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Thursday, August 16, 2018

Colors - The Brass Company

Alias Buster Henry
The Brass Company
Arrangements by Bill Lee
Musical Directors: Bill Hardman, Bill Lee, Billy Higgins
Producer: The Brass Company
Engineers: Ron Carron and Randy Alter
Cover: Sandra Williams
Photos: Curtis A. Brown
Background Mexica Blanket courtesy of Betty Dillard
Recording dates: June 4 and 3, 1974
Studio: Minot; While Plains, New York
Strata-East Records SES-19752

Trumpets: Bill Hardman, Eddie Preston, Harry Hall and Lonnie Hillyer
Fluegehorns: Clif Lee and Kamal Abdul-Aim
Trombone: Charles Stephens
Tuba: Bob Stewart
Bass: Bill Lee
Drums: Billy Higgins and Sonny Brown

Guest Artists
Tenor Sax: Clifford Jordan
Piano: Stanley Cowell
Trumpet: Charles Tolliver

Tuesday, August 14, 2018

Instrumental Version Of Bob Dylan Favorites - The Metropolitan Pops Orchestra

Positively 4th Street
The Metropolitan Pops Orchestra Plays
Instrumental Versions Of Bob Dylan Favorites
Produced and Arranged by Alan Lober
Director of Engineering: Val Valentine
Cover Art: Peter Max
Cover Design: Michael Malatak
Metro Records MS-597

From the back cover: It may seem a strange, mixed bag at first; "What's the work of a fiery, wild-haired composer, high-priest of the beatniks and teeny-boppers doing – being played by, for heaven's sake, the Metropolitan Pops Orchestra?" The fascinating answer is right here in the grooves of this record. A sampling will make you feel that Mr. Dylan and the Metropolitan Pops were practically made for each other.

Like A Rolling Stone
It Ain't Me Babe
It's All Over Now Baby Blue
She Belongs To Me
Don't Think Twice, It's All Right
One Too Many Mornings
Positively 4th Street
All I Really Want To Do
Mr. Tambourine Man
The Times They Are A-Changin'

Legwork - Jeremy Steig

Jeremy Steig
Produced by Sonny Lester
Art Direction: Frank Gauna
Cover and Liner Art: Jeremy Steig
Solid State Records SS 18068

From the inside cover: The depth as well as breadth of Jeremy's accomplishments in this set requires, I think, some background about the Steig odyssey in order to indicate the range of musical experience he's been into. Born in New York's Greenwich Village on September 23, 1942, Jeremy is of a family that has impressive creative credentials. His father, William Steig, is a cartoonist of antic universals for The New Yorker and the author-illustrator of uniquely evocative children's books. Elizabeth Mead Steig, Jeremy's mother, is an artist and heads the art department at Lesley College. An aunt is Margaret Mead, the persistently probing anthropologist who keeps showing ways in which divergent cultures and generations can make connections.

After schooling in New York at the Little Red School House, City and County, and the Music and Art High School, along with three years of private study of the flute with Paige Brook, Jeremy began a wide-ranging journey into music. In addition to groups of his own, Jeremy has played in the past decade with, among others, Jim Hall, Feddie Redd, Paul Winter, Paul Bley, Tony Scott, David Amram and Bill Evans. He's also worked with bluesmen Junior Wells and Big Joe Williams, and has appeared in jazz clubs, rock rooms and in concerts that have encompassed Fillmore East and Fillmore West along with halls in Copenhagen, Munich, Frankfurt, Milan, Paris and London.

Although immediately and unmistakably identifiable by sound and style, Jeremy is so open to all kinds of music that he can fit into an unusually heterogenous variety of musical situations with zestful attentiveness. From 1966 to the present, for example, among the players and units Jeremy has sat in with are Jimi Hendrix, the Jefferson Airplane, Blood, Sweat & Tears, Paul Butterfield, Elvin Bishop, Earth Opera, Buddy Miles, the Flying Burrito Brothers and James Cotton. I mention the to underline his refusal to be limited by traditional categories. As I noted, Jeremy is a motif directly from Howlin' Wolf. – Nat Hentoff

From Billboard - May 30, 1970: Flute player Steig has been moving, of late, in very mixed company. He appears on one date with jazz pianist Bill Evans and next sits in with the Flying Burrito Brothers or Jimi Hendrix. He reflects this wide open taste in his playing which sprinkles Miles Davis, Roland Kirk and Howlin' Wolf (as in "Howling for Judy") in one chorus. Small group backs him here but it is made large by some tricky overdubbing. Rock and jazz appeal here.

Howlin' For Judy
Alias (a li'as)
Piece Of Freedom

Sunday, August 12, 2018

Miracles - Yma Sumac

Yma Sumac
Produced by Les Baxter
For Bob Kreppel, Jim Branciforti and Bob Covais
Cover Design: Marcellino
London SHU 8431
The Decca Record Company Limited

Chuck Cowan - Guitar
Richard Person - Organ
Roger Cowan - Bass
Skippy Switzer - Drums

From the back cover: Miracles re-unites the extraordinary five-octave voice of Peru's Yma Sumac with Les Baxter, the producer of her first album, "The Voice Of Xtabay" (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter's productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.

