St. Paul recorder. [volume] (St. Paul, Minn.) 1934-2000, 1962-04-27
THE WEEK IN
RECORDS
By Albert Anderson
Brown Boosts Big Band Music

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One of the strongest evidence to
refute the aforementioned contention
that big band music is dead" is
Ray Browns latest LIP on the
Verve label, featuring a cast of
all-star musicians.
Titled Ray Brown With the ALL
Star Big Band" the album was a
collaboration of Brown, jazzdom
top bassist, and the talented ex-
Basic Sideman, Ernie Wilkins.
Ernie arranged the music for the
10 tunes featured.
Personnel on the disk, in add
ton to Brown, on cello and bass,
include alto virtuoso Julian Can
nonbalT Adderley; Budd Johnson,
Earl Warren, Yuseff Lateef, Jer-
ONE Richardson and Seldom Powell,
on reeds; Ernie Royal, Joe New
man, Nat Adderley and Clark
Terry, on trumpets; Jimmy Cleve-
land, Melba Liston, Britt Woodman
and Paul Faulise, on trombones;
Oslo Johnson, on drums; Sam
Jones, on bass, and Tommy Elan
agan and Hank Jones, on piano.
Wilkins conducted the session. The
Adderley brothers and Jones ap-
peared through the courtesy of
Riverside Records.
In addition to being one of the
most pleasant recordings of big
band music, this LIP is unmatched
for it's almost perfect balance. It
features top solos, an imaginative
fare, and fine orchestration.
For instance, the Adderleys and
Brown are both delightful and in
MIGRATING on the work Song, /"
the opening tune, and on the clos
ing entry, "Baubles, Bangles and
Beads" while the orchestra as a
whole is outstanding throughout.
In fact, each man has plenty to
say on the disk, but the individual
performances are skillfully integ-
rated for the best possible "utiliza-
ton" of the compositions.
There isn't a dull moment on
this record, and certainly no flaws
are detected. Here, in this review
er's opinion, is unrefutable evid-
ence also that big band music can
be delightfully."- projected in the
modern vein. THIS LIP IS TOPS.
Other releases reviewed are:
BOSS Tenors in Orbit" (Verve)
Personnel: Gene Ammons and
Sonny Stitt on tenor saxophone;
Donald Patterson, organ; William
James, drums; Paul Weeden, quit
ar. Tunes: Long Ago, And Far
Away" "Walkin," why Was l
Born?,p John Browns Body"
and Bye, Bye Blackbird."
This is a blowing session from
start to finish The session is
reminiscent of the days when Am
mons and Stitt (who is equally at
home on alto and tenor) con-
Quoted their battle royal on stage
in Chicago The two are feat
ured playing six standards (foul
on Side y that are made all the
more delightful by the extent Of
their enthusiasm and the range Of
their imagination . Solos are
the feature of this LIP, and the
contrasting styles of Ammons anc
the enterprising Stitt make fol
delightful listening A BIC
BUY.
"LEAPIN' AND LOPIN (BluC
Note LIP 4O91). Sonny Clark ant
quintet. Personnel: Tommy Tur
rentine, trumpet; Charlie Rouse
Ike Quebec, tenor sax; Clark, pi
ano; Butch Warren, bass; Billy
Higgins, drums.
Tunes: "Somethin' Special,
Deep In A Dream" Melody Fol
c." Side 2, Eric Walks" WOO
doo," Midnight Mambo."
If you like good progressive
Jazz, you'll like this LIP, which
features good jazz balance plu'
outstanding individual perform
ances It is perhaps Clarke
best effort as a group leader
It spotlights six tunes in various
Jazz dimensions "Midnigh
Mambo" is the top tune, as it pro
vides the artists with plenty O
playing room, but "Leapin' ;
and Deep In A Dream" a pen
sive tune played in deep harmony
are also delightful AN EN-
a q . . a