Howdy Folks! Check out my Atomic Age Vinyl Finds! If there are copyright issues or a problem with any post, just contact me and I will make corrections. I'm here to have fun and hope you will share in my process of discovery!
Lullaby Of Broadway
Tenor Saxophone Solos
Coral CRL 57029
From the back cover: The biggest, worldliest city of all has provided the title song, "Harlem Nocturne" and, of course, "Manhattan." The latter, in fact, has become most closely identified with this late modern mood approach of Georgie's, and it's a great personal favorite with the nation's disk jockeys.
But sometimes, hearing the way he sounds today, it's difficult for one to believe that this is the same tenor man the late Bunny Berigan sponsored back as far as 1937. In those days Bunny had a pretty fair big swing band, but he was no leader and somebody gave him a lot of terrible pop tunes to record. On most of these there were steel fibre tenor solos by the young Canadi n "find," Georgie Auld, in a sort of jagged, vintage Charlie Barnet style. Still, there was something here that made the jazz aficionados perk up their ears.
Gradually the sharp corners rounded off and he joined Artie Shaw during the peak years of '38 and '39.
Then came Shaw's dramatic exit (the first of several) and Georgie took over the band briefly while Artie looked for a new perspective in Acapulco. (It has been recalled by Artie that part of the provocation for his departure was the resentment expressed by the rest of the band when Georgie came to work for the then impressive sum of $125.)
In the middle of the '40, he joined Benny Goodman for a year, and it was here he blended into the mainstream of jazz and laid the foundation for a perpetually progressive style. This was Benny's "Basie Period" wherein the sturdy strain of Negro jazz out of Kansas City and thereabouts crowed with the Chicago New York strains to produce a freer, more sensuous and swinging music... especially in the smaller groups. Goodman's great Sextet included besides Auld, Cootie Williams on trumpet, the late Charlie Christian on guitar and sometimes Basie himself on piano.
Then, around this time, Ben Webster was making his singularly expressive style left as a member of Duke Ellington band ("Cottontail," "All Too Soon," etc.). Coleman Hawkins came back from Europe and recorded "Body And Soul," and Chu Berry did his "Ghost Of A Chance" with Cab Calloway. That same year too, Lester Young was doing all those tremendous romping things with Basie. The tenor era was on, and there was plenty to absorb. It's our guess that Georgie learned the most about jazz interpretation of ballads at the Webster school, which is timeless.
He went back with Shaw in '41 - '42, and after an army turn formed his own band which functions and recorded between '44 and ' 46. During that period he recorded for the now-defunct Guild and Musicraft companies, producing several sides that added impetus to the modern jazz movement as carried forward by Woody Herman and such. Among his sidemen on various dates were Dizzy Gillespie, Erroll Garner, Al Cohn, Serge Chaloff, etc. One memorable date was shared with Sarah Vaughan.
It was in 1951 that Georgie began recording for Coral and for it's jazz subsidiary label, Brunswick. In recent years, too, he has succumbed to the urge which hits many jazz men, to operate his own club. He had one in New York for a time, them moved to Hollywood, where he opened the Melody Room in '54.
Lullaby Of Broadway
A Room With A View
On The Alamo
The High And The Mighty
The Man With The Horn
Crazy She Calls Me
Just You, Just Me
Fiesta Record Company
Renate und Werner Liebmann, Carmela Corren, Antia Traversi, Jan und Kjeld, Peter Hinne, Fredy Brock and Gunnar Wiklund
Rosen Haben Dornen
I Love You
Geh Nicht Zu Den Indios
Im Tal Der Blauen Berge
Im Kleinen Dorg Am Rio Grande
Ob In Bombay, Ob In Rio
Schenk Mir Einen Talisman
Wilhelm Tell Twist
Themes And Counter-Themes
Morris Stoloff And His Orchestra
Decca Records DL 8407
From the back cover: His musicianship has won praise from many sources. He was nominated for the best scoring for a dozen different films, including "From Here To Eternity," and "5,000 Fingers of Dr. T." Moreover, he has been the recipient of two coveted Academy Awards: "Cover Girl" in 1944 and "The Jolson Story" in 1946.
I bought this album, drawn in by the curious title and pulp art styled cover. The record plays through differently than most mood music projects of the period. The approach is small combo lounge with an unexpected orchestrated mood music overlay. At times tracks sounded somewhat like I was playing two records simultaneously. The sample track above foregoes the layer of "mood" until about halfway through the piece.
