New Pop Records

Bunk Johnson (Columbia LP). The last professional engagement played by the late New Orleans trumpeter, who once showed some hot licks to a kid cor-nettist named Louis Armstrong. With six longtime jazzmen of Bunk's own choosing, he plays a free & easy program of twelve tunes, e.g., Chloe, Some of These Days, Out of Nowhere, in his simple but highly polished style. There are a few quaint runs and riffs straight out of turn-of-the-century New Orleans, but every number has the glow of on-the-spot invention.

From Barrelhouse to Bop (John Mehegan, piano; Perspective LP). An illustrated lecture on the history of jazz, rather self-consciously narrated but well played by Juilliard's professor of jazz piano. His performance manages some close approximations of such jazz stylists as Jelly Roll Morton, Pinetop Smith, Fats Waller, Teddy Wilson, George Shearing and others.

The Kingdom of Swing (Benny Goodman, his orchestra and combos; Columbia, 6 LPs). Goodman's 1938 Carnegie Hall Jazz Concert, his more recently released Jazz Concert No. 2 and two recordsful of other reissues, boxed for the carriage trade. Price: $35.

The Astaire Story (Fred Astaire, members of Norman Granz's Jazz at the Philharmonic; special limited edition of four LPs). Thirty-four of the songs that were introduced by Dancer Astaire, intimately sung and well recorded, plus some photographs by Gjon Mili, sketches by David Stone Martin, a few minutes of improvised tap dancing and the signature of the star, all done up in a handsome binding. For the two-carriage trade. Price: $50.

Have You Heard (Joni James; M-G-M). An unsophisticated ditty of unrequited love that shows off an attractive voice in a relaxed style. A promising follow-up to Songstress James's current top seller, Why Don't You Believe Me?

Hot Dog Rag (Ruby Wright; King). A conglomeration of honky-tonk piano, ragtime lyrics, and a jigging beat in an effectively deadpan performance.

It's the End of the Line (Lu Ann Simms; Columbia). "It's all over but the blues," moans moody Lu Ann in an appealingly low-pressure style. More believable than most of the shouters could make it.

No Deposit No Return (The Andrews Sisters; Decca). A solidly commercial attitude toward love in a cheerfully commercial clambake by the famous vocal trio.

The Man I Love (Coleman Hawkins; Circle). The best of the jazz tenor saxophonists fills a whole side with one of his surprising inventions, and builds it from beginning to end.

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