Five-Star Collection... The Modern Jazz Society

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

Of the five compositions that were recorded for this album, three were specifically commissioned by Mr. Norman Granz for this date. The remaining two, Django and The Queen's Fancy, were older compositions of mine that were specially orchestrated by Mr. Gunther Schuller for this session.

I am greatly indebted to all the music and musicians I have known for my inspiration for these compositions. The compositions center on and depend on the jazz soloist and they incorporate jazz and classical techniques. Midsömmer is an adagio in a general first Rondo form, the chord structure of the second theme being used for the improvisations. The title and inspiration is from the Swedish summer holiday and festival. Little David's Fugue is a fugue. The expositions are written while the episodes are improvised on a predetermined chord structure the accompanying instruments participate in the development of intervallic and rhythmic elements of the subject. The Queen's Fancy — This piece was written during the weeks of the coronation of H. M. Queen Elizabeth II of England and was inspired by pieces written for Queen Elizabeth the first of England. This piece is an arrangement and orchestration by Gunther Schuller. Django also is an arrangement and orchestration by Mr. Schuller. The piece is a memoriam for and is dedicated to the late great French guitarist Django Reinhardt. Sun Dance was inspired by dancers. Namely the Hopis of New Mexico and the great Watuse dancers in a film entitled "King Solomon’s Mines". *John Lewis (liner notes)*

This is a collection of five John Lewis compositions, three of which were commissioned by Norman Granz for this recording. On one and three, the musicians are Stan Getz, Tony Scott, J. J. Johnson, flutist James Politis, bassoonist Manuel Zegler, French horn Gunther Schuller, harpist Janet Putnam, bassist Percy Heath, and drummer Connie Kay. On the others, Lucky Thompson and Aaron Sachs replace Getz and Scott while the rest of the personnel remains the same. Midsommer, an "adagio in a general first rondo form" is impressionistic. Though it's a flowingly lyrical work in general, the opening composed section is too long for the content involved and rather diffuse. The soloists are superb, particularly in the cross-conversations. Little David's Fugue is based on a sprightly set of figures, and it swings. The solos are good, but Sachs is not up to Scott.

Gunther Schuller's arrangement for The Queen's Fancy works out well, giving this unique mixture of jazz and quasi-Elizabethan textures growing space and effective added coloration. Schuller's scoring of Django is less successful. The original had a spare strength while this version is somewhat sugary and the harp in the background tends to be distracting and somewhat out of context. Sun Dance is another indication, as are all of these works, of Lewis' compositional imagination and craftsmanship. The blowing in these last three is again very good, especially Getz, J. J., Scott, and Lucky. Norman Granz deserves credit for commissioning the set.

*Nat Hentoff (Down Beat, February 22, 1956 [5 stars])*

Side 1

01 - Midsömmer

02 - Little David's Fugue

Side 2

03 - The Queen's Fancy

04 - Django

05 - Sun Dance

(All compositions by John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#1, #3], Lucky Thompson[#2, #4, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #1, #3], Aaron Sachs [#2, #4, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar);Percy Heath (bass); Connie Kay (drums).

Recorded at Fine Sound, New York City, March 14, 1955

✳✳✳

For those who prefer the digital version, the CD reissue features three bonus tracks taken from the original rehearsals previously unissued until 1999. This reissue received the special token of merit award in Richard Cook and Brian Morton's The Penguin Guide to Jazz on CD, 6th Ed. Here’s their evaluation:

The Modern Jazz Society

Presents

A Concert Of Contemporary Music

One of the great forgotten masterpieces of the 1950s, this brilliant date is still available only as a limited-edition reissue in Verve’s Connoisseur Edition. 

Collectors are advised to snap up any copies they see, although it's disgraceful that this classic should not be more easily available. The Modern Jazz Society was an initiative by Lewis and Schuller to present new works and new arrangements, broadly in the 'Third Stream' vein which Schuller encouraged. Lewis was only the supervisor of the original LP, but new discoveries — a rehearsal of a previously unheard J.J Johnson piece "Turnpike" and a run-through of "Queen's Fancy" — find him at the piano.

