Minneapolis spokesman. [volume] (Minneapolis, Minn.) 1934-2000, 1954-03-05
RATING TIE
q e c O q o S

Hot HaEmomlca and Jaxx
Eddie shu. triple threat man Of
the modern school, makes Il an
instrumental foursome with which
he has more than q nodding &C
quAintanee when. a. q alderman Of
Gene Krupa Trio. he takes in hand
harmonica for some very UNI
usual and moving solo flights on
an original. HARldoNIcA BOO
GLE and the standard sEPTEAG-
Der SONG. Shu II essentially q
reed man-tenor sax and clarinet |
but at times. hen double In
bTaEs-trumpet.
The "Boogie." for which credits
go 70 Krupa, Bhu and Teddy Ma
poleon. SS-member Of the trio. n
reminiscent Of the old "fire-and-
20" boogies. shu shows some fas-
einAting 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 10
an already nice affair (Clef.)
stin with the moderns and on
the cool side, there In the latest |
shearing happenings. in album |
form--pleasantly nostalgia music |
styled by Georges five-man group,
entitled, WHEN LIGHTS ARE
LOW. The NTH such package
since Shearing and men invaded
the American scene, Il In q collec-
ton OF the CUNTS most requested
numbers. Selections are I HEAR A
RHAPSODY. DON'T BLAME ME,
THINE ALONE. INDIAN SUM-
MER. THERE'S A LULL IN MY
LIFE. DIDN'T KNOW WHAT
TIME IT WAS and WHEN
YOUR LOVER HAS GONE. Sorry
no shsaring original this time
CMGM).
A couple Of new BaSis discs are
out and well recommended. The
personnel on both discs are the
sams--Baaie, organ-piano; Joe
Newman, trumpet. Paul ouini-
Ghetto. tenor; Buddy Rich. drums;
Freddie Greene. guitar; and Gene
Ramey, bass. For one platter. the
real heavy six offer X. G. 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 typlfied
BaSie's earlier works. On each.
Basic lets his presence be known
by the throbblng 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, 10 In
front on his alto. The mate Ii a
Bostic version of q Aemi-classical
ltem--this time from the pen Of
Camille Saint saens. Selection IL
MY HEART AT THY SWEET
VOICE CKinR).
The newest Les Paul discinR
picks a jazz favorite OF yester-
year. SOUTH. and gives Il q new
and swingy sound via his peculiar
~ interesting guitar work. Mate
IL Mary Ford'S ballad newie. I
REALLY DON'T WANT TO
KNOW. which 10 currently a top
per on the country and western
hit parade. Moody and slow. it's
another "goodie' (Capitol).
Styles OF Voices
The Louis Armstrong way with
q sentimental ballad u always
something 10 hear. for his II q
style that defies duplication. HIS
latest pairing are THE GYPSY,
an oldie, and I CAN'T AFFORD
TO MISS THIS DREAM. The
Catch II 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" r. espec-
tally recommended because OF the
way Satchmo delivers the lyrics,
with the lazy instrumental pace
baekdripplnE. On both his famous
horn comes IN for q chorus. dec |
cal,
Another name" We hike 20 us
ten 20 h Jimmy Kicks and His
Ravens Their latest are up TO the |
usual snuff One side IL sEPTEM-
BIER SONG. in which Rieiy takes |
the baekseat, while the top tenor |
handles the lead vocal The accom-
naniDent might be classified a a