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Sunday, January 21, 2018

The King Plays Some Aces - Xavier Cugat

Night Must Fall
The King Plays Some Aces
Xavier Cugat And His Orchestra
Produced by Fred Reynolds
Recorded in New York, June 27 and 28, 1958
Engineer: John Norman
Baia And Adios arranged by Sid Ramin
RCA Victor LSP-1882
1958

From the back cover: There is no doubt my father never dreamed I'd succeed in the entertainment world. For if he did, would he have christened one of his three sons Francisco de Asis Javier Cugat Mingall de Bru y Deulofeo? Who's that? Caramba, it's me! Such a name would certainly take up a whole album cover, theater marquee and movie screen. So I excerpted the Javier Cugat, exchanged the Spanish "J" for the English "X" in my first name, and went to work.

I began pursuing a musical career in childhood, in my birthplace of picturesque Gerona, Spain. Fo me, it was years of studying the violin with visions of becoming another Jascha Heifetz or Mischa Elman. I had a brief career as a concert artist. However, the critics' cool reception to my fiddling on Carnegie's staid stage perhaps left Heifetz, Elman and their ilk breathing easier, but it certainly left me with the sad realization that I was never to become a great concert violinist. To earn my bread and room rent and keep myself in suits costing two dollars each, I took jobs as a dance band musician. Then I finally formed my own orchestra and things began to click pronto.

My first orchestra made its debut at the famed Cocoanut Grove of the Hotel Ambassador in Los Angeles. It was there I began to popularize authentic Latin-American and Spanish music. That was a long time ago, and I have had many beautiful memories ever since. Some of the fondest memories are inspired by the great Latin stars I started off to fame. These include Design Arnaz, the superb dancers Rosario and Antonio, and such singing stars as Yma Sumac, Miguelito Valdez and Carlos Ramirez.


Oye Negra
Dance des Mirlitons
Caricoca
Night Must Fall
Linda Mujer
Cuban Mambo
Green Eyes
Chiu Chiu
Danse Arabe
Baia
Mambo No. 5
Adios

Saturday, January 20, 2018

Yoga For Life - Richard Hittleman

Scalp Exercise
Yoga For Life
Second Exercise Album
Richard Hittleman
Yoga For Heath
Hollywood, California

Gatefold jacket, 2 record set that apparently came with an illustrated insert (missing from my copy).

No interior jacket printing.

Getz Au Go Go - Stan Getz

One Note Samba
Getz Au Go Go
The New Stan Getz Quartet
Featuring Astrid Gilberto
Produced by Creed Taylor
Recorded at Cafe Au Go Go, Greenwich Village N.Y.C., August 19, 1974
Director of Engineering: Val Valentine
Engineer: Rudy Van Gelder
Notes by Gene Lees
Verve V/V6-8600
1964

Personel:

Tenor sax and leader: Stan Getz
Vocalist: Astrud Gilberto
Vibes: Gary Burton
Bass: Gene Cherico
Drums: Joe Hunt

On Corcovado, It Might As Well Be Spring, Eu E Voce and The Telephone Song add Kenny Burrell, guitar and Helcio Milito replaces Hunt. On Summertime, One Note Samba, and Here's That Rainy Day, Chuck Israels plays bass.

Inside jacket photo: Stan Getz and Astrud Giberto are pictured during their historic Cafe Au Go Go engagement. Shown here sitting in on guitar with them is highly-talented Brazilian composer, Antonio Carlos Jobim

From the inside cover: The individual members of the New Stan Getz Quartet certainly deserve special credit for their work. The youngest member of the group is Gary Buron, 21. He is the product of the Boston Conservatory of Music and the Berklee School of Music and he also worked with George Shearing of a year. Stan took a liking to this talented kid the moment he auditioned. He encouraged him to develop his capabilities both as a vibraphonist and as a composer. His writing is represented in this album by The Singing Song and 6-Nix-Pix-Flix. Stan takes paternal pride in every achievement on this young virtuoso.

Drummer Joe Hunt, 26, began his professional career with the experimental George Russell group. Stan heard him at this time and inquired about him only to find out that a somewhat larger group had engaged his services for two-years – the United States Army. A day after his return to New York, however, Stan heard him again and hired him on the spot.

Bassist Gene Cherico, 29, began his career as a drummer. He learned bass as therapy for an injured right arm and became so accomplished at it that he never returned to drums. He has, however, an unusual understanding of that instrument which helps make this rhythm section so tight and fluid. Gene began and later worked with Maynard Ferguson, Red Norvo and George Shearing. He came on the band as a replacement but, as far as Stan's concerned, no one can replace Gene now.

