Combs, paper and old jazz

Press, 23 July 1986, Page 16

Combs, paper and old jazz

By

ALLAN FRANCIS

JAZZ CLASSICS IN DIGITAL STEREO. Volume Two—Chicago. Various artists, 16 tracks. FESTIVAL L 38212. Embarking on another oldie one is aware that not too far beneath the artistic lies a wealth of novelty material that is simply there for laughs. This album illustrates this point almost to excess. When one gets to the comb and paper stage in jazz it is obvious that the motives are no more than to entertain rather than impress listeners with any great degree of artistry. Much is purely night club material and as long as nobody expects more than that in some of these tracks, then most will find the whole venture just as enjoyable as before. In Chicago we find the high points with the soloists. A pianist here, a bass player there; the ensemble sound played very much second fiddle to the individual talents of such budding giants as Bix Beiderbecke, Earl Hines, Benny Goodman (at 19), Milt Hinton, Johnny St Cyr, Barney Bigaard and many more. The comb and paper exercise comes from Red McKenzie and Dick Slevin playing “What Do I Care What Someone Said,” a 1927 hit from the group with the inspired name of “Mound City Blowers.” Most of the tracks are bustling two-step blues, some helped by a flurry of virginal saxophones, two-handed pianists, cymbals that sound like dustbin lids and the inevitable banjo.

There are few vocals. Those that feature stress the themes of hardship, lost love and mean treatment. More interesting still is the guessing game of what is playing, rather than whom. Most would find it hard to identify a gas pipe, washboard, jug or kazoo, but all of these turn up more than once. The early clarinet of Benny Goodman shows his individual style in the bold “That’s A Plenty,” in trio form too. In spite of the enterprise of many present the over-all results are not quite up to the expected standard; not because of the lack of talent, but

more a lack of depth in musical content. Even the magic of Robert Parker, the producer, fails to lift the venture into the realms of wonderland in the normal course. Perhaps he has spoiled us, but the set is still an essential part of the cycle. CHET ATKINS. “Street Dreams.” CBS SBP 8165. Chet Atkins is one of those rare musicians who has successfully managed to keep abreast of the times. His recording history goes back to the sixties, but he has always retained the fresh sound of the moment, regardless of fashion or other musical whims.

Even the older material such as “Classical Gas” sounds new with the treatment here. Some of the tracks are originals and most are from the pens of Darryl Dybka or John Hall (“If You’ll Stay A Little Longer”). The common denominator is Atkins himself and the old two-beat rhythms that were so successful in the previous review. Only the lush recorded sound and slick treatment mark the differences. The pleasing guitar sound of the leader is still the main feature. GOD BLESS THE PRINCE OF WALES. The Band of the Welsh Guards. WORLD RECORDS cassette from ASV. At this particular peak in enthusiasm for Royalty any reminder of the Royal Family is well worth-while. It also gives the Band of the Welsh Guards a second-to-none opportunity to play some of its favourite tunes. Naturally, the repertoire is essentially Welsh, with those unpronounceable Welsh names that give the impression one has left out most of the vowels. It does not take the band long to get to “Men of Harlech,” possibly the most Welsh of all Welsh tunes. This is a fine selection of folk and military tunes, the only exceptions being Handel’s “Entry of the Queen of Sheba,” Ronald Binge’s “Watermill” and a couple of others that will please military band buffs and those interested in Royalty. '