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Friday, April 20, 2018

Spankin' Brand New - Spanky Wilson

Apartment 101
Spankin' Brand New
Spanky Wilson
Arranged and Produced by H. B. Barnum
Executive Producer: Jay Ward
Engineer: Dave Wiechman
Composer: Howlett Smith
Recorded at Annex Studio, Hollywood
Mother Records & The Snarf Company
MLPS-69
1968

You're Gonna Miss Me
I've Waited A Long Long Time
Love Has Me By The Hand
The Other Girl
Mighty Great Feeling
Love Is Like An Old Old Man
On The Morning After
Sweetheart
Apartment 101
Tell Me Tonight
The Last Day Of Summer

Tuesday, April 17, 2018

Julie London Sings Soft & Sweet

Julie London
Sings Soft & Sweet
Art Direction: Woody Woodward
Cover Photography: Studio 5
Sunset - A Product Of Liberty Records SUS-5161
1967

Available from online vendors so I will not be posting a sample. One of my favorite tunes from this set is titled: My Man's Gone Now.

Mad About The Boy
I Must Have That Man
Evenin'
How Come You Do Me Like You Do
Three O'Clock In The Morning
Nobody's Heart
My Man's Gone Now
Just The Way I Am
I'm Glad There Is You
Bewitched

All Starr Hits! - Kay Starr

Don't Tell Him What's Happened To Me
All Star Hits!
Kay Starr
The Star Line
Capitol Records T 1648
1961

From Billboard - March 6, 1961: This fine collection of hits perviously released on singles by Kay Starr should interest the huge army of fans of the exciting singer. The tunes include "Just For A Thrill," "You've Got To See Mama Every Night" and "When My Dream Boat Comes Home." Sides cover a decade of the performer's career, from 1950 to 1960. The sides seem to improve with age.

Just For A Thrill
Mississippi
Out In The Cold Again
You've Got To See Mamma Ev'ry Night
Tonight You Belong To Me
When My Dream Boat Comes Home
Wisdom Of A Fool
Toy Or Treasure
I Cry By Night
Angry
Don't Tell Him What's Happened To Me
Waiting At The End Of The Road

Happy Organ Time - Chris Christian

Dark Eyes
Happy Organ Time
Chris Chistian
Crown Records CST 619
1970
I'll Take You Home Again, Kathleen
I Want A Girl
My Wild Irish Rose
You Tell Me You Dream
I Dream Of Jeannie
Cielito Lindo
The Band Played On
Dark Eyes
East Side, West Side
Skater Waltz

All The Way - Tony Mottola

It's Sunday
Tony Mottola
All The Way
Executive Producer: Herb Linsky
Producer & Orchestra Contractor: Joe Malin
Recording Engineer: Allen Mirchin assisted by Dennis Ferrante & Rick Rowe
Mastering: Jack Adelman
Photographer: Dan Demetriad
Cover Design: George Fried
Project 3 Records PR-5112
1983

Personel:

Urbie Green - Trombone
Dick Hyman - Piano
Bucky Pizzarelli - Rhythm Guitar
Irv Cottler - Drums
Jerry Bruno - Bass

From the back cover: Of the more than thirty albums I have recorded, this one is very special to me. It is dedicated with love and admiration to a man and his music. That man if Frank Sinatra.

When I was a teenager, I first met Frank at a local radio station in Jersey City, N.J. where we were both doing programs for carfare. A number of years later, Frank, having risen to stardom with the Harry James and Tommy Dorsey Orchestras, was signed by CBS to do a weekly commercial radio program of his own. I was on staff at CBS at that time and did that show with him, as well as his very first record album with the great Axel Stordahl conducting.

I worked with Frank in New York until he went to Hollywood where he became the superstar he remains today.

In 1980, I received a call to do a week of concerts at Carnegie Hall with Frank. That week has extended into three unforgettable years of concerts, recordings, television, and travel to all corners of the world. It's still going on, and it's an absolute joy!

So, it is to Frank that I dedicate this album. I hope you will enjoy my selection of songs that pay tribute to so many beautiful memories of the man and his music – Tony Mottola


All The Way
Medley: Let's Get Away From It All, Come Fly With Me, Nice 'N Easy
Nancy
The Lady Is A Tramp
It's Sunday
New York New York
This IS All I Ask
Medley: I'll Never Smile Again, This Love Of Mine
Guess I'll Hang My Tears Out To Dry
Put Your Dreams Away

Monday, April 16, 2018

Profiles In Music - Wladimir Selinsky

Jasmine From The Lost Weekend
Profile In Music
Wladimir Selinsky
Conducts His Own Musical Scores From Television Productions
Golden Tone C-4065