Corcovado (Quiet Nights Of Quiet Stars)
It Might As Well Be Spring
Eu E Voce
Summertime
6-Nix-Pix-Flix
Only Trust Your Heart
The Singing Song
The Telephone Song
One Note Samba
Here's That Rainy Day

Music To Moog By - Gershon Kingsley

Music To Moog By
Gershon Kingsley And The Moog Synthesizer
Arranged and Conducted by Gershon Kingsley
Executive Producer: Herman D. Gimbel
Cover Design: Sheila Below
AF Audio Fidelity Records, New York, N.Y.
AFSD 6226
1969

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

Hey, Hey
(Kingley-Davis) Kingsley Sound & Valentine Music
Scarborough Fair
(Paul Simon) Charing Cross Music
For Alisse Beethoven
(Gershon Kingsley) Kingsley Sound
Shelia
(Gershon Kingsley)
Pop Corn
(Gershon Kingsley) Kingsley Sound
Twinkle, Twinkle
(Kingsley-Davis) Kingsley Sound & Valentine Music
Nowhere Man
(Lennon-McCartney) Maclen Music
Sunset Sound
(Gershon Kingsley) Kingsley Sound
Trumanburg Whistle
(Gershon Kingsley) Kingsley Sound
Paperback Rider
(Lennon-McCartney) Maclen Music

Waltzes By Cugat! - Xavier Cugat

Waltzes But By Cugat!
Xavier Cugat And His Orchestra
Columbia Special Archives Series
CSRP 8059 (Canada)
1957

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

From the back cover: In this collection, he (Cugat) offers some familiar Mexican waltzes from his basic repertoire, and then got along to provide a veritable around-the-world trip with waltzes from all over. Fascination is basically French, although it was recently enormously successful in the United States; Arrivederic Roma is Italian; La Seine returns us to France, and then back to Italy for Come Back To Sorrento. The familiar La Golondrina is Spanish, and Chiapanecas is Mexican. Another Spanish-type number is Lady Of Spain, while the Missouri Waltz is indubitably American. Cuatro Milpas comes from Mexico, Mademoiselle de Paris from France, Mexicali Rose is a Mexican-American contribution, and Cugat concluded with the charming Alma Ilanera, from Venezuela.

From Billboard - June 23, 1958 (CL 1143 review): This set could help Cugat capture the title of "Waltz King" in addition to his crown as king of Latin-American music. Of course, all of the waltzes are Latin-styled in spite of the three-quarter time. The ork plays them in delightful fashion, and dancers will enjoy the set. "Fascination," "Come Back To Sorrento" "Lady Of Spain" are some of the tunes played in waltz time, and some have English-Spanish vocals.

Fascination
Arrivederci, Roma
La Senie
Come Back To Sorrento
La Golondrina
Chiapanecas
Lady Of Spain
Missouri Waltz
Cuatro Milpas
Mademoiselle de Paris
Mexicali Rose
Alma Ilanera

Friday, January 19, 2018

Basie's In The Bag - Count Basie

Memphis Tennessee
Basie's In The Bag
Brunswick Record Corporation
Produced by Teddy Reig
Directed by Chico O'Farriel
BL 754127

Personnel:

Count Basie: piano and organ
Harry Edison, Al Aarons, Sonny Cohn, Gene Goe: trumpet
Grover Mitchell, Harian Floyd, Richard Boone, Bill Hughes: trombone
Marshall Royal, Bobby Plater, Lockjaw Davis, Eric Dixon, Charlie Fowlkes: reeds
Freddie Green: guitar
Norman Keenan: bass
Louis Bellson: drums

Goin' Out Of My Head; Hang On Sloppy; Green Onions and Knock On Wood recorded Los Angeles, 15 August, 1967

Bright Lights; Big City; Mercy, Mercy, Mercy; Don't Let The Sun Catch You Cryin' and Ain't Too Proud To Beg, recorded Los Angeles, 15 August 1967, Irv Cottler, drums replacing Louis Bellson.

Let The Good Time Roll; Reach Out I'll Be There; In The Heat Of The Night and Memphis Tennessee recorded in Los Angeles, 17 August, 1967, Lois Bellson, drums replacing Irv Cottler.

Mercy, Mercy, Mercy
Hang On Sloopy
Don't Let The Sun Catch You Cryin'
Ain't To Proud
Goin' Out Of My Head
In The Heat Of The Night
Green Onions
Knock On Wood
Let The Good Times Roll
Bright Lights, Big City
Reach Out I'll Be There
Memphis Tennessee

Thursday, January 18, 2018

Award Winning Album - Joni James

Purple Shades
Award Winning Album Of Million Sellers
Joni James
MGM E3934

From the back cover: Cover Photographer Jon Abbot has been a professional photographer for 23 years. His wide range of ability and experience has made him much in demand as an advertising photographer. He studied photography and music in his native Germany, has been a music scholar for 20 years and is an accomplished pianist.

From Billboard - June 2, 1958: MGM Records, following its successful special price push on sound track albums has set as its latest campaign a "June for Joni" promotion.

For the month of June, a customer can buy any one of a dozen Joni James albums for $1.98 with the purchase of one at the regular $3.98 price tag. The deal also includes EP's with a two-pocket job going for $1.49 with the purchase of one for the normal $2.49 price. For a one pocket EP, the price is 99 cents with one bought for the regular price of $1.29.


Also from Billboard - April 10, 1954 (10 inch MGM E 234 "Award Winning Album"): The tunes that brought the thrush to the attention of every teen-ager in the country, and to many others besides, are included on this collection of Joni James hits. "Why Don't You Believe Me?" "Have You Heard?" "Your Cheatin' Heart," "Is It Any Wonder" and "My Love, My Love" are all here. Little doubt that this set will move rapidly across the counters to the canary's large following.