From Billboard - March 11, 1972: Last time Les Baxter and Yma Sumac teamed, they came up with the phenomenal classic "Voice Of Xtabay." They now reunite for a totally 'today' sound with original rock material penned by Baxter and delivered in an exceptional sound by the incredible voice of Miss Sumac. Four-piece rock band lends support to the vocal work. Already getting much FM and MOR attention, LP could prove a smash.

Medicine Man
Let Me Hear You
Tree Of Life
Flame Tree
Azure Sands
Look Around
Magenta Mountain
El Condor Pasa

Hermann Scherchen - Westminster

Tchaikovsky - Capriccio Italien - London Symphony Orchestra
Rimsky-Korsakoff - Capriccio Espagnol, Op. 54 - London Symphony Orchestra
Rossini - William Tell - Philharmonic Symphony Orchestra of London
Rossini - Thieving Magpie Overture - Philharmonic Symphony Orchestra of London
Conducted by Herman Scherchen
FPG Photo by Tom Kelly
West Minster XWN 18598

From then back cover: Hermann Scherchen is acknowledged as one of the world's great conductors and is renowned for the wide range of his repertoire. He has been acclaimed as great an interpreter of Beethoven, Handel and Bach as he has of many modern composers. His Westminster recordings of all nine Beetoven symphonies and the twelve "London" symphonies of Haydn are considered milestone in the history of recorded music.

Hermann Scherchen's early reputation was earned as conductor in Rigo, Berlin, Frankfurt Winterthur, and Konigsberg. An outspoken anti-fascist, he left Germany in 1932, and settled in Switzerland. Since the end of World War II he has conducted in all the leading European cities most recently in Rome, London, Paris, and Vienna, and in South America. In addition to his activities as a conductor Scherchen is well known as an author, having written authoritative books on music, including The Nature of Music and Handbook of Conducting.

Friday, August 10, 2018

Persuasive Percussion - Terry Synder And The All Stars

Persuasive Percussion
Terry Synder And The All Stars
Originated and Produced by Enoch Light
Photography: Anthony Lloyd-Parker
Licensed by Grand Award Record Company Inc.
EMI Records
Made and Printed in Great Britain
Command SCOM 113

Featuring Willie Rodriquez, Jack Lesberg, Tony Mottola, Dick Hyman, Teddy Sommer, Artie Marotti, Stanley Webb and Dominic Cortese

I'm In The Mood For Love
Whatever Lola Wants (Lola Gets)
I Surrender Dear
Orchids In The Moonlight
I Love Paris
My Heart Belongs To Daddy
The Breeze And I
Aloha Oe
Japanese Sandman
Love Is A Many Splendoured Thing

Thursday, August 9, 2018

Hootenanny And American Ballads

Don't Think Twice, It's Alright
Hootenanny & American Ballads
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 510

Don't Think Twice, It's All Right
Washing Square
If I Had A Hammer
Blowin' In The Wind
The Reverend Mr. Black
Walk Right In
Devil Woman
PT 109
Wolverton Mountain

Rock And Roll And Girls, Girls, Girls

Little Diane
Rock And Roll And Girls, Girls, Girls
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 515

Little Diane
I Saw Linda Yesterday
Ruby Baby
What Will My Mary Say
Judy's Turn To Cry
Sally, Go Round The Roses
Donna The Prima Donna
Rambling Rose

Eight Days A Week

Eight Days A Week
For Me
Modern Sound MS 1005
Producer: William Beasley
Recorder and Compatible Mastering: Columbia Recording Studio, Nashville, Tenn.
Cover Design: McPherson Studio, Nashville, Tenn.

Eight Days A Week
Sha La La La La
You Were Gone
Midnight Special
For Me
She's Come Of Age
You Make The Decisions
Ferry Cross The Mersey
Hearts Are Funny Things

Wednesday, August 8, 2018

After The Lights Go Down Low - Al Hibbler

After The Lights Go Down Low
The Voice Of Al Hibbler
Cover: Bill Hughes
Atlantic 1251

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

From the back cover: Al Hibbler, one of the most important of today's male vocalists, hardly needs introduction. Nor do the splendidly chosen songs he sings. He, Al Hibbler – the vocal pantomimist – first attracted professional attention singing with local aggregations in the middle-west and the south. He so impressed Duke Ellington that he was invited to join that legendary organization and remained on as male vocalist with Duke for eight highly successful years.

He was born in Arkansas and attended the school for the blind in Little Rock. When he was about fourteen or fifteen years old, the urge to sing took hold. He had been exposed to the good jazz sounds of that day and although he can't recall when it started, he remembers that he began to sing along with records and bands for his own amusement. Al Hibbler and he thought to create a style of singing that was as much instrumental as vocal.

