Jazz '66

The Man and the Orchestra who are beyond category were ubiquitously triumphant during the past jazz year. At 66, the patrician Edward Kennedy "Duke" Ellington juggled a series of major projects while continually on the move. In the spring he was also the calm center of a tempest swirling around the decision of the Pulitzer Prize Advisory Board to reject the recommendation of its music jury that Ellington be given a special citation for "the vitality and originality of his total productivity" through nearly four decades. In protest against that rejection, two of the three Pulitzer music jurors resigned, and there were many mutterings in newspapers and magazines at the slighting of the Duke. Ellington himself, secure in his achievements, played it cool: "Fate is being kind to me. Fate doesn't want me to be too famous too young."

The goof by Pulitzer brass notwithstanding, Duke's fame increased. Ellington's was the only jazz orchestra at the White House Festival of the Arts in June. In July he conducted the New York Philharmonic at Lincoln Center in the world premiere of his newest suite, The Golden Broom and the Green Apple. That same month he was special guest artist with the Boston Pops Orchestra at the Berkshire Music Festival at Tanglewood in a concert for the Pension Fund of the Boston Symphony Orchestra. Ellington was also invited by the Grace Episcopal Cathedral in San Francisco to present an evening of sacred music of his own composition at the Cathedral. "There is a wrong idea," noted The Very Reverend Julian Bartlett, dean of the Cathedral, "that anything enjoyable or entertaining is somehow sinful and profane." Ellington's September concert of the nonprofane drew more than 3000 listeners into the church. It led to a December concert at New York's Fifth Avenue Presbyterian Church. At year's end Ralph Gleason was completing for the National Educational Television Network an hourlong documentary on the perennially resourceful Duke; an Ellington musical, Pousse Café, was on its way to Broadway: the Duke had agreed to write the score for a new Frank Sinatra film, Assault on a Queen; and the State Department had decided to send the Ellington orchestra to represent the United States at the World Festival of Negro Arts and Music in Dakar next spring. The Duke already had a head start for 1966.

Another jazz titan, a year younger than Duke, scored high as a diplomat in the year gone by. Louis Armstrong drew tumultuous crowds on a spring tour behind the Iron Curtain. "I didn't see no curtain the whole time I was there." Louis declared. "Where do they keep it? The only curtain I saw was the one I closed when Lucille [Mrs. Armstrong] and I went to bed." In reciprocal relaxation of tension. Neues Deutschland, a leading East German newspaper, proclaimed: "Armstrong and his musicians play for all people. They are messengers of the good America, the America we love and respect." Armstrong filled the huge Prague Sports Palace, drew 80,000 in Budapest, and was mobbed in Belgrade. Russian officialdom remained resistant to his entry into the U.S.S.R., but he did travel by tape in June through an appearance on Evening Meeting, a widely popular television show in the Soviet Union.

In the United States Senate in June, Senator Jacob Javits of New York proposed that Armstrong be awarded a Presidential Medal of Freedom. Said Javits: "He played music which has been decried by the Communists for years as being 'degenerate' and he was triumphant." No Freedom Medals, however, were given this year. Meanwhile, Louis' domestic career flourished. He was signed for a featured role in the MGM musical I Got Rhythm; and as an index of his durability as an entertainer, when Shindig, the rock-'n'-roll television series, began to dip alarmingly in ratings, Armstrong was rushed in to take over two shows.

Perhaps the most meaningful event of the year for Armstrong himself was his first appearance in his home town. New Orleans, in more than a decade. On October 31 he played a concert for the benefit of the New Orleans Jazz Museum. As leader of a racially integrated band, Armstrong had previously been prevented from appearing in New Orleans by state laws banning mixed performances. And Louis had refused to take, an all-Negro combo. Those laws are now dead, so that Louis was finally able to come home on his own egalitarian terms. There were occasional signs during the year that Louis, laden with honors, was looking to the time when his travels would cease. He became a stockholder in the Negro-owned, Harlem-based Freedom National Bank and he talked of retiring some distant day to Ghana, "the country of my ancestors." But prospects were that Louis would be on the road for years to come. "You don't quit when you're still strong and enjoy your work," he said on his birthday, July 4. "And I love music just as much now as when I started to play."

Yet another major jazz veteran enjoyed what was for him unprecedented international acclaim. The pervasively influential Earl Hines was "rediscovered" both in Europe and at home. A spring European journey was so successful that it was extended into June. He had not been abroad for ten years, and he was greeted as if he were the jazz Artur Rubinstein--long lines, glowing reviews and, as he put it, "applause so thunderous it scares you." In America, Hines played a string of prestigious clubs and concert dates and recorded prolifically in New York. He had proved that jazz elders need not necessarily slide into limbo.

A younger--and considerably more controversial--jazzman than Earl Hines made jazz news after two years of relative inactivity. The stubbornly independent Ornette Coleman, a leading guru of the new jazz wave, returned to the club scene with an explosive stay early in the year at New York's Village Vanguard. In addition to his plastic alto saxophone, Coleman's arsenal included trumpet and violin for the first time. He was not yet the master of either, but his searing, sizzling violin playing was unlike anything heard previously in jazz or classical music. After the Vanguard, however, the economics of the avant-garde American jazz scene impelled Coleman to try the life of an expatriate. In August he arrived in England, was classified by the Ministry of Labor as a "concert artist" rather than a jazz musician and, accordingly, was allowed to play publicly. Coleman was well received, but moved on to other European dates.

While the jazz experimenters continued to find the American night-club scene bleak, established combos found no significant change from the previous year; and the growing number of Playboy Clubs provided heartening evidence that not all Americans spent their nocturnal time watching gunmen, high camp espionage agents and family traumas. One renowned jazz club, Birdland, did expire; and the Metropole, also in New York, cut down sharply on its jazz attractions in favor of rock-'n'-roll dancing girls and a discothèque operation.

There was, however, an encouraging surge of jazz organizations formed by aficionados committed to expanding work opportunities for jazzmen. They included the Jazz Arts Subscription Series in Detroit, the Left Bank Jazz Society in Baltimore, the Jazzworkers of Indianapolis and the strengthened Jazz at Home Club U.S.A. in Philadelphia. New York, too, had a new basing point for jazz partisans as Jazz Interactions, Inc., was founded in March. Like the others, its goal is to "foster a greater understanding and enjoyment of jazz." In addition to planning clinics, lectures and jam sessions, the club instituted the highly utilitarian Jazzline. Anyone in New York wanting to know where the action is need only call 469-3335 for a list of the current jazz attractions.

College support of jazz, meanwhile, increased markedly. Setting a standard for other colleges and universities, a group of students at Stanford inaugurated the most ambitious jazz program in American academic history. Begun in October and running through this spring, Stanford Jazz Year comprises concerts (with such luminaries as Duke Ellington, Louis Armstrong, Dizzy Gillespie, Thelonious Monk and Miles Davis), lectures, films, displays of photographs and other exhibits. Taking Stanford's lead, the University of California at Berkeley started a series of jazz concerts in November. Down the coast, a season of fine-arts productions at UCLA opened in the fall with the turbulent metaphysics of Charles Mingus. In the East, the Boston University Forum began its second year of jazz concerts and in New York, Hunter College expanded its jazz activities.

For the year to come, signs were that an increasing percentage of the nation's 2800 colleges would be providing dates for itinerant jazzmen. The enterprising saxophonist-leader Paul Winter obtained no less than 50 campus engagements in the first part of 1965.

