Jazz & Pop '68

"They teach you there's a boundary line to music," Charlie Parker said. "But, man, there's no boundary line to art." The sounds of the year just past were the sounds--often electronically driven--of the cracking of boundary lines. A San Francisco rock group, Big Brother and the Holding Company, made the most powerful impact of any unit at the Monterey Jazz Festival. The year's most significant new guitarist, 24-year-old Larry Coryell, started 1967 as a member of The Free Spirits, a rock combo, ended it with the jazz group of Gary Burton, but remained his own world-encompassing-self. It is Coryell who speaks for the new generation of musicians: "If music has something to say to you--whether it's jazz, country blues . . . hillbilly, Indian or any other . . . folk music--take it. Never restrict yourself."

More and more combos pulsate with this exuberant musical ecumenicity. The ferment of influences in Jeremy Steig and the Satyrs, a jazz-and-rock unit, includes Miles Davis, Ray Charles, Paul Hindemith, John Coltrane, Howlin' Wolf and many varieties of rock. A characteristic boundary breaker, bassist Christopher Darrow of The Kaleidoscope, a West Coast combo, lists as his favorite composers Bach, John Lennon and Paul McCartney, Jimmy Reed and John Lee Hooker. A young tenor saxophonist until recently in Woody Herman's band, Steve Marcus, is described by Down Beat as having roots in "Coltrane, Ravi Shankar and the Beatles."

And it is the evolution of the Beatles, climaxed in the most influential album of the year, Sgt. Pepper's Lonely Hearts Club Band, that symbolizes the growing seriousness with which the joy of the new music is being welcomed by musicians and listeners leaping free of categories. As Hungarian-born jazz guitarist Gabor Szabo, who now doubles on sitar and plays Beatles songs as well as jazz originals, says of the Sgt. Pepper phenomenon: "The music, together with the lyrics and performance, is something nobody has come close to in freshness. The album as a whole is a composition; it starts, it develops and it ends. It's funny and it's scary at times; it's romantic and has lyrical quality and, of course, the throbbing beat. It's the message of 1967; everything is in there."

Accordingly, the annual poll results in this issue are of the 1968 Jazz & Pop Poll. Accordingly, halfway through the year, Down Beat, the oldest existing jazz magazine, announced it was expanding its coverage to include the pop scene. Accordingly, the monthly jazz ended the year as Jazz & Pop. The lines between jazz and pop have not dissolved entirely--not yet, anyway. Albert Ayler and Cecil Taylor, for example, are not likely to make the pop charts for some time to come, nor are they among the jazz combos that include Beatles tunes in their repertory. But the listener involved in contemporary sounds now finds it necessary--and pleasurable--to follow the Grateful Dead, the Cream, Janis Ian, Aretha Franklin, the Jefferson Airplane and, of course, the Beatles along with Ayler, Taylor, Thelonious Monk, Duke Ellington, Miles Davis and the Modern Jazz Quartet.

As the year made Day-Glo clear, the new pop music is not only a Gestalt of a whirlpool of intersecting cultures--black blues, country and western, jazz, Indian music, psychedelic mind-blowing--but it also represents the taking over of the pop field by the young themselves. The groups and the singers write their own songs; their recording supervisors are, for the most part, of their own age. The young finally have their own communications medium, and that medium is its message--life-affirming sound expansion through electronics; immediacy expansion through accompanying light shows and other forms of total environmental theater; and at the core, as Grace Slick, lead singer of the Jefferson Airplane, candidly puts it, the succinct emancipation proclamation: "Be free--free in love, free in sex."

Similarly, Albert Ayler, among the most advanced of the new jazzmen, speaks of the need to "go beyond notes into feelings, for music can bring about new ways of living and loving." There can be rage in the new jazz (Archie Shepp) and sardonic skewering of adult hypocrisy in the new pop (the Mothers of Invention), but the basic thrust among creators in both fields, including those who keep crossing over, is toward liberation--liberation of mind and body.

It was, therefore, not particularly surprising to those who know their current music when the Beatles, toward the end of the year, after finishing a television show (the first they had completely assembled and produced themselves), announced that they would spend a month in India studying with a mystic, Maharishi Mahesh Yogi. Also in context with the life-expanding imperatives of the new music was the appearance, as an actor, of Beatle John Lennon in Richard Lester's antiwar film, How I Won the War. Nor was it surprising when, in June, at the first Monterey International Pop Festival--an unprecedented summit meeting of pop performers--a standing ovation was received by Ravi Shankar after he had given a capacity audience an undiluted program of Indian music, a music that combines sensuality with spirituality.

That festival made vivid the scope of today's pop expression--from the lyrical ingenuity and probing intelligence of Simon and Garfunkel through piebald blues (Canned Heat, Paul Butterfield Blues Band, Mike Bloomfield and the Electric Flag, Big Brother and the Holding Company), basic black "soul" music (Otis Redding) and sheer soaring high spirits (the Mamas and the Papas). It was the most ambitious assemblage of its type so far anywhere in the world and it presages the kind of festival growth for pop music that has characterized the jazz scene in recent years.

Last year, the Newport and Monterey jazz festivals were again successful--as were the Ohio Valley Jazz Festival in Cleveland, the first Nashville Jazz Festival, the Longhorn Jazz Festival in Austin and similar events in Philadelphia, Atlanta, Detroit, St. Louis, Memphis, Cincinnati, Buffalo and Baltimore. Less healthy in attendance and receipts was the second annual Pacific Jazz Festival in Costa Mesa, California. Meanwhile, additional jazz-festival territory was claimed in Mexico--in Puebla and Mexico City--the breakthrough having been cosponsored by the Mexican government and the concerts produced by the ubiquitous George Wein. Spurred by the enthusiastic reaction to the initial inclusion of jazz in the prestigious Puebla Festival (which has previously focused on international classical and folk music), this year Puebla will be the scene of a Hemisphere Festival encompassing jazz and indigenous forms of music from North, South and Central America.

Wein further expanded his festival circuit outside the United States by sending a troupe to Expo 67 in Montreal in the spring and, in the fall, another caravan to Europe. The year's most tumultuous international jazz experience, however, took place in Tallin, Estonia, in May, when the Charles Lloyd Quartet became the first American jazzmen to perform publicly with Soviet musicians. At that Soviet jazz festival, the authorities at first delayed Lloyd's appearance, finally offering him only a chance to play at a workshop before a small number of Soviet musicians. Lloyd refused unless he was also given a chance to play before the general festival audience: and when permission finally came through, he created before a roaring audience of 5000 what A. P.'s man at Tallin reported as "the wildest hour of far-out jazz ever performed in the Soviet Union."