Moonglow And Theme From "Picnic"
These Foolish Things
Love Come But Once In A While
Wrap Your Troubles In Dreams and There Was A Time
Sentimental Journey To You, Sweetheart
You Can't Run Away From It
Save Your Sorrow and Last Night
Exactly Like You and Wanna Go Back To You
Our Theme And Counter Theme
Prisoner Of Love and Dream Awhile With Me, Dear
Manhattan Romance and Sweet Sue, Just You
Rosetta and It Was A Beautiful Dream
Walkin' Thru A Rainbow
Enoch Light Presents
An Emotional Experience In Musical Communication
Patterns In Sound
Project 3 Total Sound PR 101SD-S
The LP packaging hints at an "conceptual" audio experience, however this is a compilation album with no focus. The tunes are enjoyable if you are into the early 60s Light sound, including several well executed Mottola tracks.
April In Portugal
Someone To Light Up My Life
Georgia On My Mind
A Tower Of Strength
Theme From The Sand Pebbles
Blowin' In The Wind
Workin' In The Coal Mine
Budget looking cover featuring no real title. Process 35 refers to a recording method Command Records was using (and others copied) at the time with excellent results.
Tony Calioli And His Band (probably a made up name for a session collection) are credited for the music on the disc label.
With all the indicators going against this album I didn't have much hope for the audio content. But whoever worked on the arrangements did a fine job. There appears to be some filler amongst the gems... but not enough to slow the record down.
O Sole Mio
Jack Sterling And His Quintet
Harmony Columbia HS 11-15
Terrific small combo lounge that features excellent engineering. I enjoyed the jazzy arrangements, clean instrument separation and full shimmering tone.
From the back cover: Jack Sterling, star of WCBS Radio's Jack Sterling Show, has the easy-going manner, humor and warm personality that make him a favorite of early morning radio listeners in the New York metropolitan area. The three-hour broadcast (there are 30 minutes of news) offers music, news and weather reports and Sterling at the helm. He is assisted by a musical quintet, consisting of Mary Osborne on the guitar; Andy Fitz on the clarinet; Tyree Glenn (courtesy of Roulette Records), vibes; Buddy Jones, bass; and Tony Aless, piano.
Sterling apparently played the drums.
This is a short set with content on each side of the record filling little more than half the disc.
Love Is Here To Stay
I'm Gonna Sit Right Down And Write Myself A Letter
Comes Love Dearly Beloved
Nice Work If You Can Get It
You'd Be So Nice To Come Home To
How High The Moon
Love Is Blue
Arranged And Conducted By Leo Addeo
Produced By Ethel Gabriel
Another creative installment in the "Living" series of records.
Love Is Blue
In The Heat Of The Night
Theme From The Fox
The Ballad Of Bonnie And Clyde
Mission Impossible Theme
Theme From Valley Of The Dolls
The Good, The Bad And The Ugly
Twin Pianos & Percussion
Stradivari Strings And The Montigo Choir
Pirouette Records RFM 73
Twin Pianos & Percussion
Metropolitan Strings And The Montigo Choir
I bought this LP (finding the Promenade version at a later date) because I'm a record hoarder and can't pass up the word "percussion" in the album title... In other words... I expected nothing in return for my $1. But, hey... this is a crazy record on which the percussion segment just isn't tacked on at the beginning of some canned studio orchestral piece. The arrangements are interesting. Add in bongos and the vocals and I could hardly believe my ears.
You're Just In Love
Soft Lights And Sweet Music
Say It With Music
They Say It's Wonderful
It's A Lovely Day Today
Love Me Forever
One Lonely Night
Tell Me You Love Me
'Til Your Heart Is Mine
None But The Lonely Heart
The World We Know
Stan Kenton And His Orchestra
Capitol Records ST 2810
This is a great Kenton album. The LP kicks off with an inventive and subdued cover of Sunny, but the mood quickly grows a bit more "somber". The vibe becomes more moody, slow and smoky. The "spy/secret agent" flavored track titled Interchange interjects energy at the end of side one, but side two jumps right back into bluesy covers of Invitation, Girl Talk and This Hotel. Kenton's Changing Times presents a more upbeat tune that features cool tempo changes. The LP closes out with yet one more moody track and one of my favorite songs, Gloomy Sunday.
