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Saturday, December 15, 2018

Cheryl Poole

Kansas City
Cheryl Poole
Produced by *Buddy Killen & **Don Logan
Art Director: Jerry Griffith
Celestial Photograph thur the courtesy of Spar Palnitarium
Paula Records LPS 2205
A Division of Jewel Records - Shreveport, LA
1969

From the back cover: Her (Poole) first stage experience came at the tender age of 13. Then came road shows, the Louisiana Hayride, a Paula Records recording contract, TV shows (Panther Hall, Buck Owens, Ralph Emery and Melody Ranch), The Grand Ole Opry and has a tour of England to her credit.

A seasoned performer, Miss Poole emerged victoriously into national prominence with her recording of "Three Playing Love."

*Three Playing Love
**Daddy's Little Girl
Ruby's Stool
**I'm Not Your Woman
**Kansas City
**If You're Gonna Be My Man
*The Skin's Gettin' Closer To The Bone
*You Ain't No Friend Of Mine
Swinging Blue
**I'm So Lonesome I Could Cry
**Walk Among The People
**You Haven't Read The Book

Friday, December 14, 2018

Music From Hollywood - Percy Faith

Music From Hollywood
Percy Faith and His Orchestra
Columbia CL 577
1954

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and Billboard Review.

From Billboard - September 11, 1954: Continuing its program of adding selections and making 12-inch items out of previous 10-inch LP packages, Columbia offers this collection of motion picture themes done in a lush and lovely manner by the Percy Faith orchestra. And tho current theme hits like "High and the Mighty" might have added much to the package if they had been included, the disk packs enough fine material to make it a natural for retailer business.

The Song From Moulin Rouge
Genevieve
Theme From "The Bad And The Beautiful"
Caribbean Night
Return To Paradise
Invitation
Ruby
The Loveliest Night Of The Year

Bread, Butter & Jam In Hi-Fi

Let Me Miss You, Baby
Bread, Butter & Jam In Hi-Fi
Produced by Fred Reynolds
Cover Photo by Carl Fischer
RCA Victor LPM-1644
1958

From Billboard - November 24, 1958: RCA Victor has put together a group of sides by top Dixieland and mainstream jazzmen that should appeal to the older set in the States. Artists include the Bud Freeman ork, Red Allen's All Stars, and Ruby Braff's group. Tunes are standards, such as "Do You Know What It Means To Miss New Orleans," "Sunday," "Stars Fell On Alabama," and "Did I Remember."

Sunday
Bud Freeman's Summa Cum Laude Orchestra
Bud Freeman - Tenor Sax
Billy Butterfield - Trumpet
Tyree Glenn - Trombone
Pee Wee Russel - Clarinet
Dick Cary - Piano
Al Hall - Bass
Al Casamenti - Guitar
George Wettling - Drums

Do You Know What It Mean To Miss New Orleans
Lee Wiley - Vocal
Billy Butterfield - Trumpet
Cutty Cutshall - Trombone
Peanuts Hucko - Clarinet
Deane Kincaide Baritone Sax
Lou Stein - Piano
Bobby Haggart - Bass
Barry Galbraith - Guitar
Cliff Leeman - Drums

Let Me Miss You, Baby
Henry "Red" Allen's All Stars
Henry "Red" Allen - Trumpet and Vocal
J. C. Higginbotham - Trombone
Buster Bailey - Clarinet
Coleman Hawkins - Tenor Sax
Marty Napoleon - Piano
Lloyd Trotman - Bass
Everett Barksdale - Guitar
Cozy Cole - Drums

You Took Advantage Of Me
Bud Freeman's Summa Cum Laude Orchestra
Bud Freeman - Tenor Sax
Jack Teagarden - Trombone (Courtesy of Capitol Records)
Peanuts Hucko - Clarinet
Gene Schroeder - Piano
Leonard Gaskin - Bass
George Wettling - Drums

Did I Remember?
Ruby Braff And His Men
Ruby Braff - Trumpet
Benny Morton - Trombone
Pee Wee Russell - Clarinet
Dick Hafer - Tenor Sax
Nat Pierce - Piano
Walter Page - Bass
Steve Jordan - Guitar
Buzzy Drootin - Drums

I Cover The Waterfront
Bud Freeman's Summa Cum Laude Orchestra
Same as "Sunday" except:
Dick Cary - Alto Horn

Stars Fell On Alabama
Lee Wiley
Same as "Do You Know What It Means To Miss New Orleans"

Love Me Or Leave Me
Henry "Red" Allen's All Stars
Same as "Let Me Miss You, Baby," but without vocal

Some Of My Favorites - Dave Garroway

Hi-Fi Baby
Some Of My Favorites
Dave Garroway presents Matt Dennis and Red Norvo
RCA Victor LPM-1449
1957

Personnel:

Matt Dennis Orchestra:

Howard Roberts - Guitar
Clifford Hils - Bass
Alvin Stoller - Piano
Jimmy Rowles - Piano
Ted Nash - Sax
Don Fagerquist - Trumpet

Red Norvo Sextext:

Red Norvo - Vibes and Xylophone
Ben Webster - Sax
Harry "Sweets" Edison - Trumpet
Jimmy Rowles - Piano
Bob Carter - Bass
Bill Douglass - Drums

From the back cover: These superb pieces for Matt's voice are coupled with a series of blues numbers by the Red Norvo group. Certainly Norvo needs no introduction to anyone. He is a traditional jazz musician of the highest caliber, and for these recordings, has surrounded himself with some of the most competent sidemen of our time. Ben Webster on tenor sax and Harry "Sweets" Edison (both appear through the courtesy of Norman Granz) complement each other all the way through, and are supported with superb behind-the-scenes piano by Jimmy Rowles. Webster's choruses are all marked by a tremendous mastery of the horn that has been his trademark for many years. There is only one Ben Webster, and he demonstrates why on these sides.

All these blues are reminiscent of the after-hours jam sessions that went on in the forties but have disappeared in this day and age. The lush, flowing, reflective style of these musicians shows a logical progression of jazz in the traditional manner. It's as though Red said, "Now this is so, and this is so, and another thing is that this is so, too; and therefore, logically, this is so. Of course, looking at it another way, you could say it this way, and this way, and come out with still the same logical conclusions – like this..." each "this" in the above being a riff or phrase of music. Norvo's playing is, as always, utterly discreet without losing that basis of all jazz – the beat. – Dave Garroway


There's A Small Hotel - Matt Dennis
The Night Is Blue - Red Norvo
Lush Life - Matt Dennis
Easy On The Eye - Red Norvo
Just A Mood - Red Norvo
The End Of A Love Affair - Matt Dennis
Sunrise Blues - Red Norvo
Hi-Fi Baby - Matt Dennis

Thursday, December 13, 2018

Rodgers For Moderns - Ted Heath

Rodgers For Moderns
Ted Heath And His Music
London Records LL 1500
1956

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes excerpt.