Indigenous college jazz was also very much in evidence throughout the year. Intercollegiate Jazz Festivals, in which combos and big bands competed, took place at Villanova, Kansas City University, Notre Dame, Pennsylvania State and Gonzaga University in Spokane, among others. Nor was the jazz groove of academe always restricted to the campus. As part of the State Department's Cultural Presentations Program, the University of Denver Jazz Band--with arrangements by Bob Brookmeyer, Bill Holman, Jimmy Giuffre and other professionals--toured the Far East. The University of Michigan Jazz Band, traveling through Latin America on a 14-week journey for the State Department, found life on the international circuit hazardous. They were booked for an April 24 concert in Santo Domingo, but that was the day the Dominican rebellion exploded. The band canceled its concert and was evacuated a few days later.

During the summer, jazz clinics continued to thrive at the Universities of Indiana, Connecticut, Nevada and Utah. Such established musicians as Donald Byrd, Ron Carter, Charlie Mariano and John LaPorta were among the faculty members. And yet another university was added to those offering music degrees to students specializing in jazz. Starting in the fall, the University of Miami set up four-year programs for those aspiring to careers in studio music, jazz and music merchandising. For jazz majors there will be three jazz orchestras in action.

For postgraduate jazzmen, summertime was, as usual, concentrated on the festival wheel. A warm-up was to have taken place in New Orleans in May, but that event was summarily canceled. The reason: Although the Civil Rights Act now permitted inter-racial bands and audiences, 21 Negro football players, in town for the American Football League's all-star game in January, had been so persistently discriminated against by some of the unreconstructed local citizenry that they left the city in protest. Fearing similar dissonant publicity when the jazzmen came, the New Orleans civic authorities and businessmen who had asked impresario George Wein to develop the festival suddenly asked him to stop.

The climate was more propitious in Kansas City, where the Kansas City Tourist Commission and Kansas City Jazz Inc. combined for a successful "jazz week" in late April that was climaxed by the Count Basic band, which had begun its blazing career in K. C.

A Decade Of Playboy Jazz Poll Winners

All-Star Jazz Band

All-Stars' All-Stars

In Pittsburgh, the Pittsburgh Catholic Youth Organization, aided by the pervasive Mr. Wein, held another annual jazz festival in June. Among the outstanding performers were former Pitts-burghians Earl Hines, Mary Lou Williams, Art Blakey and Ahmad Jamal. More than 17,000 came during the three days. Wein was also in charge of a Detroit Jazz Festival in mid-August and the Ohio Valley Jazz Festival at the State Fair in Columbus from August 27 to 29. Furthermore, he helped assemble the first Down Beat Festival in Chicago, August 13--15.

The apex of Wein's year, however, is always the Newport Festival. Ensconced at a new site, Festival Field on Connell Highway, the 12th annual Newport rites took place July 1--4. (In the fall, he arranged for an exchange of talent between the Newport Festival and the Metropolitan Opera--the Met's people to appear at Newport for four concerts next July after the jazz festival: the Newporters to perform at Manhattan's Lewisohn Stadium concerts.) Although the usual array of stars--from Thelonious Monk to Muddy Waters--was present this year, the cynosure of the festival was a former band singer with Tommy Dorsey. Making his first appearance at Newport, Frank Sinatra arrived in the hiply regal style to which his followers have long been accustomed. On the final night, a helicopter dropped serenely onto the field, bearing the nonpareil--and exceedingly well-guarded--Sinatra. After a robust set with the Count Basic band. Sinatra returned to his home in the sky as the audience, mesmerized, watched the helicopter until it was out of sight. No one all year cut that entrance and that exit.

Of the more than 47,000 who attended the Newport Festival, 15,000 came for the Sunday night with Sinatra. Similar large, enthusiastic crowds welcomed the minstrel as he and Basic made a short summer tour. Two months before his scheduled two performances at the Forest Hills Festival in New York in July, all tickets were gone. When a third night was added, it, too, was quickly sold out. Clearly, Sinatra's drawing power has never been stronger, and although his participation in the jazz year was brief, he scored a singular triumph. It was a fitting milestone for Sinatra's 25th year in show business. Toward year's end, two TV specials (on NBC and CBS) marked that event and, coincidentally, celebrated Sinatra's 50th birthday.

The climax of the jazz-festival season was in Monterey, California, September 17--19. Although the music was uneven, the Monterey Festival was again, on balance, the most absorbing of the year's alfresco jazz celebrations. More than 30,000 heard, among other variegated sounds, Duke Ellington's (continued on page 179)Jazz '66(continued from page 89) striking new gospel-rooted singer, Esther Marrow; the stunning virtuosity of San Francisco alto saxophonist John Handy and his remarkable jazz violinist. Mike White: pianist-composer Denny Zeitlin, who doubles as a psychiatrist in residence in San Francisco; and a pride of top trumpets.

Jazzmen found oases in other areas besides festivals during the season of the sun. The straw-hat circuit--music tents and music barns--used more and more jazz performers, from the Dukes of Dixieland to Dave Brubeck to the bands of Duke Ellington and Count Basic. And Disneyland was a particular haven for big bands--Ellington, Sam Donahue's Tommy Dorsey orchestra, Les Brown, Si Zentner, Harry James and Woody.

During all seasons of the year, an increasing number of jazzmen found work in Europe, and some stayed. For swing-style musicians, Europe provides a more receptive audience than they can usually find at home. For example, after lean gigging in the States, tenor saxophonist Ben Webster did so well abroad that he decided to settle in England for a while. Trumpeters Buck Clayton and Ruby Braff, trombonists Vic Dickenson and Dickie Wells and blues singer Joe Turner were also among the jazzmen who increased their income--psychic as well as negotiable--during European tours. And the indestructible Stuff Smith, hottest of jazz violinists, remains in demand on the Continent.

A growing number of young jazz experimenters are also discovering that Europe can provide them with a wider range of opportunities than their native grounds. Trumpeter Donald Byrd, who has been commissioned to compose works for the Symphony Orchestra of Basel, among other groups, has become a permanent member of a radio-station orchestra in Oslo, Norway, where he is also starting a Jazz Composers' Workshop. Soprano saxophonist Steve Lacy, declaring, "I'm tired of being in the underground," left New York for Denmark, where his welcome was warm enough to make him consider sending for his wife and family. Vibist Walt Dickerson and trumpeter Don Cherry worked much more regularly in Europe than they did at home. Cherry, in fact, has formed an international quintet, called the Complete Communion, which includes sidemen from Germany, France, Italy and Argentina.

Composer George Russell, one of the most respected theorists in advanced jazz, has been given particular reason to remain in Europe. In America, his combo broke up for lack of bookings and he himself seldom received any writing assignments. In Sweden, by contrast, he led a small combo this past year and then toured the country successfully as head of a big band. He was, moreover, invited to teach Sweden's leading jazzmen in a six-week course co-sponsored by the city of Stockholm and a local federation of trade unions. To cap the year, Russell agreed to form the Stockholm Civic Jazz Orchestra, which will play in major European cities, and his sextet may tour the Iron Curtain countries. Turning into an Elysium for jazzmen, Sweden was also quite generous to its native swingers. Among the 1965 winners of government arts scholarships were eight Swedish jazz musicians.

Europe is also becoming an even more active terrain for jazz festivals than the United States. Among the major celebrations are San Remo in March: the rapidly growing Antibes Festival in late July: Comblain-La-Tour, Belgium, in early August: Prague in October: and Berlin, also in October. A feature at the Prague Festival was the avagarde Czech group of Gustave Brown, which is noted for, among other unprecedented explorations, a concerto for quarter-tone trumpet. The "Berliner Jazztage" (October 29-31) was spectacular in terms of its variety. Headliners included Lionel Hampton, Gerry Mulligan, Ornette Coleman, Roy Eldridge, Max Roach and Art Blakey: but especially startling was the scheduled panorama of tenor saxophonists, including Sonny Rollins. Don Byas, Booker Ervin, Brew Moore. Dexter Gordon and Ben Webster.

