Music: New Pop Records, Dec. 7, 1953

Art Tatum Trio (Capitol 2 EPs).

Eight selections by almost-blind Pianist Tatum, deserving hero of a whole generation of jazzmen, nimble Guitarist Everett Barksdale, and Slam Stewart, the man with the talking bass fiddle. Typical selections: a surrealist version of September Song, and Just One of Those Things, which goes like sixty.

Crazy and Cool (Victor LP). An anthology of bop that contains minor frenzies by Dizzie Gillespie, Charlie Parker, the Metronome All Stars, and a strangely old-fashioned item by Gene Krupa’s band. Worth the price of admission: 30 startling seconds by Charlie Ventura’s virtuoso vocalists.

Don Ewell (Windin’ Ball LP). Piano solos patterned after New Orleans’ late King Oliver and played in the high honky-tonk tradition; such tunes as Weather Bird Rag and New Orleans Stomp sound almost like the real thing. The third Ewell LP by a young Chicago label.

French Horn Jazz, Vol. I (John Graas Septet; Trend EP). The symphony orchestra’s most recalcitrant wind instrument finds its way into these four cool originals; here, muted and mumbling, it fits in pretty well.

Speed the Parting Guest (Cook LP).

Percussion in a nearly pristine state, but not nearly so frightening as it might seem from the line-up of instruments (partial roster: three bass drums, seven timpani, three xylophones, a glockenspiel, a gunshot machine and five pebble-filled cocktail shakers). Especially designed for hi-fi fans, but one number (Happy Little Woodpile) has pop possibilities.

Baubles, Bangles and Beads (Lu Ann Simms; Columbia). A little number expressing innocent joy in jewelry, charmingly vocalized by Songstress Simms and bespangled with instrumental baubles. Originally composed by Borodin (Prince Igor), although he gets no label credit.

Jungle Bells (Les Paul & Mary Ford; Capitol). A twist on Jingle Bells, featuring a nursery-rhyme lyric, a Latin beat and some remarkably jungly shrieks and bellows made by Les Paul’s guitar.

Moonlight in Vermont (Jerri Adams; Columbia). A new songstress reminisces enticingly about Old New England in a wistful tune that is hitting the comeback trail.

Petrillo (Eddie Oliver and the Oliver Twisters; Allied). ”Everybody blames poor Petrillo,” chant these singers in what sounds like a peace overture between the vocalists’ union and Petrillo’s A.F.M. The lament is lamented in close harmony.

Swamp-Fire (Kay Starr; Capitol). A tough, jivey version of a sultry oldtimer. It is sung in characteristic style by Songstress Starr, who was one of the first to popularize the slithering, wrong-note technique of today’s pop singers.