From the back cover: This stylish tribute in modern mood is made by Ted Heath and his Music, acknowledged as one of the greatest of modern swing bands on both sides of the Atlantic. For a British band to invade the home of swing and to be accepted as one of the best is a very unusual triumph indeed. The Ted Heath story is all that a success story should be. He was born in Wandsworth, a not very exciting part of South-West London, full of large and shabby Victorian houses and little else, and here, at the age of twelve, he began to learn to play the trombone. At the end of the first World War he found himself, as so many young men did, amongst the numerous ranks of unemployed, so he took his trombone and ranks of unemployed, so he took his trombone and busked in the streets. In 1920 he got a job with Jack Hylton's orchestra, moving from there to play with many of the best British bands, including those of Ambrose and Sidney Lipton, until he joined Geraldo as first trombone in 1940. At this time he composed two songs which had quite a success, and the royalties from these allowed him to fulfill a lifelong ambition and to form his own band. This quickly became one of the most talked-of bands in the country, selling a fabulous number of records, introducing singers like Dickie Valentine and Lita Rosa, and starting the popular Sunday Swing Sessions which drew capacity crowds to the London Palladium for many years.

From Billboard - November 3, 1956: One of the crispest big bands in the business, with some of the sharpest and cleanest ensemble work to be heard, is at its classiest best on a brace of a dozen memorable Rodgers and Hart songs. The material is almost all styled for dancing but the interesting arrangements, plus great solo work, is likely to take the listening fancy as well. Tunes include "Have You Met Miss Jones," "Thou Swell," "The Lady Is A Tramp," and others equally appealing. A solid counter item.

Have You Met Miss Jones?
There's A Small Hotel
It's Easy To Remember
My Heart Stood Still
Down By The River
Thou Swell
The Lady Is A Tramp
Where Or When
This Can't Be Love
I Married An Angel
The Blue Room
Down By The River

The Ballad Style Of Stan Kenton

The Ballad Style Of Stan Kenton
Producer: Lee Gillette
Cover Photo / Ken Whitmore: Susan Oliver, a Warner Bros. Actress
Capitol Records T1068
1958

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket notes excerpt.

From the back cover: All selections are well-known standards, with one exception, When Stars Looked Down by Dale Barnhart. This is Dale's first recorded work and Kenton feels it has the properties required to take its rightful place among the beautiful melodies heard in "The Ballad Style of Stan Kenton."

From Billboard - October 20, 1958: The Kenton crew turns to a program of ballads in their newest offering. It's a smooth, danceable set that should move well in both pop and jazz marts. Orchestrations are excellent. Kenton's piano is set against lush brass and reed choirs on such fare as "I'll Be Tired Of You," "The End Of A Love Affair" and "The Night We Called It A Day." Also fine jockey programming set.

Then I'll Be Tired Of You
More Than You Can Know
When Stars Looked Down
The End Of A Love Affair
A Sunday Kind Of Love
Moon Song
Early Autumn, How Am I To Know?
The Things We Did Last Summer
We'll Be Together Again
How Deep Is The Ocean (How High Is The Sky)
The Night We Called It A Day

Let's Put Out The Lights - Jame Russell

Let's Put Out The Lights
Jane Russell
Orchestra under the direction of Lou Bing
Cover photo: Cliff Waters
Columbia Records Set C-157

Body And Soul (from "Three's A Crowd")
I Must Have That Man! (from "Blackbirds of 1928")

Let's Put Out The Light (And Go To Sleep)
Do It Again (from "The French Doll")

Love For Sale (from "The New Yorkers")
Two Sleepy People (from "Thanks For The Memory")

A Hundred Years From To-day (It Will Have To Do)
Until The Real Thing Comes Along

Wednesday, December 12, 2018

Julius La Rosa

If I Had You
Julius La Rosa
Joe Reisman and His Orchestra
And The Ray Charles Vocal Group
RCA Victor LPM-1299
1956

From the back cover: All in all, a fitting first Long Play Album for a young baritone geared to the public's long-play applause.

Candy
A Fellow Needs A Girl
If I Had You
How About You?
But Not For Me
Ev'ry Time
No Love, No Nothin'
Don't You Know I Care
Our Love Is Here To Stay
Wait Till You See Her
I Hadn't Anyone Till You
I Love My Bed

Relaxing With Perry Como

Relaxing With Perry Como
With Orchestra and Chorus
Photo: David B. Hecht
Cover Photo: Bertoia chair, Courtesy, Knoll Associates
RCA Victor LPM-1176
1956

Available from online vendors so I will not be posting a sample. Presented here to share the originals cover art and jacket notes excerpt.

From the back cover: Pierino Ronald Como was born in Canonsburg, Pennsylvania. Although he always like to sing, his first great ambition was to be the best darned barber in all Canonsburg. After graduation from high school, he opened his own tonsorial establishment that featured the special Como hair cuts plus some mighty pleasing Como singing in the background. In 1933 Perry joined Freddy Carlone's band in Ohio and three years later moved on up to Ted Weem's Orchestra and his first record dates.

In 1942 Weeks dissolved his band and Perry went on to CBS where he sang for a couple of years without any conspicuous success. By this time the erstwhile barber had definitely decided to return to Canonsburg, his family and his barbering. Just as Perry was about to abandon his singing career once and for all, Fate in the person of two NBC producers felicitously stepped in and wheeled him back into show business – specifically for the NBC "Supper Club," followed by very successful theater and night club engagements.

Came 1945 and Como's practically perfect reading of the Buddy Kaye-Ted Mossman pop ballad, Till the End of Time (based of course on Chopin's Polonaise), and the rest is not only recording but also TV history; Perry is the only artist who has ever had ten records to over the magic million-copies mark (including, incidentally, Till the End of Time, Prisoner of Love, Because, When You Were Sweet Sixteen and Temptation – all in this album) and, although he is "just a singer," as he puts it, his television show has achieved a much higher rating than that of any other vocalist so far. Can any other barber equal that record?! – Duncan MacDonald, Jr.


Prisoner Of Love
Because
When You Were Sweet Sixteen
Far Away Places
Black Moonlight
While We're Young
Song Of Songs
Till The End Of Time
Temptation
If
If There Is Someone Lovelier Than You
Over The Rainbow

More Mancini Favorites - Rudolph Statler

A Shot In The Dark
More Mancini Favorites
Orchestra and Chorus Directed by Rudolph Statler
Wyncote SW-9098
Cameo-Parkway Records, Inc.

Dear Heart
Breakfast At Tiffany's
Remember You're Mine
Peter Gunn
A Shot In The Dark
Groovy Baby
Danny Boy

Tribute To Jerome Kern - Al Goodman

Smoke Gets In Your Eyes
Al Goodman
In An Orchestral Tribute To Jerome Kern
Featuring The Stradivari Strings
Spinorama Records MK 3049
1959

From the back cover: Jerome Kern was born in 1885 into a middle class family of German-Bohemian extraction. It was Kern's mother who supplied the love for good music which was ever present in the Kern household.

Jerome was the most musically talented of the three Kern boys. His mother, quick to recognize this, arranged for piano lessons. His piano teacher too, saw rare talent in young Jerome and the decision was made to launch his exceptional youngster into a professional musical career.\

The Kern family moved to Newark, N.J. in 1895. When Jerome entered high school he devoted most of his time and talents to music which he loved more than anything else. His next significant step was hi enrollment in the New York College of Music; then in 1903, he went to Europe where he remained for 2 years. It was while in Europe, after all his funds were expended, he turned to writing "for money". The rest is history. After his return to New York he was "discovered" by a Max Dreyfus who saw in Kern's music, a new, fresh, living style that made of Kern, the brightest musical star of the early 1920's.