Tracks from episodes of The Kraft Television Theatre.
A Night To Remember
Snapfinger Creek
The Beautiful Time
Most Blessed Woman
Jasmine From The Lost Weekend
A Child Is Born
Hang Up My Guns
Profile In Courage
Death Is A Spanish Dancer

Connie Francis Sings Never On A Sunday

Moonglow And Picnic
Connie Francis Sings
Never On A Sunday
And Other Title Songs From Motion Pictures
Vocal Group: The Jordanaires
Arranger and Conductor: Cliff Parman
MGM SE3965
1961

From the back cover: Arranger-Conductor Cliff Parman was selected by Connie to handle the backgrounds for her on this album. He has played trumpet or arranged for such orchestras as Gene Krupa, Clyde McCoy, Eddie Howard, Dick Jurgens, and has written music for such singing stars as Jim Reeves, Conway Twitty, Jaye P. Morgan, and Eddie Arnold, among others. He has long been a favorite of Connie's and she has long been one of his favorites.

Never On A Sunday
Young At Heart
Around The World
High Noon
April Love
Song From Moulin Rouge (Where Is Your Heart)
Three Coins In The Fountain
Tammy
Anna
Moonglow And Picnic
Love Me Tender
Love Is A Many Splendored Thing

Friday, April 13, 2018

Alfred Hitchcock Presents Ghost Stories For Young People

Johnny Takes A Dare
Alfred Hitchcock Presents
Ghost Stories For Young People
Tales Of Spooks, Hobgoblins And Spirits Hauntingly Introduced By The Master Of The Unexpected
Narrator: John Allen
Golden Records LP 89
1962

From Billboard - October 27, 1962: The Master of chills make his first appearance on a record designed for small fry, and those whose parents give them a listen will have plenty of chills. Hitchcock himself does his usual rambling kind of chatter between the stories, which are ably narrated by John Allen. Excellent orchestral accompaniment contributes to the weird and eerie mood. Sample titles include "The Haunted And The Haunters," "The Open Window" and "Johnny Takes A Dare." Good material, well told, but not commended for just before bedtime.

The Haunted And The Haunters (The Pirate's Curse)The Magician ('Til Death Do Us Part)
Johnny Takes A Dare (The More The Merrier)
The Open Window (Special Adaptation)
The Helpful Hitchhiker
Jimmy Takes Vanishing Lessons

Thursday, April 12, 2018

Endlessly - Brook Benton

Endlessly
Brook Benton
Arranged and Conducted by Fred Norman
Mercury Records SR 60146
1959

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

From the back cover: Brook wailed his initial high C in the small town of Camden, South Carolina, a little less that 27 years ago. "Music come natural to me," he says, "My whole family sang, all of the time." Since he was one of a family of eight, five girls and three boys, plus two singing parents, this was a chorus that on clear evenings could be heard for miles around.

In his early twenties, Brook became one of a quartet, Bill Landford's Spiritual singing group. They traveled across the country to California and through the Southern states singing in churches, halls and for clubs. Their first engagement earned him $10, "which I spent for transportation."

Eventually Benton's family moved to New York, the promised land for professionals. He made several recordings for several companies, but without denting the disc field. "The Wall," which had mediocre sales, is still a sentimental favorite because while recording it he met his present song-writing collaborator, Clyde Otis. "Clyde taught me a lot of professional touches," he says. Eventually, came the opportunity to wax one of his own songs for Mercury, and presto, it happened – right musical background, perfect promotion, the mysterious magic of talent, feel, and timing, that lifts one platter off a shelf full and sends it spinning to success.


From Billboard - November 16, 1959: Brook Benton, one of today's most consistent hitmakers, has an outstanding new album here that should stack up solid sales. It contains one of his biggest hits, the title tunes, and a group of standards, including "Because Of You" and "Blue Skies." Benton sings them with feeling in his own mellow style, and the arrangements by Fred Norman are mighty smooth.

People Will Say We're In Love
Because Of You
More Than You Know
Blue Skies
Time After Time
A Lovely Way To Spend An Evening
Endlessly
The Things I Love
It's No Sin
Around The World
May I Never Love Again
You'll Never Know

The Young Lovers Play

Caring & Sharing
The Young Lovers Play
A Product Of Pickwick International
Design Records SDLP-296
1973

Little Green Apples
A Man Without Love
Caring & Sharing
Now, Forever & Ever
Love Me A Little
With Pen In Hand
This Guy's In Love With You
Love Is A Merry Go Round
On The Road To True Love
There's No Other Love For Me

Wednesday, April 11, 2018

The Goldtones - Live At The Teenbeat Club In Las Vegas

I'll Love Her
The Goldtones
Featuring Randy Seol
Live! At The Teenbeat Club In Las Vegas!
La Brea L8011
1965

From the back cover: The group consists of Wayne Purvis on piano, Ken Naylor on bass, Al Doss trumpet, Mike Peters and Steve Green on guitar, Cindy Mac vocalist and features Randy Sell on drums.

