Monday, March 19, 2018
The Anita Kerr Singers
Vocal and Orchestral Arrangements by Anita Kerr
Produced by Dick Glasser
Conductor: Dick Marx
Engineer: Eddie Brackett
Art Directions: Ed Thrasher
Warner Bros. Records, Inc. WS 1665
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and the following Billboard article.
From Billboard - December 17, 1976: Anita Kerr's key to success is singing softly. This soft sound is the trademark of the Anita Kerr Singers, the current version working in local studios after blazing a path in Nashville.
A resident of Southern California for the past year, Miss Kerr formed a new singing group in November and recently signed with Warner Bros. Records as an artist.
"It's harder to sing softly because of arrangements, but once you get used to it, it's easier on your voice," she said, "and ballads sound better when you move in on the mike and sing softly."
"With Anita," added her producer Dick Glasser, "you have to instruct everybody to play softer to accommodate the voices. The trick is to keep everything down."
Turns Up Controls
Commenting on the differences between recording in Nashville and L.A., Miss Kerr noted that California singers stand farther back from their microphones. A&R man Glasser says this forces the engineer to turn up the controls on their mikes, allowing instruments to leak into their mikes.
Because she came here with hardly any contacts, Miss Kerr had to seek out the right singers for her quartet. Her current group consists of B. J. Baker, alto; Gene Merlino, tenor, and Bob Tebow, bass-high baritone and the leader, with a vocal mixture of alto-soprano.
Until singing with WB, the Anita Kerr Singers were tied to RCA. "I got a release from the contract," she explained, "so I could do independent arranging. I wanted to work for different groups."
She has worked for Brook Benton, the Living Voices, Lorne Greene, Pete Jolly, Molly Bee and Johnny Sea. She recalls that on some dates, male musicians have given her some trouble. She credits this to their unfamiliarity with female arrangers.
As vocal group leader, she writes all the arrangements to fit her soft sound. As an independent packager, she came up with the Mexicali Singers which WB releases. This is a large vocal sound, imitating instruments and propelled by a heavier beat than usual for a Kerr Group.
There have been three albums by this group, "The Mexicali Singers," "The Anita Kerr Orchestra" and "Further Adventures of the Mexicali Singers." The first LP promoting the Kerr Singers is the new "Slightly Baroque."
When arranging, Miss Kerr decides on a tempo and then thinks about what she wants the voices to do. "I hear their parts in my head," she explains. She rehearsed the new group three months before recording the baroque LP to establish the correct vocal blend.
Miss Kerr is considering developing a nightclub act for the group. "We've always been thought of as a background group (primarily through her Nashville sessions). But I would like the group to have a fore-ground identity.
From Billboard - November 26, 1966: The touch of baroque set to pop hits combined with the superb blend of the Kerr Singers, adds up to a giant package. Marking the Warner Bros. debut of the group, producer Dick Glasser has made a wise choice of material from "Mona Lisa" to "Just Say Goodbye" and the infectious "One Note Samba."
It's Not Unusual
Just Say Goodbye
Love At Last You Found Me
One Note Samba
Answer Me My Love
Cast Your Fate To The Wind
If Ever I Would Leave You
Houston Person, Virgil Jones, Melvin Sparks, Idris Muhammad
Supervisor: Bob Porter
Recording: Rudy Van Gelder
Prestige PR 7758
Charlie Earland, Organ
Virgil Jones, Trumpet
Houston Person, Tenor Sax
Melvin Sparks, Guitar
Idris Muhammad, Drums
Buddy Caldwell, Conga
Available from online vendors so I will not be posting a sample. Presented here to share the cover and bio information.
From the back cover: Charlie Earland has referred to himself as a product of the ghetto. In his particular case, the ghetto referred to is South Philadelphia. Still, Charlie reflects the honesty and vision of modern Black men and there is more pride than resentment when he discusses his upbringing. One gains the impression that he has strong roots in his community and that his music speaks not only for himself but for his home turf. It wasn't by accident that this album was titled Black Talk!
