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Friday, June 22, 2018

Erogenous - The Mystic Moods

The Mystic Moods
Warner Communications Company
BS4 2786

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and to note that this set was released in 4 channel.

From Billboard - January 29, 1974: Continues recent trends of Brad Miller's studio orchestra to downplay its trademark ocean and storm sound effects and it swooping strings in order to achieve a more contemporary soft-soul effect which has given series its biggest successes yet. Best cuts: "Your Place Of Mine," Sound Of Love."

Your Place Or Mine
Keep Me Warm
The Sound Of Love
Down Easy
The Other Side Of Midnight
Any Way You Want It
Honey Trippin'
The Magician
Fallen Angel
Get It While The Getting Is Good
Midnight Snack

I Can Dream Can't I - Ralph Carmichael

I Can Dream Can't I?
A nostalgic tribute to the wonderful songs and dance orchestras of the '50s
Ralph Carmichael And His Orchestra
Capitol Records T 1819

I Can Dream Can't I
Any Time
Tennessee Waltz
You Belong To Me
It's No Sin
Mona Lisa
Blue Tango
Because Of You
C'est Si Bon

I Miss You So - Chris Connor

Chris Connor
I Miss You So
Arrangements: Ray Ellis
Supervision: Ahmet Ertegun and Jerry Wexler
Cover Photo: Saul Leiter
Cover Design: Marvin Israel
Atlantic 8014

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

From the back cover: One of the marks of a true jazz vocal stylist is the ability to use the voice as an instrument. A loving care for intonation, phrasing, dynamics and expression and a complete at-homeness with an instrument, whether a saxophone, clarinet, trumpet or voice is a special part of the jazz artist's makeup. For a singer, instrumental training is invaluable. Chris Connor had the benefit of practice on the clarinet and the violin through her high school years. Only then did she take a serious view of her singing. But not until she was well out of high school and holding down a stenographer's job in Jefferson City, Missouri, did Chris get her first chance to make money as a vocalist. This was with a college dance band at the University of Missouri. Even in this earliest engagement, Chris was not the typical pop singer. She had the flavor of jazz in her voice even then and later when a 19-year-old trombonist, Bobby Brookmeyer, asked her to come back to Kansas City to sing with his band, her modern approach was even more evident.

Chris was already shaping her voice in the Anita O'Day – June Christy tradition. She has high praise for both these artists as she does for Ella Fitzgerald and Sarah Vaughan and from this quarter came the composite influence that was to develop and establish the Chris Connor style.

With the Missouri University dance band, Chris has much experience singing in front of Stan Kenton, arrangements. Then after "taking the plunge" and heading for New York in 1949, she won an audition to sing with Claude Thornhill's band, which gave her three and a half years of singing with a band with a definitely forward look about it.

The Kenton influence became complete, when Chris actually joined the band in 1952. At this point her reputation suddenly expanded from the limited Kansas City and New York metropolitan areas straight across the country. It was not as easy matter to crack through the tough harmonic and rhythm constructions of the Kenton book. June Christy had already set up a vocal formula for the band that was not easy to follow. But Chris Connor's innate artistry overcame the obvious obstacles and she re-created the basic approach in terms of her own interpretation to the vast satisfaction of not only Kenton, but many new followers as well.

Out of the Kenton collaboration came a touching and offbeat record call All About Ronnie, which had a success completely unexpected by the record mean who brought it out.

In July 1953, following years of back-breaking, sleep-destroying one nighters with the Thornhill and Kenton bands, Chris quit the band business for good, a move that not only gave her a rest, but provided the opportunity to become solidly entrenched as a top single act and recording star as well. She has played the hallowed jazz spots like Birdland in New York and Storyville in Boston as well as a number of the better pop-type clubs. Chris' early LP records proved some of the biggest jazz sellers. And her first three Atlantic LPs, Chris Connor," "He Loves Me, He Love Me Not," and especially "Chris Connor Sings The George Gershwin Almanac Of Song," have merely served to build a bigger than ever following for the husky voice Kansas City blonde.