As the barriers to American jazzmen kept falling in the Soviet Union (Gerry Mulligan jammed at the Moscow Hotel in July), the president of the Russian composers' union called for the formation of jazz departments at U.S.S.R. educational institutions to bring more "professionalism" to native jazz. Meanwhile, the increasing internationalization of European jazz festivals was dramatized by the presence at the tenth Jazz Jamboree in Warsaw of groups representing both sides of the Curtain. In Yugoslavia, bigband leader and composer Miljenko Prohaska indicated the direction that more and more non-American jazzmen are pursuing--the incorporation of native themes and idioms in their jazz works. At first, Prohaska's band had echoed that of Count Basic: but now, at home and in the compositions he brought to the Monterey Jazz Festival in September. Prohaska illustrated the validity of the advice Monterey Festival music director John Lewis has long given: "In all the years I have encouraged foreign jazzmen. I always told them they should put some of their own soul into their music."

Furthermore, the maturation of European jazz instrumentalists was clear at Monterey through impressive appearances by French violinist Jean-Luc Ponty, French drummer Daniel Humair and the father-son team from Lugano of Flavio (alto) and Franco (trumpet) Ambrosetti. Most stunningly proficient of all the European guests was 21-year-old Niels-Henning Orsted Pedersen, whose performances prompted Ray Brown to exclaim: "What does it mean to say 'European' or 'American'? These cats play music. Maybe its roots are here, but with records, radio, tours and festivals, jazz spreads as fast from New York to Paris as from Chicago to Los Angeles."

Even more swift in its spread is the new pop music. When the Procol Harum's A Whiter Shade of Pale broke into the best-selling lists in England and then in America, its ascent continued in France, Spain, Holland, Switzerland, Italy, Belgium and other countries. Toward the end of the year, for other examples, the Beatles' All You Need Is Love topped the charts in Argentina: Malaysia was listening to Reflections by Diana Ross and the Supremes; the Rolling Stones' Backstreet Girl was rising in popularity in Israel and the same Stones' We Love You was moving up in Poland.

In April, the Rolling Stones ventured behind the Iron Curtain: and at Congress Hall in Warsaw, while the crowd inside screamed, waving coats and shirts at the beginning and end of each number, 8000 youngsters outside, unable to get tickets, tried to charge the building's iron gates but were thrown back by police tear gas. Mick Jagger, leader of the Stones, told newsmen before the trip: "We're going for a piddle of our usual fee, of course, but I think it'll be nice if we can reach across the stage and establish, you know, communication with the Polish kids." In Moscow in late fall, the Beatles began communicating instantly with Russian teenagers when, for the first time, one of their records, Girl, went on public sale (although in a pirated version, for Russians don't pay royalties to foreign pop groups). On that Beatles Day, hundreds of Russian youngsters lined up before the store opened.

In-person communication of pop groups with the young at home intensified as college campuses increasingly opened to concerts by the full scope of the current efflorescence--from Smokey Robinson and the Miracles to Country Joe and the Fish. Swarthmore's second annual College Rock-'n'-Roll Festival in February, for instance, included the Jefferson Airplane, Tim Buckley, jazzman and classical composer Dave Amram and a Swarthmore student, Garth McDonald, one of many around the country developing formidable skills on the Indian sitar. (More sitars were sold in the United States last year than in India.)

More and more of the groves of academe were also taken over by jazz. In the first extensive jazz program ever presented at the University of California at Berkeley, a series of Jazz '67 concerts and lectures reached a climax in an April 7-8 festival at the campus' Harmon Gymnasium. In May, UCLA was the site of the first Los Angeles Jazz Festival, which was based on the theme "The Tradition of the New" and included newly commissioned works by Ornette Coleman, Wayne Shorter and Gary McFarland. In April, for the first time on record, at the State University of New York at Stony Brook, student-activity money was used to commission three compositions played at a concert there by the Thad Jones/Mel Lewis Orchestra and the Jaki Byard Quartet.

Jazz making by college musicians themselves was more extensive than ever before, culminating in a number of important intercollegiate competitions. Nine combos and nine stage bands competed in early March at Notre Dame's ninth annual Collegiate Jazz Festival. And for the first time, there was a world series of college jazz, organized nationally by the Intercollegiate Music Festival in Miami Beach. At that event, the wide range of listening experiences among today's young was reflected in the fact that the most interesting groups had moved away from the conventional jazz models of the past (such as Count Basie and Stan Kenton) and into their own boundary-breaking styles and compositions. Noted one of the judges, Robert Share of the Berklee School of Music: "We're going to hear all kinds of rhythmic advances from now on--it's inevitable when today's 15-year-old rock-'n'-roll drummers play 5/4 almost by instinct."

To be sure, jazz musicians from the Dave Brubeck Quartet (which disbanded during the year) to the current big band of Don Ellis have been working in complicated meters: but Share's comment points up the over-all eagerness to experiment--in rhythms, in colors, in the shaping of a performance--that pervades the most venturesome of the new pop groups as they change the very definitions of musical forms and sounds. In the past year, for example, the penetrating effect of electronic organs and hugely amplified electric guitars in rock groups has stimulated musical-instrument manufacturers to create an electric harpsichord with switches that can make it sound like many other instruments as well; an electric sitar: an electric bouzouki; and the Moog synthesizer. A complete unit, with more stops and combinations than an electric organ, the Moog produces an unprecedentedly broad range of electronic tones. And in one of their numbers at the Monterey International Pop Festival, the Steve Miller Blues Band used a prerecorded tape--controlled by a foot pedal--as another voice in the ensemble on one number.

In several respects. Sgt. Pepper's Lonely Hearts Club Band is the apotheosis of current electronic expansion of musical possibilities. In Being for the Benefit of Mr. Kite, for example, John Lennon taped a track on Hammond organ, recorded it at different speeds, mixed in montages of other organ sounds with an overlay of electronic echoes, and then cut all those tapes up and recombined them. As pop-music critic Richard Goldstein observes: "Today's rock creators are learning to play the recording studio as a super instrument." But even outside the studio, they arrive at dances and concerts with an array of equipment. In the garden of New York's Museum of Modern Art in July, for instance, Jeremy Steig and his Satyrs plugged into a battery of amplifiers an electric flute, an electric clavinette, an electric guitar and a tape machine.

In jazz, alto saxophonists John Handy and Sonny Stitt, together with trumpeter Clark Terry, also added new electronic versions of their instruments to their arsenals, thereby having new ways of controlling color and vibrato and, at will, being able to play two lines simultaneously an octave apart.

Inevitably, the electronic spectrum being widened and deepened by pop groups, and eventually by jazzmen, will also be incorporated into film music. Already, The Trip has a score by Mike Bloomfield's rock combo, as a result of the insistence of the movie's star, Peter Fonda. "He involves you," Fonda says of Bloom-field. "The music carries you through thousands of feelings." Among the instruments in the background of the film is an electronic synthesizer. Rock was in the foreground of another picture this past year--Privilege, directed by Peter (The War Game) Watkins and starring British rock singer Paul Jones, an alumnus of the Manfred Mann group. Rock, Watkins warns, can also be made a tool if its practitioners allow themselves to be manipulated. As of now, this is an unlikely possibility in view of the insistent nonconformity of most of today's leading rock creators.

And the most celebrated nonconformist of all the young singer-composers. Bob Dylan, was the subject of a singular antiestablishment film, Don't Look Back, made by D. A. Pennebaker as he chronicled a Dylan tour of Britain. (Inactive most of the year while recovering from a motorcycle accident, Dylan, now bearded, had begun recording again in late fall in Nashville.)

