november '78 issue 57 free

NOV 1 ,, \9T8

buffalo/toronto

ML jazzt b~ t-epot.:

{(,' 7 <6 57

McCoy Tyner

McCOY TYNER The McCoy Tyner Sextet at the Tralfamado r e - th at' s

something a good port ion of th is area' s j azz f o lk have been waiting a good long t ime for; a wait that will be over on November 15 & 16.

McCoy is somewhat of a legend these days, so only a bri ef history should suffi ce . He was born in Philadelphi a in Decem ­ber of '38, and after studying musi c as a child he form ed hi s first band at age 15. He met John Coltrane whil e work ing with trumpet er Calvin Massey at age 17 and they worked a couple of jobs together and Colt rane expr essed inter est in the young pian ist . In '59: the twenty year old Tyner j o ined the Jazztet with Art Farmer & Benny Go lson. He made h1 s r e­cording debut with that band , but s ix month s later M cCoy joined the John Colt rane Quartet , whi ch inc luded El v in Jones and (soon) Jimmy Garr ison . From '60 - '65, the years he spent with 'Trane, M cCoy's bri II iant piano work was heard on dozens of al bum s f or Impul se, inc luding severa l as a leader.

In 1965 McCoy f ormed his own group , recordin g for Bl ue Note . He was al so hea rd on Blue Not e album s by Joe Hende r·­son, Lee Mor gan , Wayne Shorter & others th r oughout the sixties .

Since 1971 , McCoy has been r eco rd ing for Mil estone Records, working with vet er an p'roducer Orri n Keepnews . To date, McCoy has r ecorded thi r teen albums for Mil estone, the latest being a live set titl ed The Greeting (M - 9085), recorded earli er this year.

Another treat for Buffal on ians will be the appearance of saxophonist Joe Ford with McCoy . Joe lef t the f ine area band Birthright in '76 and has been a member of Tyner 's band since .

It ' s a rare occasi on to see McCoy in a smal l cl ub. Trait owner Ed Lawson has been worki ng on th is f or some t ime though, and even though the only dat es he cou ld get fe ll on a Wednesday and Thursday, he couldn't pass it up .

BUFFALO PHILHARMONIC ORCHESTRA BEGINS FIRST JAZZ SERIES WITH GEORGE SHEARING

For those of us lucky enough to see and hear Sarah Vaughn ' s r ecent performance with the Buffalo Ph i lharmoni c Orchestra there can be no quest ion that jazz and the B. P .0 . go together well. Listening to the evenings mus ic wa s espe­cially h<>artening knowing that 1978 would mark the fi rst Buffalo Philharmoni c jazz ser ies .

The series begins Thursday, November 9 with p iani st/ composer Ge-orge Shearing and continues for seven months .concluding with trumpet er Dizzy Gillespie May 31 , 1979. All concerts will be on Thursday nights at 8:30 in Kl ei nhans Music Hall. Jazz art ists as sol oist s and guests with majo r orchestras is certainly not unprecedented . A good r ecent

HEY MAN ... I just been to the Record Boutique to di g new

jazz rel eases by AI Jarreau , Grover Washington, Tom Scott, Weather Report. Oregon, Donal d Byrd and Da.vid Sanc ious . Th ey got great j azz records at even greater prices .

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exampl e i s Carmen M cCrae, Bobby Hutcherson and Ear Klugh with the Los Angeles Philharmoni c on the album Blut Note Meets the L.A. Philharmonic .

According to spokesper sons at the Buffal o Philharmonic. this year ' s seri es grew out of the r ealizati on that asubsta~ ­t i al jazz audi ence ex ists in Western New York . The1r goal IS

to bring large numbers of these jazz f ans mto Kleinhans anc to I ikewi se bring this uniquely Ameri can art form to the tra­ditional symphony concert goer . It is for these reasons that the somewhat conservat ive I ine- up fo r thi s season was chosen . George Shearing (Nov . 9), Jackie and Roy (Jan . 11), the Preservation Hall Jazz Band (Mar . B), Marian McPartland (Apr . 5). and Dizzy Gillespie (May 31) are all nationally and internat ionally known jazz stars that have earned respect 1n

jazz circl es and are known by the general public as well. It goes without saying that the success of the '78-'79

series is important to the jazz community. Plans for next year ' s "Jazz Meets the Buffalo Philharmoni c" are underway and names I ike Oscar Peterson, Ron Carter and others have been discussed . Whether or not next year' s series happens at all , though, depends upon the attendance f or this seri es . Subscr ipti ons for the ent ire conce rt package is suggested to insure the best poss ibl e seats and to help support another signif icant mil estone in Buffal o jazz history .

- John H. Hunt

TRALFAMADORE CAFE JAZZ TO BE HEARONATIONWIDE ON NPR ,

Mark Thursday, November 30 at 9:30pm or\ your calendar. That ' s the date when the Ron Carter Quartet, with Carter on pi ccolo bass, Ben Riley/ drums, Kenny Barron/ piano and Buster Williams/ bass , will be heard on WBFO (88.7FM, ster eo) and all that week across the United States on National Publi c Radio 's (NPR) Jazz Alive program .

The perfor mance by the quartet was r ecorded at the Tralfamadore Cafe this past Apri I by WBFO for NPR . If you were there in person your applause will be heard across 201 pub I ic rad io stati ons from coast to coast. If you weren't, you missed a beautiful evening of musi c and now you've got a second chance t o hea r it. The program was co- produced by myself and Mark Fruehauf .

JAZZ ALIVE is a week ly program of. jaJ Z r eco r ded l ive at concert halls and clubs all over the country and is then made avai I abl e to NPR m ember stati ons. On a coupl e of occasi ons they have even done direct live transmissionsfrom New Yo rk City, Washington, D .C. and New Orl eans. It is NPR's most su'ccessful on - going pr ogram seri es being used by more stat ions than any other program . WBFO's involve­m ent with NPR is long standing. In additi on to the Ron Carter Quartet program, our 13- week series "Downtown Jazz" r e­corded at the Statler Hilton's Downtown room and produced by WBFO was the precursor to lhe Jazz AI ive ser ies and ran on NPR the summer before Jazz AI ive began.

You can call WBFO at 831 - 5393 for more informat ion about future r e-broadcasts of jazz perfo t'mances and future

2 NPR proorams . - John H. Hunt

.. ' '

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BUFFALO STATE LOVES JAZZ Just as this · issue hits the street s, th e j azz weekend at

Buffal cr State begins t o burn . Fri . , Nov . 3 it 's Spyro Gyra, Sam Noto & St. Joseph ' s

· High· School Jazz Band at 8 PM in the student uni on soc ial hall.

Sat. , Nov . 4 the;e' s a Jazz Vocal Workshop di r ected by Chuck Mancuso & Mark Murphy - f ree in Communi cat ions South. Then, at 1 .PM it's a Jazz Critics Symposium with mode rator John Hunt , f eat unng Jeff Si mon, Gary Giddens, Robt. Pal me r , Dan Morganstern , Bill Wahl & Stan ley Cr ouch -free in So c ial Hall . At 3 PM th er e' ll be an Instrumental Workshop with Sonny Rollins in F iresid E! L ounge, fo llowed by a concert w i th Sonny Rollins & Mark Murphy at 8 PM in Moot Hall .

Sunday, Nov . 5 at 11 AM it' s Jazz On A Summers Day ­rare f 1lms from the '58 Newport Jaz z F est iva l - f r- ee in As sembly Hall . At 2 PM th er e' ll be an inst rumenta l wor kshop with Anthony Braxton and at 3 PM a w.orkshop/ di scussi on with Sun Ra - both f ree at F ires1de L ounge.

The wrap- up i s a concert at 4 PM with Sun Ra & The 24 Piece Solar Arkestra and Anthony Braxton - in Soc ial Hall .

If these event s ar en' t over by the t ime you' ve r ead th 1 s -check out what you can and be a part of a great Jazz weekend'

WBFO JAZZ PROGRAMMING NEEDS YOUR SUPPORT Reader s of the Jazz Report are no doubt familiar with at

least some port ions of WBFO' s j azz schedul e. With more than 70 hours of j azz each and num er ous l ive broadcast s we are Western New Yor k's l eading j azz stat ion. Most of you al so· know that we are a pub I ic r adi o stat ion and as such need th e support of th e community that we ser ve.

In th e very nea r future you wi II have the opportunity to show your suppo r t for WBFO pr ogramming by becoming a member of the stati on. Dur ing the week of November 12-19

- I

we wi II be pres~nting many spec ial jazz p'rograms including guest appearances on Jazz 88 bypianistJeremyWall, an hour program on t enor saxophonist Elvin Shepherd, an exclus i ve intervi ew with the legendary ragtime pi anist Eubie Blake, and for certain portions of the show I wi II have as my co - host Mike Healy of the Couri er Express and Bill Wahl of the Jazz Report.

