Word: jazzed
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Dates: during 1940-1949
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...George is a very sincere guy and has done an awful lot--more than most of us realize--to promote interest in good jazz music, particularly around these parts. But every so often he puts himself out on a limb with some childish statement like the above: and an apology generally results a few months later. For instance, a while back George had some rather disparaging remarks to make about The One Inimitable Band Around Today, for which he subsequently apologized. Now that's all fine, as one seldom sees such downright honesty in a critic. However, it seems...
...think farther than the next week-end party), has the following to say about Charlie Barnet: "I happen to think that Barnet's records are uniformly stinking. . . I can't tolerate Barnet because he and the music he sponsors are doing irreparable injury to the cause of reputable, heartfelt jazz." This is all based on the fact that Charlie Barnet "has had the colossal bad taste to ape the one inimitable band around today and the result is something cheap and disgusting." Needless to-say, the "inimitable band" is Duke Ellington...
...Determined to meet the hussy on her own ground, Ethel also swings her big, scarlet-clad body into the most massive cancan of the season. As the hussy, Negro Ballerina Katherine Dunham is a trim and flexible devil's advocate. Her dancers follow her through a series of jazz-heated formations. The accompaniment of one of them is true, improvised boogie-woogie by Pianist Sidney Tuscher of the hand-picked pit orchestra. Staged by the Russian choreographer George Balanchine, fellow Slav of Composer Duke (real name Vladimir Dukelsky), Cabin in the Sky is proof that for fun and verve...
...those days, Goodman's music wasn't a surprise to the listening audience alone. The musicians themselves were discovering a new kind of arranged jazz, and their enthusiasm for it was shown by the enthusiasm with which they played. All bands sound best when they're young, and Goodman's was no exception. The way that outfit would dig into an ordinary pop tune was nothing short of amazing, and some of the most exciting jazz I've ever heard came from Benny's band at the Pennsylvania. Goodman's success is directly responsible for every good swing orchestra playing...
...reminiscent of Krupa at his best. Whole record jumps like hell. Reverse in Keepin' Myself For You, and makes good dancing...Count Basic cuts two sides of fast blues entitled The World Is Mad (OKEH), and stars the tenor sax of Lester Young, who plays some almost unbelievable jazz. Jo Jones and the rhythm section are exceptionally good...Harlan Leonard and his Kansas City Rockets show a lot of clean ensemble polish on A-La-Bridges (OKEH), a slow tune featuring a long tenor chorus. It's typical colored orchestration, not unlike Lunceford, though a little less elaborate...