The use of jazz composers in films has broadened in scope--from Herbie Hancock scoring Antonioni's Blow-Up to Gerry Mulligan last year writing the music for the film version of Murray Schisgal's Luv. It was Quincy Jones, however, who surfaced as the year's most diversified film composer, his credits including In the Heat of the Night, Enter Laughing, The Deadly Affair and In Cold Blood. Jones also found time to write the music for the TV series Ironside. The only feature film directly concerned with jazz and the jazz life was Sweet Love, Bitter. While the picture was uneven in quality, Dick Gregory made a powerful acting debut as a musician modeled on Charlie Parker, and Mal Waldron's score was incisively effective.

In television, three remarkable hourlong features on Duke Ellington were shown during the course of the year. Critic Ralph Gleason and Richard Moore produced two of them for San Francisco's KQED--Duke's concert of sacred music and a profile of Ellington, Love You Madly. The two shows were distributed to 120 educational-TV outlets throughout the country. In October, Duke made prime commercial time in an intriguing adaptation of cinéma vérité to television by Robert Drew Associates, who presented the touring Ellington on NBC-TV's Bell Telephone Hour.

In addition to a characteristic year of nearly perpetual travel in America and abroad. Ellington received honorary doctor of music degrees from Morgan State College and Yale University. Duke became the first living American composer to be honored by the issuance of a postage stamp bearing his portrait. In recognition of the 20th anniversary of UNESCO, the African Republic of Togo issued four stamps featuring major composers of different eras: Bach, Beethoven, Debussy--and Ellington. Also during the year, Duke recorded his Far East Suite and, in tune with present directions, he composed a new work, Psychedelic Suite.

But for Duke, his triumphs during the year were overshadowed by a serious loss--the death of his friend and collaborator Billy Strayhorn. Ellington established a Billy Strayhorn Scholarship Fund at the Juilliard School of Music. A startling death was that of the direction-setting tenor saxophonist John Coltrane at 40. Also on the obituary list during the year were trumpeters-cornetists Red Allen, Muggsy Spanier. Rex Stewart and Sidney DeParis: trombonists Jimmy Archey and Henderson Chambers: blues singers Ida Cox and Otis Redding; the nonpareil violinist Stuff Smith; alto saxophonist Willie Smith; clarinetists Edmond Hall and Buster Bailey; pianists Pete Johnson. Herman Chittison, Elmo Hope and Walter "Fats" Pichon; bandleader Zack Whyte: trumpeter-manager George Treadwell and jazz critic--discographer George Hoefer. In the pop field, Brian Epstein, "the fifth Beatle," died; and in folk music, this century's most prolific and influential American singer-performer. Woody Guthrie, succumbed, after a long illness, at the age of 55.

But life and the beat went on as Woody's 20-year-old son, Arlo Guthrie, turned out to be the cynosure of the Newport Folk Festival in July with his song-novella, Alice's Restaurant Massacree, released later in the year on his first Reprise album. Another, even younger, new star is 16-year-old Janis Ian, who first hit hard and controversially with Society's Child, about an interracial romance with a dissonant ending. First banned by a number of rock stations, it finally broke through, as did her first Verve/Folkways album, Janis Ian. This was also the year of ascent for the lyrical Richie Havens, who fuses blues with new ways of ballad making; and Jimi Hendrix, a guitarist-singer-erotic showman. Originally from Seattle, Hendrix became a star in England and is now in persistent demand in the United States.

Aretha Franklin, who had been hovering on the edge of widespread recognition for several years, moved to Atlantic Records and the results, Respect and I Never Loved a Man the Way I Love You, firmly established this fiery singer with a whiplash beat. Further indication that hard, visceral rhythm and blues now attracts all classes and shades of audiences was the enormous success of the late Otis Redding, who won the British Melody Maker poll as the world's leading singer in pop music. And, in America. Redding received the most thunderous audience response of all the variegated performers at the Monterey International Pop Festival in June. The careers of Ray Charles and James Brown continued to prosper, as did those of such streamlined graduates of rhythm and blues as Lou Rawls, Dionne Warwick and Diana Ross and the Supremes.

Country roots were also spreading in the new pop. Bobbie Gentry, originally from Chickasaw Country, Mississippi, became an instant star with her own ballad, Ode to Billie Joe, sung with smoky passion and an undulating beat. Country rock powered a provocative new combo, Moby Grape, one of many units testifying to the fructifying climate of the San Francisco Bay Area--the home of the Jefferson Airplane, Big Brother and the Holding Company, The Grateful Dead, Country Joe and the Fish and the dryly witty Sopwith Camel, among other combos.

In England, in addition to the Cream (with the searing guitar of Eric Clapton), the most arresting new group sounds were the Bach and blues of the Procol Harum and the brilliant blend of substantial music and lyrics in the work of five Australians, the Bee Gees. Also building attention was the Canadian invasion--The Paupers, Luke and the Apostles and singer-poet Leonard Cohen.

The already established Rolling Stones and Eric Burdon and the Animals underlined the continued evolution of the new pop music as they moved more and more distinctly from being emulators of black American blues men to creators of their own singing and composing styles (as in the Stones' album Flowers and in Eric Burdon's Winds of Change). Throughout the surging pop microcosm, in fact, there was an irrepressible movement of growth, change and prodigious variety of expression. Along with previously cited celebrators of the new freedom, there were the impressionistic inventiveness of Donovan; the intensely driving theatricalism of The Doors; the subtle play of color and moods of the Vanilla Fudge, The Association and The Beach Boys; and the ambling lyricism of The Lovin' Spoonful and The Young Rascals. Anyone still locked in the cliché "It all sounds the same" just wasn't listening.

In jazz, too, it was a year of break-throughs into the further possibilities of expression. Among the newer names coming into prominence, Milford Graves, Rashied Ali. Charles Moffett and Sunny Murray forged new criteria of drum improvisation. So did, on their instruments, alto saxophonists Marion Brown, Charles Tyler and Roscoe Mitchell; tenor-sax men Pharoah Sanders and Joe Henderson; trumpeters Jimmy Owen and Alan Shorter; bassists Alan Silva, Henry Grimes, David Izenzon and Eddie Gomez; pianists Keith Jarrett and Roger Kellaway; guitarists Larry Coryell and Jerry Hahn; and violinist Michael White. In quite different ways, Don Ellis and Sun Ra continued to open new dimensions for big-band jazz; and the concerts of the Association for the Advancement of Creative Musicians in Chicago revealed that New York was hardly the only center for the further expansion of the jazz language.