All you have t o do t o be a part of WBFO and make sur~ that we can continue in our efforts t o bring you th e best possibl e jazz is give us a call during that week at 831-5393 and pledge your f inanc ial support. The pl edgel evelsa re made to suit you and we ask you to give whatever your budget all ows . The most important thing t o do, however , is to tune during the week of November 12 - 19, listen and enjoy the great jazz you'll hea r all during that week and become a part of WBFO . Spec ial programs will al so be heard on Di ck Judel ­sohn's Modern Jazz : the first 20 Yea r s (Mon. 11 pm). Bill Besecker 's Prodigal Son (Tues . 11 pm), Paul Smith ' s Creative Extensions (Wed. 11 pm), A Bi g Band extravaganza with Bob Rossberg (Sun . 6 pm-12 midnight), Ed Smith's Freedom Flight (Sat. 8 am - 11 :30 am) , a j azzvocali st s spec ialwith myself and Ed Smith (Thur . 6:30- 11 pm) , a li ve · broadcast from the Tral famadore of Footl oose and El v in Shepher d Quartet (Fri . 9 pm) and much more . Tune in to WBFO (88 .7FM) all during that week and help keep our j azz programming strong.

- John H. Hunt

JAZZ & BLUES CENTRE MOVES The Jazz & Blues Cent r,e in Toronto, Home of CODA Ma­

gazine and thei r combinati on Jazz/ blues r ecord and book stor e, moved on November 1st.

Prev iousl y locat ed at 893 Yonge St., the J/ B Centre is now at home at 337 King St ., West between Spadina and Uni ­versity . The new phone number i s (416) 368- 3149 .

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MILESTONE JAZZSTARS The Milestone Jazzstars con cert la st month at Cleveland's

Palace Theatre proved to be one of th e most memorable evenings of mus i c I ' ve experienced .

Sonny Rollins, McCoy Tyner & Ron Carter - all gi ants , all living legends and all on stage at one time, pres·ented in two sets, the band played four quartet pie ces and vari ous solos, duos and tr i os high I ighting everyone in the band . If there was a star of stars , it·wasRollins, who was magnifi cent from the opening .of the first tun e Cutting Edge, to the c losmg of th e encor e, Impressions.

A bl ow by bl ow r e- hash of the concert woul rl make no sense at th1 s po1nt . It wa s a groa t n1 ght. Whr the r you wer e th er e or not - keep your ey e ~ open for a l 1ve two - r rco rd set to be r eleased soon, t aken f r om f <•ur Cl'r<ce r ts on th eo tour

- Bil l Wah l

EDITOR & PUBLISHER- Bill Wahl CONTRIBUTORS - Bill Besecker , Peter Beuerl ein, Chuck Braman, Chris Colombi, Jr., Dal e Funtash, Bill Harris, Hal Hill, Brad Hunt, John Hunt, Willard Jenkins, Jr ., Jim Laniok, Tom Mazzone, Bob Sheperdson, John Simna, Paul Smith, Paula Wahl and Ron Weinstock .

COVER ILLUSTRATOR -Sabrina Mayberry Smith

ADVERTISING Manager - National & Local · - Bob Riley (716) 883-3909 Niagara Falls/ Lockport- Ed Supple (716) 297-7878 Toronto/Hamilton - Hal Hill (416) 742-4081 (after 6 PM)

CORRESPONDENTS-Rochester , Jim Laniok Syracuse - Bob Shepherdson Toronto- Hal Hill

Address correspondence to : Buffalo Jazz Report 1335 Main Street Buffalo, New York 14209 (716) 883-3909, Ext . 11

© 1978 - Buffalo Jazz Report

PRINTED IN U .S.A.

No portion of this pub I ication may be r,eproduced without writ­ten consent from the publisher .

The Buffalo Jazz Report, founded in March 1974, is pub-1 ished monthly at Buffalo, N.Y . BJR is distributed free of charge throughout Buffalo., Rochester, Sy·racuse, Toronto, St . Catharines, Hamilton, Niagara Falls, Lockport and James­town. We are subsidized solely through advertising and ask that you support our advertisers.

Subscriptions are available at $7/year, paid in advance.

recordrDJ PETE CHRISTLIEB/ WARNE MARSH QUINTET - APOGEE -WARNER BROS. BSK-3236 LEE KONITZ QUINTET - FIGURE & SPIRIT - PROGRESSIVE 7003

These two al bum s have much in common. Each featur es one of the main fo rces t o com e out of th e L enn 1e Tr istano School (Marsh & Konit z) , ea ch fe·a tu r es two saxophoni sts on th e front l1 ve with super b r hythm accom pan1 ment , and on neither wi ll you hear any bul lsh it.

APOGEE is som ewhat of a t urna r ound for Warner Bros . -an all - acousti c all at raight - ahoad pur e Jaz z album . From th e openi ng notes of Magna-Tism you 'l l know wh at li es 1n stor e - v ivac ious t enor saxophone bl owouts. from two com­patibl e player s with contras ting styl es. Marsh with th e cool , fluid sound thats been hi s tradem ark sii(C,.:' , the late fort 1e5 ,

4 and Chri stl1 eb with hi s hott er, often honki,ng "T exas " sound blow their way through s i x pi eces, inc ludin g Tristano's 317

E. 32nd and Bird's Donna Lee . Christli eb& Marsh are driven well by Lou L evy/ piano, Jim Hughart/bass and Ni ck Ceroli / drum s. L evy deserv es a note of credit for hi s fine soloing on four cuts. Apogee was produced by two m embers of the rock group Stee ly Dan, Walter Becker & Donal d Fagen, who al so compo sed one t rack - R apunzel .

Now we go to the great alto saxophon ist LEE KONITZ . Progress i ve Reco rds i s a sma l l l abe l ou t of Tifton, Georgia currently buil di ng an impress ive catal og. FIGURE AND SPIRIT, r eco rd ed in 1976, was, until r ecent ly, only avail ­abl e as a Japanese import. L ee Shares th r front I ine her e with t enor - m an Ted Bt-own, a l so out of th e L enni e Tristano t radit iOn . St nce L ee & T ed wrot e 5 of th e 6 the tunes and Lenni e wrot e the other, Apri l, Tri stano's mark i s clear ly evident on t h1s album. Exce ll ent musicianshi p, lyn c ism and a bri ght f low of ideas keep a good groove going fr om start t o f tni sh . L ee & T ed were no doubt insp ired by t he superb sup­port f rom Al bert Dail ey piano, Rufus Re id/ bass and Joe Chamber s; drums.

In summ ary, these t wo record s offet- l op fl tght acoustic J d ZZ th at no sax f an sho1Jid m1 ss . - Bill Wahl

LEE MORGAN - THE PROCRASTINATOR - BLUE NOTE Rather th an go through l hr· enttre BLUE NOTE CL ASSI CS

ser i es r e l ease, wh i ch inc ludes dependabi P, oft l tmes spec­tacular numbers by Jacki e M clean, A rt Bl akey, Stanl ey Turrentine, and Chi ck Corea's m ost out s ide numbers with Circ l e. Th e hands down w1nnrr i s Lee Morgan .

One's heart aches at thoughts of how vi Ia I th i 5 man was when he was snuffed out by a wayward woman in 1972. Th1 s album i s but a reminder of how tower ing a t alent he was And what sidem en' Reco rd 1 of the two r ecord set boasts Her bie Hancock, Wayne ShortPr, Bobby Hut cherson, Ron Carter and Bil ly Hi ggins . On t op i s L ee's l arger than l ife horn .

Record 2's cas t i s equally adept : George Col eman, Jul ta n Pn est er, Harold Mabern, Walter Booke r and Mt ckey Raker

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:3\02. maln st. bflo. Throughout the set M organ l ooms as one of the greats, a link in the lineage that began with Buddy B o lden , the trumpet family tree. Hi s t one was superb and h is ideas abundant. B esides his obvious trumpet superiority he was an under­rat ed compo se r as ev idenced by "The Proc rastinator", and th e bluesy "Party Time".

The crime of t h1 s r ei ease i s that it t ook so long t o rel ease it. The c linching aspect of thi s Bl ue Not e Classics series rel ease i s that all of these records wer e never before r e­leased. Wh at t ook so long ? THE PROCRASTINATOR is on ntY album of the year ball ot. - Wil lard Jenkins, Jr .