Al Goodman famous conductor and musician has devoted all his life to music. Like Kern, Al Goodman's love for music and his inherent musical ability were manifest at an early age. As a youngster he sang soprano in his father's choir, became a musician in the pit of a local "movie house", and was awarded a scholarship to the Peabody Conservatory in Baltimore.

In 1951 Al Goodman was selected by Earl Carroll to accompany him to California as arranger and conductor. That was Goodman's official entry into show business... the start of an illustrious musical career which brought him into personal contact with the all-time "greats" as the conductor of many shows and musical productions whose successes were due in great measure to his outstanding ability.

Al Goodman produced musical comedies with Earl Carroll... he became Al Jolson's personal conductor and arranger, J.J. Shubert musical productions. He later became associated with various Radio and TV Shows as musical consultant and director.


The Night Was Made For Love
The Way You Look Tonight
The Song Is You
Long Ago And Far Away
The Last Time I Saw Paris
Look For The Silver Lining
Smoke Gets In Your Eyes
All The Things You Are
They Didn't Believe Me
I've Told Every Little Star

Monday, December 10, 2018

Music For A Chinese Dinner At Home - Bob Lin Wu

The Emperor's Nightingale
Music For A Chinese Dinner At Home
Bob Lin Wu and His Orchestra
Dinner Music
Recorded in RCA Victor's Studio B, New York City, August 8 and 20, 1958
RCA Victor LSP-1936
1959

From Billboard - April 20, 1959: Victor Aid To Gourmet Digestion - RCA Victor has released five new disks in monaural and stereo versions to aid the home gourmet in the atmosphere department. A German, Chinese, French and Italian dinner, and an American barbecue are the themes around which various orks have woven background music. Arrangements of old favorites like "Blue Danube," "Chinatown, My Chinatown," "The Last Time I Saw Paris," and "Arrivederci, Roma," are played in a smooth style, that will please the ear as well as aid the digestion.

Each album has a gaily caparisoned couple of representative nationality hovering over a groaning board. The photography is mouthwatering. I place of liners, the back of each jacket has authentic, easy-to-follow recipes for a complete meal.


Love Is A Many-Splendored Thing
On A Slow Boat To China
Hong Kong Blues
Lantern Street
Chinatown, My Chinatown
Shanghai Doll
Not For All The Rice In China
Mountain High, Valley Low
Rickshaw
Limehouse Blues
The Emperor's Nightingale
China Boy

Fabulous Ping Pong Bongo Percussion - Kaino And His Afro-Percussion Group

The Sea Is Green
Fabulous Ping Pong
Bongo Percussion
Kaino and His Afro-Percussion Group
Coronet Records
A Division Of Premier Albums, Inc.

This set includes no "ping pong" effects... This is a good thing, because the set is an excellent Afro-Percussion presentation which doesn't need those effects to hold your interest. I had got at least two copies of this same set released on other budget labels including Silver Seal (UT-139) as "Taboo" and under the same title on Promenade (2125) with a note that the set was recorded by the Cawanda Group. The titles were changed

Ziaeica
Dance Of The Cockatoo
Spirits Of The Night
The Sea Of Green
Man And Beast
Jungle Paths
Wild River
Rain Drops
Torrid Drums
To The Sea

New Original TV Themes - T.V. '67

T.H.E. Cat Theme
New Original TV Themes
T.V. '67
Wyncote W 9184
A Product of Cameo Parkway Records, Inc.

Decent "TV Theme" exploitation set from Wyncote. The cover of "Kelly's Theme" is pretty crazy, but the cover of "T.H.E. Cat Theme" is sexier.

Dragnet Theme
Friday's Theme
The Line Up
I Spy Theme
Hong Kong Charlie
Kelly's Theme
T.H.E. Cat Theme
Playhouse 90 Theme
Kimba The White Lion
Peacock Theme

Sunday, December 9, 2018

One For My Baby - Earl Grant

Blues In The Night
One For My Baby
Earl Grant
Cover Photo: Hal Buksbaum
Vocalion - A Product of Decca Records, A Division Of MCA Inc.
VL73893
1970

From the back cover: Singer, organist and pianist, Earl Grant is one of the most entertaining and exciting talents now appearing in night clubs both here and abroad. He is a regular attraction in Las Vegas and Reno, among other entertainment spas across the country. And he performs regularly in Japan, Australia and Mexico, where he is known for the attendance records he has set. Television has also benefitted by his guestings on such variety shows as "The Ed Sullivan Show," Johnny Carson's "Tonight Show," "The Steve Allen Show" and "The Merv Griffin Show."

One For My Baby (And One For The Road)
They Can't Take That Away From Me
Dancing On The Ceiling
Witchcraft
Blues In The Night (My Momma Done Tol' Me)
After The Lights Go Down Low
If I Give My Heart To You
All Of Me
Tenderly
Everyday I Have The Blues

Hammond A GoGo Vol. II - James Last

Beguine
Hammond A GoGo
Vol. II
James Last und seine Hammond-Bar-Combo
Printed in Germany by Gerhardt Kaiser GmbH, Essen
Manufactured by Deutsche Grammophon, Hamburg
Polydor 249 043
1966

Foxtort
On The Street Where You Live (Loewe)
I Love Paris (Porter)
Bye Bye Blues (Hamm-Bennet-Lown-Gray_

Cha-Cha-Cha
Partricia (Prado)
Sweet And Gentle (Portal)
Managua Nicaragua (Fields)

Foxtrot
Lights Out (Hill)
Vier Worte mocht ich dir jetzt sagen (Rotter-Erwin)

Langsamer Walzer
Bist du einsam heut Nacht (Turk-Handman)
Candlelight-Waltz (Trad. béarn. Last)

Latin-Fox
Skokiaan (Msarurgwa)
Stars In Your Eyes (Rulz)
Das Leben ist wunderbar (last)

Foxtrot
Singin' In The Rain (Herb-Brown)
Bell Bottom Trousers (Trad. beard. Taylor)

Foxtrot
You're Driving Me Crazy (Donaldson)
Boo-Hoo
Sweet Georgia Brown (Casey-Bernie-Pinkard)

Slowfox
Danke Schon (Kaempfert)
No Can Do (Simon)

Samba
Samba Estrella (Fuhisch-Geisler)
Baiao Cacula (Tedesco-Lennari)
The Peanut Vendor (Moises-Simon)
La Bostella (Picar-Gustin)

Magician - Erroll Garner

Mucho Gusto
Magician
Erroll Garner
Producer: Martha Glaser
Engineer: Bob Simpson
Mastering: Mike Posner
Cover Design: Richard Roth
Photos: Norman Seeff
Production: Garrison Leykam
Piano by Baldwin
London - Octave Records, Inc.
ASP 640
1974

Accompanied by
Grady Tate: Percussion
Bob Cranshaw: Fender and acoustical bass
Jose Mangual: Congo Drum
Organist: Norman Gold
Tambourine: Jack Williams

From the back cover: The striking contemporary flavor and feeling generated by Garner's sparkling vitality and consistently high level of expressive energy (performing energy, not the artificial energy of electronics and engineering) is so evident throughout this marvelous album that one is startled to realize that Garner still approaches his instrument with the fervor and enthusiasm of first love, yet his music there is also the wit and savor of a master.