I Miss You
Go Away From My Window
Trust In Me
Past The Age Of Innocence
Time Out For Tears
I Love You Yes I Do
My Heart Is So Full Of You
My Ideal
Mixed Emotions
They All Laughed
Speak Low
Radar Blues

All My Love - Monarchs Of Melody

I Don't Stand A Ghost Of A Chance With You 
All My Love
FDR King Size
Waldorf Music Hall Inc.
MHK 33-1241

I Surrender Dear
I Don't Stand A Ghost Of A Chance With You
When My Sugar Walks Down The Street
Don't Worry 'Bout Me
Sweet Lorraine
Hold Me, Thrill Me, Kiss Me
Ill Wind
All My Love
Lonesome And Sorry
Pardon Me, Pretty Baby

Thursday, June 21, 2018

Ballads For Night People - June Christy

Ballads For Night People
June Christy
Arranged and Conducted by Bob Cooper
Produced by Bill Biller
Capitol Records T1308

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

From Billboard - February 15, 1960: June Christy, the one and original, comes thur with her own special and attractive interpretations of a group of tunes for that amorphous group of fans known as Night People. The songs include such familiar items as "Bewitched" and "Do Nothing Till You Hear From Me" and such unfamiliar efforts as "Night People" from the recent show, "The Nervous Set," and "I Had A Little Sorrow," based on Edna St. Vincent Millay's "The Penitent." Miss Christy with backing by Bob Cooper chants them all endearingly.

Night People
Do Nothin' Till You Hear From Me
I Had A Little Sorrow
I'm In Love
Shadow Woman
Kissing Bug
My Ship
Don't Get Around Much Anymore
Make Love To Me

Moments To Remember - Volume 3

Stranger In Paradise
Moments To Remember
Volume 3
The Ink Spots, Vincent Lopez, Bob Eberly and His Orchestra and Enoch Light and His Orchestra
Exclusive Portrait of Lovely Tina Louise
Cover Photography: Barry Kramer
Waldorf Music Hall, Inc.
MHK 33-1239

Moments To Remember
Darling, Je Vous Aime Beaucoup
Until The Real Thing Comes Along
Do I Love You?
Little Things Mean A Lot
No Not Much
The Poor People Of Paris
Mademoiselle De Paris
Over The Rainbow
Stranger In Paradise
Eleventh Hour Melody

The Sawbuck Singers

Black Girl
The Sawbuck Singers
Produced by Jack Lewis
Recording Engineer: Bill Mac Meekin
Colpix Records
SCP 475

From the back cover: "The Sawbuck Singers" are a completely unique vocal group; ten girls now attending the College of New Rochelle. They were originally organized by Mica McCann when she was a freshman and was asked to provide entertainment for the College's annual "Winter Weekend".

During Mica McCann's second year in college, she was placed in charge of a class project to raise money for the school. An inter-collegiate hootenanny was arranged with groups invited from Cornell, Fordham and the University of Virginia. The fund raising program was a huge success, "The Sawbuck Singers" were stars of the show and decided to stay together as a professional group. Many of the songs in this album are performed by the girls in their personal appearances.

Sixteen Tons
Darlin' Rosalie
Wade In The Water
Black Girl
C. C. Rider
Lookin' On The Bright Side
Un Canadian Errant
They Call The Wind Maria
Love Henry
We Never know
If I Gave You

The Best Songs Of 1970 - The Symphonette Brass

Airport Theme
The Symphonette Brass Play
The Best Songs Of 1970
Produced by Eugene Lowell
Cover Design: Jack Purtle
Produced for The Club by The Longines Symphonette Society
Cover Photos Courtesy UPI

Raindrops Keep Falling On My Head
Daughter Of Darkness
(They Long To Be) Close To You
Let Me Go To Him
The Wonder Of You
Easy Come, Easy Go
Airport Love Theme
Come Saturday Morning
Love Grows (Where My Rosemary Goes)
Gimme Dat Ding
Smile A Little Smile For Me
That Same Old Feeling
Early In The Morning
Paper Mache
I Just Can't Help Believing
Winter World Of Love
It's All In The Game
United We Stand
Hey There Lonely Girl
Everybody's Out Of Town
Mama Told Me Not To Come
Make It With You
Puppet Man

