Word: jazzmen
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Dates: during 1950-1959
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There was none of the improvised Dixieland so familiar to festivals; nor were there many personal appearances by such great solo showmen as "Satchmo" Armstrong or Gene Krupa. Instead, classics-minded young jazzmen concentrated on the brassy new progressive jazz and the slightly atonal West Coast styles, and played their well-rehearsed arrangements with the cool elegance of conservatory students. Even Stan Kenton's 18-piece (including bongo drums) orchestra had its own smooth brand of progressive beat. But the real stars of the festival were the small, intimate combos that played jazz with a new maturity and subtlety...
...soundproofed door. Though U.S. jazz as such is not officially banned in Russia, the culture commissars take pains to ridicule it as "bourgeois decadency"; concerts are nonexistent and nightclub jazz is discouraged; the importation and sale of U.S. jazz records is taboo. But last week two topflight U.S. Negro jazzmen just back from a month-long trip behind the Iron Curtain had news that the Russians not only know all about U.S. jazz, but play it with fervor whenever Big Brother is not looking. Jazz Pianist Dwike Mitchell, 29, and Bassman Willie Ruff, 28, came home amazed: "They have...
...jazzmen are convinced that the Russians will some day break out and really start bopping. Says Ruff: "The spirit is there, and I'm sure that once they feel free to really let go, they'll start adding their own bars. They're starved for something...
Caviar. In Moscow's Mayakovskaya Square, 30 Yale students on a determined good-will expedition sang songs, answered questions about the U.S. in serviceable Ivy League Russian. Over at the usually solemn Tchaikovsky Conservatory, two members of the Yale group, U.S. Jazzmen Dwight Mitchell (piano) and Willie Ruff (bass), fractured a cheering, stomping crowd of Russians. In Manhattan, customers waited in long lines to buy tickets for the Russian Music and Dance Festival, scheduled to open this week at Madison Square Garden...
...dangerously near burning down as Kanin writes of the antic hey-hey, but the mood is so pleasant and pervasive that the bemused reader is willing to forgive Author Kanin for taking a few choruses too many. The people are alive-the pretty French girl who collects jazz and jazzmen, the frazzlewit bass player who concocts a marijuana fudge...