He recalls his early exposure to "swing" and "jazz". And it was quite an exposure. In Hibbler's formative years in the Rabbit Foot Minstrel included Little Rock in its itinerary and the yearly street parade heralding the Minstrel's coming was annually followed by little Al Hibbler hungrily drinking in the blaring sounds of brass and drums. He cultivated friendships too, with the ticket takers at the Skating Rink, the Dreamland, and the Mosaic Temple... for at these three halls, every name band in Swing made a stop at some time or other. Al Hibbler heard them all.

He worked for a lot of small bands after that. Then Duke Ellington, on one of his swings through the Southland, heard Al Hibbler. Duke put his stamp of approval on the lad and Hibbler's really big career was formally launched.

He's been a "single" now for the past several years. – Jack Walker

After The Lights Go Down Low
You Will Be Mine
Dedicated To You
Song Of The Wanderer
Tell Me
I'm Traveling Light
Autumn Winds
This Is Always
Now I Lay Me Down To Dream
If I Knew You Were There
I Won't Tell A Soul I Love You
The Blues Came Falling Down

Softly, Baby - Paul Smith

Long Live Phineas
Softly, Baby
Paul Smith Quartet
Barney Kessel appears by arrangement with Contemporary Records
Cover Photo by Lee Friedlander
Capitol Records T829

From the back cover: Paul Smith is many things: arranger, composer, pianist – but mostly pianist. His inventive piano artistry and arrangements were much in evidence in Cascades and Cool and Sparkling, albums that featured Paul and his sextet. Now, his versatile piano style is given still wider range in Softly, Baby. For here, Paul is backed by a smaller group – three outstanding jazzmen who are stars in their own right: guitarist Barney Kessel, drummer Stan Levey and bassist Joe Mondragon.

Taking A Chance On Love
Easy To Love
Long Live Phineas
I Didn't Know What Time It Was
I'll Remember April
I Got Rhythm
The Man I Love
Blues a la P.T.

Do Re Mi In Dance Time - Jule Styne and Eddie Heywood

Cry Like The Wind
Do Re Mi In Dance Time
Music Composed and Conducted by Jule Styne
Featuring the Piano Artistry of Eddie Heywood
Arranged by Henri Rene
Produced by George Avakian and Joe Linhart
Eddie Heywood appears courtesy of Mercury Record Corp.
Recorded in RCA Victor's Studio A, New York City
Recording Engineer: Ernest Oelrich
RCA Victor LPM-2375

From the back cover: The many and distinguished talents of Jule Styne have created a pattern unique in the annuals of modern American music. As a child prodigy, his pianistic prowess was acclaimed by audiences who heard him perform with the country's leading symphony orchestras. While still in his early teens and seeking new worlds to conquer he deserted the classical field to play in orchestras beside such greats as Big Beiderbecke, Benny Goodman, Ben Pollack, Glenn Miller and countless others. This valuable apprenticeship inspired him to form his own band in which he played, arranged, conducted, and first tried his hand at writing songs. (Sunday, written thirty-four years ago remains an all-time standard.)

Mr. Styne's quicksilver curiosity drew him to Hollywood where, as vocal coach and arranger, he helped launch the careers of Alice Faye, Tony Martin, Doris Day and many others. Dissatisfied with the songs used during this period, he began dabbling in composition once more and with skyrocket brilliance catapulted him himself overnight into the top echelon of ASCAP. You could always hear the latest Jule Styne song by tuning in on the "Hit Parade." Triump followed triumph until he regarded his success as excess. The creative instinct in the man was restless, unfulfilled.

So to Broadway – and almost overnight the die was cast; he became not only the composer of long-run smash musicals, but also a remarkably successful producer. As a composer, some of his hits were "High Button Shoes," "Gentleman Prefer Blondes," "Bells Are Ringing" and "Gypsy"; and as a producer, a brilliant revival of "Pal Joey" (conceded to be far better than the original production), "Mr. Wonderful," "Say Darling" and "Will Success Spoil Rock Hunter?".

And still Jule Styne remains dissatisfied; therefore this album.

Also from the back cover: For the arrangements, he (Styne) has chosen Henri Rene who for several years was A&R man for RCA Victor records on the west coast. Mr. Rene was selected not only for his obvious talents as the guiding force behind so many memorable records of the past, but also for his personal understanding of Mr. Styne's creativity, musical temperament and purposes. For piano soloist, Mr. Styne has chosen Eddie Heywood, surely on of the most articulate and inventive artists of modern jazz.