London Swings - The Johnny Scott Orchestra

London Bridge Is Falling Down
London Swings
The Johnny Scott Orchestra
Produced by Ron Richards
Studio 2 Stereo
An A.I.R. (London) Production
E.M.I. Records
Two 118

Trumpets: Leon Calvert, Gregg Bowen, Ray Davis, Eddie Blair and Ian Hamer
Trombones: Don Lusher, Jack Baine, Maurice Pratt and Jackie Armstrong
Saxed: Roy Willcox, Al Newman, Bob Efford, Ducan Lamont and Ronnie Ross
Harps: John Marson and Michael Jefferies
Piano: Alan Branscombe
Guitar: Judd Proctor
Bass: Arthur Watts
Drums: Barry Morgan
Strings led by Tony Gilbert

Let's All Go Down The Strand
They're Changing Guard At Buckingham Palace
Chelsea Bridge
Knocked 'Em In The Old Kent Road
The Trees In Grosvenor Square
Limehouse Blues
London By Night
Greek Street, Soho
A Nightingale Sang In Berkeley Square
Covent Garden Starts Early
Springtime In Piccadilly Circus
London Bridge Is Falling Down

Double Exposures - Manny Albam

You're Driving Me Crazy - Moten Swing
Double Exposures
Manny Albam And His Orchestra
Top Rank RS 613

Also see More Double Exposure (RCA Victor LSA-2432)

Jersey Bounce - I Found A Million Dollar Baby
Undecided - This Can't Be Love
Take The "A" Train - Exactly Like You
Jada - It's A Wonderfull World
Blue Moon - Mountain Greenery
Crazy Rhythm - Opus
Sweet Sue - Honeysuckle Rose
I Let A Song Go Out Of My Heart - Don't Get Around Much Anymore
You're Driving Me Crazy - Moten Swing
Perdido - You Can Depend On Me

Destination Moon - Hollywood Cinema

Forbidden Planet
Music From The Soundtrack Of Destination Moon
And Other Themes
Performed by Hollywood Cinema Orchestra
Cinema Records LP-8005

One one plays through as a single continuous band of dramatic orchestrated soundtrack music. Side two features a more vibrant set that offers the listener at least some "space-age" electronic sound effects arranged into the score.

Destination Moon
A. Earth
B. In Outer Space
C. On The Surface Of The Moon
D. Escape From The Moon
E. Finale

Forbidden Planet
Time Machine
Beyond The Moon
Forbidden Island
Master Of The World
The Lost Continent

Mambo Jumbo - Carlos Molina

Love This Night Will Live
Mambo Jumbo
Carlos Molina
Camay Records CA 3017 S

Also see Mambo Jumbo (Caliente Disco CD 1004).

Mambo Jumbo
Love This Night Will Live
Eso No
Lengua Mala
Mambo No. 8
Serenata Espagnol
El Compas Del Mambo

Wednesday, June 20, 2018

Vagabond Dreams With Buddy Clark

Vagabond Dreams
Vagabond Street
Featuring Buddy Clark Singing
Production: Ozzie Cadena
Mastering: R. Van Gelder
Engraving: Fidelity Engravers, Inc.
Regent Records, Co. - Newark, N. J.
Regent MG-6030

On A Little Street IN Singapore
Hi-Diddle Dee Dee, An Actors Life For Me
I've Got No Strings
Give A Little Whistle
Leaning On The Ole Top Rail
South Of The Border
Turn On The Old Music Box
When You Wish Upon A Star
If What You Say Is True
Vagabond Dreams

Bright New World - Flo Price

Bright New World
Bright New World
Flo Price
With The Ralph Carmichael Orchestra
Cover Photo: Peggy Zarnek - Photo Ideas, Chicago
Word Records - Waco, Texas

Bright New World
Keep Me Where Love Is
A Quiet Place
You're Walking Down Sunshine Lane
He's Listening
My Times Are In Thy Hand
Master Designer
At The Shore
I Searched The World
Try A Little Kindness
Like A Mighty River
Thoughts On A Sunday Morning

Tambo - Tito Puente

Tito Puente
Produced by Marty Gold
Recorded in Webster Hall, New York City
Recording Engineer: Bob Simpson
RCA Victor LPM-2257

Tunes are available from online vendors, but apparently only by the piece as a part of various "collections" rather than as a complete "album". Presented here to share the cover art.