Have You Heard
Almost Always
Purple Shades
Your Cheatin' Heart
Why Don't You Believe Me
Is It Any Wonder
Wishing Ring
My Love, My Love
How Important Can It Be?
You Are My Love
My Believing Heart
When We Come Of Age

Bill Justis Plays Hot Hits Of Our Time

Misirlou
Bill Justis Plays Hot Hits Of Our Time
Mercury Wing
A Product Of Mercury Record Productions
SRW 16378

Cast Your Fate To The Wind
Fly Me To The Moon
Wild Weekend
Boss
Misirlou
Only You
Java
Zero Zero
Walk Right In
Mr. Cool

Wednesday, January 17, 2018

Music, Mastro, Please - Sammy Kaye

Music, Maestro, Please
Swing And Sway With Sammy Kaye
Photo by Bottwin-Sommer Studio
Columbia CL 668
1955

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

From the back cover: Sammy Kaye was born in Cleveland, Ohio, and had a childhood comparable to that of any other American boy. For a time, athletics became his primary interest, and he was a member of the state relay championship team and became state low hurdle champion. Winning a scholarship at Ohio University, he continued his athletic career while studying civil engineering, and turned to music as a means of implementing his income. He organized an orchestra for college proms and hops that became so popular he opened his own dance hall. This establishment flourished under his direction, and he decided to stay with the music business.

Embarking on a tour, the orchestra met with instant acceptance, and the now-famous "Swing and Sway" style was evolved. Then, in 1938, the orchestra opened at Hotel Commodore in New York and consolidated the success it had on tour. From that time on, Sammy Kaye and his orchestra have played a ceaseless round of dance halls, theaters and hotels with undiminished success, enjoying the favor of dancers and listeners of all ages with their ability to play sweet ballads or brisk novelties.


Music, Maestro, Please!
Honey
Blue Prelude
Just A Gigolo
Dream For Sale
Y (That's Why)
You've Got Me Crying Again
As Time Goes By
No Greater Love
You Oughta Be In Pictures
Till I Kiss You At The Altar
Sittin' And Waitin'

Door Of Dreams - Joe Reisman

Door Of Dreams
Joe Reisman And His Orchestra
RCA Victor LPM-1519
1957

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

From the back cover: Using a good blend of all the orchestral colors in these arrangements for a thirty-five piece band, Joe collected some of the finest musicians and soloists in New York, among whom can be heard Urbie Green, trombone; Eddie Mason, harmonica; Tony Mattola, guitar; Jimmy Maxwell, trumpet; and Stanley Webb, oboe.

Door Of Dreams
El Dorado
Covered Wagon
Mi Corazon
Sunday Afternoon
Mi Vida
Front Row Center
Cheryl's Dream
When Sunny Gets Blue
Day Dream
For My Love
Joey's Song

Monday, January 15, 2018

Lily Pons Gala - Lily Pons, Soprano

Bell Song
Lily Pons Gala
Lily Pons, Soprano
Columbia Masterworks Ml 5073
1957

From the back cover: She was born in Cannes, the city of flowers, on the French Riviera. Her childhood was a period of happy wanderings in elementary piano music, which she began to pick out for herself from the age of five. At thirteen she enrolled in the Paris Conservatory and within two years had won a first prize. A piano career was confidently predicted for her.

During the first World War Lily Pons made her first public appearances, in Cannes. It is typical of her life that these were before the wounded veterans in the hospital at which her mother served as a volunteer nurse. These unfortunate, the first of many toward whose welfare Lily Pons has devoted large amounts of her time and energy, changed her career. They applauded the little piano pieces she played them – but they begged her for songs!

Little by little the songs became predominant and Miss Pons decided to train her voice. Within six weeks she had encompassed the teaching available in the voice at Cannes. She decided to try her luck as a singer in Paris, where she got an ingenue role in a new show almost at once. Then she sang an audition for the famous teacher Alberti di Gorositiaga, who immediately pronounced her voice phenomenal and made her a solemn promise – she would sing at the Met within five years.

After conquering a half dozen coloratura roles, she mad her debut in provincial opera houses in France. In the spring of 1930, after an exchange of letters between her teacher and the General Manager of the Metropolitan, she set sail for America. The crossing was stormy and, as she relates in her preface to the complete recording of Lucia, she lost four of her 109 pounds "in transit".

Nevertheless, after two days rest in her hotel room, she was ready for her audition, almost five years to the day from her first meeting with Gorositiaga. On the vast, empty stage of the Metropolitan that morning she experienced her first serious "butterflies" in one's tummy," a pre-performance condition she since has come to regard as standard equipment for Metropolitan appearances.

The audition she sang was a "killer," designed to demonstrate as forcibly as possible that she was not, as the Metropolitan's General Manager had feared on first sight, simply too small to be an opera singer. With that thought in mind that she had, after all, come 3000 miles for that moment, she decided to "shoot the coloratura works." I sang the Bell song from Lakme." she writes, "the Caro Nome, from Rigoletto, "Una voce poco fa' from The Barber, and – just for good measure... I ended up with the long Mad Scene."