Make Someone Happy
Cry Like The Wind
All Of My Life
Asking For You
Take A Job
What's New At The Zoo
I Know About Love
It's Legitimate

Music/Sound Spectacular

Music/Sound Spectacular
Produced by Kaiser Aluminum
Mercury Records SRD-2

David Carroll/Chinatown, My Chinatown
The Platters/Smoke Gets In Your Eyes
John Cali/Waiting For The Robert E. Lee
The Clebanoff Strings/Wild Is The Wind
Griff Williams/ Just One Of Those Things
David Romaine/Hot Canary
Max Roach/Max's Variations
Sarah Vaughan/ Gone With The Wind
The River Boat Five/Colonel Bogey
Cat Anderson And His Orchestra/ June Bug
Patti Page/I Don't Care If The Sun Don't Shine
Pete Rugolo/My Mother's Eyes

You Can't Have Too Much Of A Good Thing - The Strawberry Street Singers

Too Much Of A Good Thing
You Can't Have Too Much Of A Good Thing
The Strawberry Street Singers
Arranged and Conducted by Marty Manning
Produced by Jim Foglesong and Ernie Altschuler
Recorded in RCA Victor's Studio A, New York City
Recording Engineer: Ed Begley
RCA Victor LSP-3912

From the back cover: The Strawberry Street Singers' initial album is the result of detailed planning on the part of some of the music and recording world's outstanding writing, arranging and production talents. All have united to blend twenty-five happy voices in a choral group to accomplish the impossible – combine the nostalgia of the past with enthusiasm, verve, and the sound of the present. The end result is an album certain to appeal to all age levels. – Sidney H. Ascher

Too Much Of A Good Thing
When I'm Sixty-Four
Strangers (from the TV production "Androcles and the Lion")
On The South Side Of Chicago
Step To The Rear (from the musical "How Now, Dow Jones")
The Music Of The World A Turnin'
Our Song
The Happy Time (from the musical production "The Happy Time")
The Windows Of The World
What's More American

Tuesday, August 7, 2018

Hot Hits 2

Hot Hits 2
Music For Pleasure Ltd, Astronaut House, Feltham, Middlesex

Montego Bay
It's So Easy
Band Of Gold
Gasolene Alley Bred
Which Way You Goin' Billy?
Wild World
Long As I Can See The Light
Love Is Life
Don't Play That Song
You Can Get It If You Really Want It

Mambo Jambo - Bobby Gil

Mambo Jambo
Mambo Jambo
By Members Of The Perez Prado Orchestra
Bobby Gil Conducting
Recorded at Sound Enterprises, Hollywood, California
Photography: Ron Vogel
Cover: Charles Meggs
Crown Records CLP 5106


Tony Facciuto, Mike Akopoff, John Anderson, Marvin Brown and Don Cinquemani - Trumpet
Carlos Falco - Trombone
Bill Carson and Ralph Cacho - Alto
Modesto Briseno - Baritone
Frank Leal - Tenor
Bobby Gil - Organ
Tony Reyes - Bass
Carlos Vidal and Sam Sloneker - Congos
Carlos Amejio - Bongos
Richard Wilson - Drums
Gerald Rivera - Timbals

Mambo Jambo
Mambo #5
La Paloma
La Cucaracha
Cherry Pink And Apple Blossom White
Historian de un Amour
La GolondrinaB5Chapanecas

Thursday, August 2, 2018

Hollywood Favorites - Ethel Smith

Love Is A Many-Spendored Thing
Hollywood Favorites
Ethel Smith
Orchestra Conducted by Horace Diaz
Decca Records DL 74618

From the back cover: What Ethel Smith can do with the Hammond organ continues to be nothing short of magical. And whatever the type of music, whatever the mood, whatever the tempo, it always comes forth with a special, personal sparkle and vitality. Her impeccable taste and inimitable style are as distinguished as they are unforgettable.

Dear Heart
Days Of Wine And Roses
Love Is A Many-Spendored Thing
Theme From "Black Orpheus" (Manha De Carnaval)
Never On A Sunday
More (Theme From "Mondo Cane")
Theme From "Exodous"
Theme From "A Summer Place"
Moonglow And Theme From "Picnic"
Hi-Lili Hi-Lo

Tuesday, July 31, 2018

Jazz Spectacular - Frankie Laine & Buck Clayton

Jazz Spectacular
Frankie Laine and Buck Clayton and His Orchestra
Featuring J. J. Johnson and Kai Winding
Columbia CL 808

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

From the back cover: The combination of Frankie Laine and Buck Clayton's swinging band and arrangements on records has turned out to be a natural. But there was ample evidence that it would turn out this way from the beginning of the date. Frank and Buck are old friends who have worked together, admired each other for many years, and, most important, share the same enthusiasm for the same brand of swinging jazz. Moreover, Buck's band includes many of Frank's favorite jazz stars: Sir Charles Thompson (courtesy of Vanguard Records), piano, Hilton Jefferson, alto sax, Jo Jones, drums, and Budd Johnson, tenor sax. The session on which these sides were made took place at Columbia's 30th Street Studios between Frank's shows at New York's famed Latin Quarter. The Clayton band includes, in addition to the above personnel, Milt Hinton, bass, Clifton Bests, guitar, Nick Nicholas, tenor sax, Dave McRae, baritone sax, Ray Copeland, trumpet, and Urbie Green, trombone.