They formed their group in 1961 at which time they won their first award; first place in one of California's most important musical festivals, The Starcapades. They have been in constant demand since.

They all attended Ramona High School in Riverside, California, and needless to say the entire school body is solid behind them. Only recently a fan club was formed with Irena Levy as president.


Wolly Bolly
Koko Joe
Downtown
High Heel Sneakers
Go Now
Gloria
Walkin' The Dog
The Clap Song
Midnight In Vegas
I Want To Make Love To You
I Love Her
My Girl Sloppy

Background Music - Light And Lively

Blue Skies

Background Music
Music Blended To Mix Graciously With Social Gatherings
Capitol Records T375
1953

Margie - Bill Loose And His Orchestra
That Old Black Magic - Jack Stern And His Orchestra
You're The Cream In My Coffee- Gardiner Gibbs And His Orchestra
Blue Skies - Charles Romo And His Orchestra
Beer Barrel Polka (Roll Out The Barrel) - Jack Stern And His Orchestra
Do You Ever Think Of Me - Charles Romo And His Orchestra
My Gal Sal - Jack Stern And His Orchestra
Who - Bill Loose And His Orchestra
Sweet Sue, Just You - Charles Romo And His Orchestra
Louise - Gardiner Gibbs And His Orchestra
Dinah - Charles Romo And His Orchestra
Avalon - Bill Loose And His Orchestra

Tuesday, April 10, 2018

Hawaii Tattoo - The Waikikis

Tahiti Tamoure
Hawaii Tattoo
The Waikikis
Cover Photo: Jerry Lieberman
Kapp Records KL-1366
1964

Hawaii Tattoo
Aloha Parade
I'll Remember Sweet Hawaii
Tiki Tiki Puka
Carnival Of Venice
Hilo Kiss
Tahiti Tamoure
Mauna Loa
Honolulu Rose
March Of The Beachcombers
Pacific Punch
Honolulu Rag

Melodies That Linger On - Carl Weston

The Song Is Ended
Melodies That Linger On
Carl Weston
Saxophone Solos with Organ Accompaniment
Decca Records DL 8891
1959

From the back cover: Philadelphia-born Carl Weston began his professional career as a jazz musician with the Joe Venuti group in Atlantic City. After several years in burlesque, he worked with the then-famous Jan Savitt orchestra in radio. A veteran of several years of "society music" in the famous Lester Latin tradition, Mr. Weston has also been associated with great orchestras such as Jimmy Dorsey's. A saxophonist soloist with the Philadelphia Symphony Orchestra for over ten years, he has been acclaimed for outstanding solos in the orchestra's performances of several important works – among them Mussorgsky's "Pictures At An Exhibition."

From Billboard - June 22, 1959: Sax star Weston wraps up a group of dream standards in wistful, leisurely paced solo sets, with organ backing. Nice sentimental jockey package. Selections include "I Wonder What's Become Of Sally?" "Wonderful One" and "A Perfect Day."

I Wonder What's Become Of Sally?
Till We Meet Again
Might Lak' A Rose
Ich Liebe Dich
Dreamy Melody
Let The Best Of The World Go By
Wonderful One
Love's Old Sweet Song (Just A Song At Twilight)
A Perfect Day
Beautiful Dreamer
Thine Alone
The Song Is Ended (But The Melody Lingers On)

Monday, April 9, 2018

Songs Of Hawaii - Honolulu Guitars

Serenade Of The Island
Songs Of Hawaii
Honolulu Guitars
Power Apply Honey Series D397

All the tracks on this set sound like the example above, as if the set was played by a band in a big empty hotel ball room with the mic and recording equipment located in another room, like the kitchen or just down the hall in the lobby.

Harbor Lights
Aloha
Red Dawn
Moonlight And Love
Serenade Of The Island
Sunset In Hawaii
Lovely Guitars
Pearly Waves
Hawaiian Girl
Luau

Latin Zither - Ruth Welcome

Andalucia
Latin Zither
Ruth Welcome
Orchestra under the direction of Earl Sheldon
Produced by Andy Wiswell
Cover Photo: Capitol Photo Studio/Ken Veeder
Capitol Records T1863
1963

Guabina Santanderana
Amor
Tiplecito De Mi Vida
Aquellos Ojos Verdes ( Green Eyes)
Bunde Tolimense
Anadalucia
Mis Flores Negras
Adios, Mariquita Linda
El Pescador
Maria-La-O (Maria, My Own)
Hagia El Calvario
Siboney

Strings Latino - Edmundo Ros

Sting Latino
Edmundo Ros and His Orchestra
Producer: Tony D'Amato
Engineer: Arthur Lilley
London Records SP 44107
1968

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

From Billboard 29, 1968: Plus-stirring Latin America sounds to set the soul on fire. Featured are such favorites as "Has Que Nada," "Delicado," "Malaga." Edmundo Ros has achieved his most exciting package ever. The stereo is exceptional, bringing out a full encompassing musical effect.