A masterwork of rhythm styled to capture the attention of period "exotica" fans.

From Billboard - January 9, 1961: Drums and bongos provide an exciting tempo for Puente's exuberant ork treatments of dramatic jungle-flavored themes. The exotic lineup includes "Witch Doctor's Nightmare," "Voodoo Dance At Midnight," "Call Of The Jungle Birds" and "Dance Of The Headhunters." Album should appeal to pop sound-LP fans, as well as Puente's loyal Latin-American Buyers.

Dance Of The Headhunters
Call Of The Jungle Birds
The Ceremony Of Tambo
Cuero Pelao
Jungle Holiday
Ritual Drum Dance
Witch Doctor's Nightmare
Son Montuno
Voodoo Dance At Midnight

Tuesday, June 19, 2018

Three Little Words - Andre Previn

Three Little Words
Andre Previn
Piano with Rhythm Accompaniment
RCA Victor LPM-1356

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

From the back cover: Andre was born in Berlin in the summer of 1929. His father, a piano teacher, was able to recognize – and knew enough to be astounded at – Andre's gift for perfect pitch when he was only four years old. Two years later, Andre asked his father to teach him how to play the piano. During the next four years the Previn family managed to leave Germany via Paris and emigrate to the States. They arrived in Hollywood in 1939 where Andre's older brother had already preceded them. Andre, who had been studying piano with his father despite all interruptions, enrolled in Beverly Hills High School. Following his strong interest in composition and harmony, he took lessons with such noted musicians as Mario Castelnuovo-Tedesco and Joseph Achron. Even before finishing high school, Andre was earning money as a part-time piano player and doing free-lance arrangements. Soon after graduation, he went to work for M-G-M pictures as as arranger.

His first task was scoring the music played by pianist Jose' Iturbi in a movie called "Holiday In Mexico." By 1948, at nineteen, Andre was already assigned to compose and conduct scores for films; to date he has won three nominations for the Academy Awards.

After hearing the last piano player, Art Tatum, display his jazz skill, Andre became fascinated with jazz which he feels is a "very important and genuine art form." In the past several years he has played with some leading West Coast jazzmen like drummer Shelley Mann and trumpet-player Shorty Rogers as well as with a group of his own. His fondest dream, in fact, is to combine his love for jazz and his feeling for classical music in writing a full score for jazz soloists and symphony orchestra.

But that potential listening pleasure is reserved for the future; right now you can pleasure yourself with Three Little Words – and eleven other perennial favorites in this collection. – Edwin Miller

I Only Have Eyes For You
September In The Rain
This Heart Of Mine
I'll String Along With You
Bewitched, Bothered And Bewildered
Three Little Words
Jeepers Creepers
I Know Why And So Do You
There Will Never Be Another You
Lullaby Of Broadway
Who's Sorry Now
The Gypsy In My Soul

Percy Faith Plays Romantic Music

Percy Faith Plays Romantic Music
Columbia CL 526

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

From the back cover: Born April 7, 1908, Toronto, Canada. The oldest of eight children, Percy Faith began studying the violin at the age of seven. Shortly thereafter an aunt gave him a fine piano, with which he immediately became fascinated. By the time he was ten, he had progressed to the point where he was able to present a double recital, playing alternate solos on the violin and the piano. However, his real love was the piano, and he concentrated on that instrument. During his high school years, he found after-hours employment in a Toronto movie house, playing music to accompany silent films. Here he learned how to improvise and to ad-lib, to fit the mood of various scenes and to stretch-out the music when his cue-sheets proved faulty.

