COMBO: USA. EIGHT LIVES IN JAZZ.

By Rudi Blesh '21. Philadelphia: ChiltonBook Company, 1971. 240 pp. 16 Illustrations. $6.95.

When it comes to defining the voice of authority in the history of jazz, few men qualify with better credentials than Rudi Blesh. He is the author of five previous books and numerous articles on jazz, teacher of the subject at three universities, jazz critic for two newspapers, and former radio host of a weekly live jam session.

When Rudi Blesh selects his personal all-star combo, as he has in Combo: USA, one would do well to listen to his arguments. Individual taste might cause some to question certain choices, but the fact that each was a giant of his time and style is indisputable. Indeed, each played a unique and important role in molding this singularly American art form.

Introducing the members of his combo by way of short biographies, Mr. Blesh effectively recaptures the excitement and creativity, as well as the tragedy, which marked their lives. Insights into the character of each are provided by many direct quotations. The mainstream of jazz can be traced through their careers.

But to introduce the group: on trumpet, Louis Armstrong, who first establishes the concept of the instrumental solo in ensemble jazz; on soprano sax; Sidney Bechet, creator of a truly personal style on an unusual and difficult instrument; on tenor sax, Lester Young, who made the first real breakaway from the written melodic line in his solos; Jack Teagarden, fantastic technician of the trombone; Billie Holliday, the great "Lady Day"; Gene Krupa, who brought the drums "up front" in the band; on piano, Eubie Blade, the ragtime stylist; and on guitar, perhaps most important of all, Charlie Christian, who, in the short space of four years before his tragic death at the age of 23, not only influenced the course of the jazz world through his own creative genius but also established the amplified guitar as a solo instrument with which to reckon.

One can only wish that these great stars might have the opportunity to demonstrate the widsom of Mr. Blesh's selection by having cut a few sides together at the height of their respective careers, but that was no! to be. This book, however, stimulates the reader to want to listen to the magic that Mr. Blesh has so ably described.

Executive Secretary of the Class GivingProgram, Dartmouth College, Mr. Breedenjoys playing the saxophone with smallbands in the Hanover area.