I agree with Billboard. This could be my favorite Ros package. I also enjoy when he sings a tune or two on a set. His voice is unique sounding and can be heard on "A Man And A Woman" and "Thank U Very Much."  Good stuff.

Cumana
Felicidade
Mas Que Nada
A Man And A Woman (Edmundo Ros, vocal)
Green Eyes
Malaguena
Granada
La Cumparsita
Macarenas
Thank U Very Much (Edmundo Ros, vocal)
Delicado
Rumba Rhapsody

Singing Instrumentals - Neal Hefti

Intermission Riff
Singing Instrumentals
Neal Hefti and His Orchestra
With The Ray Charles Choir
Epic LN 3440

Personnel:
Chet Amsterdam - Bass
Jimmy Crawford - Drums
Danny Perri - Guitar
Lou Stein - Piano
Boomie Richman, Danny Bank, Hank D'Amico and Charlie Barnet - Saxophones
Lou McGarity - Trombone
Bernie Priven, Billy Butterfield - Trumpets

From the back cover: Born in Hastings, Nebraska, in 1922, Neal Hefti took up the study of the trumpet in the sixth grade, playing in the high school band and orchestra. Taking top honors in interstate high school trumpet competitions, he filled in the summers by playing with carnivals. Moving to New York after graduation, he spent his first four months there in the hospital, as the result of an automobile accident, and then got his first break playing with Charlie Barnet, In 1942, he played with or made arrangements for such well-known musicians as Muggsy Spanier, Earl Hines and Bobby Byrne, and later joined Charlie Spivak's orchestra. During this time he scored "Pin Up Girl," and played with Horace Heidt on his radio program.

In 1944, he joined Woody Herman and turned in such vivid arrangements as Caldonia, The Good Earth, Wildroot, Apply Honey, Northewest Passage and others that have become classics in modern jazz. Moving to Los Angeles, he played with Bob Chester and Frank DeVol, as well as a number of network radio shows. Then, returning to the Herman Herd, he married Frances Wayne, then vocalist with the orchestra. Work in motion pictures, recording studios and radio stations followed, including two years with Harry James and his Orchestra, and in 1949 he returned to New York to work in television. From 1951 until late 1953, he led his own group, the Hefti-Wayne Orchestra, and since that time has been one of the most sought-after arrangers in the business.


Opus #1
Jersey Bounce
Redskin Rhumba
Mood Indio
Woodchopper's Ball
Skyliner
One O'Clock Jump
I Can't Started
Intermission Ball
Begin The Beguin
Summit Ridge Drive
Back Beat Boogie

Saturday, April 7, 2018

Moonlight Cocktail - Stanley Black

Moonlight In Vermont
Moonlight Cocktail
Stanley Black
His Piano and Orchestra
London Records LL 1709
1957

From the back cover: For Stanley Black, as it did for all of us, it started with piano lessons. But it soon became apparent that Stanley was no ordinary pupil. He was not merely a model student, he was gifted and from the performance of music to composition was for him a short and easy step.

At the age of twenty-three he broke into the highly-competitive world of film music. It was an open door to success and many men would have been content to confine themselves to this field alone. Stanley has continued his association with the screen right up to the present time but nowadays his commissions in the film world are only one of the outlets for his many musical accomplishments.

At the outbreak of war, Stanley Black was quick to join up, leaving as he thought, the world of music behind him. But once in the R.A.F. he was soon conscripted into applying his unique talents to the entertainment of his fellow servicemen. Upon his release from the services the possibilities seemed so numerous that at first it was difficult to choose between them. After a brief period of free-lancing, however, he was signed up as conductor of the B.B.C. Dance Orchestra, an appointment which lasted until 1952. Stanley Black's work for the B.B.C. was recognized in 1951 by his selection to appear with his orchestra in the Royal Command Variety Performance.


The Moon Got In My Eyes
Moonlight Cocktail
The Moon Of Manakoora
Moonlight In Vermont
Moon Country
How High The Moon
Moonlight Serenade
Moonglow
Blue Moon
The Moon Is A Silver Dollar
Moon For Sale
Moonlight And Shadows

Merrill At Midnight - Helen Merrill

Merrill At Midnight
Helen Merrill with Hal Mooney and His Orchestra
EmArcy - Mercury Records
MG 36107
1957

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

From the back jacket: 

About Helen Merrill by Helen Merrill

Helen Merrill's biographical background has been sketched previously on her first three EmArcy Long Plays. In capsule form, she was born in New York, July 21, 1930; has been singing professionally since she was 15; absorbed an early jazz apprenticeship by working sessions with such major jazz instrumental voices as Bud Powell, Miles Davis and J.J. Johnson; has had band experience with the Earl Hines All-Stars. She is now a single; has worked an increasing number of the career-determining jazz rooms, and she is the first young modern American vocalist to have achieved a pulsating personal success in South America.

