12   Rock Around the World • October, 1976

One of modern music’s most sensitive composers. Andy Pratt, pays ROCK AROUND THE WORLD a visit via a live concert from the Agora in Cleveland. Andy grabbed the attention of America’s music followers four years ago with “Avenging Annie” and now he’s back with a tight band to prove that his musical sensitivity has matured and been refined. Join us for a special night —live with Andy Pratt.

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It’s all too easy these days to be more aware of an artist’s image than the artist —that’s why it’s a treat for ROCK AROUND THE WORLD to present an hour of conversation and music with David Crosby and Graham Nash. The conversation: Both David and Graham have been on the scene for a long time and their observations, memories and predictions are among the most candid to be found anywhere. From their concern over whales and dolphins, to politics, to rock’s place in history and, yes, their feelings about CSNY—they’ll tell all.

The music: The most memorable music from the early days of CSN, solo Crosby and Nash and their current work as Crosby, Nash. An hour to be comfortable with.

IrCtINIMs, HILLMAN

MARK-ALMOND BAND

Live music returns as ROCK AROUND THE WORLD hops, skips and hustles across America to catch Chris Hillman in concert from the Boarding House in San Francisco and Mark•Almond live from the Bottom Line in New York. Be sure to be with us for the music of these two fine sets of musicians.

SHOW #115 October 17-23

recording in

BOSTON

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MUSIC DESIGhERS(3

1126 boylston st. boston, mass. 617 262 3546

Jazz

Reissues have become jazz’s remixed blessing: even though the jazz of the ’40s and ’50s cannot be revived in the present musical climate. those timeless performances that set the standards for future generations of jazz deserve to be aired and preserved. There is quite enough uncollected and unpublished material to keep listeners happy for years, and the release of it is a credit to at least the business acumen of record companies. Concerning the law of diminishing returns and its inevitable reign we will speak at some later date.

CHARLIE PARKER

“The Verve Years 11948-501” Verve 2-2501

Now• there is Charlie Parker to consider. Luckily the overall quality makes up for the patches of exotica and curiosity pieces. Side One opens with “Repititions,” a number whose bland strings and oatmeal arrangement will have you wondering if some hellish machine hasn’t crossed you up and slipped you a Busby Berkely soundtrack. But then “The Bird” emerges on track two• and you know you’re on the express. Trumpeter Kenny Dorham, pianist Al Haig. and the redoubtable drummer Max Roach lap up the miles until the lamentable derailment on Side Two—Charlie Parker vs. the Incredible Stringed Monster. Parker’s solos and some vague historical interest barely compensate for the unrelenting, soporific string accompaniment.

Around the middle of Side Three the album rights itself and starts to fly. It’s Gillespie and Monk and Curly Russell and—what?—Buddy Rich, taking you where you want to go, giving n Oscar for Treadwell, relaxin’ with Lee, corniling a glossary of bebop at its wittiest and most intelligent. Parker couldn’t find better company as he, Diz, and Monk improvise, retort, and undercut in brilliant fashion.

IA7.7 AT THE PHILHARMONIC “The Historic Recordings”

Verve 2-2504

ty e and wit dominated the 1944 jam session at the Philharmonic, mainly in the persons o Nat “King” Cole and Les Paul. It is a pure delight to hear them mimic and goad each other through “Tea for Two” or provide a pebbl rhythmic base for Illinois Jacquet’s screechin tenor on “Lester Leaps In.” The three-sided jam is surprisingly consistent. and whatever ed iting Norman Grant? found necessary was handled as smoothly and unobtrusively as possible. Nat Cole’s piano playing continually amaze me, both in how very good it was and in how totally it disappeared as his singing caree blossomed. Les Paul reveals mysteries of th guitar known only to him and displays an uncanny rapport with Cole that alone makes th album worth owning.

The fourth side of Jazz at the Philharmonic i a recording of a 1946 Billie Holliday performance. The urgency and wisdom of Lady Day’ talent is well developed on such classic tunes a “Body and Soul,” “Travelin’ Light,” and

beautiful rendition of “Strange Fruit.” Th backup is tastefully delivered: trumpeter J Guy, Billie’s man at the time, stands out, playing the horn with unabashed emotion.

—JOHN REDMOND CARROL

Ali AT THE