Enough to exhaust the voice of many a vocalist for a week, the repertory had to be repeated that afternoon for the benefit of the president of the Metropolitan Opera Board. However, midway through, she was suddenly stopped and told: "We've heard enough." "Oh, mon Died," she thought; "I didn't concentrate. It's all over..."

But it wasn't. It was only the beginning. They had simply heard enough to know that she belonged among the stars. Her contract was signed that day.


The full story of her career since her debut could, obviously, be written entirely in box office statistics and the quotes of marveling critics. More importantly, it can also be written in terms of Lily Pons' service to others.

In June of 1938 Miss Pons received the first annual award of the National Bureau for Blind Artists for her work on behalf of the blind.

At the outbreak of World War II, she turned her back completely on footlight glamour and toured the globe singing to American G.I.s. Today millions of long-discharged soldiers and sailors still remember their petite friend from her plucky performances in the torrid sun of the Persian Gulf or the bitter cold of the Belgian front. She was the first woman performer to visit many a remote base, among them those in western China, which she could reach only by being flown over the perilous Assam "Hump" chained to a bucket seat in a B-29.

The countless decorations bestowed on her by dozens of countries, including the United States, of which she became a citizen in 1940, are a source of pride to Lily Pons. But they can be only a token of the esteem of a world to which she has brought so much pleasure and joy.

Delibes: Lakam – "Bell Song" - Orchestration conducted by Pietro Cimara

Verdi: Rigoletto – "Tutte Le Feste Al Tempio" Andre Kostelanetz conducting the Columbia Symphony Orchestra

Rossini: The Barber Of Seville "Una Voce Poco Fa" Andre Kostelanetz and his Orchestra

Thomas: Mignon – "Je Suis Titania" Andre Kostelanetz conducting the Columbia Symphony Orchestra

Meyerbeer: Dinorah – "Ombre Legere" (Shadow Song) Pietro Camara conducting the Columbia Symphony Orchestra

Delibes - De Musset: Les Filles De Cadiz Andre Kostelanetz and his Orchestra

Faure: Apres Un Reve, Op. 7, No. 1 Orchestra conducted by Maurice Abravanel

Ponce: Esterllita (Little Star) Andre Kostelanetz conducting and his Orchestra

Rachmaninoff: Oh, Cease Thy Singing, Maiden Fair Andre Kostelanetz and his Orchestra

Adenis-Bachelet: Chere Nuit Orchestra conducted by Maurice Abravanel

Strauss: Blue Danube Waltz, Op. 314 Andre Kostelanetz conducting his Orchestra

North And South Of The Border - Percy Faith

Baia
North And South Of The Border
Percy Faith And His Orchestra
Vocalion A Product Of Decca Records
VL 3600
1958

From Billboard - June 23, 1958: Percy Faith's artistry of arrangement and presentation is extremely well represented here and should certainly make this one of the more popular of the low-priced entries. The resurrected Vocalion label has a winner in this album, in which the Faith touch is applied to half a dozen of the best known Latin favorites on one side, and six domestic standards on the other. An attractive cover also should help this move, in quantity.

Tico-Tico
Baia
La Cumparsita
Negra Consentida (My Pet Brunette)
Amor
Capullito De Aleli
Long Ago
I Love You
Star Dust
Embraceable You
Spring Will Be A Little Late This Year
If There Is Someone Lovelier That You

Let's Cha Cha Cha - Tito Morano

Ala Concord
Let's Cha Cha Cha
With Tito Morano And His Orchestra
Somerset
ALBUM SF-8000

From the back cover: Tito Morano and his orchestra are known in Puerto Rico as "the terrors of the Antilles." Here is a full thirteen piece surging musical aggregation with a sparkly and drive that won't quit. For dancing or listening, we are sure you will understand Tito's popularity.

His versatility as a song writer is evinced in the very powerful Concerto for Cha Cha and several of his other compositions in this album. Along with the well known standards contained, Tito's originals make this one of the finest latin dance albums ever produced.

Recorded in Puerto Rico under the direction of D. L. Miller

Having A Ball
Sweet And Gentle
La-La Cha Cha
Cha Cha With Bridget
See Of Se Cha Cha
Mambo #5
Ala Concord
Concerto For Cha Cha
Acapulco Cha Cha
Mambo Jambo
Cha Cha Felicidad

Sounds Of The Annual International Sports Car Grand Prix Of Watkins Glen NY

Sample from side 1
Sounds Of The Annual International Sports Car
Grand Prix Of Watkins Glen NY
The Schuyler - Carrera - Glen Trophy - Grand Prix
Folkways FX 6140
1956 (disc label date) 1959 (jacket date)

Sunday, January 14, 2018

Music Of Jerome Ken And Irving Berlin - Stanley Black

Heat Wave
Music Of Jerome Kern And Irving Berlin
Stanley Black And His Orchestra
Richmond High Fidelity
A Product Of London Records
B 20011

A Pretty Girl Is Like A Melody
Say It With Music
Simple Melody
No Strings
Heat Wave
Smoke Gets In Your Eyes
The Touch Of Your Hand
I've Told Every Little Star
The Way You Look Tonight
The Night Was Made For Love

Ken Griffin At The Organ

The Continental
Ken Griffin At The Organ
Rondo-lette
Rondo Record Corporation
A30

From the back cover: The finest and paradoxically, the most popular of all organists today is Ken Griffin. Griffin's popularity extends back some 30 years, although it was not until after World War Two, that the performer really came into his own. In the silent film days, Griffin, who originally was a violinist, decided he liked the organ better as an instrument and began to study without the benefit of a teacher. For four years prior to sound films, Griffin played the organ in film theaters in the Rocky Mountain States.

