Word: rhythms
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Dates: during 1940-1940
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...basting his style on the Duke's. True, his recordings of Ellington tunes are inferior, as most imitations are; but they're far from being "cheap and disgusting." Barnet has a more-than-adequate swing band whose reed and brass sections are clean and well-balanced, and whose rhythm section can really jump when it wants. There's nothing in the Barnet make-up that would cause him to harm the music created by a man whose work he has always admired and respected. Don't worry, Charlie knows what constitutes bad taste. Listen to his recording of The Worng...
...OREB recording A Chicken Ain't Nothing But a Bird. Tune was featured in the Southland floor show last year. . . lna Ray Button's new out offers two riff tunes: Five O'Clock Whistle and Make Me Know It (OREB). Band shows lots of promise, particularly in the rhythm section...
...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...
...Panama locale, lusciously tinted by Designer Raoul Pène du Bois, who has also clothed a luscious chorus line in just the right places, gives Cole Porter a chance to indulge his talent for Latin-American rhythms (previous examples: Begin the Beguine, I Get A Kick Out of You}. The Porterian lyric wit is displayed in a trio and quintet titled, respectively, God Bless the Women and You Said It. The tune that seems likely to prove most durable is Panama Hattie's response, in rumba rhythm, to temporary disappointment in love: "Make it another oldfashioned, please...
Producer Vinton Freedley caught her at the Paramount, introduced her to George Gershwin, for whom she sang his newly composed I Got Rhythm. She was promptly signed for Girl Crazy, in which she was an overnight smash. Hearing that she had never had a singing lesson, Gershwin begged her never to take one. She never has. She says: "I breathe when I want to"-which is usually at the precise moment when she has turned a syncopated phrase with sinuous authority. Gershwin was so delighted with her talent that during the run of Girl Crazy he often appeared...