HANK JONES- ARIGATO - PROGRESSIVE Ther e was a time, perhaps fi ve yea rs ago, when th e ardent

fan of pzz was bem oaning th e lack of recorded material with ptani st Hank Jones as the leader . Many knew of his extraordinary tal ents as an accompanist on the JATP tours

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and as p ianist with Coleman Hawkins, Benny Goodman, El la Fitzgerald and others. Now Hank is coming out. Hi s recent albums for Galaxy , Muse and Concord Jazz brought him new fans . Jones' current run on Broadway in "Ain't Misbehavin '" and television appearances on Toronto's " Peter Appl eyard Present s" have given him well-deserved visability . Thebusi ­ness at hand , however, is his most rec ent rel ease for th e Progressive label, Arigato . Although only the titl e selection is written by Hank, his treatment of so li d favorites such as Allen's Alley and Ellington' s What Am I Here For are per­sonal and r eadily identifiabl e as th e styling of Hank Jones. For this sessi on Richard Davis is th e bas s ist, about whom many accolades have been said. Jones adds : "Ri chard Davi s, of course, is one of the greatest bass players. Ri chard is th e consummat e artist. When we played in my broth er Thad , and M el Lewis ' band he did things on th e bass that you wouldn ' t beli eve. He is a well rounded musi cia n." The drummer is

·Ronnie Bedford who worked with Hank and Don Ell iot some 20 years earlier. Hank said of hi s drummer: "Ronnie is a studied musi c ian . There i sn't anything that he can't play on drums. He has no pee r as a soloist." Angato is a good illus ­tration of Hank's abiliti es and is well recorded, capturing a good measure of his lyri ci sm and "impeccable" taste . Jones ' philosophy about r ecording is simple: "If you're lucky , it comes out alright. We feel we were pretty lucky and that you'll find this one did come out better than 'alright ' ."

-John Hunt

JIM HOWARD/ PAT SULLIVAN - NO COMPROMISE - JAP 0001

This is th e latest addition to the impressive li st of Cana ­dian big bands, Bobby Hal es , Rob M cConnell and Phil Nim ­mons, whi ch is building Canada into th e position of the world big band leader of the seventies. They play contemporary jazz at it's best and the album titl e is indi cative of th ei r musi c. Charts are originals thoughtfully arranged and well executed .

They have a unique linea r dual l eadership with arranger Pat Sullivan, a Gordon Delamont student and admirer of Duke Ellington and his musi c, and leader Jim Howard, former Berklee faculty member .

The entire fir st side is Gordon's Studio Suite in three movements which passes through minor blues to twelve tone and pantanal chord progressions . The third movement is up tempo, driving, with good solos . Shelly Berger is well r e­presented on bass and two excellent charts on side two .

SelectiOns are laced with excellent solos by Jim Recchia. piano ; Leb Sullivan, tenor; Mike ,Mal one, trumpet; Darcy Hepner, alto; Brian L egere, guitar and Anth ony Terpstra, drums . - John Brechl er

LARRY CORYELL / PHILIP CATHERINE - SPLENDID -ELEKTRA 6E-153

Once more, Larry Coryell and Phi I ip Catherine sweep us into the very personal realm of the acoustic guitar . Their first LP , Twin House, was a well - r ece ived tour-de-force, and this album is even more so. Splendid describes the high­powered romanticism quite well .

Jimmy Giuffre's The Train And The River is a stream-1 i ned romp down the tracks , as the duo invokes the hard - rolling "train" motif so known in the blues/ jazz idi om. Yet the train smokes with fuel · from blues , r&b, bluegrass. and vari ous ene rgy sources talkin ' thru the drive. The troubador air of the guitar strums deep and c lean in a superb rendition of My Serenade, a masterpiece by the immortal Dj ango Rein­hardt. Walk thru forests and open plains . or just strike a fine mood for yourself, by listening to thi s one. This should not be heard alone.

Coryell's One Plus Two Blues packs powerful Spanish flavorings 'midst the mean streetwalk. There's a pervasive rainbow mist swirling about thi s tune. On Catherine's Father Christmas, we hear the composer's fretl ess e lectric guitar. From it he·drawsthemellowsoundofacoustic chimes, pianos , or even a musical saw. Father Christmas, written for Mingus (Pork Pi e Hat revisited) , r eca ll s the first recorded meeting of these guitarists on Mingus' ThreeOr FourShades Of Blues.

W1th guest p1an1st Joachim Kuhn, Deus Xango flings itself between gypsy passion and a raw gut grind -em-up . Excellent!

Here is entertaining artistry of the most high .

SONNY ROLLINS McCOY TYNER RON CARTER

-Michael F . Hopkins

Milestone Records has rei eased three new a I bums by their jazz royalty .

From SONNY ROLLINS comes DON'T STOP THE CAR­NIVAL (Milestone M -55005). This is a live recording, done this year at San Francisco's Great Am e'rican Music Hall ; Throughout this 2-record set you'll hear some of Roll1n s best improv isations on r ecord in years, but its due in no way, shape or form t o his band. They are adequate at best (including Tony Williams, who shines in only a f ew spots) . Donald Byrd, who plays on half the record, shouldn't have played at all - if anyone detracts from th e sound it's him. But, the fact is that Rollins plays so well th at the r est al­most doesn't matter. Being a Rollins fan myself -I play the record all the time .

THE GREETING (Milestone M-9085) from McCOY TYNER is also a live set, done at the same hall . This one suffers from poor sound quality but it contains some of th e most intense Tyner on record -obviously due to th e fact th at it's his own regular band captured in performance. Buffalo 's Joe Ford offers a hot alto solo on the title track - I'd like to hear more of him. Ex- Mingus re edman George Adams is in his usual energized form throughout. Also included is a sweet solo piano version of Naima, and a live reworking of Fly With The Wind.

Bassist RON CARTER offers a studio recording titled A SONG FOR YOU (M-9086). There's some gorgeous music to be heard here featuring Ron on acoustic bass and the small-

er piccol o bass. Jazz, classical and Span1sh flavorings are all a part of the overall sound which is heard o.n this and some previous Carter albums . The program cons1sts of the title track (by L eon Russell), Someday My Prince Will Come and four Carter originals.

Perh aps the best from these three is yet to come. The 1 ive 2 - r ecord set from the Jazz stars tour IS due out soon. Until then , try these. - Bill Wahl

TOSHIKO AKIYOSHI - FINESSE - CONCORD JAZZ CJ-69 About the I ady and her hands .

The pianist, composer, arranger, and co-leader of the brilliant Akiyoshi - Tabackin Orchestra presents her first American release mainly featuring her piano work . With bassist Monty Budwig and drummer Jake Hanna, Toshiko begins th e album with a flourish by sending Count Your Blessings off and spinning! From this we move mto the introspective American Ballad, where one may envision Duke's spirit smiling at Toshiko from above . Lovely.

The album's material is well diversified, from the sing­along pomp of Wouldn't It Be Lovely to the moody grind­em-up of Jelly Roll Morton's Mr. Jelly lord. Uh! Toshiko's fine finger-popping adaptation of Solvejg's Song (from Grieg's Peer Gynt Suite) reminds us that a classic can be adapted in a way retaining and extending the original virtuosity . What it's all about .

Besides the aforementioned Ellington shades, there are slight hints of (Blue Note) Hancock in Toshiko's play, along with the ringing resonance of Charl es Mingus (with whom Toshiko worked in 1962. Mingus, incidentally, is a fantastic, incisive-pianist). In the crux, however, it's all about the lady, herse lf. Toshiko has a clear, percussive, quick touch ex­pressing highly co lorful taste and surge smoking hard. Above all, there's the deep sensitivity that brings it all together beautifully . Hence, Finesse.

About. the lady, her hands, and her piano . Very grand. - Michael F . Hopkins

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JACK DeJOHNETTE - NEW DIRECTIONS- ECM (WARNER) 1-1128

This newest group of the popular A .A .C .M . drummer / pianist excels in tapping the lyri cal freedom stri ved by the many associates of the Chicago - born movem ent . Thru New Directions, freedom strides lean and sassy with im ag inat ive soul.

The voudou call of Bayou Fever is expl ic it , espec ia ll y John Abercrombi e's guitar issuing th e whooping of the dance calling the loas (sp i rit s). The song

s with DeJohnette's cymbal s sprayi ng th e ce r emoni al message of the Dance, as Eddi e Gomez sends shafts of har ­monic fire from his bass bowed t o open earth and sky . An already powerful headtosser of a rhythm is suddenl y up ­lifted into a pulse spa c ing all Times, erupting truths sp it ting sharp seeds soaring sweet from th e trumpet of L est er Bow ie. The Bayou Fever breaks out smooth and f ree with it s st rength ­

ing magic. Bassist Gomez, a Julliard graduate who's pl ayed with Bill

vans, McCoy Tyner, and Chi ck Corea, can strum as a gui ­rist would, or bow intense cello impressioni sm . On th e rut, Gomez is a distance runner . Aber c rombi e' s elect r ic itar is unique, sounding quite often like a deep Po lynes ian lody . Bowi e (also with The Art Ensembl e of Ch icago) is

imply one of the great storytell er s of the Musi c. He uses trumpet ' s full range t o impart a combined t ale of snari ­

ng sarcasm, bawdy laughter , and unabashed ball a dry th e ikes of whi ch have not been heard since the days th at Rex

"'"Pw:.n and Cooti e Williams played so boldforth e Duke h im­Don ' t be surprised to hear , in Bow ie, th e rin g ingl y

raight - shooting draw of Pops Loui s, too ! All united thru DeJohnette ' s splash and per cu ssi ve sparkl e, total message goes around . A prime directi ve.