The evolutionary process which led to the making of this album began on May 24, 1941 when Charlie was born. His interest in music started early and by the time he was a teenager he played alto sax with a good deal of proficiency. Soon he picked up on tenor and baritone as well. Among his high school classmates were guitarist Pat Martino and reedman Lew Tabackin and not far from his house in South Philly was the home where the Heath brothers – Percy, Jimmy and Tootie – were brought up. Thus the scene was musically stimulating.
Music proved to be a lure for the young reedman and before he could finish school, he took to the road. His first major gig was as a tenor man in Jimmy McGriff's combo at age 17 and this association lasted until he fronted his first band, about two years later, with Gene Ludwig on organ. Later he worked with Pat Martino, prior to Pat's joining Willis Jackson.
The switch to organ came in 1963 and Charlie credits the late drummer Specs Wright with encouraging him to make the move. When Charlie first started playing, he was a long way from being a polished performer. As he puts it, "I could play the blues and When Johnny Comes Marching Home and that was it."
By 1965, Charlie had a quartet and he still things very highly of this band which had Joe Jefferson on tenor, Jimmy Ponder on guitar and Jesse Kilpatrick on drums. The group lasted for more than a year when lack of work caused the band to break up.
The next association was one which brought Charlie his greatest recognition to date; featured organist with Lou Donaldson. Anyone who caught the Donaldson band during 1968-60 will hardly forget the happy spirit of the group. Pencils and scorecards could not capture the feeling that this band achieved. Charlie was featured on Lou's Blue Note albums – Black and Proud and Hot Dog – and his powerful drive was a contributing factor to the success of those albums. Charlie departed the Donaldson band in December of 1969 to resume leading his own group – a trio – now working in Philadelphia.
Charlie is hardly a newcomer to the recording studio but on this album, he really had a chance to play material which he feels strongly about. Of the performances of his sideman, he was happy with everyone. The album combines the rhythm tandem of Melvin Sparks and Idris Muhammad (nee Leo Morris) who were the Donaldson recording rhythm section and Houston Person and Vigil Jones, who have formed the front line for recent Prestige sets by Sonny Phillips and Don Patterson. – Bob Porter
The Might Burner
Here Comes Charlie
More Today Than Yesterday
Saturday, March 17, 2018
Produced By Milt Gabler
DeLuxe 2 Record Set
Recorded in Europe
Recording Engineer: Peter Klernt
Decca Records - A Division of MCA Inc. CXSB 7200
* Fox Trots with Trumpet Solos by Fred Moch
Strangers In The Night
Red Roses For A Blue Lady*
Bye Bye Blues
The World We Knew (Over And Over)*
That Happy Feeling
Remember When (We Made These Memories)
Three O'Clock In The Morning
Spanish Eyes (Moon Over Naples)
Hold Back The Dawn
Wonderland By Night (Trumpet Solo by Charles Tabor)
I Can't Help Remembering You*
You Are My Sunshine
A Swingin' Safari
Arranged and Conducted by O. B. Masingill
A Hugo & Luigi Production
Recorded in RCA Victor's Studio A, New York City.
Recording Engineer: Ernest Oelrich
RCA Victor LSP-2280
Available from online vendors so I will not be posting a sample. Presented here to share the cover art.
From Billboard - November 7, 1960: Here's a swinging new Dells Reese album that shows the girl off to the best possible advantage. She comes thru with solid readings of a great collection of tunes, all done over cha cha backing. The songs include "Diamonds Are A Girl's Best Friend," "I'm Always True To You In My Fashion," "It's So Nice To Have A Man Around The House" and "Let's Do It." This could be a big one.
Diamonds Are A Girl's Best Friend
Come On-A-My House
Why Don't You Do Right
My Heart Belongs To Daddy
Let's Do It
Whatever Lola Wants
Tea For Two
Always True To You In My Fashion
It's So Nice To Have A Man Around The House
There's A Small Hotel
Love For Sale
Thursday, March 15, 2018
Invitation to LoveRonnie Aldrich And His Two Pianos
With The London Festival Orchestra and Chorus*
Arrangements by Ronnie Aldrich
Executive Producer: Tony D'Amato
Engineer: Arthur Bannister
Album Design: Trantor/Impac Associates
Photo: Rayment Kirby
London Records, Inc.