Appropriately, Garner celebrates the event by surrounding himself with two new rhythmists – Grady Tate and bassist Bob Cranshaw – both stellar instrumentalists – plus trusty eight-year-man Jose Mangual on conga drum. The instant rapport between Garner and the new group is evident. Working with Garner is something very special for a rhythm section. He sparks them to peak performances, and, in turn, they heighten Garner's flights. Early in the session, Crenshaw remarked: "I've been getting ready for this date for 25 years" – and he has worked with all the heavyweights. – Dan Morgenstern


The Long To Be Close To You
It Gets Better Every Time
Someone To Watch Over Me
Nightwind
One Good Turn
Watch What Happens
Yesterdays
I Only Have Eyes For You
Mucho Gusto

Saturday, December 8, 2018

Latin Mann - Afro To Bossa To Blues - Herbie Mann

Latin Mann
Herbie Man
Afro To Bossa To Blues
Arranged and Conducted by Oliver Nelson
Produced by Tom Wilson
Columbia CL 2388
1965

Personel:
Herbie Mann - Flutes
Carmell Jones (featured soloist), Jerry Kail, Joe Newman, Ernie Royal - Trumpet
Jack Hitchcock, Mark Weinstein - Trombone
Jimmy Heath - Tenor Saxophone (featured soloist)
Danny Blank - Bass Clarinet
Dave Pike - Vibes (featured soloist)
Chick Corea, Charlie Palmieri - Piano
Earl May, Bobby Rodriquez - Bass
Bruno Carr - Drums
Willie Bobo, Rafael Da Vila, Carlos Diaz, Tommy Lopez, Jose Mangual, Willie Rodriquez, Raymond Sardinis, Carlos "Patato" Valdes - Latin Percussion

Srs. Da Vila, Diaz and Sardinis are heard as vocalists on Ave Maria and Jungle Fantasy

Available from online vendors so I will not be posting a sample. Presented here to share jacket notes excerpt.

From the back cover: The careers of Herbie Mann and his sidemen have overlapped in many respects with those of the pioneers in the Latin Jazz story. After several years of intermittent association with the idol, Mann formed his first organized Latin-type group in June of 1959 and opened at Basin Street East (known earlier as Casa Cugat). Two of Mann's present drummers, Jose Manual and Carlos "Potato" Valdes, worked in Machito's orchestra; a third, Willie Bobo, played with Tito Puente and Cal Trader. Mann himself was inspired by the late Esy Morales to take up the flute. It was Morales' flute specialty, Jungle Fantasy, which Mann heard in 1952 (and which he recreates in this album), that became the first Latin instrumental hit in the general U.S. record market.

"Every tune in this album", says Mann, "has some relationship to the story of the gradual blending of Afro-Cuban music and American Jazz. We include a standard Cuban song, the most popular of them all in that field, Ave Maria Morena. This tune and Jungle Fantasy were recorded with three Spanish voices, bongo, conga, timbale, Charlie Palmieri on piano, Bobby Rodriquez on bass, and myself, with no regular stick drummer.

"We represent the Dizzy Gillespie-Chano Pozo tie-up with one of their greatest successes, Manteca and the Stan Kenton, Pete Rugolo Latin period with Interlude."

The latter track, incidentally, establishes a slow mambo mood that is quite different from the original Kenton treatment. Mann plays the theme very beautifully on alto flute; later, his flute and Danny Bank's bass clarinet are woven intricately into Oliver Nelson's subtle arrangement.

Bijou was one of the few Latin tunes associated with Woody Herman's First Herd, Written in 1945 by Herman's pianist and arranger, Ralph Burns, it featured Bill Harris' trombone. Though Mann is the featured soloist and a mambo feeling is added, parts of the new version bear a strong resemblance to the original.

What'd I Say is an example of the rhythmic pulse Mann describes as "boom-chatty." He explains: "What Afro-Cuban was to Latin jazz, that's what boom-chatty is to rhythm and blues. The drummers are playing their own concepts of the conga and timbale beat.

"The small band date for this album featured my regular group with Jimmy Heath added on tenor sax and Carmell Jones on trumpet. Señor Blues was another early Latin jazz hit. A lot of the jazz guys seem to feel the clave rhythm because of their heredity. Horace Silver, of course, is of Portuguese descent." Silvers' Señor Blues is played in 6/8 meter with with intriguing cross rhythms and strong solo work by Mann and Heath.

Watermelon Man, written by painist Herbie Hancock, is an example of a work by a jazzman later popularized by a Latin artist (Mongo Santamaria). The Jive Samba, says Herbie, is "like a boom-chatty version of the bossa nova." Note the solo by Dave Pike, a Mann regular since 1961 and one of the most flexible of modern vibraharpists.

Mann's summation of his own tune, Let's Boom Chitty Boom, is simply: "This is my conception of where it's at now." The closing announcement is by the leader.

As Herbie points out, a sort of Latin jazz family has developed over the past decade or so; the jazz combos interested in Latin music have often tended to trade both their Latin and jazz sidemen. Earl May, for example, Mann's bassist, worked alongside Candido Camero and Patato Valdes in Billy Taylor's combo.

Mann adds that there is a modern, adaptable brand of musician on the scene who can "go everywhere from Latin to boom-chatty to jazz." He cites his gifted pianist, Chick Corea, as an example.

The Latin jazz family is growing. Thank in large measure to Herbie Mann, it is also growing rapidly in popularity among non-Latin audiences. The Mann group's triumphant audience report at the 1965 Newport Jazz Festival will long be remembered by those of us who were lucky enough to be present.

A closing word should be added concerning the arranger who tied many of the disparate elements in this Latin Jazz story. Oliver Nelson, 33-years old and without a touch of Latin in heredity or early background, has developed into tone of the foremost all-around arrangers in modern music. Perhaps it is ironic that the basis for the success of his collaboration with a 35-year old flutist from Brooklyn should be a pocket history of Afro-Cuban and Latin-American jazz; but today, more than ever, the idioms are learning how and where to merge. All the proof you need can be found in the variegated personnel of this album – and, above all, in the colorful, sensitive, dynamic impact of the music itself.


From Billboard - September 25, 1965: The jazz flutist from Latin-Afro jazz to frug and jerk-time. The cream of the country's top musicians combine to creat an outstanding album.

Let's Boom Chitty Boom
What'd I Say
Senor Blues
Bijou
Jungle Fantasy
Watermelon Man
Interlude
The Jive Samba
Ave Maria Morena
Manteca

Anyone For Mozart? - The Swingle Singers

Anyone For Mozart?
Another "Classic" Performance By The Swingle Singers
All selections were written by W. A. Mozart
Arranged by Ward Swingle
Drums: Daniel Humair
Bass: Guy Pederson
Philips Hi-Fi Monaural PHM 200149

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes excerpt.