While the jazz-club scene did not improve (the Five Spot and Eddie Condon's were lost to jazz in New York). Norman Granz' revival of Jazz at the Philharmonic proved there was still a considerable audience for concert jazz throughout the country. And more openings were made for the music in the cultural establishment: Ornette Coleman became the first musician to receive a Guggenheim fellowship for jazz composition. The New York State Council on the Arts gave one of its awards to the traveling Jazzmobile, which provided free concerts in the streets of New York for the third consecutive summer. The Jazzmobile concept, moreover, spread to Philadelphia, Newark. Washington, Hartford and New Haven. In New York, Jazz Interactions received an unprecedented grant of $11,250 from the New York State Council on the Arts to produce 50 jazz concerts and lecture-demonstrations in the New York school system.

From September 29 to October 1, Jazz Interactions cosponsored the first Eastern Conference of Jazz Societies. Attending the sessions in New York were more than 400 people representing jazz organizations in Hartford. Philadelphia, Washington. Trenton, Nashville, New Orleans and Warren. Ohio. The conference sounded an ecumenical note as drummer Milford Graves told the delegates that avant-garde jazz and the new rock are not as dissimilar as they might have thought. He added: "If jazz wants to reach youth, it will have to get with the new music, and the new and the old will have to get together."

Elsewhere, guitarist Gabor Szabo went further than Graves by proclaiming the advent of a new international music: "It's already started, this new music, and the whole world seems to be coming together. We all had our cozy little nests, we were Americans or Hungarians and part of some heritage and all that. But it feels as if all of it is gone now. We are now just World. Earth. The music definitely reflects this. In the Sgt. Pepper album, the Beatles have already started something that is going to be the future."

As if in echo, George Harrison spoke not only for the Beatles but for the best of all the young explorers in the new pop and jazz: "We haven't really started yet. There is musical infinity as well. We've only just discovered what we can do as musicians, what thresholds we can cross. The future stretches out beyond our imagination." In corroborating answer, Paul Simon of Simon and Garfunkel looks ahead: "I'm learning to play the sitar and I'm fascinated by the singing in intervals of seconds by those Bulgarians. You see, the new music can incorporate all those influences and more."

All-Star Musicians' Poll

As in years past, we asked our incumbent All-Stars to choose their own All-Star Band. Those eligible to participate in the voting--all medal winners in '67 --were Cannonball Adderley, Louis Armstrong, Bob Brookmeyer, Ray Brown, Dave Brubeck, Charlie Byrd. 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, Henry Mancini, Charles Mingus, Wes Montgomery, Joe Morello, Gerry Mulligan, Mimi Perrin (Double Six of Paris), Oscar Peterson. Buddy Rich. Diana Ross (Supremes), Frank Sinatra, Nancy Wilson, Kai Winding and Si Zentner.

All-Stars' All-Star Leader: Last year's top three--the Duke, the Count and Woody--retained their laurels. Buddy Rich moved into the five spot, ousting Dizzy Gillespie. 1. Duke Ellington; 2. Count Basie: 3. Woody Herman: 4. Thad Jones-Mel Lewis: 5. Buddy Rich.

All-Stars' All-Star Trumpet: Miles and Diz executed their second about-face in as many years, with Dizzy regaining the top spot by a sizable margin. 1. Dizzy Gillespie; 2. Miles Davis; 3. Clark Terry; 4. Freddie Hubbard; 5. Art Farmer.

All-Stars' All-Star Trombone: It was no contest at the top. but Si Zentner and Al Grey, who were not among last year's leaders, gave good accounts of themselves. 1. J. J. Johnson; 2. Bob Brookmeyer; 3. Si Zentner: 4. Carl Fontana; 5. Al Grey, Kai Winding.

All-Stars' All-Star Alto Sax: There was little disturbance among the altos, though Phil Woods and Johnny Hodges traded positions from last year. 1. Cannon-ball Adderley; 2. Paul Desmond; 3. Phil Woods; 4. Johnny Hodges; 5. Sonny Stitt.

All-Stars' All-Star Tenor Sax: Stan Getz repeated as the All-Stars' first choice, with Zoot Sims moving up to second in place of John Coltrane; Ben Webster slipped off the list, as Sonny Rollins and the ageless Coleman Hawkins climbed on. 1. Stan Getz; 2. Zoot Sims; 3. Sonny Rollins; 4. Coleman Hawkins; 5. Paul Gonsalves.

All-Stars' All-Star Baritone Sax: Here it was the fourth and fifth chairs that saw change, as Bud Shank and Charles Fowlkes replaced Cecil Payne and Charles Davis. 1. Gerry Mulligan; 2. Harry Carney; 3. Pepper Adams; 4. Bud Shank; 5. Charles Fowlkes.

All-Stars' All-Star Clarinet: Buddy DeFranco held onto his number-one status. but below him there was a lot of shuffling, as evidenced by the five-way deadlock for fifth place. 1. Buddy DeFranco; 2. Jimmy Hamilton; 3. Benny Goodman: 4. Tony Scott: 5. Pete Fountain. Bill Smith, Joe Muranyi, Art Pepper, Artie Shaw.

All-Stars' All-Star Piano: The Oscar again went to Mr. Peterson, with Herbie Hancock moving from fifth to third, Hank Jones sliding one notch to fourth and Chick Corea moving into the top five to eliminate Dave Brubeck. 1. Oscar Peterson; 2. Bill Evans; 3. Herbie Hancock; 4. Hank Jones: 5. Chick Corea.

All-Stars' All-Star Guitar: Four of last year's top five came home intact, with a resurgent Herb Ellis bouncing Grant Green from the standings. 1. Wes Montgomery; 2. Jim Hall; 3. Kenny Burrell; 4. Herb Ellis; 5. Charlie Byrd.

All-Stars' All-Star Bass: Ray Brown and Richard Davis again plucked the top spots, with Ron Carter. Sam Jones and George Duvivier all making progress. Of last year's leaders, only Steve Swallow is missing. 1. Ray Brown; 2. Richard Davis: 3. Ron Carter; 4. Sam Jones: 5. Charles Mingus. George Duvivier.

All-Stars' All-Star Drums: The big news here was young Tony Williams crashing into the third slot, knocking Philly Joe Jones off the pace. 1. Buddy Rich; 2. Elvin Jones: 3. Tony Williams: 4. Joe Morello: 5. Shelly Manne.

All-Stars' All-Star Miscellaneous Instrument: Milt Jackson and Jimmy Smith again showed the way. but James Moody. Ravi Shankar and "Toots" Thielemans squeezed out Lionel Hampton. 1. Milt Jackson, vibes; 2. Jimmy Smith, organ: 3. Roland Kirk, manzello, stritch: 4. James Moody, flute: 5. Ravi Shankar, sitar, and Jean "Toots" Thielemans, harmonica.

All-Stars' All-Star Male Vocalist: The only change here was in the fifth slot, as balladeers Johnny Hartman and Billy Eckstine combined to oust Mel Tormé. 1. Frank Sinatra; 2. Joe Williams: 3. Tony Bennett: 4. Ray Charles; 5. Johnny Hartman, Billy Eckstine.

All-Stars' All-Star Female Vocalist: Last, year's top five all returned, in the same order. 1. Ella Fitzgerald; 2. Sarah Vaughan: 3. Carmen McRae; 4. Nancy Wilson; 5. Peggy Lee.