The most singular of all jazz phenomena in Europe is the only jazz club in the world subsidized by a government. It's The Reduta in Prague and it receives $30,000 a year to keep the beat alive--an example of state planning that even free-enterprise American jazzmen might regard with envious approval.

In Russia, 1965 was the best year yet for jazz. Condemned furiously during Khrushchev's barrage against Western-oriented intellectuals in 1962 and 1963. jazz has been slowly regaining a degree of grudging tolerance, but this year's official encouragement surprised even the most sanguine of Soviet jazzmen. In April, the first jazz competition in the history of the U. S. S. R. was held in Leningrad. During the same month, the Soviet Composers' Union and the Young Communist League held a three-day "jazz festival" before a selected audience in Moscow to grade amateur and student groups from all over Russia on the basis of their technical skills and the content of their material. A further sign of the thaw was the first tour of Russia by a native jazz orchestra--Joseph Winestein's from Leningrad--under government sponsorship.

In May, Ivestia commented on the April festival in Moscow, declaring that jazz has "great and serious attraction" for youth in the Soviet Union and announcing that the prize for the best composition at the festival had been awarded to Five Steps into Space. The next month, even stronger sanction was given to jazz by critic Arkady Petrov in the Moscow newspaper Soviet Culture. He reported that not only was the Moscow Composers' Union organizing a jazz seminar, but also the study of jazz instrumentation was to become part of the curriculum of the Moscow Conservatory.

Japan did not have as many American jazz visitors as in 1964, but those who went were enthusiastically received. Among them were Stan Getz and Chico Hamilton. In August, vintage New Orleans clarinetist George Lewis starred at a two-day festival of traditional jazz at Yakota Air Force Base outside Tokyo. Also on the program were such indigenous Japanese combos as the Dixie Dukes, the New Orleans Seven and the Creole Six. The American travelers who covered Japan most comprehensively last year were Art Blakey and his Jazz Messengers. In the spring, they toured 20 cities, and Blakey, glowing with pleasure at his acceptance, announced he would open a jazz school for underprivileged youngsters in Tokyo.

Jazz and Japan were also linked at the White House. In January a state dinner was held for Japanese Prime Minister Eisaku Sato. Among the dinner guests was Sarah Vaughan, who also headlined the after-dinner entertainment. Miss Vaughan was introduced by Mrs. Lyndon Johnson, sounding like Willis Conover: "We are very fortunate to have many wonderful singers in America, but only a few of these singers attract other singers. Sarah Vaughan is a singer's singer and a musician's singer."

As jazz--from Louis Armstrong to Sarah Vaughan--continued to prove its viability as diplomacy, jazz and religion were never closer than in 1965. In New York, the Reverend John Gensel, pastor of the Advent Lutheran Church and long a familiar presence at jazz clubs, was appointed "missionary to the jazz community" by the Lutheran Church's Board of American Missions. He continued to utilize the Advent Lutheran Church as a place where jazz writers could hear their religious music performed.

In San Francisco, during a spring weekend conference for high school youngsters sponsored by the Episcopal Diocese of California, pianist Vince Guaraldi--at Grace Episcopal Cathedral--combined jazz rhythms and harmonies with medieval plain song and Gregorian chant in his contemporary setting for the Eucharist. The performance was released later in the year on Fantasy.

A jazz mass was presented in June at the First Presbyterian Church in Elmira, New York: and St. Mark's Church-in-the-Bouwerie on New York's Lower East Side set up a jazz workshop for musicians, who were free to write secularly or spiritually. Composer Edgar Summerlin, long active in jazz-based religious composition, premiered his and poet William Robert Miller's Liturgy of the Holy Spirit in June as part of the annual program of the New York Conference of the Methodist Church meeting in Bridgeport. And Lalo Schifrin, formerly Dizzy Gillespie's pianist, composed a Jazz Suite on the Mass Texts that was released by RCA-Victor.

In the decidedly secular world of motion pictures, jazz composers were also more in evidence than in previous years. Quincy Jones created the scores for The Pawnbroker. Mirage and Slender Threads. Lalo Schifrin was even more active, having been responsible for the music in Once a Thief, Queen of the Apaches, The Cincinnati Kid and The Liquidators. Chico Hamilton scored Repulsion, Gerry Mulligan wrote the music for A Thousand Clowns and Eddie Sauter did the score, featuring Stan Getz, of Mickey One.

Neal Hefti scored the Carroll Baker Harlow: André Previn and his wife. Dory Langdon, wrote songs for Inside Daisy Clover: and Mal Waldron composed the music for the French film Three Rooms in Manhattan. Waldron also scored the American movie Sweet Love. Bitter ... . based on the novel Night Song by John A. Williams and featuring Dick Gregory playing a Charlie Parker-like character.

An Italian-produced film version of Max Roach's We Insist: Freedom Now Suite won first prize in the International Film Festival at Locarno, Switzerland, and was shown in September at the New York Film Festival in Lincoln Center.

The television picture was fragmentized. Al Hirt did head a summer-replacement series for The Jackie Gleason Show on CBS-TV, but its jazz content was meager. George Shearing was in charge of the tasteful The George Shearing Show in Los Angeles: and National Educational Television taped two programs on modern jazz in New York with, among others. Dizzy Gillespie and Cecil Taylor.

In recordings, there was a sizable jazz representation in the annual National Academy of Recording Arts and Sciences awards--the Grammy--for recorded excellence. Stan Getz took four first places--Album of the Year (Get Gilberto), Record of the Year (The Girl from Ipanema). Best Instrumental Jazz Performance--Soloist with Small Group and Best Engineered Recording (Ge Gilberto for both categories). Laurindo Almeida's Guitar from Ipanema was judged Best Large Group Instrumental Jazz Performance: and Lalo Schifrin's The Cat. recorded by Jimmy Smith, was honored as Best Original Jazz Composition. Best Male Vocal Performance: Louis Armstrong's Hello, Dolly! Best Performance by a Chorus: The Swingle Singers Going Baroque.

Stan Getz was on the best-selling album charts throughout the year with Getz Gilberto and Getz An Go Go, but the sleeper single and LP of 1965 in jazz was Ramsey Lewis' The In Crowd. The most important new label by far was Bernard Sotollman's ESP Disk, devoted entirely to such new expanders of the jazz language as Albert Ayler. Giuseppe Logan, Byron Allen, Roswell Rudd, John Tchicai, Pharaoh Sanders and Paul Bley.

The jazz obituary list for the year was long. Nat King Cole died in February and the Nat King Cole Cancer Fund was established to further medical research into the causes and possible cures for the disease. Spencer Williams, pianist, singer and composer of many jazz standards, was also on the list, along with composer-arranger-pianist Tadd Dameron and pianist-composer Clarence Williams. In addition, there were bandleaders Earl Bostic (who won several Playboy Jazz Medals as alto saxophonist). Red Nichols, Claude Thornhill, Joe Sanders (of the Coon-Sanders band), Art Kassel and Freddie Slack. Sidemen included drummers Denzil Best and Keg Purnell. bassists George Tucker, Ernie Shepard and Bonnie Wetzel. trombonist Willie Dennis, guitarist-banjoist Mike McKendrick, pianist Arthur Schutt, blues singer Sonny Boy Williamson, and New Orleans veterans Papa John Joseph, Joe Robichaux and Lester Santiago.

