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Tuesday, January 25, 2022

Coming 'Round The Mountain - Dorothy Shay

 

Say That We're Sweethearts Again

Coming 'Round The Mountain 
Dorothy Shay
The Park Avenue Hillbilly
Harmony HL 7017
A Product Of Columbia Records
1957

Feudin' And Fightin'
Say That We're Sweethearts Again
Mountain Gal
Efficiency 
Flat River, Missouri
Joan Of Arkansaw
Pure As The Driven Snow
Why Don't Someone Marry Mary Anne
No Ring On Her Finger
Since Mother Was A Girl

A Night In Las Vegas - Mary Kaye Trio

 

Get Out Of Town

A Night In Las Vegas
With The Mary Kaye Trio
Vocal With Instrumental Accompaniment
Decca Records DL 8238
1956

From the back cover: Mary Kaye made her debut at a carnival in St. Louis. She as all of three years old and she swayed seductively in a baby-like grass skirt, while her brothers, Norman, an oldster of six, strummed a ukulele. Their father, who had moved his family from Detroit, stood outside and told skeptical customers about the authentic Hawaiian review inside the tent. For the next six years the young Kayes were kept busy in class during the day, doing homework and rehearsing after school, and trouping all over St. Louis in the evenings, winning prizes in almost every theatrical and radio amateur contest in the area.

When Mary and Norman reached their early teens the duo became a trio. With their father, a former swimming champion, they became the Royal Hawaiians. While specializing in Island music, they began to introduce more and more hit songs into their act and were becoming a popular organization when, in 1943, Norman went into the Army. His place was taken by an accordionist Frankie Ross (born Diagio Ross Salvatore Blogna) and, when father Kaye left the group he was replaced by a young bass player, Julie Pursley.

Two years later there was another switch, Norman got out of the service and Julie got into the army. Norman rejoined the group, now known as the Mary Kaye Trio, and when Julie returned to civilian life, Julie was signed out as road manager for the trio. A year later he and Mary were married; they now have a son.

As might be gathered from the foregoing data, the group is a tightly knit family affair. Norman is the most versatile musician of the organization. Besides possessing a large and mellow baritone, he performs on a wide variety of instruments, including the trombone, vibraharp, piano, bass, guitar, alto horn and. of course, the ukulele, which he has played ever since he was old enough to hold one. He is also the composer of about one hundred tunes. Frankie Ross not only provides the comedy for the act but is expert at the accordion. Mary is a virtuoso on the Spanish Guitar and is a singer who has developed a style distinctively her own. Together they are a trio who have become one of the country's most versatile and exciting groups.

From Billboard - April 21, 1956: This group has chalked up a measure of success on the Las Vegas circuit and it's one of the few outfits that get over a good portion of the "in person" excitement on a disk. The arrangements of fine standards have drive, class and sophistication. Miss Kaye's own vocal stylings, not unlike the work of Kay Thompson, gets the spotlight, but plenty is heard from accordionist and comedy and Frankie Ross and the gal's baritone brother, Norman, who also takes a lick on a number of instrumentals. The modern harmonies and unusual vocal gimmicks add ups to listening excitement.

Get Happy
They Didn't Believe Me
The Lonesome Road
Little Girl Blue
And About The Boy
Get Out Of Town with Jud Conlon's Rhythmaires 
Bewitched
I'll Remember April
Wagon Wheels with Jud Conlon's Rhythmaires 
My Funny Valentine
April In Paris
Good-Bye

Monday, January 24, 2022

Once In Each Life - The Gunter Kallmann Chorus

 

Where's The Playground Susie

Once In Each Life
The Gunter Kallmann
Cover Photo: Joel Brodsky
Art Direction: David E. Krieger
And N. P. Production by Norrie Paramor
Polydor ST 93179
1969

Good Morning Starshine - Arranged and Conducted by Mike Vickers
Galveston - Arranged and Conducted by Johnny Arthey
Happy Heart - Arranged and Conducted by Nick Ingman
Once In Each Life - Arranged and Conducted by Bernard Ebbinghouse
Windmills Of Your Mind - Arranged and Conducted by Johnny Arthey
Love Theme From Romeo And Juliet - Arranged and Conducted by Bernard Ebbinghouse
Where's The Playground Susie - Arranged and Conducted by Mike Vickers
Aquarius - Arranged and Conducted by Johnny Arthey
Just A Dream - Arranged and Conducted by Bernard Ebbinghouse
Feelin' Groovy - Arranged and Conducted by Mike Vickers
By The Time I Get To Phoenix Arranged and Conducted by Mike Vickers
Goodbye - Arranged and Conducted by Nick Ingman