From Billboard - February 16, 1956: A sampling of this set, issued on an EP last November, reportedly sold well to both pop and standard jazz customers. Now, severn tasty morsels have been added to the original three – "Baby, Baby All The Time," "Rose Of Picardy" and "Taking A Chance On Love." It's swing-style jazz, comfortable as old shoes, warm and expressive. Laine is in good voice and mood, and he wails thru-out. Clayton's best track is his lyrical "My Old Flame." The Kai and Jay trombone team is a big musical and sales plus on several tracks. Should sell strongly over a broad area.

Stars Fell On Alabama
Until The Real Thing Comes Along
My Old Flame
You Can Depend On Me
That Old Feeling
Taking A Chance On Love
If You Were Mine
Baby, Baby All The Time
Roses Of Picardy

Monday, July 30, 2018

The Shadow Of Your Smile

The Shadow Of Your Smile
The Shadow Of Your Smile
Design Records SLP-251

The Shadow Of Your Smile
I Could Have Danced All Night
Moon River
Call Me Irresponsible
None But The Lonely Heart
I Will Wait For You
Forget Domani

Current Hits Vol. No. 4

Our Day Will Come
Current Hits
Vol. No. 4
Producer: Bill Beasley
Recorder: Sam Phillips Recording Studio, Nashville, Tennessee
Engineers: Billy Sherrill & Cecil Scaife
Compatible Mastering: Beltone Recording Studio, New York
Cover Layout: A. R. Mac Pherson Company, Nashville, Tennessee
Hit Records HLP 1004

Let's Limbo Some More
Blame It On The Bossa Nova
Let's Turkey Trot
One Broken Heart For Sale
Ruby Baby
You're The Reason I'm Living
End Of The World
What Will My Mary Say
Our Day Will Come
South Street
Walk Like A Man
Send Me Some Lovin'

Friday, July 27, 2018

Rhythm & Blues Million Sellers

Love Letters
Rhythm & Blues
Million Sellers
Volume Number Six
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 506

Lover Please
Love Letters
Soldier Boy
Bring It On Home To Me
The Right String But The Wrong Yo Yo
Tell Him
Loop De Loop

Adventures In Time - Sauter-Finegan Orchestra

Whoo Doo Voodoo
Adventure In Time
Sauter-Finegan Orchestra
RCA Victor LPM-1240

The cut out that is taped to the lower left cover of this "radio station copy" is titled "RCA VICTOR POPULAR ABUM RELEASE SERVICES".


Joe Venutor - Percussion
Al Block - Jute
Dave Hildinger - Piano
Rex Peer - Trombone
Bobby Nichols - Trumpet
Nanette Horton - Harp
Pete Dadderio - Drums
Warrn Hard - Percussion
Tigger Alpert - Bass
Ruth Yorke reading The Minute

From the back cover: This is an album of percussion music – percussion in this case being sound produced by objects of differing weights and timbres being struck by tools of differing weights and timbres. The organization of groups of such struck sounds in time and space (pitch) – this incidentally is our role – gives off an association of thought and feeling that is music, percussion music. So here "time" is more than a matter of hands on a clock.

Normally there are three "percussionists" in the band, including the player of the standard set of drums. Because there are percussive qualities in other instruments as well – for instance, the plucking of harp strings, the piano, the tongued attack of wind instruments, even the human voice – these instruments have their place in this album. When these performers aren't using their chosen instruments they are drafted into the enlarged percussion section, and although they're not drummers, their proficiency as musicians makes them adaptable in this secondary role. In essence it is somewhat like an adult version of the rhythm bands so popular in kindergartens.

The Jukes Family Takes A Holiday – Imagine this not-too-bright family numbering twenty or so packed into a high-bodied, large-wheeled, brass-trimmed touring car, vintage of 1910, off on a spree. Bulb horns and flat tires are incidental. Rex Peer on trombone, Bobby Nichols on trumpet, Al Block on clarinet, and the percussion section made up of the rest of the Jukes family.

E = MC2 – A piece for percussion alone that demonstrates the relativity of time, space, pitch and volume mentioned earlier.

Time Machine – Joe Venuto and Pete Dadderio as libbing on two sets of drums. Variations on a basic beat: the familiar "ding chicka ding, chicka ding" of which the incessant reiteration had partially become a tick in jazz circles.

World Without Time – Al Block, flute; Dave Hildinger, piano, Joe Venuto and Warren Hard, percussion. Simply music for flute, piano and percussion.

The Minute (a poem by Karl Shapiro) – This poem was chosen because it deals with "time" – an element of percussion – as well as for its allusions to percussive sounds and the rhythmic intensity with which it unfolds itself. Originally it had been planned for the group to read it as a sort of Greek chorus, which is percussive in nature. Our friend Ruth Yorke, an actress currently associated with TV, was on hand to coach us through its intricacies. Unforeseen obstacles, such as a thick mixture of Brooklyn, New England, and Mid-Western accents, plus fierce individuality frustrated that attempt. Ruth made a test recording to demonstrate her idea to the group, and performed so beautifully that it became our record. The entire Jukes family supplies the musical background.