But the music of jazz remained insistently alive and persistently unpredictable. Buddy DeFranco, for example, long taken for granted as a virtuoso clarinetist but considered by some to be limited in emotional expressiveness, suddenly took on new stature in 1965 as he added the bass clarinet to his area of expertise and sounded like a hard-driving, rawly emotional "soul" stirrer. And in Phil Woods' jazz band at Ramblerny, a summer camp in New Hope, Pennsylvania, for youngsters interested in the performing arts, a sound of the future was heard as a new alto saxophonist emerged--Baird Parker, son of "the Bird."

All-Star Musicians' Poll

As 1965 drew to a close, Playboy's All-Stars' All-Stars were casting their ballots in the tenth annual Playboy Jazz Poll. Those 1965 Playboy Jazz Medal winners eligible to vote in their own poll were: Cannonball Adderley, Louis Armstrong, Bob Brookmeyer, Ray Brown, Dave Brubeck, Charlie Byrd, John Coltrane, Miles Davis, Buddy DeFranco, Paul Desmond. Duke Ellington. Ella Fitzgerald, Pete Fountain, Stan Getz, Dizzy Gillespie, Lionel Hampton, Al Hirt. Milt Jackson, J. J. Johnson, Elvin Jones, Henry Mancini, Charles Mingus, Wes Montgomery, Joe Morello. Gerry Mulligan, Mimi Perrin (Double Six of Paris), Oscar Peterson, Frank Sinatra. N. Paul Stookey (Peter. Paul & Mary), Barbra Streisand, Kai Winding and Si Zentner.

All-Stars' All-Star Leader: The Duke was nonpareil as usual and the second and third slots remained the same, but Lionel Hampton and Quincy Jones moved up to tie for fourth place. 1. Duke Ellington; 2. Count Basic; 3. Woody Herman; 4. Lionel Hampton, Quincy Jones.

All-Stars' All-Star Trumpet: The first four trumpet places were status quo from last year. However, Nat Adderley and Lee Morgan tied for fifth, displacing Art Farmer. 1. Dizzy Gillespie; 2. Miles Davis; 3. Clark Terry; 4. Freddie Hubbard; 5. Nat Adderley, Lee Morgan.

All-Stars' All-Star Trombone: Although the estimable J. J. made it no contest for bone king, there was considerable activity below him, with Bill Harris and Curtis Fuller, unplaced last year, putting in appearances. 1. J. J. Johnson; 2. Bob Brookmeyer; 3. Frank Rosolino: 4. Curtis Fuller; 5. Bill Harris, Kai Winding.

All-Stars' All-Star Alto Sax: Paul Desmond, who was derailed by the Cannon-ball Express last year, got back on the track this go-round, and veteran Lee Konitz usurped alto elder statesman Johnny Hodges' fifth-place listing. 1. Paul Desmond; 2. Cannonball Adderley; 3. Sonny Stitt; 4. Phil Woods; 5. Lee Konitz.

All-Stars' All-Star Tenor Sax: Stan Getz was reprised as tenorpotentiary, but the Bean, unlisted last year, jumped up to a third-place tie with Sonny Rollins, dislodging Zoot Sims, who dropped from the rankings. 1. Stan Getz; 2. John Coltrane; 3. Coleman Hawkins, Sonny Rollins: 5. James Moody.

All-Stars' All-Star Baritone Sax: With perennial front-runner Gerry Mulligan leading the pack, the baritone-sax standings were practically identical with last year's. 1. Gerry Mulligan; 2. Harry Carney; 3. Pepper Adams; 4. Cecil Payne; 5. Charles Davis.

All-Stars' All-Star Clarinet: Art Pepper and Ellington stalwart Jimmy Hamilton were the "new" faces in the clarinet first five, as Buddy DeFranco again led all the rest. 1. Buddy DeFranco; 2. Benny Goodman; 3. Pete Fountain; 4. Jimmy Hamilton; 5. Art Pepper, Bill Smith.

All-Stars' All-Star Piano: Last year's finishers remained essentially unchanged, with Peterson earning the All-Stars' Oscar, Hank Jones edging up into a third-place tie with Dave Brubeck, and Ahmad Jamal garnering enough votes to tie for fifth. 1. Oscar Peterson; 2. Bill Evans: 3. Dave Brubeck, Hank Jones: 5. Ahmad Jamal, Thelonious Monk.

All-Stars' All-Star Guitar: Again the guitar hierarchy was headed Wes, as the only change in the order of finish was last year's fourth-place holder Jimmy Raney yielding his rung to Kenny Burrell. 1. Wes Montgomery; 2. Jim Hall: 3. Herb Ellis: 4. Kenny Burrell; 5. Jim Raney.

All-Stars' All-Star Bass: While Ray Brown once more took the laurels, there was a considerable shake-up in the bass lower echelons, with Charlie Mingus. Eugene Wright and Richard Davis moving up to claim the third through fifth positions. 1. Ray Brown; 2. Red Mitchell; 3. Charles Mingus; 4. Eugene Wright; 5. Richard Davis.

All-Stars' All-Star Drums: Although the names were the same, except for Elvin Jones' repeat as skins winner, the order was well-scrambled, with Joe Morello moving up from fourth to second, replacing Art Blakey who skidded to fifth. 1. Elvin Jones; 2. Joe Morello: 3. Shelly Manne: 4. Philly Joe Jones; 5. Art Blakey.

All-Stars' All-Star Miscellaneous Instrument: The MJQ's masterful mallet man Milt Jackson continued to hold sway in this department, but the big Trane's soprano sax earned a number-two-slot tie with the high priest of the Hammond. Jimmy Smith. 1. Milt Jackson, vibes; 2. John Coltrane, soprano sax, Jimmy Smith, organ; 4. Gary Burton, vibes; 5. Jean Thielemans, harmonica.

All-Stars' All-Star Male Vocalist: That old familiar one-two punch of Frank Sinatra and Ray Charles was still a potent combination this year, but the third and fourth positions had new occupants. Joe Williams and Arthur Prysock, 1. Frank Sinatra; 2. Ray Charles; 3. Joe Williams; 4. Arthur Prysock; 5. Tony Bennett.

All-Stars' All-Star Female Vocalist: The only change in the also-rans strung out far behind the formidable Miss Fitz was brought about by the world's most famous funny girl, Barbra Streisand, wresting fifth place from Peggy Lee. 1. Ella Fitzgerald; 2. Sarah Vaughan; 3. Nancy Wilson; 4. Carmen McRae; 5. Barbra Streisand.

All-Stars' All-Star Instrumental Combo: Forging to the fore from last year's tic for third was the Modern Jazz Quartet. The Brubeck men, the previous titleholders, had to settle for third as the Oscar Peterson Trio slipped in as runner-up. 1. Modern Jazz Quartet; 2. Oscar Peterson Trio; 3. Dave Brubeck Quartet; 4. Cannonball Adderley Sextet; 5. Miles Davis Quintet.