From the back cover: The move from Bach and the baroque composers to Mozart required a certain amount of experiment and a great deal of concerted effort on the part of the singers and musicians. Already in the Going Baroque album, we had done works of Bach's sons, who themselves form a bridge between the Baroque and Classical styles. Their works had a great influence on Mozart, who strove towards simplicity in harmony and melody, as opposed to Bach's complicated counterpoint. Our problem was to lighten everything up. Our drummer, Daniel Humair, found some wonderful small, "Mozartian" cymbals in Switzerland, and our bass player, Guy Pedersen, developed a remarkably light pizzicato. All the singers worked to find ways to lighten the sound, and to keep the rhythm constantly above the beat, as though we were prohibited to touch the ground. The rehearsals and recording sessions were carried out, as always, in an atmosphere of experiment, communal discussion, and a nicely contagious excitement. – Ward Swingle

Also from the back cover: Like pervious albums, this one is sure to delight a wide range of listeners, from those interested in strictly classical music on one end, to those interested in strictly jazz on the other. And, most of all, to that vast listening audience between these poles who like good, melodic music presented with skill and imagination... and feeling.

As 1964 drew to a close, the Swingle Singers were making a triumphant tour of America. Ward Swingle the 37 year old Alabaman who heads the group, had to drop his other writing and arranging chores to answer the demands for in-person hearings of his group's unique music. The Swingles taped two appearances for ABC-TV's Hollywood Palace, then played the White House for a state dinner given Israel's Prime Minister, Levi Eshkol, by President and Mrs. Johnson. – Dom Cerulli


From Billboard - January 30, 1965: This unique group has made an important impression on the record industry with their imaginative and creative jazz interpretations of Bach. "Bach's Greatest Hits" has been on BB's LP chart for 65 weeks. They display the same fine co-ordination of musical thought on this album of Mozart material. Stereo reproduction is excellent.

Sonja No. 15
Allegro
Andante
Allegretto

Ah! Vous Dirais Je Maman (Twinkle, Twinkle, Little Star)

Allegro from Sonata No 14

Fugue

Eine Kleine Nacht Music
Allegro
Romance
Minuetto
Rondo

Friday, December 7, 2018

Mr. Percussion - Bobby Christian

Cherokee
Mr. Percussion
Bobby Christian
High Fidelity Custom
Mercury MG 20335
1958

From the back cover: Bobby Christian's career ranges from percussionist with top names of the classical and pop field to his current status as leader of his own dance band. From 1944 to 1950, Christian was percussionist with the NBC Orchestra in Chicago under the baton of Dr. Roy Shield. In 1950, he began a five-year span with the house band at WABC, New York, going with the NBC Symphony of the Air in late 1955. The Conductor was the late Arturo Toscannini. With the orchestra, Christian toured the Orient. After Toscannini's death, Christian returned to Chicago and formed his dance band, which has been playing top ballrooms and hotels since. Christian, while in Chicago from 1944 to 1950, helmed the Bobby Christian School of Percussion. Among his students were such outstanding professional drummers as Cozy Cole and Lou Singer.

Also from the back cover: In recording this album, Christian played the following instruments during the session. At no time was there any multiple dubbing. He rushed around in a 15 x 15 foot area, performing on the following instruments: Musser Vibraphone, Jenco Xylophone, Musser Marimba, Deagan Parsifal Bells, Wm. F. Ludwig bass, snare and tom-tom drums, Zildjian cymbals – medium, heavy and special 22-inch Hi Hat cymbal, equipped with two 16-inch cymbals triangle, woodblock, ratchet, temple blocks, sleigh bells, tambourine, greco cymbals, piccolo xylophone, guior, maraccas, piano and celeste. P.S. – Bobby Christian also arranged every number in this album. – John Sipple


From Billboard - December 22, 1958: A fine show-off exercise in percussion artistry by Bobby Christian, who plays everything from xylophone to tom-toms in the dozen arrangements of this album. Tunes range from one of his own penning, "Crickets On Parade," to ballad evergreens like "Georgia On My Mind." It's bound to delight percussion fans, and Christian's switches between his group of instruments are unbelievably fast. He's nicely backed by a small ork.

The Lady Is A Tramp
Alone
Crickets On Parade
Georgia On My Mind
Cherokee (Indian Love Song)
Miami Beach Rhumba
Doll Dance
I Want To Be Happy
Lost In A Fog
I'm Forever Blowing Bubbles
Manhattan
Ballin' The Jack

A Taste Of Hits - Martin Denny

Theme From "Cleopatra"
Martin Denny A Taste Of Hits
Engineer: Dave Wiechman
Cover Design and Photography: Studio Five
Liberty LRP-3328
1963

From Billboard - September 28, 1963: Martin Denny has a bright, smart instrumental LP here. The tracks are composed of tomorrow's and today's hits. Included in the LP are "Danke Schoen," "Green, Green," "Abilene" and "Que Sera, Sera." The album has swinging vibes in an informal small group setting.

Que Sera, Sera (Whatever Will Be, Will Be)
Danke Schön
Judy's Turn To Cry
Til Then
Hopeless
Tie Me Kangaroo Down, Sport
Theme From "The V.I.P.s"
Green, Green
Abilene
If I Had A Hammer
Theme From "Cleopatra"
Blowin' In The Wind

Little David's Fugue - The Modern Jazz Ensemble

Little David's Fugue
The Modern Jazz Ensemble
Composed by John Lewis
Arranged and Orchestrated by John Lewis and Gunther Schuller
A&R Research and Coordination: Jack Maher
Director of Engineering: Val Valentin
Cover Art: Jon Henry
Art Direction: Ace Lehman
Design: Don Saffer/Bob Nastasi
VSP Verve VSP-18
1966

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket information.

From the back cover: Recording information: Recorded March 14, 1955 in N.Y.C. The historic performance in this album have not been available since their original release in 1955. All the music was written by John Lewis and Gunther Schuller. Two distinct groups recorded these historic tracks – Group #1 composed of J. J. Johnson, trombone; J. Politis, flute; Lucky Thompson, tenor sax; Aaron Sachs, clarinet; M. Zegler, bassoon; Gunther Schuller, French horn; J. Putnam, harp; Percy Heath, bass; Connie Kay, drums, plays: Little David's Fugue, Django and Sun Dance.

Group #2, composed of Stan Getz, tenor sax; J. J. Johnson, trombone; J. Politis, flute; Tony Scott, clarinet; M. Zegler, bassoon; Gunther Schuller, French horn; J. Putnam, harp; Percy Heath, bass; Connie Kay, drums, plays: The Queen's Fancy and Midsommer.