The Stone Age – So titled because what happens seems to refer to some ancient civilization. Structurally, it is based on the blues. Joe Venuto, ad lib tympani; Dave Hildinger, first piano; Eddie Sauter, second piano; and the percussion group of assorted ticks, water glasses, cymbals and so on.

Whoo Doo Voodoo – A ritualistic orgy of ad lib percussion led by Joe Venuto, Warren Hard and Pete Dadderio. Screams by Nanette Norton and Bobby Nichols.

A Chinese Painting – Joe Venuto plays the marimba, improvising on a six-bar theme. The Jukes family provides the framework on which he paints.

Abstraction – An angular, percussive solo piece for piano that refers to another manner of painting. Painted by Dave Hildinger on the piano, with Joe Venuto and Warren Hard, percussion. Dave, incidentally, is a man to watch. He plays jazz as well as he plays classical music and composes as well as he does either. We should be hearing more of him.

Kinetic Energy – Minute particles in vigorous motion. All percussion

Swingcussion – When the band is on tour the percussion equipment uses half the space on the bandstand. Lords of this domain are Joe Venuto and his partner. Standard equipment, along with their uniforms, is a pair of twenty-league boots. People are always asking Joe which of his instruments he likes most to play. The question has become so universal, Joe has written a song in answer, and he sings! This is it.

Roulette – P.S. He Lost – A Joe Venuto and Warren Hard interpretation of a disastrous night in Las Vegas. It closes with finality. And so does the album. Hope you enjoy it! – Eddie Sauter and Bill Finegan

From Billboard - May 5, 1956: When the Sauter-Finegan band sets up, half the space on the band-stand is allowed to the percussion equipment. Joe Venuto runs the gamut from tympani and cymbals to marimbas and ticking on plain water glasses. There are occasional interjections of other instruments like trombone, trumpet, and flute, but this show belongs to the percussionists. They succeed in presenting a veritable catalog of struck sounds, all of which must be particularly intriguing to hi-fi addicts. To anyone else, it is likely to prove a colossal bore.

Thursday, July 26, 2018

Morales Latin Dance Time

Latin Dance Time
Grand Prix Series K-154
Pickwick International, Inc.

Who's Worried Noew
I Can't Give You Anything But Love
Dark Eyes
For Me And My Gal
I'm Getting Sentimental Over You
The Children's Merengue
Rainbow Bolero
Mississippi Mambo

The Road To Romance - Dorothy Lamour

Don't Ever Leave Me
The Road The Romance
Dorothy Lamour
Design DLP 45

From Billboard - May 19, 1958: Dotty Lamour's knowledgeable way with the lyric of a pop song shows thur on this low-pricer. Never blessed with a dynamic voice, she nevertheless exacts maximum mileage from a group of standards and oldies. Backing by George Norman Ork and an unnamed vocal group is adept. Sound is good. Fans of the Crosby-Hope-Lamour "Road" films may go for this, out of sentimental memories.

You're Mine You
Did You Ever See A Dream Walking?
Why Was I Born
Can't Help Loving That Man
I Can't Tell You Why I Love You
Don't Ever Leave Me
My Bill
That Old Feeling
Aloha Oe

Tuesday, July 24, 2018

Belly Dance With Omar Khorshid - Volume 3

Belly Dance With Omar Khorshid
And His Magic Guitar
Voix de l'Orient Series
Volume 3
Produced by A. Chahine & Fils
Beirut, Lebanon
Polysound Studios
Recording Engineer: Nabil Moumtaz
Manufacture & Distribution by EMI Greece S.A.
GVDL 203

Love Story
Hernandos Hide Away
Guitar Tango
Pop Concerto
Pop Corn
Midnight Love
La Laloma

Monday, July 23, 2018

Soup & Onions Soul Cookin' By The Roy Meriwether Trio

Soup & Onions
Soul Cookin' By The Roy Meriwether Trio
Produced by Tom Wilson
Columbia Records CL 2433


Roy Meriwether - Piano
Issac Sloan - Bass
Joseph Arnold - Drums

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

From the back cover: This young man, not yet twenty, owes the very early discovery of his talent to his mother. One day, in Dayton, Ohio, while busy in her kitchen, Mrs. Meriwether suddenly heard the sounds of a church hymn, "Near The Cross," coming from the old upright in the front room. Startled, since she was sure that only three-year-old Roy was in the house with her, she went to the parlor. There she saw her son seated at the piano, playing the hymn. Recovering from her surprise, she wondered how to break the new of Roy's rare gift to her husband. When the Reverend Meriwether returned home, she told him of her discovery. As he listened to what his son could do, "he sat there, amazed," his wife recalls. It wasn't long before all of Dayton learned of the three-year-old marvel, and soon Roy was in demand for piano recitals. Although his mother introduced him to music teachers, she was told that formal music training at his early age probably would not help him. So Roy continued to develop and perfect his playing on his own. As time went on, he accompanied gospel singers, played organ at churches and consistently won talent contests.