The five principal pieces are all Lewis compositions, and they are among the finest treatments of Little David's Fugue, Django and Queen's Fancy ever set down. 

Django, with its final coda taken at the stately pace of a cortege, is so bewitching that it can silence a room. "Midsömmer", which has not been performed or recorded in the intervening 45 years, is a gorgeously evocative piece. The arrangements and ensembles are intoxicatingly beautiful, but there are also the most handsome solos by Stan Getz, J.J. Johnson and Lucky Thompson — the latter especially reminding us how poorly he was served by most of his recording opportunities.

*The Penguin Guide to Jazz, 6th Ed. ("Crown" of recommended jazz recordings)*

1 - Little David's Fugue

(John Lewis)

2 - Django

(John Lewis)

3 - The Queen's Fancy

(John Lewis)

4 - Midsömmer

(John Lewis)

5 - Sun Dance

(John Lewis)

6 - Turnpike (rehearsal take)

• false start

• breakdown take

• complete rehearsal take

(J. J. Johnson)

7 - Midsömmer (rehearsal take)

(John Lewis)

8 - The Queen's Fancy (rehearsal take)

(John Lewis)

John Lewis (supervisor, arranger);

Stan Getz [#3, #4, #7], Lucky Thompson[#1, #2, #5] (tenor saxes); J.J. Johnson (trombone);

Tony Scott [as Anthony Sciacca, #3, #4, #7], Aaron Sachs [#1, #2, #5] (clarinets);

Gunter Schuller (french horn, arranger, conductor) ; James Politis (flute); Manuel Zegler (bassoon);

Janet Putnam (harp); Billy Bauer (guitar); Percy Heath (bass); Connie Kay (drums). 

On #6, #8 add John Lewis (piano).

On #8 omit J.J. Johnson (trombone) and James Politis (flute).

Recorded at Fine Sound, New York City, March 14, 1955

Leonard Feather Presents… ★1952 • 1954★

Hot Versus Cool

Have any of your friends ever bothered you with questions about the difference between Hot Jazz and Cool Jazz? Or Dixieland and Birdland? Traditional and Modern? Moldy Pig and Bop?

Whether you’re a square or already aware, you’ll find the performances in this album the perfect answer.

To point up the differences between these two sharply contrasted schools of jazz —long recognized by musicians but ignored or misunderstood by the public— two bands were assembled at Birdland, the famous Broadway jazz spot, and both were let loose on the same four tunes.

The Birdlanders, representing the cool jazz contingent, were playing on their home grounds, but to even things up we invited a bunch of Dixieland fans to be present at Birdland that night. As you'll hear from the applause on the records, there was no prejudice in the audience; they seemed equally enthused over beth groups.

Heading the modernist faction is John Birks "Dizzy" Gillespie, a product of Cheraw, S.C., who rose in the mid-1940’s to become an international symbol of what was then known by the disarming name of bop, but has since evolved into acceptance as Cool Jazz.

Leading the Dixielanders is Jimmy McPartland, the amazingly youthful veteran whose horn was a highlight of 1927-8 recordings by pioneers like McKenzie & Condon’s Chicagoans, Ben Pollack’s orchestra, the Wolverines, and Benny Goodman’s first recording combo.

Whether your tastes in jazz run to the hot or cool, whether or not you can define Dixieland Jazz or Birdland Jazz in words, you’re bound to find something of major interest in the music on these records. And, incidentally, it ought to help settle a lot of arguments!

*Leonard Feather (liner notes)*

Cats Versus Chicks

Although the musicians on this unique session aimed at contrast rather than contest, comparison instead of competition, the fact remains that this is, in effect, a four-round fight for the terry-weight championship.

In one corner, from Detroit, Michigan, and from Terry Gibbs’ Quartet, weighing 105 pounds, wearing brown mallets and, no doubt, a terrycloth gown, we have Miss Terry Pollard, one of the youngest and swingingest new stars on the jazz scene.

In the other corner, from St. Louis, Mo. and from Duke Ellington’s Orchestra (plus previous experience with Count Basie and Charlie Barnet), weighing 185 pounds and blowing some of the most personal and delightful jazz trumpet around, we have the redoubtable Clark Terry.