Fever & Smoke - The Three Suns

 

Like Young

Fever & Smoke
The Three Suns
Produced by Nevins-Kirshner
Arrangements by Charles Albertine
Recorded in RCA Victor's Studio A, New York City
Recording Engineers: Ernest Oelrich and Bob Simpson
RCA Victor LPM-2310
1961

From the back cover: Triple the explosion, and you have the amazing versatility of the Three Suns in their latest explosion of music, Fever and Smoke

Here we have another masterful mixture of magical music brewed with the accustomed artistry of the Suns, and stirred, simmered and flavored to the boiling point by the magic touch of Producers Nevins-Kirshner.

Side One starts off with a blast of heat in a sensuously throbbing version of Fever, setting both the mood and the climate of the entire album. Sleep Walk is a stroll through a magic inferno, and the Chinese gong in the incendiary Tequila is tongue-in-cheek music at its best.

To cool the temperature a bit, the delicate notes of the harpsichord are introduced, in crystal clarity, in Theme from "A Summer Place," but the heat from the blazing Suns cannot be so easily dispelled, and they leave behind them a burning bridge over the River Kwai in a temperature interpretation of the Colonel Bogey March as it has never been before been performed.

Sound-wise, the Suns have added the mallet family, the marimba, the vibraphone, the Salvation Army Drum, kettledrum and all the in-betweens, and surrounded themselves with the rhythm and blues of today 

– Fender bass and the feel to go with it.

Charles Albertine's original compositions – Beyond The Sun And Smoke – and his superlative arrangements again show his creative talent in a new phase.

This unusual package is designed to create excitement, stir emotions and kindle your imagination – so put the record on the turntable, turn up the volume, and control yourself. – Faith Whitehall

From Billboard - April 24, 1961: The boys are in fine "sound" form on this package which blends the fender bass with the mallet family – the marimbas, vibraphone, etc. Colorful, listenable wax with strong appeal for deejays as well as sound fans. Selections include "Sleepwalk," "Tequila," "Fever" and "Like Young."

Fever
Like Young
Theme Form "A Summer Place"
Tequila
Beyond The Sun
Colonel Bogey March
Sleep Walk
Chanson d'amour 
Volare
Misty
Smoke

Rockin' With Milt - Milt Buckner

 

Bernie's Tune

Rockin' With Milt
Milt Buckner At The Organ
Capitol Records T642
1955

From the back cover: The first time Milt Buckner played the Hammond organ it was because there did not seem to be anyone else around to play it. How he plays it because there doesn't seem to be any limit to the number of clubs that want to book a Hammond organist's trio.

Buckner, playing organ and some vibes, is now a solid success on the lounge circuit. He tours most of the eastern cities and towns with drummer Sam Woodyard and tenor saxophonist Danny Turner, and he hasn't had trouble getting a booking since he first went out with a trio in August 1952.

That was just after he left Lionel Hampton. "Doug Duke," Hamp's organist, quit the band in 1950, when I was playing piano," Buckner recalls. "Hamp asked me, 'Can you play organ?' I said I couldn't, but I'd try." Buckner tired.

There wasn't any other organist around to help him, so he figured out the keyboard by himself. In a few week he was ready to play in public.

Some of the places the band was playing had house organs, and Buckner began to play occasionally with the band. He learned to play a few tunes, like Hamp's Boogie Boogie, without mastering the foot pedals. Then Hampton began to rent an organ for him on all their important jobs.

Until he learned how to use the pedals, Buckner had a problem. He couldn't get any volume; often the roaring band would drown him out. His first tentative applications of foot to pedal, resulted in a few catastrophes.

"If we were in A flat, well, I'd know where that was," Buckner said, and I'd get my foot on the right pedal and stay on it, and get the volume okay. Then sometimes, when I didn't expect it the band would quiet down suddenly and I'd be left out there by myself – on the wrong chord."