Also from the back cover: Little David's Fugue is a fugue. The expositions are written while the episodes are improvised on a predetermined chord structure; the accompanying instruments participate in the development of intervallic and rhythmic elements of the subject. Django is an arrangement and orchestration by Mr. Schuller. The piece is a memoriam for and is dedicated to the late great French Guitarist Django Reinhardt. The Queen's Fancy was written during the weeks of the coronation of H. M. Queen Elizabeth II of England. This piece was also arranged and orchestrated by Gunther Schuller, Midsommer is an adagio in a general first rondo form, the chord structure of the second theme being used for improvisations. The title and inspiration is from the Swedish summer holiday and festival. Sun Dance was inspired by dancers, namely the Hopis of New Mexico and the great Watusi dancers in the film entitled "King Solomon's Mines." – John Lewis

Side One

Little David's Fugue - Solos: J. J. Johnson, Lucky Thompson and Aaron Sachs

Django - Solos: J. Putman, Aaron Sachs, Lucky Thompson and J. J. Johnson

Side Two

The Queen's Fancy - Solos: J. J. Johnson and Stan Getz

Midsommer - Solos: Tony Scott, Stan Getz, J. J. Johnson, Getz & Johnson & Scott
Sun Dance - Solos: Lucky Thompson and Aaron Sachs (Originally produced under the personal supervision of John Lewis

Games That Lovers Play - James Last

Games That Lovers Play
James Last Band
Polydor International GMBH STEREO 184 093
1973

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

Games That Lovers Play (J. Last-Loose-Kusik-Snyder)
A Man And A Woman (Lai-Barough-Keller)
Make This Night Last Forever (J. Last-Synder-Kusik)
Never On Sunday (Hadjidakis)
Fly Me To The Moon (Howard)
This Is My Song (Chaplin)
Lara's Theme (Jarre-Webster)
Now I Know (Laguna) (J. Last-Gelber-English)
What Now My Love (Becaud)
Elizabeth-Serenade (Binge)
I Left My Heart In San Francisco (Cory)
Sandy's Theme - Blame It On Me (J. Last)

Thursday, December 6, 2018

Guitar A GoGo - James Last

Who We Are
Guitar A GoGo
James Last
Printed in Germany by Gerhard Kaiser, GmbH, Essen
Manufactured by Deutsche Grammophon, Hamburg
Polydor 249 204
1968

12th Street Rag (Browman)
Jezebel (Shanklin)
Espana (nach Chabrier / Bearb. Last)
Tiritomba (Trad. / Break. Last)
Brazil (Barroso)
La Playa (van Wetter)
Fandango (Perkins)
Funiculi-Funicula (Denza)
Johnny Guitar (Young)
Little Brown Jug (Trad. / Beard. Last)
The Breeze And I (Lecuona)
Amapola (Lacalle)
Who Are We (Last)
Vive L'Amour (Trad. / Bearb. Last)

The Sound Of Spring - Ramsey Lewis Trio

Spring Can Really Hang You Up The Most
The Sound Of Spring
Ramsey Lewis Trio
Supervision: Leonard Chess
Production: Ruth Brown
Cover: Don Bronstein
Recorded February 14, 15, 1962 at United Recording Studios, Hollywood, California
Argo LP 693

Personel: Ramsey Lewis, piano
Elder Young, bass
Isaac (Red) Holt, drums

Side one features the following strings: Sidney Sharp, Leonard Marlarsky, Robert Barene, Lou Raderman, William Kurasch, Israel Baker, Ralph Schaeffer, Irving Lipshultz, Darrel Terwillinger, Irving Weinper, Alexander Neiman, Emmet Sargent Arranged and conducted by Riley Hampton

From the back cover: Born (Ramsey Lewis) in Chicago May 27, 1935, Ramsey studied privately from the age of six, later attending Chicago Musical College and De Paul University. ("However," he says, "I credit most of my musical accomplishments to Miss D. Mendelsohn, my instructress.") Music has been the focus of his life from the start: with a mother who sang in the church choir and a father who directed it, as well as two sisters who studied piano extensively; he never considered the possibility of any other career. He was an early admirer of Art Tatum and Bud Powell, but considers John Lewis and Oscar Peterson his main influences.

Eldee Young, also Chicago-born (January 7, 1936) has a similar background. His father played guitar and mandolin. Eldee studied guitar with his brother, Carl; played guitar and bass in high school, and studied at the American Conservatory of Music in Chicago. He began his professional career early, going on the road with rhythm-and-blues singer Chuck Willis in 1954.

Isaac (Red) Holt, born May 16, 1932 in Rosedale, Mississippi was raised in Chicago and was a childhood friend of Ramsey and Eldee, playing with them in a teen-age band. Red studied at Crane Tech., later playing in an Army band in Germany, in 1955.

Riley Hampton, a virtual fourth wheel who makes the trio move on Side 1, is best known for his skillful backgrounds for Etta James, and was perviously associated with Ramsey in the Sound Of Christmas album. The instrumentation here includes seven violins, three violas, two cellos and the trio. It is to Hampton's credit that instead of bogging the trio down in a molasses-like wasteland of sirupy sounds, he has used the instrumentation to provide coloristic contrasts and orchestral variety.

– Leonard Feather


Sound Of Spring
Spring Can Really Hang You Up The Most
Blue Spring
Spring Is Here
Spring Will Be A Little Late This Year
Spring Fever
It Might As Well Be Spring
Soft Winds
There'll Be Another Spring
Truly, Truly Spring

Spotlight On Sidemen - Ted Heath Personnel

Witch Doctor
Spotlight On Side Men
Ted Heath Personnel
Ted Heath And His Music
London Records LL 1721
1957

From the back cover: The first musician to make his bow also happens to be one of the original Heath sidemen. Leslie Gilbert began leading Ted Heath's reed section when the band was formed in 1945. His tone, phrasing and impeccable intonation, admired by every British alto-player, are displayed at their finest in a setting of Harold Arlen's Ill Wind.

At faster tempo, Count Basie's Swinging the Blues gives scope for the unique trombone talents of Keith Christie. With his brother Ian, Keith once ran a New Orleans style band – "The Christie Brothers Stompers." Now he is one of Britain's leading modernists. "Keith has a very whimsical style of trombone playing," says Ted Heath. "Something of his dry, witty character gets into his jazz phrasing."

The next musician to step forward is Bobby Pratt, Ted Heath's lead trumpet-player. "Bobby is a fabulous high-range player." comments Ted Heath, "and the longer the night goes on the higher Bobby plays. Just for amusement he sometimes plays the first trumpet parts an octave higher. "None of us can remember a day when he missed a note." Bobby Pratt's dazzling technique as well as his piquancy of his jazz ideas are shown in his interpretation of Duke Ellington's Hey! Baby, which finds him using a plunger mute with great skill.

One of the six Scotsmen in the Ted Heath band, Henry McKenzie's modest, undemonstrative demeanor has caused a few critics to accuse him of lacking feeling. But Henry prefers to concentrate on music rather than showmanship. An extremely gifted instrumentalist, he plays with a warm, vibrant tone. Backed up by piano, bass and drums he performs Idaho in a deft and very individual manner.

During his stay with Ted Heath's orchestra, bassist Johnny Hawkworth ("He has the personality and appearance of a youthful Alec Guinness," wrote Leonard Feather) has become one of the best-known virtuosi of his instrument. His technique is so fabulous that when dancers ask for a waltz, Johnny sometimes obliges by playing one on his string-bass. He uses four muted trombones and the rhythm section in his own intriguing arrangement of I Can't Get Started.