All-Stars' All-Star Vocal Group: The French tricolor again flew over the vocal-group standings, but this time it was the Swingle Singers taking over for the Double Six of Paris, who dropped a notch. The Beatles and the Supremes showed up for the first time, tying for fifth

1. Swingle Singers; 2. Double Six of Paris; 3. Four Freshmen, Hi-Lo's; 5. Beatles, Supremes

Jazz Hall of Fame

This past October, two new categories were presented on the Playboy Jazz Poll ballot: In the first, the readers were asked to designate their choices of three outstanding jazz artists--instrumentalists or vocalists, living or dead--whom they deemed deserving of being honored with permanent niches in The Playboy Jazz Hall of Fame, Each year, readers will be asked to nominate three new candidates for the Hall of Fame to take their places alongside those already selected. The following is the order of finish of the first 25 vote-getters in the balloting:

1. Louis Armstrong

2. Frank Sinatra

3. Dave Brubeck

4. Duke Ellington

5. Ella Fitzgerald

6. Charlie Parker

7. Nat "King" Cole

8. Miles Davis

9. Benny Goodman

10. Stan Getz

11. Al Hirt

12. Count Basie

13. Billie Holiday

14. Barbra Streisand

15. Ray Charles

16. Stan Kenton

17. Henry Mancini

18. Gene Krupa

19. Dizzy Gillespie

20. Thelonious Monk

21. Glenn Miller

22. Jack Teagarden

23. Dinah Washington

24. Jimmy Smith

25. Nancy Wilson

Records of the Year

Our readers were also asked to vote for their favorite LPs of the year in three categories--Best Instrumental (Big Band), Best Instrumental (Fewer than Eight Pieces) and Best Vocal. The balloting indicated a broad spectrum of choices, but the pick for the number-one LP in each category was an overwhelming one.

Best Big Band LP: Ellington '66 (Reprise) A royal romp, by the Duke and his men, through a host of pop favorites such as All My Loving and I Can't Stop Loving You, it was an exemplary LP, eliciting from Playboy's record reviewer the remark that "the hit parade never had it so good." Our readers obviously concurred.

Best Small Combo LP: The In Crowd / The Ramsey Lewis Trio (Argo). The soul-full sounds of pianist-leader Lewis and his cohorts--bassist El Dee Young and drummer Red Holt--rose to a new peak of popularity this past year and The In Crowd, both as a single and as the title tune of the LP, contributed mightily to the approbation. Along with the Crowd pleaser. the album featured such variegated items as Felicidade, Tennessee Waltz, and the Love Theme from Spartacus.

Best Vocal LP: My Name Is Barbra / Barbra Streisand (Columbia). Miss Streisand, the girl with the golden touch, added to her laurels with this recording. The full range of Barbra's vocal talents was tapped in her delivery of the nonsense tune Sweet Zoo, the Gershwins' classic Someone to Watch Over Me and a tourde-force treatment of I've Got No Strings from Pinocchio.

The following are the 25 top vote-getters in each LP category:

Best Big Band LP

1. Ellington '66 (Reprise)

2. The Pink Panther / Henry Mancini (Victor)

3. Goldfinger / John Barry (Sound track) (United Artists)

4. Cast Your Fate to the Winds/Sounds Orchestral (Parkway)

5. The Cat/Jimmy Smith (Verve)

6. Whipped Cream & Other Delights/Herb Alpert's Tijuana Brass (A & M)

7. Dear Heart/Henry Mancini (Victor)

8. My Kind of Broadway / Woody Herman (Columbia)

9. Stan Kenton / Wagner (Capitol)

10. Pop Goes the Basie (Reprise)

11. On Stage / Gerald Wilson (Pacific Jazz)

12. Monk / Big Band and Quartet in Concert (Columbia)

13. The Concert Sound of Henry Mancini (Victor)

14. More Blues & The Abstract Truth/Oliver Nelson (Impulse!)

15. Who's Afraid of Virginia Woolf?/Jimmy Smith (Verve)

16. Monster / Jimmy Smith (Verve)

17. Ellington '65 (Reprise)

18. Insight / Rod Levitt (Victor)

19. The Best of Henry Mancini (Victor)

20. The Roar of the Greasepaint--The Smell of the Crowd / Herbie Mann (Atlantic)

21. Al Hirt Live at Carnegie Hall (Victor)

22. Mingus at Monterey (Charles Mingus Enterprises)

23. 3-27-65 / Charlie Parker 10th Memorial Concert (Limelight)

24. The Latin Sound of Henry Mancini (Victor)

25. Orchestra Portraits / Gerald Wilson (Pacific Jazz)

Best Small Combo LP

1. The In Crowd / Ramsey Lewis Trio (Argo)

2. Getz Au Go-Go (Verve)

3. Getz/Gilberto (Verve)

4. Jazz Impressions of New York/Dave Brubeck (Columbia)

5. Jazz Impressions of Japan / Dave Brubeck (Columbia)

6. A Love Supreme / John Coltrane (Impulse!)

7. Collaboration / Modern Jazz Quartet--Laurindo Almeida (Atlantic)

8. Song for My Father / Horace Silver (Blue Note)

9. My Funny Valentine / Miles Davis (Columbia)

10. Soul Sauce / Cal Tjader (Verve)

11. Angel Eyes / Dave Brubeck (Columbia)

12. Oscar Peterson Plus One / Oscar Peterson--Clark Terry (Mercury)

13. Bob Brookmeyer & Friends (Columbia)

14. Canadiana Suite / Oscar Peterson (Limelight)

15. Domination / Cannonball Adderley (Capitol)

16. Miles Davis in Europe (Columbia)

17. Bossa Antigua / Paul Desmond (Victor)

18. Tonight / Bob Brookmeyer--Clark Terry (Mainstream)

19. Fiddler on the Roof / Cannonball Adderley (Capitol)

20. Time Changes / Dave Brubeck (Columbia)

21. The Sidewinder/Lee Morgan (Blue Note)

22. Solo Monk / Thelonious Monk (Columbia)

23. Trio '65 / Bill Evans Trio (Verve)

24. Man from Two Worlds/Chico Hamilton (Impulse!)

25. Soft Samba/Gary McFarland (Verve)

Best Vocal LP

1. My Name Is Barbra / Barbra Streisand (Columbia)

2. People/Barbra Streisand (Columbia)

3. The Nancy Wilson Show! (Capitol)

4. Help!/The Beatles (Capitol)

5. Today--My Way/Nancy Wilson (Capitol)

6. September of My Years/Frank Sinatra (Reprise)

7. Out of Our Heads / The Rolling Stones (London)

8. The Astrud Gilberto Album (Verve)

9. Ray Charles Live in Concert (ABC-Paramount)

10. Frank Sinatra /'65 (Reprise)

11. It Might As Well Be Swing/Frank Sinatra-Count Basie (Reprise)

12. Bringing It All Back Home / Bob Dylan (Columbia)

13. The Shadow of Your Smile/Astrud Gilberto (Verve)

14. Take Five / Dave Brubeck--Carmen McRae (Columbia)

15. A Song Will Rise / Peter, Paul & Mary (Warner Bros.)

16. Peter, Paul & Mary in Concert (Warner Bros.)

17. Pass Me By/Peggy Lee (Capitol)

18. With a Taste of Honey / Morgana King (Mainstream)

19. Anyone for Mozart? / The Swingle Singers (Philips)

20. How Glad I Am / Nancy Wilson (Capitol)

21. Softly, As I Leave You/Frank Sinatra (Reprise)

22. Streisand III (Columbia)

23. Gentle Is My Love / Nancy Wilson (Capitol)

24. The Beatles VI (Capitol)

25. Funny Girl/Barbra Streisand (Capitol)

All-Star Readers' Poll

Our readers were evidently quite content with the results of their previous balloting, returning the All-Star Jazz Band intact, with only a switch in the third and fourth trumpet chairs preventing it from being an exact duplicate of the 1965 Band.

Henry Mancini again had a firm grasp on the leader's baton. The only major change in the order of finish was Gerald Wilson moving up to 7th place from last year's 13th spot.

The one change in the All-Star Jazz Band's seating arrangement occurred in the trumpet section, where Dizzy Gillespie moved up to third chair and Louis Armstrong dropped down a notch.

Our trombone section, with J. J. leading the way, was status quo. Grachan Moncur III, unplaced last year, managed to garner over a thousand votes this go-round.