By the time he was eighteen, he landed his first professional job – at a musical bar. As Roy tells the story: "I was playing with a group after school and hated the job, and wanted to quit many times, though the drummer, Joe Arnold, who is with me now, encouraged me to stay. But I went on to The Lantern Club as a single. There, without benefit of bass or drums, I had to develop and work hard for a good sound.

Some month later, Roy opened at The Nowhere, in Fairborn, Ohio. As far as Roy is concerned, the club is misnamed, since the chain of events that led to his contract with Columbia Records began there. By now he had added a vocalist and an accompanying group, and they became so popular that soon they moved to the nearby Famous Tropics. George Rudin, the club's owner, was impressed with Roy and the others and was generous with encouragement. Soon, Roy's talent came to the attention of Clarence Avant, one of New York's ablest personal managers, who immediately introduced Roy to Columbia recording executives.

That, in brief, is the story – thus far – of a brilliant self-taught pianist who is destined to become one of the future giants of jazz. Roy, of course, will be compared to many contemporary pianist. But listening to him, you will find that he has developed his own style. As Roy says, "I don't have any favorites; I hear some beautiful things in all of them. I hope that with the grace of God I will draw my own picture in my own way as the greats are now doing."

In this debut album, Roy's offering of ten tasty tunes proves he is a formidably capable, two-fisted pianist: he drives, he swings and – pardon the cliche – he has lost of soul. – Del Shields

From Billboard - January 19, 1966: An exciting newcomer to the jazz scene Meriwether's soul-gospel Piano is totally individual and highly appealing. It's today sound for today's record buyer. His unique style should create a large following from teens up.
Soup And Onions
Little Lousy Jane
Cast Your Fate To The Wind
St. James Infirmary
A Taste Of Honey
The Ripper
Georgia On My Mind
Satin Doll

Famous Ghost Stories

The Tell Tale Heart
Famous Ghost Stories
With Scary Sounds
Adapted and Produced by Wade Denning
A Product Of Pickwick International, Inc.
SPC 5148

The Headless Horseman - Washington Irving
The Ghost Ship - Wade Denning
The Tell Tale Heart - Edgar Allan Poe
The Railroad Signal Man - Charles Dickens
The Hitch Hiker - Oscar Brand
A Visit To Transylvania - Wade Denning
The Bloody Tower - Frank Daniel
The Haunted Gold Mine - Wade Denning
The Specter - Guy De Maupassant
The Miser's Gold - Oscar Brand

Saturday, July 21, 2018

Benny In Brussels - Benny Goodman

Gershwin Medley
Benny In Brussels
Benny Goodman and His Orchestra
Featuring Jimmy Rushing as presented at the Brussels Fair 1958 by the Westinghouse Broadcasting Company
Ambassador With A Clarinet
Columbia CS 8076
Vol. II

From the back cover: Featured with the Goodman orchestra was another great name of American jazz whose reputation abroad is as big as his build – "Mr. Five-by-Five" himself, the original Jimmy Rushing. Like BG, Jimmy is a legend in his time, one of the few remaining authentic blues singers, whose career spans the great cities of American jazz – New Orleans, Chicago, Kansas City and New York. He's been up there now for nearly a quarter of a century, and, of course, first established his international reputation with the Count Basie Band, with which he spent fifteen years. His most recent award was his selection as "Best Male Jazz Singer" in the 1958 Down Beat International Critics' Poll.

The Benny Goodman orchestra which scored so big at the Fair, includes some familiar names, some young, some older, but all of them of the familiar BG calibre. Among them are Arvell Shaw on bass; Zoot Sims, tenor sax; Rex Peer, trombone; Roland Hanna, piano. The roster also numbers a veteran of the 1938 Goodman band, trombonist Vernon Brown.

Other members of this outfit are Gene Allen, baritone sax; Billy Bauer, guitar; Al Block, alto sax; Willie Dennis, trombone; John Frosk, trumpet; Billy Hodges, trumpet; Ernie Mauro, alto sax; E. V. Perry, trumpet; Seldon Powell, tenor sax.

As in every Goodman organization, there's a BG discovery; again Benny proves his talent for picking talent in the person of pianist Hanna, twenty-six year old Detroit musician, whose big-time debut this is For Hanna, the tour with Benny represented not only discovery and success but, at the last moment, something of a problem. Seems that Hanna, who is a student of classical music at the Juilliard School, found himself in a dilemma when the week in Brussels reached its end; he was due back in New York Monday morning for his final exams at Juilliard, and because of the tourist rush he couldn't get the plane connections to get him back in time. So Benny made a trans-Atlantic call to the Juilliard dean and talked him into a two-day extension for Hanna. Result: Rollan took his exams, passed high.

