Evening star., 1962-06-04
BY JAMES LEE
contributinx writer

Contributing Writer
The First international JAZZ
Festival closed yesterday with
a varied day-long program that
began and ended on q spiritual
note.
The final day Of concerts be-
gan with a gospel program at
the Washington Coliseum fea-
turing the Clara Ward Singers,
the Staples Family Singers and
the Stars of Faith.
If the morning gospel pro-
gram had any point at all, ii
was to prove that the spiritual,
like everything else these days,
can be sold.
The program opened with
the Staples Family, led by Roe
buck Stapels. guitarist and
head Of the gospel-singing clan,
The sound system at the Coli
scum, apparently still suffering
from the shocks Of the night
before, was erratic. All that
came through much of the time
was the heavy, almost sensual
beat of the music. THAT was
enough.
Jumpers Busy
The aisles were filled with
dancing, singing, clapping,
shouting people. "Amens" rang
out through the high rafters
of the converted basketball
court. Young men in Ivy League
suits and pointed-toed Italian
shoes jumped up and down.
The Staples family was fol-
lowed by Clara Ward and her
singers. The six young women.
dressed in white robes with
purple SaShes, Immediately
moved to take advantage Of the
fervor stirred up by the pre-
viouS performers.
They shouted and danced,
turning the religious" program
into something very much like
a teen-age television show. and
slapped tambourineS in frantic
rhythmS.
And the audience went wild.
Middle aged matrons who
should have known better were
dancing. Shouts thundered
above the music. And the six
young ladies on stage kept it
up, demonstrating the fine old
show business art Of playing for
the most from your audience.
In spite of the religious
language of the introduction to
the program by Elder Solomon
Lightfoot Michaux, there was
nothing spiritual in the pre-
sentation. 1t was calculated
and nearly animal.
Miss Wards group was fol-
lowed by the absence Of this
reviewer.
Brubeck Scores
The afternoon concert was
more rewarding fare. After an
uninspired beginning for which
Freddie Merkle, local drummer,
and his group were responsible,
Dave Brubeck and his quartet
came on to demonstrate again
why he is one Of the top attrac-
tions in jazz.
The Brubeck quartet is a re-
markable combination of four
talented individuals who have
a great deal to say musically,
and mango to weave their in
dividual statements into one
magnificent musical essay.
Paul Desmond is consistently
the most lyrical and imagina-
tive alto saxophonist in jazz
today. Joe Morello is a drum
mer with taste. wit and fan
tastic skill. Gene Wright has
lifted the bass high above its
former role as a timepiece. And
Brubeck himself is brilliant
and inventive.
Chris Barber of London and
his traditional jazz band re-
peated their program per-
formed at the Introduction to
Jazz concert Saturday at Con-
stitution Hall, complete with
Ottillie Patterson, who must
have very little competition for
her title as Europe'S best
singer Of traditional jazz.
Duke Ellington followed with
q grand entrance, his white
suit lit by a sweeping spotlight
as he crossed the Coliseum
floor while his band played
Take the A Train" He re-
ceived a standing ovation from
the near-capacity crowd. What
else?
The overlapping of sched-
uled events led some to miss
the last part Of the Coliseum
program to dash to the Lii
brary of Congress for the
chamber music program in
Coolidge Auditorium.
Left behind were George
Shearing, Tubby Hayes and
singer Gloria Lynne with the
Earl May Trio. Ahead lay the
most exciting program of the
festival since the opening with
the Lee Becker Jazz Ballet
Theater.
Jacobs Shows Skill
The chamber music program
opened with pianist Paul Jacobs
performing jazz-influenced Sc
lections by DebuSsy, COPELAND
and Stravinsky.
Mr.. Jacobs is a gifted and
skilled performer. His presenta-
ton Of the five pieces was most
accomplished and the works