He then began to branch out into night clubs and theaters, initially in a supporting spot and then gradually as a soloist. During the war he played in military posts where his simple direct style without fancy ornamentation or excess fringes won instantaneous approval. At this time his initial records began to be popular favorites in roller skating and ice rinks.

Immediately after the war years, Griffin rocketed into national headlines when two songs, the Cuckoo Waltz and You Can't Be True Dear became national favorites overnight and catapulted the young, but already seasoned artist into the front rank of the nation's popular organists, a position which has increased in eminence and popularity as the years went by. More recently, Griffin has headed his own color TV series, known as 67 Melody Lane. Griffin's feet have been deeply bedded in show business for over three decades, and his phenomenal success is the result of understanding of what the public wants and the ability to give the American people just that.


Doll Dance
Deep Purple
Tango De Fire (back cover credit only, no track on the disk)
My Heart Stood Still
Canadian Capers
Lullaby Of Broadway
I'll See You Again (track on disc and disc label only)
All The Things You Are
She Didn't Say Yes
Blue Tango
Mood Indigo (back cover credit only, no track on the disk)
The Continental
Valencia

Dorothy Donegan At The Embers

Dorothy Donegan
At The Embers
Forum SF 9003
1957

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

From the back cover: The Embers ("that night club-restaurant located on New York's East 54th Street)) reserves its space on the podium to no one but the best. And Dorothy Donegan is one of the best. So good is she and so much in demand, that The Embers drew up an unprecedented contract calling for her services for several weeks a year for the next ten years. She could probably stay on indefinitely but someone has to "mind the store" at her own jazz club in Los Angeles and Miss Donegan prefers to do it herself when she can tear away from The Embers

And even when she's not drawing the crowds into the popular East 54th Street hangout, she has a hard time staying put in her own L.A. Club. She's in demand all over the country. Jazz clubs want her. Smart supper clubs want her. Theaters and hotels want her. But what's more important, the public wants her and has wanted her since she began her professional career shortly before World War II.

In the ensuing years her style and her force have become the talk of the music circuit. Her ability to give an original twist to a classical composition, the inventiveness she applies to a boogie-woogie beat and the imagination and inventiveness she applies to a strictly jazz takeoff make up the qualities of a standout piano performer.

And it's all here in this package. All of the Donegan sound, that is. The sight, of course, cannot be duplicated. But one of the reasons that Dorothy Donegan constantly packs the tables at The Embers is that she's a joy to watch as well as hear. A writer for Time Magazine once put it this way: "Dorothy shuts her eyes. Her feet begin to pound the floor. Her face contorts as if she were in agony. What comes out is pure Donegan. It has the customers shagging in their seats".


That Old Black Magic
Over The Rainbow
Sweet Funny Valentine
This Can't Be Love
DDT
Just In Time
September Song
Donegan Walk
Humoresque
Autumn Leaves
Lullaby Of Birdland

Saturday, January 13, 2018

The Many Moods Of Ethel Smith

Smithtown Special
The Many Moods Of Ethel Smith
Organ Solos With Rhythm Accompaniment
Decca Records DL 4145
1961

Great space age set driven by inventive arrangements which nicely nest Smith's feature organ work with the studio group or orchestra.

Tico-Tico
I've Found A New Baby
Theme From "Carnival"
Carinhoso
Honeysuckle Rose
Ethel Meets The Count (With Orchestra conducted by Don Sebesky)
Quizás, Quizás, Quizás
That Old Black Magic
Love For Sale
Brazil (Aquarela Do Brasil)
The Gypsy In My Soul
Smithtown Special (With Orchestra conducted by Don Sebesky)

Songs Of Vice And Virtue - Julie Meredith

The Cuckoo, etc. (Medley)
Songs Of Vice And Virtue
Julie Meredith
Imperial Records, Inc.
LP 9114
1961

Medleys:

Come All Ye Fair
Zulaika
Vaine Ladye Gaye

The Cuckoo
Monday Morning
Katiarina

The Lady And the Unicorn
The First Groomsman
The Ruined Maid

Rue
The Bold Robber Lad
Hilo

Martha Schlamme Says: Kissin's No Sin

Come A Landsman
Martha Schlamme Says:
Kissin' No Sin And Other Folk Wisdom
Arranged and Conducted by Robert DeCormier
Produced by Jim Davis
Cover Photography: Howell Conant
Recording Engineer: Val Valentine
Recorded October 1963: A&R Studio, New York City
MGM E/SE4190
1964

Personnel:

Gerard Silverman, guitar and banjo; Martin Orenstein, flute; Charles Russo and Ernie Bright, clarinets; Joseph Wilder, trumpet; Eli Carmen, bassoon; Abe Marcus, percussion; All Goldberg, cello; Harold Kohon, violin; Abe Stokman, piano.

