Word: jazzmen
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Dates: during 1950-1959
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Eight selections by almost-blind Pianist Tatum, deserving hero of a whole generation of jazzmen, nimble Guitarist Everett Barksdale, and Slam Stewart, the man with the talking bass fiddle. Typical selections: a surrealist version of September Song, and Just One of Those Things, which goes like sixty...
...generation or more, France has happily imported le jazz hot in all shapes and sizes; any combo, preferably Negro, that thudded realistically with a Dixie beat could take a fling at Paris with a reasonable chance of success. Lately, U.S. "progressive" jazzmen on tour have been meeting with mixed reactions from the uninhibited French, who boo at the drop of a diminished seventh, read newspapers while the music plays, shout "à l'operé!" or "à dormir!" when the music is too polite for their tastes. Worst of all for the progressive musicians, French Dixieland fans make a practice...
Bunk Johnson (Columbia LP). The last professional engagement played by the late New Orleans trumpeter, who once showed some hot licks to a kid cor-nettist named Louis Armstrong. With six longtime jazzmen of Bunk's own choosing, he plays a free & easy program of twelve tunes, e.g., Chloe, Some of These Days, Out of Nowhere, in his simple but highly polished style. There are a few quaint runs and riffs straight out of turn-of-the-century New Orleans, but every number has the glow of on-the-spot invention...
Ralph Sutton at the Piano (Circle LP). An inventive young (29) white man who lost his heart to ragtime, Sutton catches a lot of the bounce-and a lot of the warmth-of the great Negro jazzmen. His repertory is authentic: Drop Me Off in Harlem, I'm Coming Virginia, Love Me or Leave...
Jive at Five (Count Basie: Mercury). One of the top Negro jazzmen of the late '30s, the Count tries a comeback. But the fine original side men are no longer with him, and his latest jive does more thumping than jumping...