The officials’ score cards read as follows:

Referee Leonard Feather gives round 1 to the cats, 2 and 4 to the chicks, round 3 even.

Nat Hentoff of Down Beat gives round 1 to the cats, 2 and 3 to the chicks, round 4 even.

Judge Barry Ulanov of Metronome (who insists he is no male chauvinist) gives all four rounds to the men. 

Result: a split decision in favor of the chicks. 

What is your verdict? *(from liner notes)*

Leonard Feather Presents

Hot Versus Cool

And

Cats Versus Chicks

Hot Versus Cool - A Battle Of Jazz

1 - How High The Moon

(Lewis, Hamilton)

2 - How High The Moon

(Lewis, Hamilton)

3 - Indiana

(Hanley, McDonald)

4 - Indiana

(Hanley, McDonald)

5 - Muskrat Ramble

(Kid Ory)

6 - Muskrat Ramble

(Kid Ory)

7 - Battle Of The Blues

(unknow)

8 - Battle Of The Blues

(unknow)

Cats Versus Chicks - A Jazz Battle Of The Sexes

9 - Cat Meets Chick

(Leonard Feather)

10 - Cat Meets Chick

(Leonard Feather)

11 - Mamblues

(Williams)

12 - Mamblues

(Williams)

13 - The Man I Love

(George and Ira Gershwin)

14 - The Man I Love

(George and Ira Gershwin)

15 - Anything You Can Do

(Irving Berlín)

#1, #8: Dizzy Gillespie's Cool Jazz Stars

Dizzy Gillespie (trumpet), Don Elliott (mellophone, trumpet), Dick Cary (trumpet added #8),

Buddy DeFranco (clarinet), Jimmy McPartland (clarinet added #8), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

#2, #4 [as Edmond Hall And The Hot Jazz Stars], #5, #7: Jimmy McPartland's Hot Jazz Stars

Jimmy McPartland (cornet), Vic Dickenson (trombone), Edmond Hall (clarinet),

Dick Cary (piano, trumpet), Jack Lesberg (bass), George Wettling (drums).

#3, #6: Buddy De Franco And The Cool Jazz Stars

Buddy DeFranco (clarinet), Don Elliott (mellophone), Ray Abrams (tenor sax),

Ronnie Ball (piano), Al McKibbon (bass), Max Roach (drums)

Recorded live at Birdland, New York City, November 24 1952

#9, #11, #14: Clark Terry And His Septet

Clark Terry (trumpet), Lucky Thompson (tenor sax), Urbie Green (trombone),

Horace Silver (piano), Tal Farlow (guitar), Percy Heath (bass), Kenny Clarke (drums).

#10, #12, #13: Terry Pollard And Her Septet

Terry Pollard (vibes), Norma Carson (trumpet), Beryl Booker (piano),

Mary Osborn (guitar), Bonnie Wetzel (bass), Elaine Leighton (drums), Corky Hecht (harp)

#15: Clark Terry And His Septet and Terry Pollard And Her Septet 

Recorded in New York City, June 2 1954

Kenny Clarke - Four Rare And Obscure Jazz Albums

Recorded during 1956-1960, the initial years of drummer Kenny Clarke's permanently settling in Europe, these four sessions display his versatility and consistently commanding musicianship over richly varied settings, some graced, among others, by the stellar presence of US tenor giants Lucky Thompson and Don Byas.

They show, too, the superior quality of some European players and composerarrangers who were to be outstanding names in continental jazz -primarily French and Belgian, but also including the great Algerian pianist, Martial Solal.

Solal and trombonist Billy Byers are featured on the opening session of André Hodeir's excellently conceived arrangements of originals by himself, Ellington, Monk, Mulligan, Dameron and others. On the Kenny Clarke Plays Pierre Michelot session, Michelot reveals his considerable gifts as composer and arranger, influenced by the Miles Davis Nonet, with Clarke and Thompson at their best. The Bill Holman-influenced composer-arranger Christian Chevallier’s good writing animates the next session. Both sessions benefit from a rhythm section which includes the arrestingly brilliant piano of Maurice Vandair.