Mi chael F . Hopkins

59 Kenmore Ave. 836-1781 (eorner ol Windemere) behind jewelry ~tore

WIND CHILL FACTOR - CITY STREETS- QCA REDMARK RM372

Th is one came along as a pl easant surpri se. Wind Chill Factor i s a t alented, well ver sed quartet with no self ­proc lai med l eader . The obvi ous lead inst r ument i s th e onl y horn in th e band - the t r ombone, played by Paul Pill er, a member of t he Cinc innati Symphony and th e Symphony Jazz En sembl e (al so docum ented on QCA Reco rd s with two r e­leases t o dat e) . He and pi an1 st (acousti c and e lectri c) Mike Patterson shar e th e soloing throughout th e di sc , except for two spot s for bassi st Bil l Gnmes (featur ed on "Shepherd's Lament") and one fo r drumm er Jim Seward.

In additi on to th e abl e so loing from Pil le r & Patter son, t he succe ss of thi s album is due t o th e sweet , fl owing lyri ­c ism th is band ca rri es on throughout th e s ix t r acks , most of whi ch are or iginals . For more fl avor, Pill er overdubbed a second t rombone t r ack on u A Second Chance ."

HCity Streets" offer s a balanced set of ballads, cookers and Latin f lavo r ings r esulting in a f1 ne r elease deserving of the heavy ai r play it's r ece iv ing throughout th e count r y . If you want some good li st ening , often r elax ing j azz - don't mi ss it. Hope t o hea r more from WCF soon. - Bill Wahl

THE DEDICATION SERIES/ VOL . VI - THE EARLY TRIOS - McCOY TYNER THE DEDICATION SERIES/ VOL . X - THE GREAT TENOR ENCOUNTERS- DUKE ELLINGTON THE DEDICATION SERIES/ VOL. II - THREE DIMENSIONS - OLIVER NELSON

The ABC / Impulse "Dedi cati on Seri es " is presently com ­prised of 17 twofer s with mor e in sight . Most of th e musi c is avai I abl e on si ngl e Ips. The seri es offer s the materi al at very low pr i ces al ong with some prev iousl y un issued tun es and other s in the i r ori gi nal form .

McCoy Tyner ' s The Early Trios, conta ins the lp Inception in its entirety and cuts from other 1962- 64 tri o Ips in addi ­t ion t o 2 tun es r ei eased for the first time . Most of th e cuts are ori ginal s and standards , (many of Duk es ). A main r eason for th e succes s of this musi c i s that M cCoy' s sidemen, El v in Jones , Jimmy Garri son , Albert Heath , and Art Davi s are hi s pee r s. The form er two play the most and are more in tune with h is suphoni c approach. Li st en to M cCoy's melodi c in ­vent iveness wh ich i s compl imented by hi s gentl e technique.

The Great Tenor Encounters, 1962, portray Duke in 2 differ ent sett ings, the f1rst i s an oct et f eaturing Coleman Hawkins . Col eman 's big warm t one is complim ented well by Duke's arrangements. They sw ing as if th ey wer e a b ig band, yet they are abl e t o communi cate on a more per sonal leve l , esp. on Solitude, r e leased for the first time . A spec ial t reat i s the singing of drummer Sam Woodyard on Limbo Jazz, he was unaware at the time that the mi ke pi cked up his vo ice. The second encounter i s with John Coltrane, thi s i s th e only r eco rding in whi ch Coltrane pl ayed as a s ideman after he left M i les. Eachmanbroughthi s ownbas s ist and drummer . The FeelingofJazzandlnASentimentaiMood capture th e high poi nts of these sides, t wo gen iuses withthe h ighest esteem and r espect for each other pract1 cally al ong leading each other . Coltrane did not stray and Duke's playing is a bit more intro ­spect i ve. One of the i r· f inest hours.

Three Dimensions i s Oliver Nelson th e lat e arranger , compo se r and sa xophoni st. Blues and the Abstract Truth, an all time c lass ic i s given in its ent1rety . Jo ining Ol ive r is Freddi e Hubbard, Bill Evans and Eri c Do lphy to name a f ew . Thi s lp was Ol iver ' s t urning point , "he miracul ously vo iced fo ur horn s t o sound li ke a r ich ch amber orchestra" . (Mi chael Cuscun a) Two songs on s ides c and d are r e leased for the fi rst t ime. On a r ar e occas ion we get to Ol ive r in th e pl ayer format again i n 1966 al ong Ron Carter , Grady Tate and Steve Kuhn . Of these two sides my favorite is th e hackneyed, The Shawdow of Your Smile. However Oliver demonstrates that no matter how hackneyed a song might be, he can cr eate interesting new dimensi ons. Of doubl e bossa nova with a

8 doubl e rhythm underneath . - Jeffrey Cylkowsk i

SARAH VAUGHAN 'UVE'

Clift IIABEI\ IN I'AI\11:

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LEW TABACKIN - DUAL NATURE - INNER CITY 1028 Lew Tabackin continues to grow as a master of this most

expressive Music. This, his 2nd Inner City album, shows the ex- Tonight Show bandman generating h is own brand of intimacy and musical power. It's quite a tapestry.

Side 1 features h1s flute play, which is very fluid and carri es the melodi c currents of varied times to enchant our senses. One can hear Dolphy's fleet wit, Laws' cacao tone, Rahsaan's sass and Rampal's reflection in Tabackin. Tan­gible, too, is the loving, creative depth he shares with his wife Toshiko Akiyoshi (try the swirl ing sway and uplifted eyebrow of Toshiko's Yellow Is Mellow). Out Of This World abounds with the ritual grace of magic lands in gentle, yet robust, play .

This play extends into the rippling fire of his tenor saxo­phone. The man can roam, and cook by the hearth as well. Irresistible is Tabackin's No Dues Blues, explos ive in romp­ing intensity and steadfast spirit. That he soothes and com­mands snapping w1t is shown emphatically in My Ideal and Russian Lullaby.

His band (pian1st Don Friedman, bassist Bob Daugherty, drummer Shelly Manne) contributes the proper deftness and highly quaint taste to round this album's fine sound.

The Akiyoshi - Tabackin Big Band is among the best in any land. Regard any album by either of the bandleaders as a potential gem. Like this one. -Michael F . Hopkins

BOBBY HUTCHERSON - HIGHWAY ONE - COLUMBIA JC 35550

The romanti c mists and mystique of Bobby Hutcherson's vibraphone wizardry is fully utilized in this, his first Colum­bia album. Highway One is a versatile showcase of Hutcher­son's ability to lyri cally summon rainbows snapping with full -bodied color.

Hutch has most of his regular group her!? (Georges Cables - acoustic and electric piano, James Leary - bass, Eddie M arshall - drums, Kenneth Nash • percussion), and united thru Hutch's qui cks ilver- toned malletwork, they sound more open and together with each coming (not passing) . Listen t o the buttressing blues and chungwa drive of Hutch's titl e tune, and hear .

Highway One also f eatures some excellent guests among the straightahead-on t raff1c. The h1ghly underrated pianist Cedar Walton turns in some fme arrangements and playing on the album (check the airy vibrancy of his string stylistics on Bobby's Bouquet). Cables' Sweet Rita Suite/Part 2: Her Soul features Hubert Laws' cacao flavored flute coming in hot with a deep tone, whil e Fredd1e Hubbard soars darlingly with a quick wit. Beautiful by -play, brought home in a stunn ing brass/flute/v•bes cl1max . Striking! Secrets of Love (Reprise) closes the LP on a mean bumping glide drifting between the bass exchange of Leary and Van Zal.nge, let alone the shim­mer concoted between Hutch and Laws . The magic is topped with the smooth, floating voice of Jessica Cleaves. whom many will recall from the Fri ends of Distinction and early Earth, Wind & Fire. Jessica still commands high distinction, and Keystone Korner owner Todd Barkan's simple prose carnes the Musi c's intri cat e strength with special charm.