Upon graduation from high school, he joined an orchestra which played in and around Toronto. Suddenly, an offer came from Jack Arthur, a symphonic orchestra conductor known as the "Paul Whiteman of Canada." Impressed with Percy's ability, Arthur lent him to a small band in the area, intending to place him in his own group after Percy found work on several radio programs, and continued to study for concert work under such teachers as Frank Wellman of the Toronto Conservatory, and Louis Waizman. It was Waizman who recognized the young musician's talent for interpretative arranging, and convinced him that he should follow that technique.

By 1931, Faith was conducting his own orchestra – a small string group – on the air. He progressed through larger groups and in 1934 the Canadian Broadcasting System hired him as staff arranger and conductor. He was given a program called "Gaiety in Romance" that at once landed a sponsor, and continued with "Streamline" and "Music by Faith." Early in 1940 he was offered the conductor's post with the "Carnation Hour" in the United States, which he conducted until 1947, until he starred on "The Pause That Refreshes". Shortly thereafter, he joined Columbia Records as a member of the Artists and Repertoire staff, and as a recording artist in his own right. Since that time he has been one of the leaders in the return of the instrumental number to favor.

While We're Young
I'll Take Romance
The Girl That I Marry
Valse Huguette
If I Loved You
Carousel Waltz
Easy To Love
One Night Of Love
When I'm Not Near The Girl I Love
Beautiful Love

Monday, June 18, 2018

Black Coffee - Peggy Lee

Black Coffee
With Peggy Lee
Decca Records DL 8358

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

Excellent material, outstanding arrangements and Peggy at her absolute finest backed to perfection by a small studio group.

From the back cover: Hollywood is a big and lonely place; it was not even aware of Peggy's arrival. It was all she could do to get a few obscure singing jobs. Discouraged but not disheartened, she headed back to North Dakota, where she managed to get a singing job on station WDAY in Fargo. Her fortunes took a turn for the better. She began getting local night club dates – dates that soon spread throughout the midwest. While playing in Chicago, she was heard by Benny Goodman, who offered her a place with his band.

Touring with the Goodman aggregation for two years was something which Peggy will never forget. It gave her an opportunity to sing with some of the nation's top musicians. Moreover, it was during this period that Peggy Lee became a "name" with her big-selling record of "Why Don't You Do Right."

Since that time Peggy's star has risen higher and higher. Her successes have taken her into the country's leading night-spots, into television, and radio. Her records, such as her remarkable rendition of "Lover," have been sensational, and she received national acclaim when she sang it, among other songs, in her starring role in Warner Brothers' musical, "The Jazz Singer."

The songs in this collection reveal Peggy Lee at her most captivating. Here she displays a versatility which matches her wonderful vitality, emphasizing the quality of her voice as well as the music. The personnel of the instrumental group which accompanies her consists of Cootie Chesterfield, trumpet; Jimmy Rowles, piano; Max Wayne, bass; Ed Shaughnessy, drums.

Black Coffee
I've Got You Under My Skin
Easy Living
My Heart Belongs To Daddy
It Ain't Necessarily So
Gee Baby, Ain't I Good To You
A Woman Alone With The Blues
I Didn't Know What Time It Was
(Ah The Apple Tree) When The World Was Young
Love Me Of Leave Me
You're My Thrill
There's A Small Hotel

Music For Wives And Lovers - Nelson Riddle

Music For Wives And Lovers
Arranged and Conducted by Nelson Riddle
Produced by Sonny Lester
Solid State SS 18013
A Division of United Artists Records, Inc.

Born Free
What Now My Love?
The Shadow Of Your Smile
Somewhere My Love
Winchester Cathedral
Wives And Lovers
A Man And A Woman (Un Homme et Une Femme)
Spanish Eyes
Music To Watch Girls By
Strangers In The Night

Friday, June 15, 2018

Hits Made Famous By Nat King Cole - Charlie Francis

Sweet Lorraine
Hits Made Famous By Nat King Cole
Sung By Charlie Francis
Spin-o-rama M-145

From the back cover: Charlie Francis has done an exceptional job on this album recording Nat's all time great hits. He is one of the finest singers around and his style and voice are as much like Cole's as you will ever hear. He has the same soft and sincere quality that made Nat so famous.