Vocalists:

On Highland Lad and I Once Was A Maid only – John Wheeler, Gretchen Rhoads, Harley Streiff, Robert Carter, Arne Markussen, Constance Tredwell, Mary Brown

Robert DeCormier, musical director of the Robert DeCormier Folk Singers, is among the most-respected and in-demand arranger/conductors in the field. He majored in voice and was graduated by Juilliard with a Master's Degree. He taught music for six years at the high school or the Little Red Schoolhouse, then was musical director for Harry Belafonte for three years. He formed the Belafonte Folksingers, touring with them and making records. He wrote incidental music for the play, "The World Of Sholem Aleichem", and composed two songs for the Broadway production of "The Wall." Two years ago he was musical director for the series "Around The World In Song," for the BBC in London.

Kissin's No Sin
I One Was A Maid
Moon Above Me
The Cruel War
Crow On The Cradle
Because I Were Shy
Put The Moon In The Dust Bin
Aldermaston To Trafalgar Square
Man With A Microphone
The Dove
Come A Landsman
Pull Off Your Old Coat
Highland Lad
Turn Around
Johnnie Lad

Dolores - Dolores Hawkins

Goodnight My Love
Dolores
Dolores Hawkins
Epic LN 3250
1956

From the back cover: This toothsome singer was born in the heart of the Bushwick section of Brooklyn, and got an unusually early start on the way toward stardom. When she was only five, she began chirping on many of the radio shows of the time that featured children. Among them were the Horn and Hardart Hour, several of Nick Kenny's enterprises, and somewhat later the Coast-to-Coast-on-a-Bus show under the direction of Madge Tucker. Piping away on such programs, Dolores picked up that rudiments of showmanship as she grew up and was ready for her career when the call came.

She remained with the radio programs until she was seventeen, when, a child no longer, she began working with various society dance orchestras around New York, giving a vocal lift to the round of business-men's bouncers and rhumbas that made up the program. One night, when she was singing for one of those orchestras, she was heard by Gene Krupa, who asked her to join his orchestra as featured vocalist. At almost the same time, she had similar offers from Sammy Kaye, Woody Herman, Blue Barron and Benny Goodman.

Throwing in her lot with Kruppa, she soon found she had made a splendid choice. Despite the hardships of one-night stands on tour with the orchestra (on-the-run meals, draughty auditoriums and dance-hall and the like) she consolidated her knowledge of show business and developed her singing style into the distinctive delivery that first made her stand out from other vocalists. With the great variety of audiences, plus the solid musical values of the Krupa outfit, she was soon singing to enormous applause. Around this time she recorded Bop Boogie with Gene and the band, a number that Krupa himself selected as one of her stepping-stones to success, and found herself becoming famous.

Deciding to leave the orchestra and go out as a single, she began making appearances on television shows and was soon signed by Epic Records. Then she developed a striking night-club act, and overnight won rave notices, not only from the public and critics, but from club operators as well. From that time on, Delores has been one of the ranking stars among vocalists, a girl who understands instinctively what should be done with a song, and who, moreover, has the voice to do it with, in addition to her looks.


From Billboard - October 13, 1956: The thrush embarks on a tour of a dozen tunes of a slightly touchy nature. Gal has a carefully practiced style which gets over warmly on these selections. Backing too, is just right, with a small rhythm group furnishing just the right spotlight for the vocalizing. Tunes include "Lover Man," "Just Squeeze Me," " No Love, No Nuthin'," etc. Cover has sex appeal aplenty.

I've Got My Eyes On You
Lover Man
Dream Of You
I'm In The Mood For Love
You'd Be So Nice To Come Home To
No Love, No Nothin'
Baby Won't You Please Come Home
The Man I Love
Just Squeeze Me
Good Lovin'
I Must Have That Man
Goodnight My Love

Swingin' Suite - Red Callender

Swingin' Suite
Red Callender
Telesonic Sound/Ultra High Fidelity
Made in Hollywood, U.S.A.
Crown Records 5025
1957

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

Reissue of Modern Records LMP 1201 (1956)

From the back cover:

As for 'Red', he has a musical background as quietly and dynamical solid as his own personal being. An artistic natural talent and ability was soon recognized by his family at a very early age. He began his career at the age of 12, studying for five years at Bordentown, N.J., with such students as Dizzy Gillespie and Charlie Shavers. The trumpet was his first instrument, then can the tuba, and of course later excelling in the bass. He went on the road at the age of 17 with a show called 'Brown Skin Models' and ended up in California where he made his home permanently. He has worked with practically every known name in the music world; Charlie Ventura, Lester Young, Vic Dickenson, Mel Powell, Red Novo, Wardell Gray and Dexter Gordon. Also Billie Holiday, Hazel Scott, Rose Murphy, Kay Starr, Ella Mae Morse, Rosemary Clooney and Lena Horn. In recent radio interview with Mitch Miller, Miss Horne gave 'Red' credit for being a particular aid in her musical grooming. 'Red' has played with practically all the top bands. Naming just a few; Benny Goodman, Louis Armstrong, Billy Eckstine and Jerry Fielding.