All-Stars' All-Star Instrumental Combo: The defending champions, the Dave Brubeck Quartet, failed to place this year, as the Oscar Peterson Trio took top billing and the Bill Evans Trio moved into contention. 1. Oscar Peterson Trio; 2. Cannonball Adderley Quintet: 3. Miles Davis Quintet; 4. Modern Jazz Quartet: 5. Bill Evans Trio.

All-Stars' All-Star Vocal Group: The 5th Dimension, a recently organized pop unit, came out of nowhere to place third, while the Four Freshmen replaced the Double Six in the top spot and the Anita Kerr Singers fell off the totem pole. 1. Four Freshmen; 2. Double Six of Paris; 3. 5th Dimension; 4. Hi-Lo's; 5. Swingle Singers.

Jazz Hall of Fame

Music, like most of the arts, is currently in a state of flux; yet a majority of the top vote getters in this year's Hall of Fame balloting are traditional contenders. There are, however, a number of newcomers, led by the ever-more-popular Herb Alpert, who was not among last year's leaders but finished a close fourth this time around. Also missing from last year's list were Buddy Rich, Nancy Wilson, Paul McCartney, Bob Dylan, Cannonball Adderley and John Len-non. Previous winners--Louis Armstrong, Frank Sinatra, Dave Brubeck, Ella Fitzgerald, Duke Ellington and Count Basie --were ineligible. Following are this year's top 25 vote getters:

1. Ray Charles

2. John Coltrane

3. Benny Goodman

4. Herb Alpert

5. Henry Mancini

6. Miles Davis

7. Stan Getz

8. Al Hirt

9. Barbra Streisand

10. Dean Martin

11. Buddy Rich

12. Stan Kenton

13. Dizzy Gillespie

14. Gene Krupa

15. Nat "King" Cole

16. Nancy Wilson

17. Lionel Hampton

18. Tony Bennett

19. Charlie Parker

20. Paul McCartney

21. Sammy Davis Jr.

22. Bob Dylan

23. Ramsey Lewis

24. Cannonball Adderley

25. John Lennon

Records of the Year

The balloting for the best LP records of the year was again spirited in progress, decisive in conclusion. As in previous polls, there were no nominations; any record in each of three categories-- best LP by a big band, best LP by a small combo (fewer than eight pieces) and best vocal LP--was eligible.

Best Big Band L.P: Big Swing Face / Buddy Rich (Pacific Jazz). Buddy and his cohorts, climaxing a two-year surge, struck a rich lode, indeed, with this aggregation of blazing big-band sounds, deftly charted and executed to perfection.

Best Small Combo LP: S. R. O. / Herb Alpert and the Tijuana Brass (A & M). For the second straight year, the chili-con-jazz. gang took top honors--and this time, they were their own stiffest competition, as their LP . . . Sounds Like received the second highest vote. S. R. O. featured such sparkling items as Our Day Will Come. Blue Sunday and Work Song. which hit big on the charts as a single.

Best Vocal LP: Sgt. Pepper's Lonely Hearts Club Band / The Beatles (Capitol). This was much more than a vocal LP, as the imaginative M. B. E.s went out on a limb with pointed lyrics and wild electronic effects. The LP. which contained the smash hit A Day in the Life. provoked a rash of articles and reviews by critics, who hailed it as a serious and unified work of art. But, of course, these weren't the only records that merited votes. Following are the top 25 in each category:

Best Big Band LP

1. Big Swing Face / Buddy Rich (Pacific Jazz)

2. Mancini' 67 (Victor)

3. Swingin' New Big Band/Buddy Rich (Pacific Jazz)

4. Live at the Monterey Jazz Festival/Don Ellis (Pacific Jazz)

5. Doctor Zhivago--Sound Track (MGM)

6. Duke Ellington's Greatest Hits! (Reprise)

7. The Best of Mancini (Victor)

8. A Man and a Woman--Sound Track (United Artists)

9. Popular Duke Ellington (Victor)

10. Big Band Shout/Buddy Rich (Verve)

11. Basie's Beat (Verve)

12. Sound Pieces/Oliver Nelson (Impulse!)

13. You Only Live Twice--Sound Track (United Artists)

14. Golden Sword/Gerald Wilson (Pacific Jazz)

15. Far East Suite/Duke Ellington (Victor)

16. Music to Watch Girls Go By/The Bob Crewe (Generation (Dyno Voice)

16. Broadway Basic's . . . Way (Command)

18. Basie's Beatle Bag (Verve)

19. Casino Royale--Sound Track (Colgems)

19. Stan Kenton Plays for Today (Capitol)

21. Jazz Orchestra/Mel Lewis, Thad Jones (Solid State)

22. Boots with Strings/Boots Randolph (Monument)

23. Tequila/Wes Montgomery (Verve)

24. Music of Hawaii/Henry Mancini (Victor)

24. Two for the Road--Sound Track (Victor)

Best Small Combo LP

1. S. R. O./Herb Alpert and the Tijuana Brass (A & M)

2. . . .Sounds Like/Herb Alpert and the Tijuana Brass (A & M)

3. Mercy, Mercy. Mercy!/The Cannon-ball Adderley Quintet (Capitol)

4. Whipped Cream and Other Delights/Herb Alpert and the Tijuana Brass (A & M)

5. Miles Smiles/Miles Davis Quintet (Columbia)

6. Wade in the Water/Ramsey Lewis (Cadet)

7. Sweet Rain/Stan Getz (Verve)

8. What Now My Love/Herb Alpert and the Tijuana Brass (A & M)

9. California Dreaming/Wes Montgomery (Verve)

9. Forest Flower/Charles Lloyd (Atlantic)

11. !!Going Places!!/Herb Alpert and the Tijuana Brass (A & M)

11. Hip Hug-Her/Booker T. and the MG's (Stax)

13. Anything Goes!/The Dave Brubeck Quartet (Columbia)

14. Casino Royale/Herb Alpert and the Tijuana Brass (Colgems)

15. Love-In/Charles Lloyd Quartet (Atlantic)

16. The Dynamic Duo/Jimmy Smith, Wes Montgomery (Verve)

17. Goin' Latin/Ramsey Lewis (Cadet)

18. Time In/The Dave Brubeck Quartet (Columbia)

19. Blues Etude/Oscar Peterson (Limelight)

20. Hang On Ramsey!/The Ramsey Lewis Trio (Cadet)

21. Bravo! Brubeck!/The Dave Brubeck Quartet (Columbia)

22. Super Psychedelics/The Ventures (Liberty)

23. The Lonely Bull/Herb Alpert and the Tijuana Brass (A & M)

24. Impressions of the Middle East/Herbie Mann (Atlantic)

25. Spellbinder/Gabor Szabo (Impulse!)

Best Vocal LP

1. Sgt. Pepper's Lonely Hearts Club Band/The Beatles (Capitol)

2. Francis Albert Sinatra and Antonio Carlos Jobim (Reprise)

3. Surrealistic Pillow/Jefferson Airplane (Victor)

4. That's Life/Frank Sinatra (Reprise)

5. Equinox/Sergio Mendes and Brasil'66 (A & M)

6. Sergio Mendes and Brasil' 66 (A & M)

7. Born Free/Andy Williams (Columbia)

8. Deliver/The Mamas and the Papas (Dunhill)

9. 1 Never Loved a Man the Way I Love You/Aretha Franklin (Atlantic)