The consummate Cannonball and Dave Brubeck's altoist extraordinaire, Paul Desmond, repeated their one-two finish. Paul Winter's heavy involvement in the popular bossa-nova medium undoubtedly contributed to his 15th-place finish after being unlisted last year.

America's premier exponent of the bossa nova, Stan Getz, again occupied the first tenor chair, running far ahead of confrere John Coltrane. The also-rans were amazingly similar in order of finish to the 1965 results.

The mighty Mulligan once more made a runaway of the baritone balloting. The most important change among those that followed far behind was Ellington's ageless Harry Carney moving up to fourth.

New Orleans' nabob of the clarinet, Pete Fountain, again had things his own way in the voting, with the King of Swing swinging up from third to second.

Although Dave Brubeck easily repeated his piano honors, the big news in this division was Ramsey Lewis' remarkable leap forward from last year's 11th-place ranking to the runner-up slot.

Charlie Byrd and Chet Atkins, who have battled down to the wire in the last several years for the guitar chair, were at it again, with Byrd just edging out Nashville's pride and joy.

Charlie Mingus, who last year displaced bass winner Ray Brown by the narrowest of vote margins, widened the gap for 1966. The biggest gains in the bass department were scored by El Dee Young, leaping from 14th to 4th, and Buddy Clark, who jumped from 17th to 6th.

Brubeck drumbeater Joe Morello, last year's winner, maintained his lead in the voting over drummer man Gene Krupa. The rest of the skin men showed very little change of place from last year.

That perennial Wunderkind of the vibes, Lionel Hampton, again ruled the miscellaneous-instrument roost, with organist Jimmy Smith taking over the second spot from flutist Herbie Mann.

Our readers helped Frank Sinatra celebrate 25 years in show business by making him a shoo-in as male vocalist, with Ray Charles again being voted the heir apparent. Elsewhere in the standings, the wham of Sam earned Davis the third position while Tony Bennett leapfrogged from tenth to fifth.

Her name is Barbra and she's our readers' favorite thrush for the second year running, with Nancy Wilson and Ella following in that order, Worthy of note was English lark Petula Clark's rise from nowhere to fifth place and carioca Astrud Gilberto's advance from 30th to 7th.

While the Dave Brubeck Quartet was again given a vote of confidence as the readers' favorite four, the trio of Ramsey Lewis (who garnered the second spot as pianist), won a similar accolade.

Folkdom favorites Peter, Paul & Mary were our readers' choice for the third year in a row, but there were new faces among the also-rans. Blighty's Beatles edged out France's Swingles for the number-two spot, and the Righteous Brothers roared into fifth position.

The following is a tabulation of the many thousands of votes cast in the biggest of all jazz polls. The names of the jazzmen who won places on the 1966 All-Star Jazz Band are in boldface type. (They will be awarded silver medals, as will the All-Stars' All-Stars, our three Hall of Fame winners, and the performers and their record companies, of the three records of the year.) In some Jazz Band categories, there are two or more winners in order to make up a full-scale jazz orchestra. Artists polling fewer than 100 votes are not listed; in categories where two choices were allowed, those receiving fewer than 200 votes are not listed; in categories where four votes were allowed, no one with under 400 votes is listed.

(continued on next page)