Frank Bode (UFFE) (bongos) Studied percussion with Copenhagen symphony in Denmark from fourteen to seventeen. Came to the States with Stan Hasselgarde. Worked with Benny Goodman Trio, Harry James and Claude Thornhill. Thinks bass in New York is more 'sincere'... says if the music is sad or happy... make it that way. Likes working with Red out here.

Clyde Dunn (bariton) Worked with Gerald Wilson and before that was in Jefferson High School in Los Angeles. (He's that young) Recently recorded sides with Dizzy Gillespie on his last trip out here. Has done a lot of miscellaneous recording. Studies with William Green. "He is as good a classical musician as jazz."

John Ewing (trombone) Played with Cab Calloway, Earl Hines and Jimmy Luncefor. Studied with Louis Maggio in 1953. Says Louis helped him tremendously in his development of range. Just recently with Gerald Wilson

Eddie Beal (paino) Started out on the piano then played other instruments during his school years – primarily the drums. He came to California as a Drummer. He worked with the Buck Clayton Band (piano) just before going with the Count Basie Band. Eddie Had his own trio for some time accompanying Herb Jeffries and others. Re: the Album. I think here they finally gave Jazz back to the musicians. There are not too many young musicians trying to prove something; so they run ten notes in one bar on an augmented eleventh. A too close calculated approach to music rather than free and uninhibited. They are trying too hard to compete before reaching musical maturity.

Bill Douglas (drums) Bill is a native of Los Angeles where the greatest part of his career centered around the West Coast. He attributes his knowledge of percussion to the great Cozy Cole. He studied at Westlake College of Music in Hollywood. Formerly with bands of Benny Goodman, Benny Carter, Art Tatum and many others too numerous to mention. Bill is currently doing recording, Television and Nite Clubs work.

William Green (alto) Holds Bachelor and Master of Music Degree and working on thesis towards Doctorate. Regular faculty member of the Los Angeles Conservatory of Music and Arts. Former member of Billy Eckstine and Benny Carter bands. His statements about Red seemed to encompass and express pretty much the reactions of all the men on this date. Namely: "I had the feeling... my part was the most important. In Red's outfit... every part seems to be the most important. I sense his Musicianship. And he seems to be a man-of-his-word which is just as important as he musicianship."

Buddy Collette (tenor and flute) Besides studying privately with Marty Ruderman, flute and Merle Johnston, saxophone, Buddy attended the Los Angeles Conservatory of Music and the California Academy of Music, plus he American Operatic Laboratory. This educational background in addition to his own native talent accounts somewhat for this man's musical merit. Presently with the Chico Hamilton Quintet and before that: Jerry Fielding, Benny Carter and Louis Jordan. Other than recording prolifically, Buddy teaches composition and arranging, writes and does considerable T.V. and studio work. Re: this date with Red, Buddy says: ...here I wasn't afraid of blowing freely... didn't have the feeling that I was (might) over-shadow someone... They know how to work with a soloist... Red and Bill are always there and you know it... completely relaxed. And, here you have a lot of guys that should have been heard a long time ago... Everybody respects each other. Red is a real great leader too. Always open to the suggestions of the other guys."

Parr Jones (trumpet) Worked with Benny Carter, Eddie Heywood and Lucky Millander. His friendly feeling of a Harry Edison flavor may stem from the fact that the two have been such close friends for so many years.


Skyline
Sleigh Ride
All For You
Outlines
Walking On Air
You're Part Of Me
On Again
Greenry
Pastel
October Blue
Dance
Bihari

Sport Car - Oscar Brand

Atomic Hot Rod
Sports Car
Songs For Big Wheels Sung By Oscar Brand
Production Supervisor: Jac Holzman
Engineering: Hoyt Hughes (Gotham Recording Corp.)
Editing: Mark Abramson
The Elektra Corporations EKL-188
1960

From the back cover: The HUBCAPS who ride with Oscar in this album include Ted Type, Fred Brooks, Russell Savakus, Gene Raskin, Billy Faier, Brad Spinney and Dick Strome.

Sports Car
That's What I Should Have Said
Grand Prix Of Monaco
Viva La Milie Miglia
What'll We Do With The Baby O
Accessories After The Fact
Atomic Hot Rod
Old Crocks To Brighton
The Lair's Club
Rally Song
Classified Ads
Sports Car Heaven
How To Be A Hero Driver
Beep Beep

Friday, January 12, 2018

In A Jazz Mood - Charlie Ventura

Perdido
In A Jazz Mood
Charlie Ventura And His Orchestra
Supervised by Norman Granz
Cover Photo: Alex de Paola
Liner Photo: Herman Leonard
Norgan Records
MG N-1073
1956

From the back cover: Ventura, a native of Philadelphia, has played in as many different types of jazz groups as he plays saxophones. He started out with Gene Krupa's band, moved on to Teddy Powell's and later formed his own band; he has also had his own smaller unit, most notably the "Big Four", which featured Buddy Rich, drums; Marty Napoleon, pian, and Chubby Jackson, bass. He has garnered his share of awards from such publications as Down Beat, Metronome and Esquire.