10. Ode to Billie Joe/Bobbie Gentry (Capitol)

11. Lou Rawls--Live! (Capitol)

12. Parsley, Sage, Rosemary and Thyme/Simon and Garfunkel (Columbia)

13. Flowers/The Rolling Stones (London)

14. Album 1700/Peter, Paul and Mary (Warner Bros.)

14. The Doors (Elektra)

14. Je M'Apelle Barbra/Barbra Streisand (Columbia)

17. Strangers in the Night/Frank Sinatra (Reprise)

17. Just for Now/Nancy Wilson (Capitol)

19. Sinatra at the Sands (Reprise)

20. Double Trouble/Elvis Presley (Victor)

21. The Temptations' Greatest Hits (Gordy)

22. A Man and His Soul/Ray Charles (ABC)

22. Soulin'/Lou Rawls (Capitol)

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

25. Claudine/Claudine Longet (A & M)

All-Star Readers' Poll

A clear majority of last year's winners were called back for encores in '68. The inclusion of pop stars in the poll, however, gave several categories--male and female vocalists, instrumental combo and miscellaneous instrument--a new look. The most newsworthy development, perhaps, was the emergence of Ravi Shankar, India's master sitarist, as the readers' favorite in the miscellaneous-instrument category. Here's how each contest developed:

Henry Mancini was again elected leader of the leaders, followed by the Duke and the Count. Major gains were made by Buddy Rich, who finished fourth: Ray Charles, who placed sixth; and rhythm-and-blues star James Brown, who took the seventh slot--none of whom were serious contenders a year ago.

In the trumpet section, Herb Alpert came out of left field to take the first chair, with Miles Davis slipping to third, behind Al Hirt. Louis Armstrong and Dizzy Gillespie maintained their own lofty positions.

No long slides, up or down, were evident in 'bonesville, as J. J. Johnson kept his grip on first position. Following J. J., in the same order as '67, were Si Zentner, Kai Winding and Bob Brookmeyer.

Cannonball Adderley and Paul Desmond again took the first two alto chairs, followed by Bud Shank and Johnny Hodges, who exchanged their positions of a year ago. Ornette Coleman, the old master of the new music, was again fifth.

With John Coltrane out of the running because of his premature death. Stan Getz had no formidable competition on tenor sax. Trailing a distant second was Boots Randolph, third last year. The biggest advances were by King Curtis--from nowhere to third--and by Charles Lloyd. who stepped up From 19th to 6th.

The action in the baritone section was, appropriately, in the lower register. as Gerry Mulligan and Bud Shank repeated as the top men. while Chuck Gentry replaced Jimmy Giuffre and Sahib Shihab dropped Harry Carney from the top five.

Evidence that the clarinet is not favored by experimentalists was provided by the fact that Pete Fountain. Benny Goodman. Acker Bilk, Woody Herman and Buddy DeFranco finished in the same order as they did in '67.

The top three piano men of last year --Dave Brubeck, Ramsey Lewis and Peter Nero--also retained their laurels, with ease. Ray Charles, who placed high in three separate categories, edged Oscar Peterson for fourth place.

Chet Atkins overhauled Charlie Byrd as the number-one guitar picker, regaining the crown he lost in 1964. Giant steps were taken by George Harrison, from 18th to 4th, and by Duane Eddy, who twanged his way from 25th to 6th.

The bass division registered little change. Last year's top four finished intact, with Charles Mingus remaining the readers' favorite.

The big thunder on skins was made by the sticks of Buddy Rich, who took over top ranking From Joe Morello. Ringo Starr joined Gene Krupa and Sandy Nelson in the top five, as Shelly Manne slid to sixth.

The big story in the miscellany department was Ravi Shankar, who has evidently succeeded in teaching the West to appreciate his ragas. Veteran vibist Lionel Hampton, last year's winner, placed second. The pop world was well represented as Beatles Paul McCartney and George Harrison, Stax/Volt organist Booker T. and blues-harmonica player Paul Butterfield entered the top ten, joining jazz stalwarts Herbie Mann, Milt Jackson and Jimmy Smith, plus organist Earl Grant--who sprang up to 8th place from 26th a year ago.

Frank Sinatra continued to dominate the male vocalists. Ray Charles, second last year, slid three places; moving past him were Lou Rawls, Dean Martin and Tony Bennett.

Diminutive Pet Clark became the pet vocalist of Playboy readers, replacing Nancy Wilson--who finished second. Notable upward progress was made by Dionne Warwick, Aretha Franklin. Nancy Sinatra and Grace Slick of the Jefferson Airplane.

Herb Alpert and the Tijuana Brass displaced the Dave Brubeck. Quartet as the number-one instrumental combo. Booker T. and the MG's parlayed their Memphis soul sound into fourth place, behind the Ramsey Lewis Trio: and the Cannonball Adderley Quintet, aided by several pop hits, moved from 18th to 5th. The biggest surprise, perhaps, was the sixth-place showing by The Ventures, who languished in a tie for 38th a year ago. Unlisted last year was Charles Lloyd's adventurous quartet.

The unpredictable Beatles predictably took the top vocal-group spot, as Motown's Diana Ross and the Supremes dropped to third, behind Sergio Mendes and Brasil '66. Here, too, the pop groups showed their popularity, as The Mamas and the Papas. The Association, The Temptations, the Jefferson Airplane, the Rolling Stones. Simon and Garfunkel and Peter, Paul and Mary all finished in the top ten.

Following are the leading vote getters in each category and the number of votes they commanded. Only artists with 100 votes or more are listed: wherever two choices for the All-Star Band were allowed. 200 votes are required for listing: and in categories where readers could vote for four individuals. 400 votes are needed. The musicians who earned All-Star status are listed in boldface type: all will receive silver medals, as will winners of the Hall of Fame balloting and the artists who--in the opinion of Playboy readers--produced the top records of the year.