Get on the highway. It's a breathtaker. -Mi chael F . Hopkins

CHUCK WAYNE TRIO AND QUARTET - TRAVELLING -PROGRESSIVE 7008

Chuck Wayne was one of the first guitarists to adapt bop to his instrument. He later gained a d0gree of prominence with the early George Shearing quintet. Th1s album features h•m in, for the most part, older- Jazz oncntedstandards. The quartet includes vibist Warren Chiasson, bass ist Jay Leonhart, and drummer Ronn1e Bedford, all of whom r eceive a fair amount of so lo time, inadditiontoprovidingeffective support. There is a h1nt of the Shearing approach in the uni son lines used by the guitar-vibes combination, but it's not dominant in the overall sound of the group. Generally, there is a nice interaction between soloist and accompaniment.

The second side, by the trio (without vibist Chiasson)

sounds by cont rast a b.t emptier at f trst. However, Wayne manages to so lo and accompany h tmsell well , espec ia l ly on the extended version o f "Sprmg Can Really Hang You Up the Most. " "Stel la by Starltght " a lso rates a sp<'r ial mentron.

Th is album present s some very good sma l l g•·oup jazz, w i th the emphas is on th~-< bop approac:h to the gutlar

WOODY SHAW HOUSTON PERSON DAVE PIKE RICHIE COLE

NEW FROM MUSE

-John Simna

Among thr: l atest balch frorn Mus<' Record~ you' II ftnd a new r e lt'ase fr·om WOOD Y SHAW t1tl0d Lillie Red's Fant asy (MR 5103). Th ts i s aclu<.~l l y a 1976 r pcordtn<J whi: h hao., br~en waiti ng palaently in the can for issue . At lh,;l ltnw, Woody was a coluadc:r of a quintf'l (along wtlh Louts H<lY"S) whtch inc luded p tantsl Ronn tr: M ath(•ws & ba~s, -, t Stafi ,, t'd Jame<;­both ol whom are on hand h•:rP.. Drummer Ecld tP Morw" and the f tne, underratl•d al to saxophun ts l Fran'< Str·oz i ,., ,. complr: tr· t he qu intet. RcrncmbL•r" ltstr'ntng tu \l•e Hayr's Shaw Quintet for thr·ee nrgh ts stra tght dunng;) 8'uffu iO bl tzzard II ' ' 7t-,, and thts a lbum comes clo,.,,. to unngiiHJ back lf1nsr.• swc~'t rnemo ­rt e5 than any of Woody',_, d tsc:s to datr.' Woody ri!Jilliy refr~r-; to it as "good mainstream moda l bop" 11'.., -;tron'), br tght music wtlh colchy, melod t"S that'll st ay tr1 yotw h"ad .

As good as Sh;;tw was at (hP tttnc of 11->t~ r·r' <:O t diiV.J h·~ ·~ st il l come a long way s•nr.P., whtch I noltr·<·d at a l tV '' poor ­fonnance 111 August

The Nearness Of You ( M R 51 78) corn0<. f r·orn \r·qr)l' s 'J <o phon tst HOUSTON PERSON . Houston l"ad<> an ctghl fl'''' '' band w ith such people as Chas Ear land/or·qon, V trgtl .JonPs t rompe\ and Grady Tate , drums. Th t ~ tS il sou l ful, len<.wl organ style dah: n~mtn: <,cent of many p t' f'S t igP sn..,s ton.., of til" early s•~venl t 0S. ThPy covrJr ballads, blue!>, funky p••'V'" and sw i nqer~ . A hoqh l ight is a slow blues, P lease M r. P erson,

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featunng voccrl ts l Ella JonPs. Person and hts big soul ful sound have come up with th(·tt· bost work in some t ime.

V1bist DAVE PIKE has come up wtlh On A Gentle Note (MR 5 168). The bes t cut is a hot vor·s ton of Scrapp le From The Apple, The tunes th ::Jt OfWn each stde arc medium paced funky cuts whach run closl' to h·n mullllf.'s each, but they wear out thew welcome bdon! halt \heir · t trne has elapsed. You' ll also ftnd some shut'\ solo ptPCes from members of P ike's Sextet. Another lonq cut, Regards, F rom Roger Hor owitz sounds l ike an attempt to sound ltke Gary Burton's Quintet . All in all , you'd be better oft with Pakt•'s prPvious "TimesOut Of M ind" (Muse 5092) as lht~ 1S not Ptke' c. pl'ak perfor·mance.

On the otht•r h;md, RIC HIE COL E ts in excellent form on A lt o Madness (MR 5155). Cole 1s a f tn.'y, energetic young alto p l ay(~r steeped und(Jr the tnfluence of Phil Woods. Phil's bassi ~ ! Steve Gilrnorp i !'. on hand hPrl', a long with guitari st V ic Juns, who turn<, out sorne excepllona l , fleet so los. The

It's BLUE NOTE MONTH I< LUG

- PLUS THESE ARTISTS STANLEY TURRENTINE BOBBY HUTCHERSON

HERBIE HANCOCK DEXTER GORDON

McCOY TYNER THELONIOUS MONK

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prog1·am i s cookc'r::, and ballads , w1tl' a rr·,~ hot v<'r s"m o f L ast Tango In Paris . Vocctl 1st Edd1c JcifPt·!'.on rna•.<>'> a guP.st appearance on The Common Touch & Moody's Mood '78. R ich 1c Col e is a cat' Exp0d to b,. hr-annq a lot f•·orn 1r tho future' and I 'm lookinq for·wani to II H• " t'"' onJcd outnut I<~ date, though still tl1111Hnal, hus all bf'l!n f orst c lcl'·" A lto freaks (espec tally Woods fans! shou ld d<' f 111 1 tPiy ch• c'< h ••n out. -Bill Wahl

THE HEATH B ROS. - PASSING THRU - COLUMBIA JC 35573 · Jimmy Heath has alway:, been 0111• o f rny fcJvor: tl •· mus1

c 1ans. His work on t• •nor and sop1 ano sa-.:es and f iOJt" is i11 ::ti .... 1~::.;::, <JI•~J ~~I S \lvr-rlln fi :s on ti'P S<'Hnf'l I"VPt Passing Thru is Jimmy, and brother A lbt•r·t Heath'-.. fws t OIJt •nq f nr Columbt a Reco rd~ and a f•n" orH' tl ,., J~rnrny'c, cxtr,·mely lyri cal wnt1nq is h<•Jtd on f1ve o l lh<· <' lqht t •·acks with the others com 1ng ftnrn Percy, 811d & KPnny Do•ham.

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Woody Shaw/Little Red's Fantasy MR 5103 Houston Person/ The Nearness Of You MR 5178 Clifford Jordan/ Inward Fire MR 5128 Ri chie Cole/ Alto Madness MR5155 Dave Pike/ On A Gentle Note MR5168 Eddie "Ci eanhead· Vin son/ The Clean Machine MR 5116

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CAVAGES

Percy's chamber mus1r: stylr- heard with th r> novv def•mr,t Modf,rn Jazz Quartet i s in ful l b l<>om hr· r ,.. · and pianist Stan l ey Cowell and gu.tari st Tony Purron11 offr•r so•ne go'ld solo1ng throughout. Brother A lb"rt Heath 1s on drums.

While thi s is not the rnost v1 vacwu5 wor·k frurn Jimmy on r cco t·d, he and h• " br·utlv ·rs <Jnu guc~ t ~ ~1 ilVL' crww up wtlh a good, sol 1d n ·l ease l h<.J t wi II ~w •d up und<' t rr•r'•, rtr•d I <. ­tent!l9S -8• '' Wahl

GARY BURTON - T IMES SQUARE - ECM 1-1 111 Burton , tl·,.-. mos t amaz•nq vtb, .., t 1n Jo~Zz an·: a master of

tho 1n:-. t runwnt. has dwnqPd hw sound o f h •s b.tnr! - and i ts fu1· H11~ bctt1~r·.

He ::, rcpl<>cl•d tnr gctilolt- ~lo;t wtlh a f tll• · yo11n •1 Jap'mese tr·umpetor. TtgPr- Oko-.h•; and, for· t•w; alhrtrn h•·'s nllcd or, hi s o rd drummer· Roy Haynr•::, . Bas·, rs t St<'v·· Swal'•·w has been w1lh Gary fo1· yroar <. and h.:ts p i<JyPd on most of h1s album s to dalt· . As a un.t, thr, .,c mr~n cornn up w1ltt an i'l ­tcn•st 1nq, fresh sound. Cornpos t lt un~ COITIC fr orn Swallow, K e ith Jan·ett, Haynl's and J1111 Ha l l and ll'< · r<•'<, a yoo" vanr•ty of l•·mpo and styl e> A coupiP ol lr·acf· s 0v ron svnnr; (somc­lhrng S'~ldom h· ·<>rd on r .. c.•nl Burton r• conb) .