A brisk, up-tempo version of Cole Porter's Love For Sale finds Frank Horror at his most agile. Here and there his solo playing shows trances of Errol Garner, yet Frank always remains a very individual and fluent stylist. Something of Count Basie's power-house brand of jazz is reflected in Frank's scoring for the full band towards the end of this number.

One of the most accomplished of British musicians, Ronnie Chamberlain played lead alto in the Vic Lewis band before joining Ted Heath. The soprano saxophone is notoriously difficult to play and Ronnie is among the very few musicians who handle it with distinction. Lover Man has some of his most lyrical and assured solo playing.

Don Lusher is usually featured in fast, intricate numbers which show off his prodigious technique. He and Johnny Keating worked out the routines of Sidewalk of Cuba together and the result is a rich, colorful performance.

Bert Ezard shares the trumpet lead with Bobby Pratt. A Northcountryman, he is one of the many dance-band musicians who came into the profession through brass band work. A high note specialist, Bert can also play melodically and with a warm tone, as he proves in this version of "I'll Never Be The Same.

Red Price's growing popularity as a vocalist on up-tempo, "beat" numbers tends to obscure his talents as a tenor saxophonist. Just how brilliantly he plays can be judged from an exciting performance of Cotton Tail, a theme originally by Duke Ellington to spotlight the playing of Ben Webster.

Another of the band's Scotsmen, Eddie Blair is the most modern in style of all the trumpet soloists. Lullaby Of The Leaves, featuring his playing, begins in Latin-American idiom, goes into a steady four-four beat and ends as it began.

Ted Heath's biggest worry over this LP was that 16 soloists simply count not be crammed on to one 12-inch record. Eleven men had already chosen their tunes. What could be done about the others? A couple of days before the session. Ted Heath got together with Johnny Keating and they worked out a number to feature the talents of the remaining five musicians. Witch Doctor also spotlights the technical artistry of recording engineer Arthur Lilly. Almost a hi-fi demonstration in itself, this number captures the entire range of drum sounds from the triangle right down to the bass-drum. Ronnie Verrell, one of the band's most popular soloists, is featured at the drums; Ken Kiddier, normally a baritone saxophonist, can be heard on bass clarinet; Jimmy Coombes, a member of the original 1945 Heath orchestra, plays bass-trombone. Two more Scots – trombonist Wally Smith and trumpeter Duncan Campbell – complete the group. – Charles Fox


From Billboard - October 28, 1957: Heath band, best selling of foreign entries, has a strong set here. Each member of ork gets a chance to blow solo, most often in full band setting. Arrangements by John Keating are typically excellent; solos are good, ofttimes stimulating, but tend to be heavily derivative of influential Americans. Try "Love For Sale" and "Lullaby Of The Leaves" as demo bands.

Ill Wind
Swinging The Blues
Hey! Baby
Idaho
I Can't Get Started
Love For Sale
Love Man
Sidewalks Of Cuba
I'll Never Be The Same
Cotton Tail
Lullaby Of The Leaves
Witch Doctor

When Eyes Are Filled With Tears - Pilita

If I Had My Life To Live Again
When Eyes Are Filled With Tears
Pilita Corrales
Musical Director: Pablo Vergara
Direction: Jessie C. Saclo
Recording Engineer: Henry Tan
Recorded in Dyna Studios - Philippines
Cover Design: Rhoneil D. Pascual

Musical Directors: Doming Valdez (Lonely Nights, When Eyes Are Filled With Tears)
D' Amarillo (Jeremiah Jones)
Emil Mijares (If I Had My Life To Live Again)
The songs above were recorded at the Cinema-Audio Recording Studios
Recording Engineers: Jose Mari C. Gonzalez, Ric Santos
Photography: Dick Baldovino, Eddie Z. Belen

Dyna Parlophone
DN/PALS-1020

From the back cover: In this album, the focus is all Pilita, the artist – versatile, distinct and far-reaching. Featuring the new theme song ("When Eyes Are Filled With Tears") of her much awarded TV musical variety show "Your Evening With Pilita" now seen in living color and which characterizes, so to speak, the new image of Pilita.

When Eyes Are Filled With Tears
I'm Gonna Make You Love Me
Jeremiah Jones
Come Close And Love Me
If I Had My Life To Live Again
Goodbye
Had I Known It
All Of A Sudden
Lonely Nights
Yesterday I Heard The Rain
Let's Forget The Time
Honey Love

Wednesday, December 5, 2018

Love Is Blue - The Gunter Kallmann Chorus

Love Is Blue
Love Is Blue
The Gunter Mallmann Chorus
Arrangements by W. Twardy
Musical Director: Hans Bertram
Associate Producers: Betty Reinman
A Polydor Recording
Four Corners Records - New York, N.Y.
A Kapp Record
FCS-4256

Love Is Blue
Till
Lollipops And Roses
Be My Love
You Know What To Do
The Day The Rain Came
Love Me With All Your Heart
Full Moon And Empty Arms
The Legend Of The Bells
Sometimes
Lili Marlene

Classics Up To Date - James Last

Habanera from "Carmen" (Bizet)
Classics Up To Date
Arranged and Conducted by James Last
Photo: R. Wolf, Hamburg
Printed in Germany
Manufactured by Deutsche Grammophon, Hamburg
Polydor 184061
1966

Barcarole from "The Tales Of Hoffmann"
Prisoners' Chorus from "Nabucco" (Verdi)
Hungarian Dance No. 5 (Brahms)
Waltz In A Flat Major Op. 39 No. 15
March Of The Toreadors from "Carmen"
An Den Fruhling (Grieg)
Habanera from "Carmen" (Bizet)
Notturno (Borodin)
Romeo And Juliet (Tchaikovsky)
On A Persian Market (Ketelby)
Going Home (Adagio "From The New World")
Adagio from The Violin Concerto No. 1 G Minor (Brunch)

Hammond A Gogo - James Last

Cuban-Fox
Hammond A Gogo
27 Melodien zum Tanzen und Traumen
James Last und seine Hammond-Bar-Combo
Polydor 237470
Printed in Germany by Gerhard Kaiser GmbH, Essen
Manufactured by Deutsche Grammophon, Hamburg
1965

Foxtrot
Hello, Dolly
Milord
C'est magnifique

Cha-Cha-Cha
In A Little Spanish Town
Benita
Wheels

Foxtrot
Sole, sole, sole
Ich mocht so mit dir nach Hause geh'n

Langs, Walzer
True Love
Moon River

Letkiss
Norskejenka

Cuban-Fox
America
If I Had A Hammer
Makin' Whoopee

Samba
Cavaquinho
Cumana
Sambarita

Slow
Melancholie
La Mamma

Foxtrot
Red Roses For A Blue Lady
Bye, Bye Blackbird
Auf Wiedersehen bei dir

Like Blue - Andre Previn & David Rose

Black And Blue
Like Blue
Andre Previn & David Rose
Producer: Jesse Kaye
Photograph: Gerald Hochman
Recorded at the RCA Victor Studio in Hollywood
Engineer: Al Schmitt
MGM E3811
1960

From the back cover: Andre Previn

Hollywood, a land of fabulous success stories, can point to none more fabulous that that of Andre Previn. Young in years, a preponderance of experience has gained him recognition as one of America's outstanding concert pianists, an established recording artist and one of the screen's foremost musical composers and conductors at Metro-Goldwyn-Mayer where he has been employed since 1945.