The final session, from 1960, showcases Francy Boland's writing, presaging his long collaboration with Clarke. Apart from Clarke and Byas, the musicians are Belgian, with vibist Fats Sadi the most original soloist among them and Clarke, as always, an inspiring presence. *Jordi Pujol*

Paris in the 1950s was awash with ex-pat American jazzers, and a bulwark of the scene was drummer Kenny Clarke, who, unlike many of his fellow countrymen, believed in wholehearted integration with local players, while also deploying visitors from across the pond. In this series of recordings, Clarke also displayed his faith in the talented arrangers then active in Paris, notably Andre Hodeir and Christian Chevalier, also providing an opportunity for the orchestrations of bassist Pierre Michelot to be aired. Michelot and Clarke would, of course, become a super, long-standing rhythmic partnership. The charts are uniformly excellent, and Hodeir's material unquestionably quite challenging.

Nor is there any shortage of interesting soloists, given the presence of the likes of Martial Solal, Lucky Thompson, Billy Byers, Tony Scott and Roger Guérin. The various groups, ranging from sextet to full big band, seem like a logical prelude to the Kenny CIarke/Francy Boland band. Indeed, the closing three tracks mark one of the pair's earliest collaborations, pre-dating their first sides for a US label. In this instance the great Don Byas was on hand for the Cologne session and in top form. His imperious presence inspired everyone; his reading of "More Than You Know" is a gem of ballad playing.

Kenny Clarke's encouragement and support of French musicians made him something of an icon. He also showed his organisational ability in all these recordings, while faultlessly providing the irresistible pulse to spark ensembles and soloists. The man was a giant of the percussive arts.

*Mark Gardner*

Kenny Clarke - Plays The Arrangements

Of André Hodeir • Pierre Michelot

Christian Chevallier and Francy Boland

In the 1950s several American jazz musicians began emigrating to France, both to avoid racial intolerance and in the hope of finding more steady work. One of these was drummer Kenny Clarke, who moved to Paris in 1956. This collection illustrates how he immediately found a good deal of work. The compilation contains recordings made between 1956 and 1960 by a variety of artists under Kenny Clarkes leadership, spotlighting the arrangements of four different musicians.

The first dozen tracks feature arrangements by André Hodeir, He was well respected not only for his musical writing but also for his rigorous scholarship, evidenced in such works as his famous Jazz: Its Evolution and Essence. In fact Hodeir supplies some revealing sleeve-notes. Some of the dozen arrangements here reveal the influence of the Birth of the Cool musicians, who explored new cool voicings and styles. Chords are often varied by movement within the lines of the contributing instruments.

These qualities are present in the opening "Bemsha Swing", which reflects Thelonious Monks style in the jagged changes in the final chorus. Martial Solals piano solo here and on other tracks is radiantly clear. In fact André Hodeir seems to prefer piano solos in most tunes. Hodeirs classical background is present in "'Round Midnight", where the theme only emerges at the end of a long semi-classical build-up. "When Lights are Low" is deprived of its charm by being performed at too fast a tempo. But Hodeir skilfully uses counterpoint to provide a frisson in the harmonies. René Urtréger plays an airy solo. Hodeirs arrangements may be rather academic but their intriguing ensembles coupled with some splendid solos make these twelve tracks well worth hearing.

Bassist Pierre Michelot arranged the next four tracks, which might have come from the pen of a West Coast jazzer such as Shorty Rogers. "Love Me or Leave Me" gives Kenny Clarke the opportunity for a long drum solo. Like his other solos on this album, they are tight and disciplined. Michelot himself takes the limelight in Fantasy for Bass.

The Christian Chevallier arrangements are possibly the most conventional in this collection, but none the worse for that. They bear the influence of Bill Holman and swing along fluidly, including excellent solos from the likes of pianist Maurice Vandair and (in "Black Knight") Kenny Clarke.

The personnel in the final three tracks are predominantly Belgian, like the arranger - Francy Boland - who later formed a marvellous big band with Kenny Clarke. Don Byas contributes a beautifully flowing solo to "More Than You Know".