Leader

1. Henry Mancini .... 3,281

2. Duke Ellington .... 1,117

3. Count Basic .... 872

4. Buddy Rich .... 756

5. Skitch Henderson .... 614

6. Ray Charles .... 597

7. James Brown .... 521

8. Stan Kenton .... 431

9. Ray Conniff .... 325

10. Quincy Jones .... 222

11. Nelson Riddle .... 216

12. Gerald Wilson .... 183

13. Oliver Nelson .... 176

14. Benny Goodman .... 171

15. Woody Herman .... 166

16. Si Zentner .... 148

17. Don Ellis .... 118

18. Les Brown .... 116

19. Dizzy Gillespie .... 112

20. Lionel Hampton .... 111

21. Gil Evans .... 106

22. Charles Mingus .... 103

Trumpet

1. Herb Alpert .... 6,808

2. Al Hirt .... 5,874

3. Miles Davis .... 5,216

4. Louis Armstrong .... 4,902

5. Dizzy Gillespie .... 3,557

6. Doc Severinsen .... 2,673

7. Clark Terry .... 1,664

8. Nat Adderley .... 1,552

9. Maynard Ferguson .... 1,538

10. Bobby Hackett .... 1,225

11. Jonah Jones .... 965

12. Harry James .... 943

13. Billy Butterfield .... 805

14. Chet Baker .... 745

15. Hugh Masekela .... 580

16. Art Farmer .... 514

17. Don Ellis .... 424

18. Lee Morgan .... 403

Trombone

1. J. J. Johnson .... 5,817

2. Si Zentner .... 5,792

3. Kai Winding .... 4,758

4. Bob Brookmeyer .... 3,648

5. Slide Hampton .... 1,860

6. Jimmy Cleveland .... 1,323

7. J. C. Higginbotham .... 1,123

8. Urbie Green .... 1,096

9. Dave Baker .... 882

10. Turk Murphy .... 836

11. Carl Fontana .... 798

12. Frank Rosolino .... 794

13. Kid Ory .... 741

14. Harold Betters .... 739

15. Bub Fitzpatrick .... 683

16. Curtis Fuller .... 674

17. Bennie Green .... 606

18. Dick Nash .... 557

19. Wayne Henderson .... 544

20. Charles McPherson .... 528

21. Al Grey .... 506

22. Quentin Jackson .... 490

23. Grachan Moncur III .... 483

24. Garnett Brown .... 443

25. Lawrence Brown .... 432

26. Trummy Young .... 402

Alto Sax

1. Cannonball Adderley .7,544

2. Paul Desmond .... 4,305

3. Bud Shank .... 1,260

4. Johnny Hodges .... 896

5. Ornette Coleman .... 721

6. Zoot Sims .... 711

7. John Handy .... 553

8. Sonny Stitt .... 493

9. Paul Horn .... 418

10. Art Pepper .... 359

11. Ted Nash .... 317

12. Bob Donovan .... 296

13. Benny Carter .... 256

14. Phil Woods .... 251

15. Walt Levinsky .... 245

16. James Moody .... 242

Tenor Sax

1. Stan Getz .... 7,432

2. Boots Randolph .... 2,669

3. King Curtis .... 1,236

4. Sonny Rollins .... 951

5. Coleman Hawkins .... 912

6. Charles Lloyd .... 715

7. "Fathead" Newman .... 554

8. Zoot Sims .... 530

9. Yusef Lateef .... 527

10. Roland Kirk .... 362

11. Al Cohn .... 360

12. Sonny Stitt .... 291

13. Corky Corcoran .... 251

14. Eddie Davis .... 248

15. Illinois Jacquet .... 243

16. Bob Cooper .... 221

17. Paul Gonsalves .... 220

18. Buddy Tate .... 201

18. Stanley Turrentine .... 201

Baritone Sax

1. Gerry Mulligan .... 5,847

2. Bud Shank .... 1,103

3. Chuck Gentry .... 457

4. Pepper Adams .... 421

5. Sahib Shihab .... 399

6. Jimmy Giuffre .... 366

7. Charles Davis .... 362

8. Artie Kaplan .... 295

9. Harry Carney .... 282

10. Bill Hood .... 198

11. Lonnie Shaw .... 192

12. Jerome Richardson .... 186

13. Jack Nimitz .... 163

14. Butch Stone .... 132

15. Åke Persson .... 114

16. Clifford Scott .... 112

17. Ronnie Ross .... 105

18. Frank Hittner .... 103

18. Cecil Payne .... 103

Clarinet

1. Pete Fountain .... 3,975

2. Benny Goodman .... 1,753

3. Acker Bilk .... 1,373

4. Woody Herman .... 1,131

5. Buddy DeFranco .... 847

6. Paul Horn .... 464

7. Artie Shaw .... 404

8. Jimmy Giuffre .... 345

9. Pee Wee Russell .... 329

10. Art Pepper .... 179

11. Tony Scott .... 157

12. Phil Woods .... 149

13. Buddy Collette .... 138

14. Peanuts Hucko .... 118

15. Sol Yaged .... 117

16. Jimmy Hamilton .... 105

Piano

1. Dave Brubeck .... 1,825

2. Ramsey Lewis .... 1,580

3. Peter Nero .... 1,051

4. Ray Charles .... 681

5. Oscar Peterson .... 670

6. Andre Previn .... 543

7. Erroll Garner .... 540

8. Thelonious Monk .... 539

9. Sergio Mendes .... 429

10. Count Basic .... 385

11. Duke Ellington .... 374

12. Ahmad Jamal .... 327

13. Skitch Henderson .... 321

14. Vince Cuaraldi .... 303

15. George Shearing .... 270

16. Bill Evans .... 221

17. Earl "Fatha" Hines .... 205

18. Herbie Hancock .... 164

19. Roger Williams .... 151

20. Horace Silver .... 116

Guttar

1. Chet Atkins .... 1,688

2. Charlie Byrd .... 1,617

3. Wes Montgomery .... 1,549

4. George Harrison .... 1,200

5. João Gilberto .... 662

6. Duane Eddy .... 585

7. Laurindo Almeida .... 521

8. Kenny Burrell .... 396

9. Tony Mottola .... 311

10. Mike Bloomfield .... 312

11. Gabor Szabo .... 281

12. Eric Clapton .... 247

13. Bola Sete .... 151

14. Herb Ellis .... 142

15. Muddy Waters .... 138

16. Howard Roberts .... 130

17. Zalman Yanovsky .... 127

18. Les Paul .... 123

19. Johnny Smith .... 118

20. Luiz Bonfa .... 115

21. Danny Kalb .... 109

22. Barney Kessel .... 107

23. Jim Hall .... 100

23. B. B. King .... 100

Bass

1. Charles Mingus .... 2,009

2. Ray Brown .... 1,508

3. Gene Wright .... 588

4. El Dee Young .... 521

5. Buddy Clark .... 462

6. Art Davis .... 393

7. Joe Byrd .... 379

8. Monk Montgomery .... 321

9. Chubby Jackson .... 317

10. Percy Heath .... 286

11. Sam Jones .... 260

12. Ron Carter .... 228

13. Paul Chambers .... 210

14. Bob Haggart .... 204

15. Richard Davis .... 201

16. Leroy Vinnegar .... 166

17. Gene Cherico .... 162

18. Bob Cranshaw .... 159

19. Eddie Gomez .... 150

20. Pops Foster .... 139

21. Sebastian Neto .... 131

22. Don Bagley .... 129

23. Norman Bates .... 127

24. Jimmy Garrison .... 125

25. Chuck Israels .... 122

26. Eddie Safranski .... 116

27. Keter Betts .... 104

28. Al Stinson .... 103

29. Milt. Hinton .... 100

29. Bill Lee .... 100

Drums

1. Buddy Rich .... 2,847

2. Joe Morello .... 1,649

3. Gene Krupa .... 1,295

4. Ringo Starr .... 1,112

5. Sandy Nelson .... 937

6. Shelly Manne .... 467