Helen is not concerned with categories. She takes her singing seriously, but she does not expend polemical energy in worrying about whether people term her a "jazz singer" or not. "I'm a musician," she explained succinctly. "I don't care what you call what I do; I'm interested in producing the best music I can with what I have."

What, then, are the ingredients of a jazz singer? In compiling a list of the qualities a jazz singer must have, in her estimation, Helen described those virtues that many critics and musician have been ascribing to Helen herself.

"You must have, first of all," she underlined, "the natural feeling to be a jazz singer. You must have the ability to give yourself honestly; you must have the freedom to give of yourself from the inside musically and emotionally. I don't mean 'giving' in the showbiz sense; I mean expressing what you really feel.

"A jazz singer must have a natural ear for chord changes. She must be aware, very aware of the music behind her and she must try to become part of it. A jazz singer must feel the way a musician does, because she is a musician. You must be aware of what musicians are aware of – the lines, the changes, the beat. Your personality should come through in your phrasing. There is no one correct way to phrase – especially in jazz. There is no textbook. You phrase what you are."

Another index of Helen's aims as a musician is her list of favorites. "For my kind of singing, I like Billie Holiday. Not necessarily the way she sounds today, although I did hear her in excellent form recently; but in previous years, it was Billie Holiday who gave me the courage to express what I felt. The fact that she made me feel I could continue. I was very different from other young singers starting at the time I did, and it was very hard for me to get work as a singer. But I felt if Billie could make it, maybe eventually I could."

Unlike many of her contemporaries, Helen does not derive obviously from any one school, especially not the dominant O'Day-Christy-Connor line. She is original. "I think the reason I am not derivative is precisely because I do use music as a complete emotional outlet. I can't borrow from too many other people; I can only sing myself."

Helen's tastes in non-vocal jazz indicate a wide range of listening acumen and curiousity. "I just like good music. I like Thelonious Monk, Miles Davies, the Modern Jazz Quartet, George Russell's compositions, Oscar Pettiford, Ray Charles, Marion McPartland. And More. I listen to everybody."

Of singers today, Helen is enthusiastic about Sarah Vaughan in particular. "She's one of the greatest jazz singers. She's over-looked sometimes in terms of jazz and is called other things, but she's a giant. She has, first of all, an amazing instrument, and she has the ability to sing very inventive, musical things with pretty changes. She not only sings them very well, but very naturally."

Being natural is an essential vocational – and avocational – condition for Helen. "This, after all, is the one field in so-called show business in which you can be natural, and express what you feel at the time. I always sing spontaneously. It doesn't always work out, but sometimes you can get some very worthwhile things by allowing yourself to be spontaneous.

About Helen Merrill by Hal Mooney

Harold Mooney, who arranged all the songs on these two February, 1957, sessions, scored for Helen with her need for spontaneity in mind: "I was just trying to get a cushion for Helen to express herself, because Helen is the kind of singer who demands complete freedom. She doesn't know, for instance, how she's going to treat the next bar or the next eight bars. From an arranging standpoint, I felt I had to leave the scores wide open so that the backgrounds would be compatible with anything she might do. I tried to make the music both unobtrusive, to a point, and yet stimulating to the artist."

"The basic characteristics of Helen," Mooney concluded, "is that she has tremendous feeling. She has great soul. She's completely honest one hundred percent of the time. She's always striving to convince not only her audience but herself of the validity of what she's doing. And she has that unique sound, a sound I can best describe as intimacy, natural intimacy."

Soft As Spring
Black Is The Color Of My True Love's Hair
Lazy Afternoon
The Things We Did Last Summer
After You
If You Go
If I Forget You
If Love Were All
Easy Come Easy Go
I'll Be Around

Mambo Mania - Perez Prado

Tomcat Mambo
Mambo Mania
Perez Prado and His Orchestra
RCA Victor LPM 1075
1955

From the back cover: In addition to the music and the way it is played, it is the instrumentation of the Prado band that sets it in a very special class of its own. To four saxes, four trumpets, one trombone and bass, three percussionists are added to keep the beat rocking, to keep it on its steady upward climb. There is a regular drummer with the usual assortment of bass drum, snare and cymbals, but there are also both a conga and bongo-drummer, adding that special Latin sound without which Prado would not be Prado.