This compilation proves that France had musicians the equal of the Americans and that Kenny Clarke could fit into any kind of setting. *Tony Augarde*

1 - Bemsha Swing

(D. Best, T. Monk)

2 - Oblique

(André Hodeir)

3 - Blue Serge

(Duke Ellington)

4 - Swing Spring

(Miles Davis)

5 - On A Riff

(André Hodeir)

6 - Jeru

(Gerry Mulligan)

7 - The Squirrel

(Tadd Dameron)

8 - Eronel

(Thelonious Monk)

9 - 'Round Midnight

(Thelonious Monk)

10 - When Lights Are Low

(Benny Carter)

11 - Cadenze

(André Hodeir)

12 - Tahiti

(Milt Jackson)

13 - Love Me Or Leave Me

(Kahn, Donaldson)

14 - Fun For Four

(Pierre Michelot)

15 - Fantasy For Bass

(Pierre Michelot)

16 - Jackie, My Little Cat

(Pierre Michelot)

17 - Dream Time

(Christian Chevallier)

18 - Gold Fish

(Christian Chevallier)

19 - Black Knight

(Christian Chevallier)

20 - Jean-Paul

(Christian Chevallier)

21 - Bell Hop

(Francy Boland)

22 - More Than You Know

(Youmans, Elescu, Rose)

23 - Tampico

(Francy Boland)

#1 to #12:

from the LP Kenny Clarke Plays Andre Hodeir (Epic LN 3376)

#5, #9, #10:

Roger Guérin (trumpet); Billy Byers, Nat Peck (trombones); René Urtréger, Martial Solal (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, October 26, 1956.

#2, #6, #8, #12:

Billy Byers (trombone); Hubert Rostaing [as Robert Guismath] (alto sax); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 21, 1956.

#1, #3, #4, #7, #11:

Roger Guérin (trumpet); Billy Byers (trombone); Armand Migiani (baritone sax); Martial Solal (piano); Jean Warland (bass); Kenny Clarke (drums).

Recorded at Studio Apollo, Paris, November 30, 1956.

#13 to #16:

from EP Kenny Clarke Plays Pierre Michelot (Columbia ESDF1176)

Ack van Rooyen, Bernard Hulin (trumpets); Billy Byers, Nat Peck, (trombones); Hubert Fol (alto sax); Lucky Thompson, Pierre Gossez, (tenor saxes); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, September 23, 1957.

#17 to #20:

from the EP Kenny Clarke Plays Christian Chevallier (Columbia ESDF1222)

#17, #18:

Roger Guérin (trumpet); Benny Vasseur (trombone); Pierre Gossez, René "Mickey" Nicholas (alto saxes); Georges Grenu (tenor sax); Armand Migiani (baritone sax); Maurice Vandair (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#19, #20:

Ack van Rooyen, Jean Liesse (trumpets); Nat Peck (trombone); Hubert Fol, Jean Aldegon (alto saxes); Georges Grenu (tenor sax); Tony Scott (clarinet, tenor sax); Armand Migiani (baritone sax); Maurice Vandair, Raymond Fol (piano); Pierre Michelot (bass); Kenny Clarke (drums).

Recorded at Pathé Marconi Boulogne Studios, Paris, November 12, 1957.

#21 to #23:

from the EP Don Wails With Kenny (Columbia C41226)

Christian Kellens (trombone); Eddie Busnello (alto sax); Don Byas (tenor sax); Fats Sadi (vibes); Francy Boland (piano & arrangements; Jean Warland (bass); Kenny Clarke (drums). 

Recorded at EMI Electrola Studios, Cologne, February 25, 1960.

Miles Davis All Stars - Walkin'

Walkin' (PRLP 7076) is a Miles Davis compilation album released in March 1957 by Prestige Records. The album compiles material previously released on two 10 inch LPs in 1954 (Miles Davis All-Star Sextet and Side One of Miles Davis Quintet, dropping "I'll Remember April" from Side Two (which had been on the 12" LP Blue Haze, released the previous year, itself a collection of tunes from previous 10" LPs) and replacing it with the previously unreleased "Love Me or Leave Me" recorded at the same session. Here credited to the "Miles Davis All-Stars", the songs were recorded on 3 April and 29 April 1954 by two slightly different groups led by Davis. Both sessions were recorded at Rudy Van Gelder's home studio.