Leader

1. Henry Mancini..........9,880

2. Duke Ellington..........3,748

3. Count Basie..........2,605

4. Stan Kenton..........2,237

5. Ouincy Jones..........1,162

6. Woody Herman..........1,036

7. Gerald Wilson..........755

8. Gil Evans..........649

9. Charlie Mingus..........613

10. Ray Conniff..........576

11. Si Zentner..........534

12. Dizzy Gillespie..........496

12. Gerry Mulligan..........496

14. Benny Goodman..........429

15. Oliver Nelson..........413

16. John Lewis..........361

17. Nelson Riddle..........347

18. Lionel Hampton..........270

19. Gary McFarland..........215

20. Les Brown..........201

21. Les and Larry Elgart..........190

22. Skitch Henderson..........165

23. Harry James..........123

24. Marty Paich..........118

25. Ted Heath..........109

Trumpet

1. Miles Davis..........15,985

2. Al Hirt..........13,376

3. Dizzy Gillespie..........11,316

4. Louis Armstrong..........10,613

5. Maynard Ferguson..........6,683

6. Clark Terry..........4,668

7. Doc Severinsen..........4,481

8. Nat Adderley..........3,838

9. Jonah Jones..........3,775

10. Bobby Hackett..........3,424

11. Harry James..........3,330

12. Art Farmer..........2,839

13. Chet Baker..........2,340

14. Billy Butterfield..........1,893

15. Lee Morgan..........1,305

16. Donald Byrd..........1,267

17. Shorty Rogers..........1,074

18. Roy Eldridge..........1,018

19. Pete Candoli..........990

20. Conte Candoli..........923

21. Freddie Hubbard..........888

22. Jack Sheldon..........583

23. Don Cherry..........559

24. Blue Mitchell..........502

25. Don Fagerquist..........436

26. Wild Bill Davison..........123

26. Muggsy Spanier..........423

28. Carmell Jones..........416

29. Kenny Dorham..........403

Trombone

1. J. J. Johnson..........16,557

2. Kai Winding..........12,256

3. Si Zentner..........12,006

4. Bob Brookmeyer..........10,664

5. Slide Hampton..........4,496

6. Urbie Green..........3,272

7. Frank Rosolino..........2,527

8. J. C. Higginbotham..........2,322

9. Jimmy Cleveland..........2,310

10. Turk Murphy..........2,259

11. Curtis Fuller..........2,193

12. Kid Ory..........1,975

13. Carl Fontana..........1,613

14. Dave Baker..........1,456

15. Bill Harris..........1,362

16. Bennie Green..........1,353

17. Bob Fitzpatrick..........1,188

18. Al Grey..........1,158

19. Trummy Young..........1,080

20. Milt Bernhart..........1,072

21. Dick Nash..........1,049

22. Lawrence Brown..........1,012

23. Grachan Moncur 111..........1,009

24. Charles McPherson..........975

25. Quentin Jackson..........954

26. Tyree Glenn..........937

27. Fred Assunto..........931

28. Wayne Henderson..........905

29. Wilbur De Paris..........877

30. Harold Betters..........807

31. Lou McGarity..........629

31. Phil Wilson..........629

33. Benny Powell..........622

34. Albert Mangelsdorff..........571

35. Vic Dickenson..........526

36. Cutty Cutshall..........522

37. Jimmy Knepper..........509

38. Dickie Wells..........489

39. Rod Levitt..........457

40. Jiggs Wigham..........418

Alto Sax

1. Cannonball Adderley..........15,835

2. Paul Desmond..........13,335

3. Johnny Hodges..........2,215

4. Ornette Coleman..........1,559

5. Zoot Sims..........1,526

6. Sonny Stitt..........1,403

7. Bud Shank..........1,050

8. Art Pepper..........952

9. Paul Horn..........948

10. James Moody..........868

11. Phil Woods..........771

12. Lee Konitz..........762

13. Ted Nash..........755

14. Benny Carter..........571

15. Paul Winter..........572

16. Hank Grawford..........571

17. Jackie McLcan..........517

18. Al Belletto..........486

19. Charlie Mariano..........442

20. Lou Donaldson..........377

21. John Handy..........362

22. Walt Levinsky..........324

23. Gabe Baltazar..........315

24. Willie Smith..........313

25. Bob Donovan..........297

26. Jimmy Woods..........268

27. Bunky Green..........262

28. Marshal Royal..........251

29. Leo Wright..........237

30. Gigi Gryce..........228

31. Lennie Nichans..........223

32. Sonny Simmons..........204

Tenor Sax

1. Stan Getz..........19,212

2. John Coltrane..........9,589

3. Coleman Hawkins..........2,528

4. Sonny Rollins..........2,147

5. Zoot Sims..........1,339

6. Yusef Lateef..........1,170

7. "Fathead" Newman..........1,168

8. Roland Kirk..........763

9. Al Cohn..........694

10. Sonny Stitt..........653

11. Eddie Davis..........621

12. Bud Freeman..........593

13. Sam Donahue..........553

14. Eddie Harris..........550

15. Illinois Jacquet..........549

16. Paul Gonsalves..........548

17. Ben Webster..........542

18. James Moody..........521

19. Hank Mobley..........495

20. Stanley Turrentine..........457

21. Georgie Auld..........452

22. Sal Nistico..........403

23. Plas Johnson..........377

24. Charles Lloyd..........357

25. Buddy Tate..........340

26. Bob Cooper..........339

27. Vido Musso..........337

28. Dave Pell..........331

29. Corky Corcoran..........330

30. Jimmy Heath..........321

31. Jimmy Woods..........300

32. Benny Golson..........298

33. Eddie Miller..........276

34. Dexter Gordon..........258

35. Al Klink..........256

35. Wayne Shorter..........256

37. Booker Ervin..........254

38. Bill Perkins..........224

39. Budd Johnson..........217

40. Archie Shepp..........213

41. Richie Kamuca..........204

41. Flip Phillips..........204

Baritone Sax

1. Gerry Mulligan..........18,127

2. Jimmy Giuffre..........1,253

3. Pepper Adams..........862

4. Harry Carney..........838

5. Bud Shank..........829

6. Charles Davis..........723

7. Sahib Shihab..........633

8. Chuck Gentry..........623

9. Jerome Richardson..........411

10. Lonnie Shaw..........407

11. Ake Persson..........393

12. Frank Hittner..........322

13. Jack Nimitz..........270

14. Bill Hood..........246

15. Peter Leeds..........240

16. Ernie Caceres..........219

17. Cecil Payne..........209

18. Butch Stone..........198

19. Stanley Webb..........195

20. Clifford Scott..........176

21. Ronnie Cuber..........141

Clarinet

1. Pete Fountain..........8,937

2. Benny Goodman..........3,303

3. Acker Bilk..........3,136

4. Woody Herman..........2,820

5. Buddy DeFranco..........2,291

6. Jimmy Giuffre..........1,909

7. Paul Horn..........1,053

8. Pee Wee Russell..........1,003

9. Buddy Collette..........544

10. Art Pepper..........493

11. Tony Scott..........440

12. Jimmy Hamilton..........385

13. Phil Woods..........307

14. Sol Yaged..........262

15. Matty Matlock..........237

16. Peanuts Hucko..........234

17. Bill Smith..........189

18. Edmond Hall..........159

19. Barney Bigard..........135

Piano

1. Dave Brubeck..........5,281

2. Ramsey Lewis..........3,394

3. Peter Nero..........2,619

4. Oscar Peterson..........2,546

5. Thelonious Monk..........1,957

6. André Previn..........1,589

7. George Shearing..........1,135

8. Erroll Garner..........1,063

9. Ahmad Jamal..........916

10. Bill Evans..........870

11. Duke Ellington..........783

12. Count Basic..........756

13. Vince Guaraldi..........606

14. Horace Silver..........375

15. Earl "Fatha" Hines..........362

16. Mose Allison..........264

17. Les McCann..........238

18. Herbie Hancock..........225

19. John Lewis..........213

20. McCoy Tyner..........210

21. Denny Zeitlin..........181

22. Don Shirley..........159

23. Cy Coleman..........142

24. Junior Mance..........118

25. Skitch Henderson..........102

26. Bobby Timmons..........100

Guitar

1. Charlie Byrd..........5,679

2. Chet Atkins..........5,370

3. Wes Montgomery..........2,412

4. Laurindo Almeida..........2,224

5. Kenny Burrell..........1,482

6. Jim Hall..........1,425

7. Tony Mottola..........863

8. Barney Kessel..........832

9. Herb Ellis..........786

10. Les Paul..........666

11. Eddie Condon..........618

12. Howard Roberts..........522

13. Johnny Smith..........502

14. Bola Sete 484

15. Gabor Szabo..........336

16. Joe Pass..........306

17. Mundell Lowe..........301

18. Sal Salvador..........269

19. Al Viola..........249

20. Al Hendrickson..........189

20. George Van Eps..........189

22. Grant Green..........178

23. Freddie Green..........136

24. George Harrison..........132

25. Oscar Moore..........124

26. João Gilberto..........115

27. Attila Zoller..........109

28. Tal Farlow..........105

Bass

1. Charlie Mingus..........5,664

2. Ray Brown..........5,026

3. Gene Wright..........1,959

4. El Dee Young..........1,252

5. Art Davis..........813

6. Buddy Clark..........793

7. Percy Heath..........780

8. Paul Chambers..........759

9. Chubby Jackson..........616

10. Leroy Vinnegar..........559

11. Sam Jones..........491

12. Bob Haggart..........472

13. Joe Byrd..........458

14. Monk Montgomery..........415

15. Ron Carter..........385

16. Milt Hinton..........370

17. Don Bagley..........303

18. Norman Bates..........302

19. Eddie Safranski..........348

20. Keter Betts..........337

21. Red Mitchell..........336

22. Arvell Shaw..........331