A Man And A Women
Theme For Jo
The World We Knew
After Dark Marian McPartland Cover Photo by Burt Goldblatt Capitol Records T699 Recorded in New York City in October, 1955
Personnel: Piano: Marian McPartland Bass: Bill Crow Drums: Joe Morello Cello: Lucien Schmit Harp: Betty Glamann (Chelsea Bridge - Sand In My Shoes Easy Come, Easy Go - For All We Know) & Margaret Ross (If I Love Again - I'll Be Around - Pour Little Rich Girl)
From the back cover: One night at the table nearest the kitchen in New York's vast Hickory House a few friends lingered over the dinner hour, talking to lean, elegant Marian McPartland. The waiters served the group with a joshingly put-on air and frequently bantering remarks about Marian: her respectable red dress, her piano playing. From the doting tone of their remarks, though, and the constant attention paid to her it was obvious that she was the idol of everyone alike. Marian's charm – at once as basic and warm-hearted as laughter – sustained itself miraculously throughout questions from her dinner companions, and a lot of intense talk about her craft.
Someone in the group asked her the typical, but unfailingly interesting question. "What kind of music do you like to play best?"
Without any hesitation at all, Marian replied, "Ballads. I seem to like to indulge in feeling slightly nostalgic and sad, and people tell me that they really feel what's being said, and I guess that' some sort of artistic achievement."
To the left of the little group a man was explaining loudly to his blonde girl friend why he could not stand barbecue sauce. But even in the face of such noisy competition the conversation went on, unabashed.
"And I like knowing the words of the ballads I play," Marian said. "Because when I do I can sort of 'think' them to myself as I play, and can play their moods into my performance.
Somebody murmured about how keenly she does indeed appear to be thinking as she plays, and then Marian continued, intently picking up part of an earlier conversations.
"I like to have someone to play for, and if I know that someone in the room is really listening – it need only be one, really! – I think I can project my mood to that person and perhaps others, too
"But to project this kind of mood in the best possible way the whole trio has to feel it, not just me, and I must say that my two boys, Bill Crow and Joe Morello, are tremendously sensitive people. That reminds me. Did you know that Joe was named New Star in Drums in Down Beat's 1955 Jazz Critics' Poll? Anyway, sometimes just a delicate touch on the cymbals with the brushes, or a low note feeling played on the bass can give me such a warm feeling, knowing we are all of one mind. When it happens, it's a wonderful thing, and it happens quite often.
"Every time we play a tune, though we may have a set idea of how parts of it are to be played, there are always certain passages that come out differently each time, with each person adding his or her little suggestion."
She paused, and someone said, "I understand you're using more instruments than just the bass and drums in your new album. How come?" The questioner indicated Bill Crow and Joe Morello, who had joined the friends for coffee.
"They were only added for the ballads," Marian said. "A cello and harp. They're so nice for gentle, lyrical things. I really love the quality that they give to a song."
And with that there was a general dispersal of the group. Marian and the other two musicians prepared for the first set; the man with the blonde girl friend and the antipathy to barbecue sauce left; and Marian's friends moved up to the bar, the better to hear her.
From Billboard - April 14, 1956: There's something very magic about the McPartland gal, and that great feeling gets over in big gobs on this classy and tasteful disking. In the ballads "Chelsea Bridge," "Sand In My Shoes," "Easy Come, Easy Go," etc., she uses cello and harp to augment her regular group and the added sound contributes much warmth and luster. But no matter who the back-up people may be (and Bill Crow on bass and Joe Morello on drums are tops in this set) the British artist makes elegant sounds and she's at her best here. Should Be a sickout counter item.
Poor Little Rich Girl Chelsea Bridge I Could Write You A Book For All We Know Sand In My Shoes Struttin' With Some Barbecue Easy Come, Easy Go Falling In Love With Love If I Love Again Royal Garden I'll Be Around Everything But You
The Beat Goes On
Camden RCA CAS-2255
Why is this... sort of "budget" record... so amazing? Well, the "Living" series album producer, Ethel Gabriel teamed up some of the 60s best mood music/session artists to produce a number of excellent easy listening pop concepts. On closer inspection, if you read the jacket notes, you'll find that Dick Hyman (on loan from Command) arranged the pieces and Phil Kraus, one of the most creative studio percussionists of the period conducted the set.
White Silver Sands
Me. The Peaceful Heart
The Beat Goes On
Air Mail Special
Step To The Rear
Sixteen Great Performances
ABC's reissue of Command/Mottola tracks as a part of their series of "Sixteen Great Performance" albums. The album covers in this series had a similar look, printed on matt stock.
Vaya Con Dios
Skip To My Lou
Twelfth Street Rag
Quando Vuelva A Tu Lado
Poor People Of Paris
Am I Blue
Mexican Hat Dance
You Make Me Feel So Young