He had even more trouble when the band went into the Orpheum theater in Los Angeles, where there was a five-mannual Wurlitzer.

"On that thing," Milt said, "it would take three to five seconds for the sound to come out after you pressed the key. Can you imagine trying to swing under those conditions? I went in there every day before the first show, and I stayed a long time after the last one, practicing.

Buckner, born in St. Louis, went to live with an uncle in Detroit at the age of 9, after both his parents died. The uncle sent his nephew to study piano.

When he was 13, he had tasted commercial success – a subbing job for the heady sum of $10 – and was too eager to take the many jobs that were open to a pianist who could read music.

He was in high school, and he says he can still remember "when our band used to go out to Caldwell, Mich., to play weekend jobs – Thursdays to Sundays. We used to play a late dance on Sundays, wearing tuxedoes.

"By the time we had played the job, cleaned up, eaten dinner, and driven 100 miles back to Detroit," Buckner recounted, "it would be just about time for me to go to school. The boys would let me off in front of the school, and I'd spend the whole day in school wearing my tuxedo."

He didn't graduate, but by the time he got into the upper grades, he was working full time.

He spent his teens and early 20s playing with two Detroit bands – Don Cox's and Jimmy Rauschelle's. He joined Cox in 1934, left him for Rauschelle in '35, went back to Cox in '37, returned to Rauschelle in '40 and rejoined Cox in '41.

Some time later, Lionel Hampton, who had heard him play several times, asked Buckner to sit in at a rehearsal. When it turned out that the regular pianist's illness was so serious he had to quit the band, Buckner was hired.

He stayed with Hampton seven years and did a great deal of arranging. "I think I wrote about 15 arrangements of Flying Home alone," he says.

When he left the band, it was to form his own group. By now he's developed his trio to the point where he can play virtually any job – a jazz club, commercial lounge, rhythm and blues club, or dance hall.

A good deal of Buckner's popularity may be attributed to his personality. A compact, 5-foot-2 1/2 inch ball of energy, he is a lively figure on any stand. The music fits the personality – it's usually loud, heavily melodic and swinging. Recently, when a patron asked him for Happy Birthday, he responded with such a bright, swinging performance that it delighted even jazz fans in the audience. But Buckner is able to tailor his style of music to the style of the spot he's working... – Bob Fulford (DownBeat)

Lean Baby
Bernie's Tune
Rockin' With Milt
Easy To Love
Blues For Me
Robins Nest
Slaughter On 125the Street
Little Miss Maudlin
Movin' With Mitch
Take The "A" Train

Jazz At The Concertgebouw Amsterdam

Squeeze Me

Jazz At The Concertgebouw
Dutch Swing College Band
Featuring: Neva Raphaello
Philips 625 302 QL
1964

Way Down Yonder In New Orleans
South Rampart Street Parade
The Lonesome Road
Sixty-Nine Blues
Creole Love Call
'Deed I Do
African Queen
When You're Smiling
Squeeze Me
It's All Right With Me
Old Fashioned Love
Jubileum Blues
Buddy's Habits
Way Down Yonder In New Orleans

Sunday, January 23, 2022

With All My Love - Manny Albam

 

Soulsville

With All My Love
Manny Albam and His Orchestra
Mercury MG 20325
1958

I Love You
Someone To Watch Over Me
The Touch Of Your Hand
To Be In Love
Easy Living
Our Love Is Here To Stay
They Can't Take That Away From Me
Simple As Love
Love Is The Sweetest Thing
The Very Thought Of You
Soulsville

Porgy And Bess - Diahann Carroll & The Andre Previn Trio

 

What You Want Wie Bess

Porgy And Bess
Diahann Carroll 
And The Andre Previn Trio
Produced and Directed by Jack Lewis
Recording Engineer: Art Becker
Cover Photo: Lester Bookbinder
Cover Design: Paul Bacon
United Artists Records UAL 4021
1959

Personnel:

* Andre Previn, piano; Joe Mondragon, bass; Larry Bunker, drums
** Andre Previn, piano; Keith Mitchell, bass; Frank Capp, drums
*** Andre Previn, piano

From the back cover: Diahann, though barely in her twenties, has long ago made her mark in the world of music. When she was but ten she won a Metropolitan Opera scholarship, for her singing ambitions were apparent early. By the time she as all of eighteen she had abandoned what might have been a career in sociology to appear on the television show, "Chance Of A Lifetime," and stayed for several weeks. This was followed by a booking into the Latin Quarter and other night clubs across the country. Diahann made her Broadway debut as the enchanting Ottilie in the Harold Arlen musical House Of Flowers, where she received the applause of both public and critics. Since then she has been kept busy recording, making TV appearances on such major shows as the Ed Sullivan program, the Steve Allen hour, and the Jack Paar show. All of this in between singing engagements at the finest supper clubs in America and Europe.