To my '~;:,rs, th ,.., I S somP of Gar·y··- be>st wor·~ forth<> ECM lab<d. -B il l Wahl

THE MASTERY OF JOHN COL TRANE!VOL. 3 - JUPITER VARI ATION - ABC IMPULSE IA - 9360 Th,• tonr poet of ttw t 1 mcs.

John Coltrant''s greates t asset was (i s) th<'way he: saw and painted the linws thru Mus1c. Co l trane darNi to face h1mself, and hc brought to us slunntng podradt. mak1 ng each of us t aktJ not1 ce of ourso lves and all around us. What onP h()ars in , Col t•·anc is tlw grea l L•s l honesty and L ove for h•rns .. lf and all, and hi s lyri ctsm cnt<:rta111s m or·e than men• noltons.

Th(· LP (unre l ro: ased Mus1c from 1966 -7) bq JinS with Number One, w•th Al1 ce Coltr-an<· on p1a111J, Rash1rod A l1 on drums, an:.! the perennoal Jmnny GatTt ~on on bas s The quartet pours a power-ful cssente thnt S•'•·ms to n sf~. fal l , d1sasscmbl e, and concc iV0., all at oncr:. Onn lt s tr• fl lc' Number One, ar;d you ' l l know what Coltrane i .., about here, as the el cm(!nts swtt-1 an raptd, ynt ttmcl css play . With the psalm PeacE? On Earth, Coltrane's !<>nor- criP.., a son'] wath the r hdpsody of thl' <~g( • l c·s s prorhc>l<., or th ro fo r< dul awar"ness

• 1o::,c who know tlw 1wed for Pc<JC '·· On Earth (Any dif­,h~c n. Pharoah Sandr,, s on wood fJt1lr· and R<Jy Applr>ton shakers g•vcs tlw Peace· a rattiHH.J h11tl of alt"rnativ%.

,: h<J t ltc> H<Jden plays thP bclS"> hr~n· Wtltl vibrant in<> ighl Jupdor (Vanal l<>n) and L r,o ar·e s tar- pow0r ed dnves by

the duel of Coltt·anc and A lt. Th'· v•s•onory 1s shown h<>rr- in ful l m tght, jus\ bdor ,, h" lof t 11<; II <>r1t ' r:tHISttll•rs thro new­ness (<)be foi1nd ht:n• afto·r· a dc<. ude. Coltr·,:mr• rnay be S""n as the Pho•·na x sp1rtl. cver - t· 1s1nq wtlh Li1<' , That •s a matter to bt~ rc; solved wtlh111 c' <Kh of us, ow·r;p l vC'~.

- M , chael F . Hopkins

JAY M cSHANN - A TR IBUTE TO FATS WALLER- SACK­VI L L E 3019

Fats Wal ler' s name 1::, 111 Ilk Ent0rta1 nrn.-nt nnws re­cent ly wtlh the sucress of thp mus1ca l "A•n'J M1 s l-h•hav•n'" Thi~ tnbute to Fats, by that grc"t Kan~ <J"' City b<•nd leader and paan1st, Jay M cShann, sho11ld IJ .. wclr orl!f' to <;wtng•ng. pzz fans . Thts i~ a so lo date lor M cSh<tnn and I und•·rstand Sack vi li e has anotllt.r at burn'.., worth of solro M r:Shann lor futur·e n· leas{·.

Tunes 111 th• s lnbutt· 111clude "Hon .. ysucl<l<) Ror,e" , ''K~:cp­m' Out of Mascht d ", "Th(~n I 'll Be T11·ed Of You", "Atn't Mi sbehavin' ", "All My Lt fc" , "''m Gonrw Sd R1 qht Down and Wnte M yse lf a Lelt1.•r", "I A1n ' t Got Nobody" . "Sque<>ze Me", and "Lulu' s Back 1n Town" As th<·bn t•i not 1.·~ expla in McShann comes out of a l r adtl 1on very diffpr r>nl from Wall r·r' r, stt· ide. McShann 1s a bluesroolt!d two f1 <; led imprcJ•J tsatory p1an•st

12 whose styl e: rs char<Jc t '~ ' •zed by a hank·r, rrw1·e pcr•.uss•ve left hand and not as formal1s!l c in adhering to lhP. song

structure. M y on ly comp l aint is that J ay M cShann d idn't sing at al l as he IS a lmost as wondedul a singer w ith h1s smokey vo 1ce as a p1ani sl. A spry and jubi lant celebration of Fats Wa ll er's mus1 c by one of th t' great swwg masters ,

Inc identa l ly, thi s is McShann's th i rd Sackv i ll c album, he has r ecorded h1 s second a lbum fur Atl an!l c ancl Inner Ci ty has plans to r el eas0 h•s r ecord1ngs for B lack and B lu€!. I'd love to hoar an a lbum of McShann leading a b1g band wilh those c l ass ic charts that he wrote for hi s forl i<' s b ig band but nevcH· got to record due to the success of hi-:; band w i lh blues. - Ron We in.:; tock

WEATHER REPORT- M R. GONE - COLUMBIA Thi s most unusua l band manages tu y i\' ld fodh but one

prec ious offering per year . But oil how sweet those off<.'nngs are! Upon sever al l 1-; l enongs M R GONE JOo ns thr• o r long un ­broken chain of i nt ri guc

MR . GONE tokes a b1t of los tr~ning as ther e's no hook tune (al a "Bir·dl and" and befor<dhat "Boog•<' Woogi· • Wal tz"). That's all for the good as th is album l <'aVC?S one wonder ing what's next r ang1n9 from the s tn :u ght ahead "Punk Jazz" and hand c lap accompan ied "R ivP. r Peopl e," tu thP mystr r ioso intrigue of "The Elder s" Synthc>si zer s ar·e l h0 dom inant fo n :e here, w i th Zaw1nul 's usua l hun•an1 s\l r: t ouch full y evident

The old, 'who' s un drum s' quest1on still l 1nger s Peter Ersk ine, cr stwh i k · Maynard F erguson Band dr iver, Bad Steve Gadd, and Tony Wil l 1arns, all get the1 r turns w ith T w1nning by a no '>CJ on "Mr . Gone" and "Punk" .

Weather Report r cma1ns thf· st,.-ongest electron1c in.,; tr·u mental band. ThPy even rnc ludc a r eprise of Wayne' s "Pinnochro" (rc!mc~mbe r Mii \!S' "Nefedrli" J.

- W i llard Jenki n'S, Jr.

RAY BROWN/JI MM Y ROWLES - AS GOOD AS IT GE TS ­CONCORD JAZZ 66

In thr· last coup le· of y,.ar·s. p1 an1 s t Jr •nmy Ro•,v k• s h:"' bc•gun tu n •t.l ·o vr! sor110 o f It •<.• puhl :r att•·nl1 c>n hr! dcscrv0s

He's been arolrnd for qw tc a f{;w yean, as the favonte accom ­pani St for many s ing<' r s, always p l ay ing with 1rnagrnato on and taste. Lately h0 has b"on hr.· ar d a, h1mself, r ather than as an accompan1st. Hor c, lw duc t" with bass 1s t Ray Brown, who plnys as werl as ev,•r . And "duet s" IS tht· opcr at1vr word. Th e two work as pnrt 1'1»1 .:; .

Rowlr>~ cho11 e of mat1•n <~ l and hi s troatment of it some­t 1 rnes pruv•·'; surpn ~ ong. Y 011 m 1 ght exper.t tunes such as "Soph1 s\i r·at ed L ady ,'' " AI< oPt· Toqr> th c> r ," and "Manha de Carn aval, " all of whH h an ·dune weii . ButRowl4?s app lr o:>s a SUr'f) l l slfl(J slr'1d" touch tu " L1 f..e Sorneone In Love" and Cole Po.-tcr' s "Rosati,-," .

Ro·;·:l es g o ( ·S furtht• r 111 h 1 ~ choir!'-, He p lays "Honey," for on•,tanrc· - not th" pop sonq o f thr• n•<.ent past , but the equally 111110< uous orw f r om tlw b1 q ban•.ll.' l·a Rowl r·<. tn •atrnent swings, 1n sp1 te of th ,.. son\"l · Son•d<wl y, you m 1qht not expect to see a Bert K ampf<- t'l tun••, bui Rowl ns and Brown p lay " L.O.V.E." and m ake il a Jazz song .

Thl'> 1;. an album that ' " a!> e l c•q<Hlt as ib cover picture (notr pun) a br own Ro ll <. . - John Simna

GEORGE BARNES - PL AYS SO GOOD - CONCORD JAZZ CJ-67 • JOE VENUTI - JAZ Z V IOLIN - VANGUARD VSD - 79405

The gn )IIP " '9 of thC!sc• two records fo ll ow from the fact that both B arrH•s and Venut1 p layed stringed ins truments, p layed toqdher· and both passed away rn the past few months . These posthumor ous l'" lcasf'S should add to thei r r eputation a S So l od SWIOQI IICJ jClZZ mUSICI(lflS.