He is currently musical director for two of M-G-M's most important pictures – "Bells Are Ringing" and "The Subterraneans," both produced by Arthur Freed.

Previn's talent has been channeled into all facets of the musical world – from arranger to composer-conductor and music director. In fourteen years he has composed and scored thirty pictures. He has been nominated for an Academy Award five times, and won the Oscar for ballet in "Invitation to The Dance." Truly a year of achievement, he received the Berlin Film Festival Award for his best original score in Metro-Goldwyn-Mayer's "Bad Day At Black Rock," and the "Downbeat" Poll in two categories: Best Motion Picture Composer and Best Motion Picture Arranger in 1958. In 1959, Samuel Goldwyn chose Previn to score "Porgy And Bess."

Previn's composing encompasses both jazz and classical music. He has written piano solo works, chamber music and in 1958 completed his first symphony. He has also originated a great deal of material in the popular field. He began his recording career in 1945 and has many albums to his credit. These run the gamut from jazz versions of Broadway shows, such as, "My Fair Lady," "Pal Joey," etc., to the classics. In 1959, with David Rose, he won a Grammy Award for their recording of "Like Young."

Previn has presented concerts, as pianist and conductor, in New York, Boston, Chicago, Philadelphia, San Francisco and for seven years in succession with the Los Angeles Philharmonic Symphony Orchestra in the Hollywood Bowl. He has appeared for recitals or presented chamber music in most of the major cities in the United States and in Europe and is famous for his jazz concerts throughout the United States.

On television, Previn has made guest appearances with Dinah Shore, Dean Martin, Steven Allen, Ernie Ford, Ernie Kovacs and Rosemary Clooney and has appeared on a Westinghouse special.

Previn was born April 6th in Berlin, Germany, where his father was a piano teacher. The elder Previn discovered that his young son, at the age of four, had rare musical abilities. When he was six, Andre began to study music with his father extensively. In the 1930's, just in time to miss the horror that followed, the family left Berlin. Andre's older brother, Steve, had preceded the family to the United States, and taken a job in the motion picture studios of Hollywood. As a result, the rest of the Previns followed him there. The father resumed his teaching of the piano, and Andre was enrolled in Beverly Hills High School.

In May, 1950, he was inducted into the Armed Services. Two years later, upon being honorably discharged, he returned immediately to his film work, his recordings and his concert tours.

David Rose

King-size in talent and heart is a brief but apt description of triple-threat conductor-composer-arranger David Rose – one of the top-ranking music personalties in the world today. His name is synonymous with the finest in both classical and popular music presentation in the recording, film, radio, television and concert fields. His versatility and high standards in musical achievements have made him world-renowned.

In any given month, David Rose will compose and direct an outstanding score for an important screen musical, fly to some major city throughout the world to guest-conduct a famed symphony orchestra or compose and record a new and delightful musical number to bring pleasure to the public.

He started with M-G-M Records when it was organized in 1946. During this time, he consistently has been on the top list of record sales for the company. His albums are a must for the record collections of all music lovers. His popular compositions include "Holiday For Strings," "Our Waltz," "Dance of The Spanish Onion" and "One Love" – now rated as standards.

A recent national survey showed that David Rose music is being used as theme songs for twenty-two different television programs. The survey also proved that some areas in the United States is listening to David Rose music over radio and television every second, day and night on a continuous basis.

On television, he has achieved recognition for his outstanding music direction of the Red Skelton Show, Fred Astaire Show, Bob Hope Show, Jack Benny Show, Dean Martin Show, Ziv-TV Productions and "Bonanza." Rose won an Emmy Award for his outstanding music directions of the Astaire Show. He also won the Grammy Award in 1959 for his phonograph recording of "Like Young" which he did with Andre Previn. Also in 1959, he scored the UI motion picture, "Operation Petticoat", and in 1960, M-G-M's "Please Don't Eat The Daisies."

As a guest conductor, Rose has led symphony orchestras in major cities throughout the world. He has appeared with the Chicago, Milwaukee, Portland, San Francisco and Hollywood Bowl orchestras among many in this country. He has also conducted symphonies in Copenhagen, London, Paris, Berlin, Rome and other metropolitan centers. He has been honored by the British Broadcasting Corporation in London by a special David Rose Tribute Show featuring many of his compositions.

Unlikely through it seems, Rose would have really preferred to become a railroad engineer. He has turned his early desire into a rather large hobby. He has one of the most complete and detailed collections of miniature live steam engines. His miniature railroad track encircles his one-acre Sherman Oaks estate. He has built or brought three engines, and he has a complete shop for repairs and construction of parts.

Though born in London, he was brought to Chicago by his parents while still a small child. Rose's musical talent at the piano brought him acclaim when in high school. His remarkable keyboard dexterity opened doors at NBC, Chicago. He became network pianist and arranger there. Then, he joined the Ted Fio Rito Orchestra. He came to Hollywood in 1938 and was associated with the Mutual Broadcasting System. He started to compose, conduct and write scores for motion pictures. During World War II, he served four years with the U.S. Air Force. When honorably discharged, he returned to Hollywood to resume his professional career.


You And The Blues
The Blue Room
Serenade In Blue
Blue Holiday
Blue Again
(What Did I Do To Be So) Black And Blue
Like Blue
Little Girl
Between The Devil And The Deep Blue Sea
The Blue Subterranean (What Are We Afraid?)
Blue Turning Grey Over You
Born To Be Blue

Tuesday, December 4, 2018

Cha Cha Cha For Lovers - Tito Puente

Cha-Cha Mambo 
Cha Cha Cha For Lovers
Tito Puente
King Of The Cha Cha Mambo
Cover Photo by Lee-Myles Assoc. N.Y.C.
Tico Records LP 1005

Suavecito
Almendra
Prelude To Rhythm
Cha-Cha-Cha
Pare Cochero
Cha-Cha Mambo
Los Marcianos
La Palma
Al Ritmo Del Cha-Cha-Cha
Todos Bailan Mi Cha-Cha-Cha
Cuidado Con La Mano
Goza Mi Cha-Cha-Cha

Las Vegas Winners

Comma Si Bella
Las Vegas Winners
Spinorama Records M-165
Premier Albums Inc.

This Evening - Keely Smith
Our Last Night Together - John Gray
Comma Si Bella - Four Seasons
Kissa Me Baby - Ray Charles
You're The One - Johnny Rivers
There's That Lonely Feeling Again - Keely Smith
How Many Times Must We Say Goodbye - John Gary
This Is Real - Four Seasons
Blues Is My Middle Name - Ray Charles
Hole In The Ground - Johnny Rivers

Laughin' - n - Learnin' - With Rocky & Vickie

How To Get To Heaven
Laughin' - n - Learnin'
With Rocky & Vickie

Running In The Church
Learning How To Give
False Teeth
Letter From Heaven
Rocky's Dream
Is Rocky A Christian
Rocky's Testimony
How To Get To Heaven