pace from a cool bounce 10 a Lat
inish swing and back again. Flip,
fast shuffler, is another one Of
the good Ravens sides, with RiclSy
/ in the forefront giving advice to
I gents on the prowl Mercury
Thruaty Savannah Churchill
q