Like a pn•v1nus al bum , "Blues Go1ng Up" , Geor ge Barnes 1s hear d l 1ve w1 th a sym path"t• c quart(' \ rounded off by Duncan James on second guitar , BPnny Barth on bass and Dean Reilly . Sam es was a flu1d s1ngle note guitaris t who pfay<!d such s tandards as "N1ght and Day" and "The Days of W1nf· and Roses" wdh cons1de r'<.~b l e f la1r and spi,.-it.

Joe Venut1· -. reco ,.-d~nq G<~n ·er almost cover s that of re-

Hear Your Music the way it was recorded.

Modell05 We stock a full line of Turntabl es, Phono Cartridges, Tape Decks, Amps. Pre - Amps, Tuners, Record Care Products. Oi rect- to - Disc Records and Speakers. (Factory Fin ish~d & Kits)

3419 BAILEY AVE. BUFFALO - 837 -1~57 Mon. - Fri. 11 -8 Sat. 11 - 6

A ca.p ltle line of name bnfld drums •"<I OSPtC' I tt1 ty ~rC\It\o l on acctssorte! c1t snlnqs l't•t can be- apprt!cl ated,

4420 SUf)Ot"IOt' ttv&nutt clevelend.oh10 216 ·431 •6482

corded jazz 1tself . Recorde-d wdh a number of fonc ttaltan j,azz artis ts, he p l ays sorr11• satiny hoi v1ol in wdh the pe,- ­petual youth and enthusi asm that a lway., marked h1 s work. A particular h1 ghpo 1nl IS the Gershwrn Mert l c~y . The m~?d l ey

opens with some solo p1ano of "An Amer ican 1n Pans" by Sante Palumbo, beforp Vcnutr JOrns II) a c.Juet of "Rhapsody in Blues" stayrng very tlo~c to th<> rne l t>dy l1nC' . Thr s k1 cks off into a swing1ng '"S Wonde-rful " wllh ~orne fluent tenor by Paolo Tomerlen . The n ' marndcr· of lh<• mcd l 1~y includes "Oh! Lady Be Good" and " I Go\ Rhythm" whet'" Vcnub re ­appears 1n a very hot swrng tng fJ<.hron A vPry fonc t·<'mtnd"r of what a great musr<" ran and Jazzman Jol' VC'nutt was

Buffalo Philharmonk ~-­Orchestra

- Ron Wern<. tock

Pet er Perret Exxon Arts Endowment

Conductor

Kleinhans Music Hall

Pre sent s

GEORGE SHEARING Thursday, Nov. 9 - 8:30 PM

Tickets $6.00

COME TO THE CABARET Featuring

MICHEL LEGRAND Saturday, Nov. 11 - 8:30PM

Convention Center Tiekets $8, $7, $6 & $5

For Ticket lnfonnot lon Call 885- 5000

T lcketa Available ot Kl cinhons Musi c Hall (PcMsylvanio Street Entrance), Festivol Tick ets, Amherst Tickets, Ham· burg Music, Squire Holt, U. B, Student Union, SUCB, Conisius College, F r edonlo St at e Bo,.Offi co, Elmwood Village Tickets, Centro! T id.eta.

14

OREGON - OUT OF T HE WOODS - EL EKTRA 6E· 154 Ort•gon: Four gentlemen brought togcth E'r by a h •']h in ­

str'unronlal rty and a suq:png, 1rnagrnativf' approach shar<>d through \herr Mu~rr Wrlh an approach combonrng Eastern and Wcs\N·n World!> of cornpos r\r on and unprovisatron, they show the hrgh dr ~c rplrn!' thai i <. essen\ral (yet S"condary) to lhP op<·n commlmrt·atrvr· ~>xchange that Musrc rs about .

I recall Collrn Walc:otl'<. Dance To The Morning Star wh~n hf' play .. .; rl wrth Don Chc·n-"y 111 Toronto. Here, Col lrn begrns thP St err on a buzzbox (r •· thumb prano) plucking moonb<>ams of rhythnuc c:olur. and Paul McCandl<'~'> soon JOrns 1n with a soothrnq chant 011 (I be>ltf'vr• l Englr-,h Horn . By th" trme ·Ralph Towner (acoustH. gurlar l and Glen M oore (bass} enter . the Dan•" ~\rop<, rnlo \tor·rarn-. of blu<>qras~. hand- slapprn'J hoe­down, anrl frr•r t:r• rumantrc t'>m.

OnP lhrnq nolttl'd by most who haw• SC'f'n Oregtm lrve I'> th<> ll) t t·n~c mrghl thc>ll vro tuos lty l ak<>s on Thr<> album em­braces \hal .1sp•:r t VPr y strongly L rstC>n to Glen's Fall 77, an upswrnq str "l' t vamp packed wr th smrlf' and an urge to hand J rvc. Col l1n matchr•o; Gll"n' •, walk WIth a chant lhr11 an lmlian mouth harp, whii L' Pao• l 's ba~s c larono· t f lrt" aboort r vgally 'anrJ can~I I P<'. Ralph, hP,trd on <: lass1rally op0n gurlar and p•ano, dO<''> a \rurnpPIIIOll ~ floqhl on flugPihom 1 Tr·y Witchi - Tai-To, an A m er o<:an lndrdn r o ltral f rrm wrlh ltw d<'"P awarr>nes<; of the Spo ro ls and \h e· softnc·o;,<, that str"n~Jth must no•vpr los<>, Th<> srtar shone~ Paul' <; Cane Fields rs ropC>a ncJ tasty, sugar coo~<. rng fr om Collr n·~ l crh la

Ju" t wh<.~l don't lhc-<.c guys do? Go SPP · - Mr chael F . Hopkin'>

RADIO UPDATE WEBR - 97 .0 AM

Jazz In The Nrght wrth AI Wallack s<•v<·n nit]hls a we<>k 8 PM 1 AM wN oc:nrqhl'>, 6 PM 1 AM wer·lcend<.

WBFO JAZZ SCHEDULE: Mon . - Fri . 2 5 pm, Jazz 88 wrlh John Hunt

11 pcn 3 am Jazz wrth var ious hosts Fri . 11 pm - 1:30 pm Sat.; (Bcgtnnrng the frrsl weekend 1n November, "Jazz Contt)Urs" wrth Brll Wahl movcsto Saturday 11 .30 am rmml'dratl"ly followrng Eu Smith's "F recdom F1tght") Sat. 12 midnight - 6 am Sun . / Opus in M odern Music with Pn~s Fn·0l ano Sun. 11 pm • 8 am Mon./j <J ZZ wdh Bob Rossb<Jrg (11 pm -12 m1d.) Paul Sm it h ( 12 mid. - 3 am) Paul Dean (3 am - 8 am).

NPR programming: JAZZ REVISITED movc·s \o 10:30 pm Monday night (1/2 hr) JAZZ ALIVE Thur'>day nrqht at 9:30 November 2 T d o Puente, Machi to and Mongo Sant amaria NovC'mbcr 9 Carmen M cCrae, Don Menza Sextet, Sam M ost Quartet November 16 Jazz Alrvl:'pr c emptedbysp<>cial4 · 1/ 2program on JdZZ voc alr st !> producE'd by Ed Smrth and John Hunt begrn­nrng at 6·30 pm November 23 A tnbutP to Lronel Hampton Novcmtwr 30 Ron Carter Quartet at the Tralfamadore Cafe pr oduccd hy WBFO

LIVE BROADCASTS: Egberto Grsmontr and Nana Vasconselos, Sat. , Nov. 11 10 pm start 2 ~ets l rv" " ' s l oreo Elv1n Shepherd QuartPt and Footloose, Frr, Nov 17, 9 pm s tart.

clat;Dified This space i~ avarlable to private rndwjduals, or gan1zations.

m1il - order houses, etc . The cost is 10c per wor d · mirumum

charge $3 Send copy and paym ent to B JR - 1335 Main Street , Buffalo, NY. 14209.