Stealin' Apples
Memories Of You
Balkan Mixed Grill
Gershwin Medley: The Man I Love - Oh, Lady Be Good - Somebody Loves Me - I Got Rhythm
St. Louis Blues
Mr. Five-By-Five
March Of The Belgian Paratroops
One O'Clock Jump

William Castle's Ghost Story

The Cathedral Of Evil
William Castle's Ghost Story
Thrilling, Chilling Sounds Of Fright And The Supernatural
Design by Jack Schecterson Assoc. Inc., NYC
Peter Pan Records 8114
Peter Pan Records, a division of Ambassador Record Corporation

The Deadly Dog
The Deadly Orchid
The Dead Do Return
The Deadly Waiter
Lobotomy And The Shock Treatment
The Beast In The Night
The Cathedral Of Evil
Terror From The Tomb

Friday, July 20, 2018

Masquerade - Sergio Mendes & Brasil '66

Sergio Mendes & Brasil '66
Cover Art: Jane Winter
Art Direction: Meredythe Jones Rossi
Remastering Engineer: Bob McNabb
Pickwick International, Inc.
Pickwick Records Division

From the inside jacket: Sergio Mendes grew up in Rio de Janeiro and learned to play piano at an early age. At first it was mainly classical music, but by his late teens he was considered on of Brazil's leading jazz interpreters. Then bossa nova swept his country's popular music scene, and Sergio's fancy followed it. He grasped the style wholeheartedly, but also began to experiment with a few of his own ideas. His work was so successful that he won Brazil's Best Piano Player and Arranger Award three years in a row.

In 1962 The Brazilian government helped finance a trip to New York for Mendes and his group Bossa Rio, where they played Carnegie Hall to universal acclaim. Zealous reception of the Mendes sound prompted considerable touring in ensuing years, as well as continued experimentation. In 1965 Sergio came to California to stay, and with him came a new group at first called Brazil '65, then Brazil '66. – Howard Brinkman

Wichita Lineman
Norwegian Wood
Look Who's Mine
Pretty World
Dois Dias
You Stopped Out Of A Dream
Crystal Illusions (Memorias de Marta Sare)
(Sitting On) The Dock Of The Bay
Viola Enluarda
Song Of No Regrets
Salt Sea
Empty Faces
Easy To Be Hard
Where Are You Coming From?
Sometime Ago
What The World Needs Now

The Most Popular Guitar - Chet Atkins

My Prayer
The Most Popular Guitar
Chet Atkins
Recorded in Nashville, Tennessee
Recording Engineer: Bill Porter
RCA Victor LPM-2346

From the back cover: This is Chet's thirteen album and it goes a long way in explaining the durable Atkins magic. In the background there's a string-drenched orchestra, a warm vocal group and romance-sized arrangements. In the foreground The World's Most Popular Guitar coaxes new beauty from favorites of two continents – tender themes culled from such varied sources as the classics, the cinema and the cradle.

It Ain't Necessarily So
My Dear Little Sweetheart
Stay As Sweet As You Are
Monte Carlo Melody
When Day Is Done
My Prayer
Rock-A-Bye Bay
Hi-Lili, Hi-Lo
East Of The Sun
Goin' Home

Monday, July 16, 2018

White Rabbit - George Benson

White Rabbit
George Benson
Arranged by Don Sebesky
Produced by Creed Taylor
Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded November, 1971
Cover Photo by Pete Turner
Album Design by Bob Ciano
CTI Records CTI 6015


George Benson: Guitar
Acoustic Guitar: Jay Berliner and Earl Klugh ("El Mar" only)
Bass: Ron Carter
Electric Piano: Herbie Hancock (courtesy Warner Bros. Records)
Drums: Bill Cobham (courtesy Columbia Records)
Percussion and Vocal: Airto Moreira
Vibes and Percussion: Phil Kraus
Harp: Gloria Agostini

Phil Bodner: Flute, Alto Flute, Oboe and English Horn
Hubert Laws: Alto Flute, Piccolo (Flute solo on "White Rabbit")
George Marge: Flute, Alto Flute, Clarinet, Oboe and English Horn)
Romeo Pence: English Horn, Oboe, Alto Flute, Clarinet and Bass Clarinet
Jane Taylor: Basson

Wayne Andre: Trombone and Baritone Horn
Jim Buffington: French Horn
John Frosk: Trumpet, Flugelhorn (Trumpet Solo on "White Rabbit" and "El Mar")
Alan Rubin: Trumpet and Flugelhorn

Available from a variety of online resources so I will not be posting a sample. Presented here to share the cover art and Billboard review.

From Billboard - May 6, 1972: A dynamic, pop-packed jazz LP with two extraordinary works – "California Dreaming" and "White Rabbit." The forceful guitar of George Benson is backed by such artists as Hubert Laws on flute and piccolo and Herbie Hancock on piano. Creed Taylor produced.

White Rabbit
Theme From Summer Of '42
Little Train
California Dreaming
El Mar