St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1954-11-19
RATING THE
r z c o r D S
JATP N THAT


big package full Of the doings Of
some of your fayorite artists.
Everyone is in it who appeared in
the 1853 concert tour-that is,
everyone except Ella Fitzgerald,
who. unfortunately for US, is UNI
der contract to another label tDec-
car.
The album consists Of three ~
inch LIP discs, plus bonus i0-inch
LIP and folio Of 10 photographs,
and as a package, sells for SIS
and this is real bargain.
The concert itself is divided in
to two sets, which are further
subdivided to make nine sets in
eleven. Somewhere between the
opener and finale, there Is some
thing to please all record fans. For
that select jazz crowd, everything
goes. Granz, as usual, handles the
introduction Of personnel.
Part / concerns a little item
known as Cool Blues real war
mer-upper, which takes up a
complete side. Featured are Flip
Phillips and Ben Webster, tenor;
Charles Shavers and Roy Eldrige,
| trumpets; Willie Smith and Benny
Carter, altos; Bill Harris, from;
]. c. Heard drums, and the Oscar
Peterson trio, which numbers Os-
car at piano; Herb Ellis guitar
and Ray Brown, bass.
The second part, also occupying
complete side, is Ballad Med
ley which is given over to solo
displays by Harris on September
Song; Webster, Someone To
Watch Over Me; Carter, Flamin-
go: Eldridge. I Can't Get Started;
Phillips, Maxim whoopee: Smith
Young Man With A Horn; and
Shavers, Embraceabie You.
Part III consists of a series of
series of challenges between Web
ster Phillips, Harris, Eldridge and
Shavers, followed by the Drum
Solo" by Heard.
Then comes the official break
down, which opens with the Oscar
Peterson trio in the spotlight for
their distinctive stylings of Lollo-
brigida, Swinging On A Star,
Pompton Turnpike, Love For Sale
and Swinging tin The Girls Come
Home.
The Lester Young quintet, COM
posed of the Peterson trio, Heard
and the PREF. come on for their
turn, doing Testers Blues, Lester
Gambols and I Cover The Water
front.
The entire crew take the Basic
One O'Clock Jump for a hot jam
session. To be followed by the
Gene Krupa trio-Krupa, drums;
Carter and Peterson, on Some
body Loves Me, Indiana, Laura,
and Stompin' at The Savoy.
For the finale, it's Webster and
Phillips on the veteran jazz vehicle
Flying Home.
The bonus disc, not a part of
this concert, keeps the personnel
unchanged with the exception
that Krupa supplants Heard on
drums to do a two-part item call
ed Concert Blues.
BY the time you have finished
playing the four discs, you are
literally walking on clouds of joy
and everywhere you go, youn be
hearing and humming assorted
snatches OF this jam OF SO (Clefl.
Other LIPS or Note
A pair of I2-inch lips to so a.
long with the packaged JATP re-
lease are the third in the Artie
Shaw and his Grammercy Five
and Lionel Hampton quartet do
ings
Shaw, redoing some of the
tunes which were associated with
him in the swing hey day. has Too
Marvellous For Words. Yesterdays,
September Song, Rough Ridin'.
Supposin', MY Funny Valentine
and Dancing on the Ceiling tClef),
There are also three Shaw mid
get" albums the IS rpm extended
play variety--one pairing The Sad
Sack and Sunny side Up: another
When The Quail Come Back To
San Quentin and Tenderiy Cboth
Cleft; and an "Artie Shaw Plays
which has How Deep Is The Ocean
and I Don't Stand Ghost OF
Chance, both vocals: The Hornet
and the stringed Begin The Re
guinc tRoyale),
The Hamp does repeat on his
popular Flying Home version -
earlier done with the Benny Good
man four and now with Buddy De-
France sitting In the group that
has Buddy Rich, drums: and Oscar
Patterson pianC and Raw RrDyyr,
bass, This new Home" takes up
the entire side and il Is full of the
Ramps ecstatic means, On the
lip. Hamp and De Franco do some
nice ensemble work on lie Ne Sc