From Billboard - January 29, 1955: Perez Prado was one of the ringleaders in the swing-over to mambo rhythms in the Latin-American field last year, so his name on a mambo package is bound to pack extra sales appeal. A "mad" candid closeup of the mambo king adorns the cover, and it's eye-catching enough to account for additional sales. Prado is one of the better mambo exponents around today, and this LP features 12 of his best selections, including his own "Marilyn Monroe Mambo," "St. Louis Mambo" and "Skokiaan."

Cherry Pink And Apple Blossom White
Ballin' The Jack
Tomcat Mambo
April In Portugal
Mambo A La Kenton
The High And The Mighty
Marilyn Monroe Mambo
St. Louis Blues Mambo
Skokiaan
A La Billy May
Mambo De Chattanooga (Chattanoogie Shoe Shine Boy)
Mambo En Sax

Thursday, April 5, 2018

Big Hits from The Fabulous 50s - Lew Raymond

Chain Gang
Big Hits From The Fabulous 50s
Lew Raymond Orchestra
Tops L1592
1957

Cover model: Jayne Mansfield

C'est Si Bon
Chain Gang
Kiss Of Fire
Cross Over The Bridge
Allegheny Moon
A Girl, A Girl
Teach Me Tonight
Papa Loves Mambo
Vaya Con Dios
Oh My Papa
Sweet And Gentle
Moonlight Gambler

Wednesday, April 4, 2018

Benji

Benji's Second Run
Benji
Music From The Original Sound Track
Composed, Arranged and Conducted by Evel Box
*Recorded at Muscle Shoals Sound Studios, Sheffield, Alabama
Engineer: Jerry Masters
**Recorded at United/Western Studios - Hollywood
Engineer: Jerry Barnes
***Recorded at Clover Studios - Hollywood
Engineer: Robert Appere
Mulberry Square Productions
KSE 33010
Manufactured by Epic Records
1974

*Benji's Theme - I Feel Love - Vocal by Charlie Rich
**Benji's Theme - I Feel Love - Instrumental
**Pudding Cup/Officer Tuttle and Bill
**Cindy and Benji
***Encounter with Cat
***Benji's Second Run
*Benji's Theme - I Feel Love - Rhythm Track
**Benji - All Alone
***Trucking with Officer Tuttle and Bill
**Benji's Run With The Group, The Catch
**Benji's Theme - Flashback Run - Instrumental
***Benji and Big Dog - **Home Free
*Benji's Theme - Closing - Vocal by Charlie Rich


Pat Suzuki

How High The Moon (VIK LX-1147)
Pat Suzuki
Miss Pony Tail with Henri Rene and His Orchestra
Arranged and Conducted by Henri Rene
Produced by Herman Diaz, Jr.
Recorded April 28 and May 1, 1958 at Webster Hall, New York City.
VIK LX-1147
1958

Pat Suzuki with Henri Rene and His Orchestra
RCA Victor LSP-2030
1959

From the back cover (LX-1147): It was only six months ago, in this same space on her first album, that Bing Crosby delivered the first major address to the world about Pat Suzuki. Since then, the Crosby endorsement and the Suzuki product have made The Many Sides Of Pat Suzuki (LX-1127) a best-seller on record shelves everywhere.

Bing, for all his implied excitement over his Seattle discovery, left the lengthy exposition of the Suzuki voice to the disc inside the album where it best describes itself. His typically understated approach further coincided with the wishes of Pat Suzuki's old-shoe modesty. Being something of an old shoe himself, and without intentions of dictating any formal rules of procedure, Bing nevertheless established an editorial policy of restraint and punctuality for this and all future Pat Suzuki albums.

Basic facts of Pat Suzuki's twenty-four years include Methodist choir singing in her native California and professional development in Seattle. Now in her first departure from the West Coast since her beginning in 1955, she's moving with her natural drive and grave toward the very core of show business whose grass roots are embedded deep in the cement of Broadway. This year will be memorable for Pat Suzuki's debut in a Rodgers and Hammerstein musical, under the direction of Gene Kelly, in which she will dance as well as sing.

Barely more than two years after Pat Suzuki made her professional night club debut at Seattle's fashionable Colony, she was named this year's winner of the annual Downbeat poll of disc jockeys as America's Best New Female Singer."

On the express track to the extraordinary national recognition that is now hers, Pat Suzuki has inevitably been likened to other singers, and the list is remarkable. A Variety reviewer saw traces of Jerri Southern, Billie Holiday, Judy Garland, Eartha Kitt and Sarah Vaughan; another critic found Mabel Mercer, Patti Page and Ethel Merman; and most recently a Billboard writer likened her to Rosemary Clooney in her slow moods and to Teresa Brewer and her faster tempos. Lean Horne, Gogi Grant, Eydie Gorme and Sophie Tucker are other names that have been posted in print as Pat Suzuki sing-alines. When confronted with the point-blank question, "How would you describe your singing?", Pat's pat answer is, "Sort of a cross between Shirley Temple and Lawrence Tibet" – and she probably knows best. Now having been boosted to star status by the star statisticians in the night life, television and recording fields, Miss Suzuki, no longer likened to other singers, has been granted her individuality.