23. Chuck Israels..........281

24. Pops Foster..........279

25. Bill Crow..........244

26. Slam Stewart..........234

27. Red Callender..........204

28. George Duvivier..........201

29. Gene Cherico..........192

30. Jimmy Garrison..........189

31. Richard Davis..........180

32. Howard Rumsey..........178

33. Steve Swallow..........174

34. Gary Peacock..........158

35. Major Holley..........151

36. George Tucker..........142

37. Monty Budwig..........139

38. Joe Benjamin..........122

39. Eddie Jones..........122

40. Joe Mondragon..........117

41. Mike Rubin..........113

42. Pierre Michelot..........112

43. Johnny Frigo..........106

43. Butch Warren..........106

Drums

1. Joe Morello..........6,966

2. Gene Krupa..........4,110

3. Shelly Manne..........2,512

4. Art Blakey..........1,350

5. Cozy Cole..........1,219

6. Elvin Jones..........1,081

7. Buddy Rich..........1,038

8. Chico Hamilton..........771

9. Red Holt..........704

10. Max Roach..........681

11. Philly Joe Jones..........646

12. Ed Thigpen..........475

13. Rufus Jones..........426

14. Tony Williams..........388

15. Louis Bellson..........372

16. Ringo Starr..........321

17. Jo Jones..........307

18. Sandy Nelson..........295

19. Sonny Payne..........265

20. Connie Kay..........236

20. Mel Lewis..........236

22. Jake Hanna..........214

23. Sam Woodyard..........207

24. Jack Sperling..........171

25. Sonny Greer..........157

25. Roy Haynes..........157

27. Danny Barcelona..........155

28. Dave Bailey..........148

29. Grady Tate..........115

30. Louis Hayes..........138

31. Nick Fatool..........124

32. Joe Dukes..........112

33. Kenny Clarke..........108

34. Osic Johnson..........102

35. Frank Capp..........101

Miscellaneous Instrument

1. Lionel Hampton, vibes ..........4,606

2. Jimmy Smith, organ ..........3,984

3. Herbie Mann, flute ..........3,235

4. Cal Tjader, vibes ..........1,915

5. Milt Jackson, vibes ..........1,673

6. Miles Davis, Flügethorn ..........1,233

7. Roland Kirk, manzello, stritch, flute ..........825

8. John Coltrane, soprano sax ..........781

9. Yusef Lateef, flute, oboe ..........772

10. Gary Burton, vibes ..........653

11. Arthur Lyman, vibes ..........585

12. Clark Terry, Flügelhorn ..........549

13. Terry Gibbs, vibes ..........489

14. Red Norvo, vibes ..........462

15. Art Van Damme, accordion ..........429

16. Paul Horn, flute ..........352

17. Candido, bongo ..........303

18. Chet Baker, Flügelhorn ..........291

19. James Moody, flute ..........268

20. Buddy DeFranco, bass clarinet ..........228

21. Bob Rosengarden, bongo ..........220

22. Art Farmer, Flügelhorn ..........211

23. Bud Shank, flute ..........186

24. Gary McFarland, vibes ..........184

24. Ray Starling, mellophonium ..........184

26. Frank Wess, flute ..........149

27. Don Elliott, vibes, mellophone ..........148

28. Leo Diamond. harmonica ..........145

29. Ray Brown, cello ..........142

30. Shirley Scott, organ ..........141

31. Shorty Rogers, Flügelhorn ..........139

32. Jesse Fuller, harmonica ..........138

33. Milt Buckner, organ ..........118

34. Buddy Collette, flute ..........115

35. Jean Thielemans, harmonica ..........112

36. Steve Lacy, soprano sax ..........103

36. Ray Nance, violin ..........103

38. Dick Roberts, banjo ..........101

39. Julius Watkins, French horn ..........100

Male Vocalist

1. Frank Sinatra..........5,865

2. Ray Charles..........2,455

3. Sammy Davis Jr...........2,216

4. Andy Williams..........1,890

5. Tony Bennett..........1,399

6. Jack Jones..........1,332

7. Johnny Mathis..........1,231

8. Mel Tormé..........210

9. Mose Allison..........856

10. Harry Belafonte..........811

11. Joe Williams..........775

12. Trini Lopez..........753

13. Dean Martin..........720

14. Oscar Brown, Jr...........708

15. Lou Rawls..........643

16. Roger Miller..........562

17. Bob Dylan..........430

18. Louis Armstrong..........423

19. Arthur Prysock..........403

20. Jon Hendricks..........297

21. Steve Lawrence..........256

22. Buddy Greco..........225

23. Bobby Darin..........217

24. Johnny Hartman..........210

25. Lightnin' Hopkins..........163

26. Muddy Waters..........153

27. Billy Eckstine..........141

28. John Gary..........141

29. Vie Damone..........129

29. Bill Henderson..........129

31. Elvis Presley..........126

32. Perry Como..........124

33. Jimmy Rushing..........113

34. King Pleasure..........112

35. Frankie Laine..........111

36. Mark Murphy..........106

Female Vocalist

1. Barbra Streisand..........5,967

2. Nancy Wilson..........5,488

3. Ella Fitzgerald..........3,522

4. Joan Baez..........1,549

5. Petula Clark..........963

6. Peggy Lee..........943

7. Astrud Gilberto..........834

8. Nina Simone..........610

9. Carmen McRae..........562

10. Sarah Vaughan..........510

11. Eydie Gormé..........478

12. Julie London..........453

13. Joanie Sommers..........389

14. Connie Francis..........362

15. Morgana King..........360

16. Diahann Carroll..........310

17. June Christy..........304

18. Vikki Carr..........292

19. Anita O'Day..........263

20. Pearl Bailey..........214

20. Della Reese..........214

22. Gloria Lynne..........212

23. Ethel Ennis..........204

24. Lena Horne..........189

25. Doris Day..........168

26. Aretha Franklin..........153

26. Judy Garland..........153

28. Keely Smith..........148

29. Mahalia Jackson..........134

30. Chris Connor..........133

30. Miriam Makeba..........133

32. Annie Ross..........127

33. Marianne Faithful..........123

33. Dionne Warwick..........123

35. Damita Jo..........109

35. Marian Montgomery..........109

37. Patti Page..........103

38. Barbara McNair..........101

Instrumental Combo

1. Dave Brubeck Quartet 6,475

2. Ramsey Lewis Trio..........3,867

3. Stan Getz Quartet..........1,719

4. Al Hirt's New Orleans Sextet..........1,551

5. Oscar Peterson Trio..........1,293

6. Modern Jazz Quartet..........1,179

7. Miles Davis Sextet..........775

8. John Coltrane Quartet..........621

9. Louis Armstrong All-Stars..........612

10. Cannonball Adderley Sextet..........600

11. George Shearing Quintet..........556

12. Herbie Mann Quartet..........478

13. Jimmy Smith Trio..........462

14. Thelonious Monk Quartet..........451

15. Ahmad Jamal Trio..........414

16. Vince Guaraldi Trio..........406

17. Art Blakey and the Jazz Messengers..........364

18. Dizzy Gillespie Quintet..........362

19. André Previn Trio..........345

20. Gerry Mulligan Quartet..........322

21. Charlie Byrd Trio..........319

22. Dukes of Dixieland..........305

23. Cal Tjader Quintet..........301

24. Al Belletto Quartet..........277

25. Bill Evans Trio..........240

26. Terry-Brookmeyer Quintet..........238

27. Charlie Mingus Sextet..........234

28. Jazz Crusaders..........226

29. Horace Silver Quintet..........208

30. Erroll Garner Trio..........187

31. Martin Denny Group..........181

32. Gene Krupa Quartet..........179

32. Kai Winding Sextet..........179

34. Les McCann Ltd...........157

35. Shelly Manne and his Men..........136

36. Turk Murphy's Jazz Band..........133

37. Jonah Jones Quartet..........130

38. Firehouse Five plus Two..........126

39. Al Cohn-Zoot Sims Quintet..........109

40. Nina Simone and her Trio..........102

41. Three Sounds..........100

Vocal Group

1. Peter, Paul & Mary..........3,699

2. Beatles..........2,983

3. Swingle Singers..........2,814

4. Four Freshmen..........2,250

5. Righteous Brothers..........2,185

6. Supremes..........2,002

7. Double Six of Paris..........1,635

8. Rolling Stones..........1,536

9. New Christy Minstrels..........1,400

10. Hi-Lo's..........751

11. Kingston Trio..........726

12. Jackie Cain & Roy Kral..........690

13. J's with Jamie..........586

14. Mitchell Trio..........519

15. Mills Brothers..........372

16. Brothers Four..........316

17. Herman's Hermits..........290

18. Anita Kerr Singers..........279

19. Kirby Stone Four..........257

20. Limeliters..........236

21. Platters..........227

22. King Sisters..........214

23. Clancy Bros. & Makem..........206

24. Modernaires..........183

24. The Raelets..........183

26. Ink Spots..........147

27. Ames Brothers..........145

28. Staple Singers..........141

The 1966 Playboy All-Stars' All-Stars

The 1966 Playboy All-Stars' All-Stars

The 1966 Playboy All-Stars Jazz Band

The Playboy Jazz Hall of Fame

This past October, our Jazz Poll ballot, for the first time, gave Playboy readers an opportunity to vote for the three outstanding jazz artists--instrumentalist or vocalist, living or dead--whom they thought worthy of being the initial occupants of the Playboy Jazz Hall of Fame. After the ballots had been counted, Louis Armstrong, Frank Sinatra and Dave Brubeck led all the rest--and by a handsome margin, we might add. Each October, our readers will be polled to elect three new artists to the Hall of Fame to take their places alongside those already honored.