The earlier session was a quintet with David Schildkraut on alto saxophone, and produced the three tracks on side two. Schildkraut is the only musician not credited on the cover, and is otherwise almost unknown. Two of these tracks were originally released on the 10" LP Miles Davis Quintet, Prestige PRLP 185. The earlier release also included "I'll Remember April", recorded at the same time, now found on the Prestige album Blue Haze (PRLP 7054). Another tune from this session, "Love Me or Leave Me", was previously unreleased and substituted here for "I'll Remember April".

The second session, which makes up all of side one, was a sextet with J. J. Johnson on trombone and Lucky Thompson on tenor saxophone. The rhythm section was the same as the earlier session. These two tracks were originally issued on the 10" LP Miles Davis All-Star Sextet, Prestige PRLP 182. The album's title track, a staple of Davis's live set for many years, was key to the emerging hard bop approach developed in the mid-1950s, Davis providing it with an anthem. The composition has been attributed by various sources to Jimmy Mundy, Miles Davis, and Gene Ammons. The copyright registration listed the composer as Richard E. Carpenter, a businessman and artist manager who had professional relationships with Mundy and Tadd Dameron, and was not known to be a musician or composer. "Solar" was attributed to Davis and copyrighted in his name in 1963. Evidence revealed in 2012 showed that it is nearly identical to "Sonny", a piece written by guitarist Chuck Wayne in the 1940s, so Wayne is regarded as the composer of "Solar". *wikipedia.org*

The undeniable strength and conviction present in Miles Davis' performance on Walkin', underscores the urgency and passion with which he would rightfully reclaim his status as a primary architect of bop. Davis is supported by his all-stars, consisting of his primary rhythm unit: Horace Silver (piano), Percy Heath (bass), and Kenny Clarke (drums). The sextet featured on the title track, as well as "Blue 'N' Boogie", adds the talents of J.J. Johnson (trombone) and Lucky Thompson (tenor sax). Davis' quintet includes the primary trio and Dave Schildkraut (alto sax). Perhaps not an instantly recognizable name, Schildkraut nonetheless made some notable contributions to Stan Kenton's Kenton Showcase EPs, concurrent with his work with Miles. Walkin' commences with the extended title track, which follows a standard 12-bar blues theme. While the solos from Johnson and Thomson are unique, Miles retains a palpable sense of extrication from the music - as if the song was an extension of his solo instead of the other way around. The lethargic rhythms reiterate the subtle adornments of the horn section to the basic trio. In direct contrast to "Walkin'" is a full-tilt jumper, "Blue 'N' Boogie". The improvisation yields some truly memorable solos and exchanges between Davis and Johnson - who can be heard clearly quoting from Thelonious Monk's "Rhythm-A-Ning". "Solar" maintains a healthy tempo while drawing the listener in to the delicate interplay where the solos often dictate the melody. Horace Silver's piano solo is Ellington-esque in it's subdued elegance. The final track, "Love Me or Leave Me", gives the most solid indication of the direction Miles' impending breakthrough would take. So swift and certain is each note of his solo, it reflects the accuracy of someone thinking several notes ahead of what he is playing. Walking is a thoroughly solid effort. *Lindsay Planer*

1 - Walkin'

(Richard Carpenter)

2 - Blue 'N' Boogie

(Gillespie, Paparelli)

3 - Solar

(Miles Davis)

4 - You Don't Know What Love Is

(Raye, DePaul)

5 - Love Me Or Leave Me

(Donaldson, Kahn)

Miles Davis (trumpet), J.J. Johnson (trombone [#1, #2]), Lucky Thompson (tenor sax [#1, #2]), David Schildkraut (alto sax [#3, #4, #5]), Horace Silver (piano), Percy Heath (bass), Kenny Clarke (drums).

Recorded at Van Gelder Studio, Hackensack, New Jersey, April 3 (#3, #4, #5) and April 29 (#1, #2), 1954.