Henri Rene, to whom Pat gives the major credit for the success of her first album, is here again her partner in rhythm and rhyme. – Norm Borrow (Pat Suzuki's Manager).


The Song Is You
Star Dust
Black Coffee
Anything Goes
I've Grown Accustomed To You
Daddy
My Heart Belongs To Daddy
As Time Goes By
How High The Moon
The Lady Is A Tramp
Be My Love
I'll Never Smile Again

Percussion Orientale - David Carroll

Twilight In Turkey
Percussion Orientale
Musical Sounds Of The Middle East
David Carroll And His Orchestra
Mercury Records PPS 2002
1961

Personnel:

Percussion: Bobby Christian, Frank Rullo, Richard Schory, Jerry Slosberg
Piano: Bob Acri
Guitars: Earl Backus, Johnny Gray
Bass: John Frigo, Harold Siegel
Concertina: Vince Geraci
Trumpet: Bill Babcock
Trombone: Earl Hoffman
Harp: Edward Druzinsky
Woodwinds: Howard Davis, Wally Preissing, Mike Simpson, John Cameron, Bob Tootelian

Strings: Fritz Siegal, Herman Clebanoff, Theodore Silavin, Joe Goodman, Dave Chausow, Art Tabacknick, Shirley Tabachnick, Harold Kupper, Al Muenzer, Harold Klatz.

The solo flute passages are by Wally Preissing, solo oboe passages by John Cameron. When two oboes play, Bob Tootelian joins Cameron. The Bakoura solo of Twilight In Turkey is by Mike Simpson. The solo violin passages are by Fritz Siegal.

Mike Simpson arranged Caravan and Twilight In Turkey. All other arrangements by David Carroll.

Caravan
In A Persian Market
Harem Dance
Ballet Egyptian
Bacchanale
Twilight In Turkey
Scheherazade Themes
Danse Orientale
Dance Of The Slave Maidens
Shish-Kebab
Orientale

Sliver Vibes - Lionel Hampton

Blue Moon
Siver Vibes
Lionel Hampton with Trombones and Rhythm
Columbia CL 1486
1960

From the back cover: Arrangements for 'Til You Return, Syklark, For Better or Worse and Poor Butterfly were written by Tony Flanagan; all other are by Two Macero. What's New?, 'Til You Return, Walking My Baby Back Home and For Better Or Worse were recorded March 10, 1960, with the following personnel: Tommy Flanagan, piano; John Mackel, guitar; George Duvivier, bass; Osie Johnson, drums; and Robert Byrne, trombones. Syklark, Speak Low, Day By Day, My Foolish Heart and Poor Butterfly were recorded March 21, with Clifton Best replacing Mackel on guitar, and Santo Russo replacing McGarity on trombone. Blue Moon was recorded March 23 by Camp and Tommy Flanagan, with John Mackel on guitar, George Duvivier on bass and Elvin Jones on drums.

From Billboard - June 4, 1960: Hampton on vibes is supplemented here by a trombone quartet and standard rhythm. Result is a group of performances notable in tonal texture, and with fresh ideas in the arrangements. Ballads "What's New," "Poor Butterfly," etc. Solid wax.

Skylark
What's New?
Speak Low
'Til You Return
Blue Moon
Walkin' My Baby Back Home
Day By Day
For Better Or Worse
My Foolish Heart
Poor Butterfly

Tuesday, April 3, 2018

The Golden Horn - Billy Butterfield

Stardust
Billy Butterfield
The Golden Horn
Arranged, Conducted and Produced by Jack Pleis
Columbia Records CL 1673
1961

From the back cover: The golden horn of Billy Butterfield soars through twelve great trumpet hits in this exciting new collection. Billy's famous tone is burnished to a dazzling polish as he re-creates the magic of these famous solos, one of them is his own superb version of "Stardust."

Billy first gained recognition as a member of the Bob Crosby Bobcats when he was in his twenties. The hit ballad "What's New," written in collaboration with Bobby Haggart, made him even more famous. Later, Billy joined forces with Artie Shaw, doubling with the famous Gramercy Five from time to time, then played with the Benny Goodman orchestra until service with the Armed Forces temporarily interrupted his career.

On his return Billy found himself one of the most sought-after sidemen in New York. The demand for his services kept him close to New York radio, television and recording studios for several years, but eventually he was prevailed upon to form his own touring band. Despite enthusiastic receptions wherever the group played, Billy found his New York work more rewarding, and returned to reuse his status as one of the city's most prominent musicians.