Gypsys, Tramps & Thieves
*Theme From "Summer Of '42"
I'd Like To Teach The World To Sing
*Baby, I'm-A-Wanting You
*Theme From "The Onedin Line"
*Theme From "The Go-Between"
*I Could Be Happy With You
*Invitation To Love
Diamonds Are Forever
Tuesday, March 13, 2018
Starring Doc Severinsen
Originated and Produced by Enoch Light
Arrangements by Robert Byrne
Associated Producer: Julie Klages
Recording Chief: Robert Fine
Mastering: George Piros
Art Director: Charles E. Murphy
Grand Award Record Co. Inc.
Tony Mottola - Guitar
Bob Haggart - Bass
Don Lamond - Drums
From the cover: Doc Severinsen's first album recorded for Command (Command RS 819) proved to be one of the most outstanding instrumental performances in the history of the recording industry and was acclaimed by leading critics and musicians throughout the world.
In preparing this, his second album, Doc was able to utilize the revolutionary new recording techniques perfected by Command... 35/MM magnetic film recording. His gorgeously rich tone, the daring brilliance and the incomparable cleanses and precision with which he explores the entire range of the trumpet as well as his intense feeling for melody are all the result of intensive early schooling art the hands of his father (a dentist by profession but avocationally a devoted musician), later experience as a star sideman with Charlie Barnet's magnificent band of the later Forties and with Tommy Dorsey's most polished band, plus a decade as the top-ranking trumpet man in New York's studio firmament.
Love For Sale
Blues In The Night
When Your Lover Has Gone
Johnny One Note
My Funny Valentin
St. Louis Blues
The Look Of Love
I Cried For You (Now It's Your Turn To Cry Over Me)
Friday, March 9, 2018
Including The Cat In The Window
Produced by Sonny Burke
Arranged and Conducted by Ernie Freeman
Engineer: Lowell Frank
Art Direction: Ed Thrasher
An Original Vogue Recording
Warner Bros. - Seven Arts Records, Inc.
The Last Waltz
Answer Me My Love
The Other Man's Grass Is Always Greener (Produced by Tony Hatch)
Today, Tomorrow (Boa Palavra)
I Could Have Danced All Night
At The Crossroads (Produced by Tony Hatch)
Isle De France
The Cat In The Window (Produced by Charles Koppelman and Don Rubin, Arranged by Jack Nitzsche)
Ballad Of A Sad Young Man
Rain And Tears
Paul Mauriat And His Orchestra
Philips PHS 600-280 (applied as a sticker on the cover)
Book-fold jacket featuring a die-cut cover that reveals the album title and track list.
Comme Un Garçon (What A Guy)
Rain And Tears
L'Amour Te Ressemble (Love Is the Image Of You)
This Guy's In Love With You
La Source (The Spring)
I'm Coming Home
Thursday, March 8, 2018
You're Takin' My Bag
Arrangements: H. B. Barnum
Produced by David Axelrod
Recording Engineer: Joe Polito
Capitol Records T 2713
The Backing Includes:
Gerald Wiggins - Piano
Earl Palmer - Drums
James Bond - Bass
Barney Kessel - Guitar
Jim Horn, Teddy Edwards - Saxes
Tony Terran, Fred Hill - Trumpets
From Billboard - May 6, 1976: This album is misnamed. The listener does not get "Too Much" of Lou Rawls. Rawls sings with soul. He gives real meaning to the lyrics. His current hit, "Dead End Street," is included and plugged with a stick-on sign on the album jacket.
Yes, It Hurts (Doesn't It?)
It's An Uphill Climb To The Bottom
I Just Want To Make Love To You
You're Takin' My Bag
Then You Can Tell Me Goodbye
Dead End Street (Monologue)
Dead End Street
Twelfth Of Never
Righteous Woman (Monologue)
I Wanna Little Girl
Why? (Do I Love You So)
I'll Take Time
You're Always On My Mind