7. Elvin Jones .... 309

8. Cozy Cole .... 296

9. Art Blakey .... 289

10. Chico Hamilton .... 243

11. Red Holt .... 211

12. Ginger Baker .... 151

13. Willie Bobo .... 133

14. Max Roach .... 132

15. Joz Cusatis .... 107

16. Crady Tate .... 106

17. Louis Bellson .... 105

18. Charlie Walls .... 101

19. Bob Stone .... 100

19. Tony Williams .... 100

Miscellaneous Instrument

1. Ravi Shankar, sitar ...1,737

2. Lionel Hampton, vibes .... 1,376

3. Hurbie Mann, flute .... 1,012

4. Jimmy Smith, organ .... 1,028

5. George Harrison, sitar .... 658

6. Paul McCartney, electric bass .... 625

7. Booker T., organ .... 583

8. Earl Grant, organ .... 446

9. Paul Butterfield, harmonica .... 380

10. Milt Jackson, vibes .... 358

11. Cal Tjader, vibes .... 344

12. Miles Davis, Flügelhorn .... 290

13. Roland Kirk, manzello,stritch, flute .... 190

14. Clark Terry, Flügelhorn .... 175

15. Mongo Santamaria, bongos .... 174

16. Yusef Lateef, flute,oboe .... 160

17. John Sebastian, harmonica .... 157

18. Paul Horn, flute .... 130

19. Groove Holmes, organ .... 126

20. Terry Gibbs, vibes .... 118

21. Gary Burton, vibes .... 117

22. Art Van Damme, accordion .... 107

23. Al Kooper, organ .... 106

Male Vocalist

1. Frank Sinatra .... 2,265

2. Lou Rawls .... 963

3. Dean Martin .... 577

4. Tony Bennett .... 547

5. Ray Charles .... 532

6. Andy Williams .... 485

7. Bob Dylan .... 423

8. Paul McCartney .... 386

9. Johnny Mathis .... 357

10. Mick Jagger .... 310

11. Sammy Davis Jr. .... 309

12. Jack Jones .... 248

13. Elvis Presley .... 230

14. Donovan .... 222

15. Ed Ames .... 220

16. Mel Tormé .... 211

17. Harry Belafonte .... 181

18. Eric Burdon .... 176

19. Johnny Rivers .... 165

20. Frankie Valli .... 157

21. Joe Williams .... 136

22. Otis Redding .... 124

23. James Brown .... 122

24. John Gary .... 114

25. Gene Pitney .... 111

25. Glenn Yarbrough .... 111

27. Trini Lopez .... 110

Female Vocalist

1. Petula Clark .... 1,275

2. Nancy Wilson .... 1.061

3. Dionne Warwick .... 1,040

4. Barbra Streisand .... 1,023

5. Ella Fitzgerald .... 910

6. Aretha Franklin .... 686

7. Nancy Sinatra .... 637

8. Grace Slick .... 431

9. Astrud Gilberto .... 403

10. Joan Baez .... 377

11. Eydie Gormé .... 312

12. Cass Elliott .... 221

13. Peggy Lee .... 207

14. Lainie Kazan .... 191

15. Carmen McRae .... 168

15. Nina Simone .... 168

15. Dusty Springfield .... 168

18. Marianne Faithfull .... 162

19. Bobbie Gentry .... 160

20. Vikki Carr .... 157

21. Sarah Vaughan .... 151

22. Janis Joplin .... 146

23. Janis Ian .... 145

24. Lana Cantrell .... 112

Instrumental Combo

1. Herb Alpert and the Tijuana Brass .... 4,129

2. Dave Brubeck Quartet .... 1,169

3. Ramsey Lewis Trio .... 880

4. Booker T. and the MG's .... 396

5. Cannonball Adderley Quintet .... 364

6. Ventures .... 356

7. Modern Jazz Quartet .... 311

8. Miles Davis Quintet .... 216

8. Charles Lloyd Quartet .... 246

10. Jr. Walker and the All-Stars .... 240

11. Stan Getz Quartet .... 234

12. Jimmy Smith Trio .... 212

13. Oscar Peterson Trio .... 200

14. Herbie Mann Sextet .... 195

15. Al Hirt's New Orleans Sextet .... 189

16. Wes Montgomery Trio .... 160

17. George Shearing Quintet .... 142

18. Peter Nero Trio .... 131

19. Vince Guaraldi Trio .... 125

20. Cal Tjader Quintet .... 116

21. Charlie Byrd Trio .... 113

22. Louis Armstrong All-Stars .... 101

Vocal Group

1. Beatles .... 2,060

2. Sergio Mendes and Brasil '66 .... 1,043

3. Diana Ross and the Supremes .... 980

4. Mamas and the Papas .... 780

5. Association .... 585

6. Peter, Paul and Mary .... 486

7. Temptations .... 390

8. Jefferson Airplane .... 361

9. Rolling Stones .... 327

10. Simon and Garfunkel .... 290

11. Four Freshmen .... 255

12. Swingle Singers .... 233

13. Ray Charles Singers .... 232

14. Righteous Brothers .... 225

15. Four Seasons .... 211

16. 5th Dimension .... 164

16. Young Rascals .... 164

18. Four Tops .... 156

19. Paul Butterfield Blues Band .... 153

20. Beach Boys .... 150

21. Jackie Cain and Roy Kral .... 147

22. Anita Kerr Singers .... 136

23. New Christy Minstrels .... 131

24. Double Six of Paris .... 125

25. Johnny Mann Singers .... 122

26. Smokey Robinson and the Miracles .... 112

27. Lovin' Spoonful .... 104

28. Monkees .... 100

The Playboy Jazz Hall of Fame

Each year, Playboy readers are asked to vote for the three performers--vocalist or instrumentalist, alive or remembered--who are most worthy of inclusion in our Jazz Hall of Fame. With the addition of this year's winners, the roster now numbers nine; yet the list of revered names in jazz history has barely been tapped--a tribute to the depth and scope of jazz itself. We're confident that as our Hall of Fame continues to grow in size and prestige, so will the music it honors; and that as jazzmen blow their way into the future, proponents of the various schools--from way back to way out--will learn to accept and live with one another's ideas. Two years ago, readers selected three indisputable giants of jazz as the first contingent to be ensconced in our Hall of Fame. They were (left, top to bottom) Frank Sinatra, the Meistersinger from Hoboken; Louis Armstrong, who shared his New Orleans cradle with jazz itself; and Dave Brubeck, whose forays into far-out rhythms helped the modernists crash the time barrier. In 1967, they were joined by an equally impressive trio--all of royal stature, in fact. The newcomers included Duke Ellington, the premier composer and orchestral leader of jazz; vocal queen Ella Fitzgerald, who still generates more purely musical excitement with her voice than many top instrumentalists can produce; and Count, Basic, whose bands have maintained an Olympian standard of brilliance for decades. This year, artist Jack Gregory's busts immortalize the features of three more performers--the king of swing, the king of soul and a late leader of the avant-garde.