Andre is a jack of all trades and master of all. As pianist, arranger,  and conductor he is equally at home in the field of the classics, popular music, and jazz. A prodigy, Andre was hired by a movie studio as an arranger as soon as he had graduated from high school. Ever since he has been busy as an arranger and conductor in films (his most recent conducting was done for the popular Gigi – and of course, Porgy And Bes), in addition to playing with jazz groups and recording. As a jazz pianist, Andre is considered one of the greatest around. And like so many fine musicians his enthusiasm for the music of Gershwin is genuine and perceptive – as is evident in these arrangements. 

From Billboard - March 23, 1959: One of the many, new "Porgy And Bess" packages, this one is interesting for its fresh arrangements and jazz orientation. Pianist-arranger Andre Previn and Miss Carroll's projection infuse the score with brightness. This can garner a good share of the action.

Summertime*
My Man's Gone Now***
I Got Plenty Of Nuttin'**
Porgy, I Is You Woman*
Oh, I Can't Sit Down**
It Ain't Necessarily So*
What You Want Wie Bess**
I Loves You Porgy***
There's Somebody Knockin'*
There's A Boat That's Leavin' Soon For New York**

If You Can't Beat 'Em, Join 'Em - Gerry Mulligan

Hush, Hush Sweet Charlotte

If You Can't Beat 'Em, Join 'Em
Gerry Mulligan
Produced by Jack Tracy
Recorded July 22, 26, 27, 28, 1965, at Radio Recorders Studios, Hollywood, California
Engineer: Rafael Valentin
Limelite LM 82021

Personnel:
Baritone Saxophone: Gerry Mulligan
Piano: Pete Jolly (Pete Jolly appears through courtesy of Columbia Records
Guitar: Johnny Gray
Bass: Jimmy Bond
Drums: Hal Blaine

Complex gatefold album design featuring interior die-cuts and saddle-stitched informational "booklet"

Design Notation: This new dimensionally-designed LIMELIGHT album introduces another graphic innovation to modern record album design. 

Created and designed by Daniel Czubak, the unique effect achieved in this album brings new depth to the visual enjoyment of the discriminating record buyer.

Photographed by Fred Seligo

King Of The Road
Engine, Engine No. 9
Hush, Hush Sweet Charlotte
I Know A Place
Can't Buy Me Love
A Hard Day's Night
If I Fell
Downtown
Mr. Tambourine Man
If You Can't Beat 'Em, Join 'Em

Discotheque - Jet Set Dance, Vol. 1

 

Mambo Inn

Discotheque
Jet Set Dance, Vol. 1
Production & A&R: Sidney Frey
Engineering: William Hamilton
Re-recording: Barry Oslander
Cover Art: Irving Sloane
Audio Fidelity Records DFM 3039
1964

From Billboard - October 24, 1964: This is Vol. 1 of three issued simultaneously by the Audio Fidelity label. For discotheque parties or for just plain parties where people want to dance, or for dance instructors, here is the widest possible grouping of dance rhythms done by outstanding artists from all over the world.

Baby Elephant Walk - Jo Basile Orchestra
Baubles, Bangles And Beads - Percussive Jazz Orchestra
Hully Gully - The Rockers
Jes' Fruggin' - The Rockers
Somewhere In The Night - Teri Thornton Vocal and Orchestra
Kidney Stew - Lionel Hampton
Abrette Sesamo - Pedro Garcia Orchestra
Le Merengue Gombey - Talbot Bros. & Orchestra
The Victors - Jo Basile Orchestra
Desafinado - Saxsambistas Brasileiros 
Mambo Inn - Hernadez Orchestra