In addition to Ventura, ace trumpeter Conte Condoli is featured on this album. You will also hear the Ventura Blentones on four tunes, on side B, who blend wonderfully with the instrumentations by Charlie Ventura.


From Billboard - September 29, 1956: Some of the selections are reissues from N-8 and Clef C-118. Some, feature Ventura's saxes with vocal group, are newly issued, apparently Ventura, in his restrained ballads, is appealing. In most of the up-tempo numbers he is merely flashy and tasteless. Dyed-in-the-wool Ventura fans will find him true to form, and moderate sales should result there form. "Yesterdays" is a good one for jocks.

Ain't Misbehavin'
Limehouse Blues
Bugle Call Rag
That Old Feeling
I'm Confessin'
Peridio
Lover
Yesterdays
There's No You
Rose Room
Can't Get You Out Of My Mind

African Sounds - Carl Stevens

Tiana-Tche
African Sounds
Carl Stevens
f:35d Perfect Presence Sound Stereo
Mercury Records
PPS 6030
1962

Baby Elephant Walk
Afrikaan Beat
Wimoweh (The Lion Sleeps Tonight)
Botha-bothe
Jolly Zika
The Call Of The Jungle
Skokiaan
African Waltz
Wa-Chi-Bam-Ba (Valley Of A Thousand Hills)
King Kong
Tsetse Fly
Tiana-Tche (The Jungle Roars)

Thursday, January 11, 2018

Holiday In South America - Pedro And His Amigos

The Breeze And I
Holiday In South America
Pedro And His Amigos
International Awards Series AK 124

Granada
El Gallo
Tico Tico
Amoroso
No Llores Corazon
Jarabe Tapatio (Mexican Hat Dance)
Andalucía (The Breeze And I)
El Relicario
La Pancha
Tri Color
Que Puntava

Hey! Let's Go Latin

Epilogue
Hey! Let's Go Latin
Wyncote SW-9197

The cover title, "Hey! Let's Go Latin", must mean "let's go find some Latin inspired music on some other LP". Vibrant cover art graces this budget, uncredited, Latin free set.  However, there are some good jazz numbers on this collection.

Hey! Leroy, Your Mama's Callin' You
Mercy, Mercy, Mercy
Blues For Bernard
Wind Jammer
El Senor Joe
New Jersey Waltz
Kimberly
Epilogue

The Sound Of Griff Wiliams

Bali Ha'i
The Sound Of Griff Williams
The Griff Williams Orchestra
Mercury Records MG 20608
1961

From the back cover: For more than a generation, Griff Williams brought his personality and sound to the ballrooms, supper clubs and proms of the nation. Coast-to-coast, his "tenor lead" band performed an average of 320 dates each year. He played them all (2800 different locations by his own estimate) and his audience measured in the multi-millions. – Lou Sidran

Also from the back cover (copy from the photo block): Bob Kirk joined the Griff Williams band in 1939 as a vocalist, saxophonist and manager and remained in these capacities until 1953 when Griff retired from the music business to accept a position with the Haywood Publishing Company. At this time Griff turned over the active leadership of the orchestra to Bob (pictured).

Always True To You In My Fashion
I Get A Funny Feeling
Medley: I Didn't Know What Time It Was, Villa, East Of The Sun, Under A Blanket Of Blue, Swinging Down The Lane
This Could Be The Start Of Something
Bali Ha'i
Cachita
'S Wonderful
Happy Go Lucky Bird
Medley: Always, Peg O' My Heart, Liebestraum, I Love You, Ain't Misbehavin', Five Foot Two, Eyes Of Blue
Hallelujah
Sleepy Lagoon

The Love Machine - Dionne Warwicke

*Amanda
The Love Machine
Dionne Warwicke
Singing "He's Moving On"
(Theme From The Love Machine and "Amanda"
Original Score Composed and Conducted by Artie Butler
Original Sound Track Recording
Produced by Burt Bacharach and Hal David
Recording Engineer: Arthur Piantadosi, Columbia Pictures
Mastering: Jack Manchen
Photographer: Harry Langdon
Cover Art: Howard Terpening
Art Direction: Dick Smith
Sceptor Records SPS 595
1971

From Billboard - August 14, 1971: Adding the name and voice of Dionne Warwicke to a film soundtrack insures heavy sales as witnessed by "Valley Of The Dolls." Now the score of Jacqueline Susann's second film, penned by Artie Butler, is brought to life by Miss Warwicke, featuring her new single, "Amanda" and "He's Moving On," penned by Ruth Batchelor and Bryan Wells.

He's Moving On (Theme From The Love Machine) (Main Title) Vocal by Dionne Warwicke
The White Fox
New Threads On Parade
Amanda And Robin In Love
House Party, Part I
Backstage: The Christie Lane Show
*Amanda – Vocal by Dionne Warkwicke (Not on Original Film Track)
Love Clown Love
House Party II
Amanda – Vocal by Dionne Warkwicke
Farewell Amanda
The White Fox Returns
*He's Moving On (Theme from The Love Machine) Vocal by Dionne Warwicke; Produced by Burt Bacharach and Hal David