DRUM LESSONS (IN TORONTO) Prtvcltl' lf'c.sons w1th PE T E MAGADINI p, ofP~SI<Jnals and AdvJn< cd only Phone (416) 489 9201

ASTONI SH YOUR FRI ENDS wlih maq·c ESP, carr! t ··r. ks you r.un do Htghl" qu.11 dNl S<'r t Pt• usr·d by lnt ·mal•nnallv famouo., M ag tr ocrn -. and h.JV" br ;•ll(jl•t f,,n r<' an·: f••r l •tn" to c1

gtven [Pw. Dr• t c~tl.., Lanq•·n , Bo> 191 GA. Down'->••t••w, Onlarioo, M3M 3A3

JAZZ P IANO LESSONS <.~!; 1 ·vt•l • ' " ' lud•"S th r>o •·v. rnlJ.IrC'V ,,j,.,n •"Jdtr•. ~~'"' an.• lo •( hn " J"l' Ca ll R td·,ani Shulrnao• 8b..! 65&3

SOPOTNI CK'S WOODWIND RE PA IR Quality servorc on everythong It om mrnor o <·pao rs lo compiPI<· rropad.., and ov<'r haul s on al l woudwr11d tns t r·umcn t~ G.H y Sopotntrk 69·1-8331

IMPORTS f rom Japan and elsewhere. Sony, East Wind, T r io, BYG. Timeless and many other l abel s. A lbums by Coltrane. Braxton, M i les, Woody Shaw, etc . F ree ltst s - lnternat tonal Records, B ox 7 17, Dept . 8 , M entone, Cal•fornta 92359.

CADENCE Monthl y Jazz M agaz tnl.' 100's of revoews p lus oral ht st on es. mtervtews, news. & B lues Fant aslrC"' Sample $1.25 Subscn pt oon $11. CADENCE. Rt 1 Box 345, Redwood, N.Y. 13679

STUDY SAXOPHONE, FLUTE & CLARINET wothDtck Gn ffo (Woody Her man, Tommy Dorc.cy, Bflo Phtlharmonot::, Emtl Palame. etc). A lso - Lessons and o• coach onq sessoons on j azz tmprov ts•ng antl sty l"s Call (7 16) 856 89 16.

JAZ Z RECORDS FOR SALE. W'ide .selectton of titles ... mostly out -of-print. For f ree catalogs: JAZZ ~OUSE . Box 455 (BJR ), Adel aode St E P 0. Toronto, Ontario( Canada M 5C 1J6.

• AUNTIE NATURE• by Lloyd Garber. New - music ini­provtsalton book. for guitarist s and others . Fragment ed thoughts . f tngerboard patterns. c l ust ers; prepared guit" r ; compostloons ($37. 00) .

•eNERGY PATJERNs• solo gu itarrecor ding($10.00). 1nt. M .O to Lloyd Gar ber , Box 7020. Stat ion "A., Toronto, Canada M 5W 1X7.

HANDMADE BRAZ ILIAN ROSEWOOD GUI"!' AR for sale. Fancy mlays and beauttful tone $950. Rosewood classi cal wtlh ebony ftngerboard and gold tunmg machines. $600. Also custom lutes, m andol tns, dulctmers. guitars; and f ine r e ­patt s Bf'rn<~rd L ehmann, 34 Elton St., Rochester , N .Y. 716-461-2117.

DOUBL E B ASSES: Engl•'>h ltclltc~n, Frl.'nch,German Buy , r ent o• sell Some great JIZZ basses on hand. Dr . George Woodall, 4 16 -494 4846, P 0 Box 426. St atton K, Toronto.

WHATS HAPPENING

Tralfdmadore Cafe lllO M..ttrl Jc~zz Th •r.., thou Sun noqhts Sp•·ct ... d PV• nl<. Egbc• to Gtsmonte Nov 10 & 11 , M cCoy Tyner Sext et Nov l'i & lb WBFO Benetti Elv11r Sh, p.11 d wt!h Ttnney, M anno & Tht<'n, al .,o F-ooli<~O'>•· Nov 17 & 1H .ll T t ,l lf,ml..tdOr(•

Tagg' s Music & The Tral f Present

McCoy Tyner sextet Wed., Thurs., Nov.15 &.16/Shows at 8=30 & 11pm

Ttckets at Elmwood Vil lage Tickets & The Tral f

3' 4- AI McGlaughlin Quintet w/ Juni Booth, James Cla.l<, Harry P inder, J oyce Carolyn

10, II- Egberta Gismonte/Guitar, Nana Vasconcellos; Percussion ECM Stars from Brazi l/ Winners o f Berlin Jazz Festi va l

12, 13- Spyro Gyra

24, 25, 26- Jeremy Wall & His Trio (from spvro Gvra)

~:on . - /\cousti c .• l usi c Tues. - Buffalo Comedy Experiment

tralfamadore cafe

Also Every Sunday Ni ght

Wed . - Poetry at 8:30 BAHAI'IA MAMA (Raggage & Jazz) at 10 PM on 1\:ov. 8. 22, 29

836-9678 2610 main at fillmore

Continental - 212 Franklrn St. - Jaman w/ guPst artrsts Frr & Sat naghts . George Shearing w/ Buffalo Phrlharmonrc Thurs .. Nov 9 at K leanhans - 8:30PM. Danny ··sansune' s - 1066 Abbott Rd. - Joe Brancato / paano and Jack · Norrrs/gurtar Wed & Thurs. naghts , ·9:30 ~ 1·30 Lance & Shield JHollc~no, NY.) Jazz Sun ·aft t-rno·on St. Georqe's Tabl e - 675 Delaware Ave. - Mark Murphy Labrary - Barley & Rounds - Taxi - Carl Cedar/ bass. Bobby Prev ite/ drums, Steve Parisi / k.eyboards, Rick Strauss/ gurtar, Sal Andol i na/sax and Ron Witherspoon/ percussron Sun . nrghts . Vinei -Su - 978 West at Breck.enrrdge - 882-5225 • Moody Street Frr & Sat. nights Sun. afternoons - jam sessions . Bagatelle - Maan & Winspear - Joe BrOI'cato/paano & Jacl(. Norrrs/guatar - Frr & Sat. 9- 1. Tara Manor - 5100 Main St. Jack Bacon Morgan Street Stom­p.t~ra with Eli Konikoff Frr . & Sat . ni9hts. C.P..G. - Central Park Grall - 2519 Main St. - Jeu J•m M011. nrghts.

Bona Vista - 1504 Hertel - Blues & Jazz.

TORONTO

Bourbon St. - 180 Oue('n St. W.- Scott Hamil ton Nov. 7- 12, Herb Elias Nov 14 26; Lee Konitz Nov . 28 Dec 10 Inn On The Park - 1100 Eglmglon Ave . E. - Saturday attPr · noon Jazz 2.30- 5:30

George' s Spaghetti ~ouse - 290 Dundas St., E.. Th~ bl.'st rn Jazz The Garden Party - 8f Avenue Road - P ianist Joel Shulman Monday to Saturday from noon - also Sunday evenings from 8:30PM. Nag' s Head - Toronto Eaton Centre - Yonge and Dundas Sts . -Jam McHarg's Midnight Special every Sunday from 5pm to 8 pm. The Ports - Summerhill Avenue at Yonge Street - Toronto -Excelsior Jazz Band Saturd•ys from 3 to 6pm.

The­

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FOR OINNER·LUNCH or

WEEKEND BRUNCH

· THe FOOD IS ..... SOUL GOOD! •

Underground Railroad Tavern ~11118 If~ ~e~~\Uirr.~.17~:,tt U5KinC Strtltt E. .. et•lbronto lb· Ontarao-T~tlepl\on~ 869 1400

fully I icenced by L.L. B.O.

just rn town drop around .... and try o ur Late N rght Lite Br te ..... .

Bourbon Street

TORONTO (416) 698-3020

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. <:..---"..,l.:_r .( 't 1(

SCOTT HAMIL TO~ November 7 - 12

HERB ELLIS 1\Jovcmber 14 - 26

LEE KmiiTZ Nov. 28-Doc. 10

iz,-

Phone Ahead for Ornner Rcservatron::.

Tues. · Sat. 9 - 1 Sat . Afternoon 3- 5

Sunday 6 - 10 No Cover

NEW AT BOURBON STREET

SATURDAY MATINEE from 3- 5 P.M.

Also Sunday Dinners from 5- 10 P.M. Presenting Our feature entertainment at this time. Weekdays- Tuesdays to Saturdays from 9p.m. - 1 a.m.

ELMWOOD VILLAGE TICKETS STUDIO ARENA

KLEINHANS MUSIC HALL HAMIL TON PLACE

SHEA'S BUFFALO THEATRE NIAGARA FALLS CONVENTION CENTER

SHAW FESTIVAL TORONTO & N.Y. SHOWS

All Major Sports & Theatri cal Events

510Y2 ELMWOOD near W. UTICA. BUFFALO 884 . 0122

Mon.- Frr. 9:30-5:00 Sat. 11 :00 · 5:00

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return postage guaranteed

LCCK,1..,J :.> •• :::· v.,:nL L :J:1,\:~Y S.U.N. Y. A.!3 • .BUF:':\LO , ::y ~ 42l•!