© New York Post

Transcription :

New York

Jazz Concert

The ninth international tour of "Jazz at the Philharmonic" brought is to Carnegie Hall on Saturday night. Norman Granz, founder and impressario of this attraction, is a young man of decided ideas, both musically and socially. "Jazz at the Philharmonic" has consistently advanced the idea of "modernism" in jazz, and most of the present-day movements, including bebop, germinated from this concert series.

Among the distinguished performances in this concert were those of the tenor saxophonist Lester Young and the altoist Charlie Parker. At their best their invention is so continuous, inward and truly Negroid that they become profoundly moving in spite, one might almost say, of the music. This adds up, really, to the creative personality transcending his surroundings. Certainly in the general formlessness it is difficult to perceive a tradition like that of New Orleans, which is workable for all grades of players, being formulated. This music is ultimately selfish in that it is only for the greatly gifted.

A new and gifted player presented Saturday night for the first time in New York was a young and personable Negro pianist from Montreal, Oscar Peterson. Under his dynamic and intensely rhythmic hand, the scale work inanities were minimized and a most exiciting invention took form.

Coleman Hawkins, veteran founder of 'modern' saxophone style, played well, although hampered by the inadequate backing of a small group. Appearing, but unlisted on the program, was the trumpeter Roy Eldridge, at least fifteen years ago laid the basis for 'modern' jazz trumpet style. Among the other musicians, the young white drummer Buddy Rich should be mentioned for his prodigious technique expressed in an overpowering dynamics. His best work is probably to be heard, however, in the more relaxed moments when he is not on display.

The singer Ella Fitzgerald was starred. Possessed of a fine voice and great vocal agility, she is also an accomplished entertainer, but one who projects little deep or personal feeling.

The evenings real stars, however, were Lester Young, Oscar Peterson and Charlie Parker. Their work was at moments deeply felt, so original and so affecting that one might wish that it were being poured into something, with a better apparent chance of permanence than 'modern' jazz.

R. B.

List of Articles

Previous