Word: hornings
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Dates: during 1950-1959
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Diners near the bandstand could hear the squeal of the buzz mute being fitted into the bell of the horn. The pudgy little man with the wispy mustache lifted the tarnished trumpet, looked right to the piano player, back to the drummer. Then Trumpeter Jonah Jones patted out two measures with a soft left foot and took the first three pickup notes of I Could Have Danced All Night...
...Good, Happy Style. Jonah used to blow his horn open, and no man in the business blew it better. But Jonah's clarion trumpet call sounded too loud over the tinkle of cocktail conversation, and for most of his career he was never able to make it into the plush jazz caves where the money lies. Then in 1955 he had an offer to fill in at The Embers, reluctantly agreed to play with a mute, and quickly evolved the "good, happy style" that has brought the crowds running to him ever since...
Lateef at Cranbrook (Yusef Lateef, tenor sax; Frank Morelli, baritone sax; Terry Pollard, piano; William Austin, bass; Frank Gant, drums; Argo). A quintet given to spicing the group sound with finger cymbals, a one-stringed rebab, and a scraped ram's horn turns its talents to exploring Leader-Composer Lateef's oriental-flavored jazz fancies. Morning and Let Every Soul Say Amen may be too exotic for some tastes, but the easy-swinging sax flights of Gillespie's Woody'n You ought to set any pulse to bouncing...
...Soft Sell (Paul Horn, woodwinds; Tommy Loy, French horn; Jimmy Rowles, piano; Shelly Manne, drums; Don Bagley, bass; Dot). A suave and discreet group worries through wistful laments such as Paul's Blues and upbeat numbers such as It's Cooler Inside. Pianist Rowles's feathery acrobatics are a lyric delight, but the real news here is Newcomer Loy, who can cajole his French horn into swinging solos or softly twine it about Paul Horn's alto flute...
David Amram's incidental music is of uneven quality. Highly apt is the background for Romeo's Mantuan soliloquy: an unaccompanied English horn, suggested perhaps by the third act opening of Wagner's Tristan. At the opening performance the balance of the instruments in ensemble playing was awry, but this is easily remedied. George Balanchine's choreography is proper if not exceptional...