From Billboard - October 9, 1961: Butterfield's fine horn work is utilized effectively on this package, which wraps up a group of sentimental oldies (each associated with a trumpet solo treatment in schmalzy Continental-styled arrangements by conductor Jack Pleis. There are many spinnable sides here, including "And The Angels Sing," "Oh Mein Papa," "Tenderly" and "Star Dust."

Stardust
Wonderland By Night
And The Angels Sing
Love Theme From "La Strada"
You Made Me Love You
Melancholy Serenade
When It's Sleepy Time Down South
Oh, Mein Papa
Cherry Pink And Apple Blossom White
Pretend
Tenderly
Memories Of You

The Young Man With A Horn - Ray Anthony

The Young Man With A Horn
The Recorded Hits Of Ray Anthony
Capitol Records T373
1953

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

The Man With The Horn
For Dancers Only
Idaho
Tenderly
Cook's Tour
Mr. Anthony's Boogie
Harlem Nocturne
I Wonder What's Become Of Sally?
Mr. Anthony's Blues
Jersey Bounce
Stardust
Thunderbird

Monday, April 2, 2018

100 Strings And Joni - Joni James

100 Stings And Joni
Joni James
Produced by Acquaviva
MGM Records E3755
1959

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

Lush package production includes a gloss wrap-around book-fold jacket with color interior printing.

From Billboard - April 20, 1959: While Williams (Hank Williams) is the example par excellence (referring to estate record royalties and strong sales for MGM), he is by no means the only artist to have sold consistently and who still sells. Joni James, with 18 albums to her credit, is MGM's "album queen." Even when she was going thru a singles slump, her album product move steadily. Some measure of how the firm regards her sales consistency is seen in the effort going into a new de luxe album package, "100 Strings and Joni," the recording of her Carnegie Hall concert.

From Billboard - April 27, 1959: This handsomely packaged double-fold album spotlights Acquaviva's lush backing (recorded in England with 100 strings) behind the thrush's distinctive piping. Romantic standard selections include "Imagination," "Body And Soul," "My Heart Tells Me," etc. A strong sales entry.

James was married to Acquaviva when this package was produced.

My Heart Tells Me
Imagination
All Through The Day
Too Young
It Never Entered My Mind
Body And Soul
I Can Dream, Can't I?
Hi-Lili, Hi-Lo
But Beautiful
Wait And See
It Could Happen To You
Maybe You'll Be There

The Magic Touch - Hugo Winterhalter

The Magic Touch
The Magic Touch
Hugo Winterhalter And His Orchestra
RCA Camden CAL-379
1957

From the back cover: To acquire this "magic touch" with the arranger's pen, Winterhalter served a long Swing Era apprenticeship.

He was born in Wilkes-Barre, Pennsylvania, on August 15, 1090. He studied violin and reed instruments at St. Mary's High School there.

Later he became a member of the string section of the orchestra at Mount St. Mary's College in Emmitsburg, Maryland. He soon became leader of the campus orchestra there, and even supported himself for a while by giving music lessons.

When things were slack, he worked as a railroad laborer, a store clerk, and even as a high school teacher.

His professional career began at the age of sixteen. In 1925, he became a dance band sideman at the salary rate of six dollars a performance.

"Although in college the violin was my major interest," he says, looking back, "in the band I played with later I always played reeds."

For a period of twelve years, Hugo was a sideman in many dance bands, among them the name crews headed by Larry Clinton, Raymond Scott and Jack Jenney.

When he left the bustle and constant travel of the road band for the less hectic life of the arranger, Hugo had behind him experience in writing for dance bands, swing bands and vocalists. He even did some writing for dance bands with string sections.

It was while he was arranging for Tommy Dorsey's band in the mid-'40s that he began to make his mark. Many of his scores which were played by Dorsey still sound rich and undated today, some fifteen years later.

"I had been working for twelve years before I got an opportunity to write for strings with Tommy Dorsey." Hugo recalls. "I liked it better than anything I'd ever done before."

His arranging credits also extend to such diverse musical gatherings as those headed by Vaughn Monroe, Count Basie, Will Bradley, Claude Thornhill, Billy Eckstine and Jimmy Dorsey.

After serving as musical director for two other major recordings companies, Winterhalter came to RCA Victor, where he could give his musical imagination free rein. Shortly after taking over as pop musical director at Victor, he said, "The records I'm making now give me the first chance I've had to arrange things the way I want to hear them." – Dom Cerulli, Down Beat


On The Alamo
Make Believe Land
It Had To Be You
The Magic Touch
Will-O'-The Wisp Romance
The Mule Driver
Why Can't This Night Go On Forever
Tic Tac Toe
Alice In Wonderland
The Windsor Melody
Bahama Buggyride
I'll See You In My Dreams