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fantastic ideas—like the youngsters in the last generation. A man learns his horn—knows what he's doing—that's the next trend.
Do you think jazz will move more into the concert field?
Wherever they're going to play it, they'll play it good; because the youngsters coming up now are learning their horns right. I've noticed a couple of youngsters lately with clear tones and sense of phrasing. In that last idiom there, a few years back, everybody was bee-essing. The youngsters coming up now are serious. Just recently we played 51 concerts in the South, and I talked to kids from 10 on up. You can feed 'em with rock-and-roll, pop or whatever it is, and they probably won't say nothing about it, but they know what's happening. They can appreciate it and instill it in their parents.
Do you think there will be more jazz abroad?
There'll always be good jazz overseas. The musicians over there will play better, too. Last time we went to London, we went by Humphrey Lyttleton's place and they played some good music. They played all them good numbers. There were jam sessions. James Rushing just told me he was on his way to England to work with Lyttleton and I told him he'd be in good company.
Well, Louis, I hope youll be wailing 25 years from now.
I got 10,000 packages of Swiss Kriss to take, and there ain't no way of missing it!
Of all the musicians questioned concerning the future of jazz, the least optimistic and most guarded in his prognosis was Bill Russo, the arranger and trombonist who, in his work as a writer for Stan Kenton and as a teacher, both for private students and for Down Beat readers for several years, has revealed one of the brightest minds and least conventional attitudes in contemporary jazz.
"My belief in the value of improvisation,*' says Russo, "has constantly diminished over the last four years. I see it as a source, as a stimulus to composition, and as elevated 'play.* It seems entirely possible to me that improvisation—as a thing in itself— will disappear or can disappear. If it does not disappear, it should go along the lines suggested by Tristano ten years ago; that is, as a form of spontaneous yet disciplined composition. In