Rambling Rose
There Goes My Heart
Sweet Lorraine
That's My Gal
Too Young
Christmas Song
Paper Moon
Route 66
Straighten Up And Fly Right

The Joey Heatherton Album

The Joey Heatherton Album
Produced by Tony Scotti and Tommy Oliver
Arranged by Michael Lloyd
Photography by Harry Langdon, Jr.
MGM Records, Inc. SE 4858

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

From Billboard - October 7, 1972: With the inclusion of her heavy chart winner, "Gone," this debut package for MGM should prove an equally potent item on the LP chart. Producers Tony Scotti and Tommy Oliver have come up with some strong material well suited to the powerful Heatherton voice. Highlight performances include a fine redoing of Brenda Lee's "I'm Sorry," "Crazy" and a super closer "Someone To Watch Over Me."

God Only Knows
It's Not Easy
Right Or Wrong
I'm Sorry
Say Hello
The Road I Took To You (Pieces)
Someone To Watch Over Me

Raindrops Keep Falling' On My Head - The Emmett Kelly Jr. Singers

Hey Jude
Raindrops Keep Fallin' On My Head
The Emmett Kelly Jr. Singers
Peter Pan 8091

From the back cover: What is Emmett Kelly Jr. all about? He's about the saddest faced clown around, dedicating himself to the laughter of others... for he gets his enjoyment from making youngsters of all ages laugh, although he never ever gives a hint of a smile himself. Emmett Kelly Jr. was born closing day of a circus in Tennessee. At the time, his parents were billed as the fastest double trapeze act in show business, and he traveled with them until he reached school age. Then he went to live with relatives in Indiana and Illinois and visited his parents on holidays.

Emmett Kelly Jr. was discharged from the U.S. Navy in 1945 after making the invasion of Leyte,

P.I., Iwo Jima and Okinawa. From 1945 to 1960, he worked as an automotive mechanic, furniture woodworker and then railroad switch tender on the Chesapeake and Ohio Railroad. 

 It was in 1960 that Emmett decided to enter show business and carry on the clowning debut in Peru, Indiana at the 1960 Circus City Festival. From that time to 1964 He made numerous appearances. 

Then on April 22, 1964, Emmett Kelly Jr. began his most memorable experience to date... He opened the New York World's Fair at the Kodak Pavilion with top billing, his photo in full color on the picture tower with the world's largest color prints measuring 30 x 36 feet. A news article stated... "Emmett Kelly Jr., clowning around at the Fair, is running right behind the Unisphere as the most photographed subject on the lot. He continued till the fair closed a year later, but remained on with the camera company, visiting every major city in the United States... as Goodwill Ambassador.

Raindrops Keep Fallin' On My Head
The Green Grass Grew All Around
Georgy Girl
Scarlet Ribbons
Hey Jude
Everything Is Beautiful
Whatever Will Be Will Be
Paper Of Pins
Hello Dolly
The Man On The Flying Trapeze

Thursday, June 14, 2018

Take Me Along - Marty Paich

Sid Ol' Kid
Take Me Along
Marty Paich and His Jazz Piano Quartet
Produced by Dick Peirce
Recording Engineer: Al Schmitt
Recorded at RCA Victor's Music Center of the World, Hollywood, California, on September 14, October 6 and 7, 1959
RCA Victor LPM-2164

From the back cover: We tried to be very careful in selecting the eight hands for the album. I don't know any octopi who play great jazz, but we found something even better: Pete Jolly, Jimmy Rowes and Johnny Williams. I provided the seventh and eight hands myself. We rounded out the "orchestra" with guitar, bass, two drummers and trumpet. All of us seem to think a lot alike, but each man contributes a slightly different "personality" to the music. Pete has a wonderful modern jazz concept. You can see what I mean on the first improvised chorus of the title tune.

Jimmy's work has a lot of warmth and shows a very broad knowledge of all types of jazz, from early jazz to modern. He plays the second solo on Take Me Along. Johnny is our "anchor man." He has a tremendous classical background and technique, and still with a fine jazz understanding. This is especially important on tunes like Little Green Snake where I based the whole thing on an almost classical type of fugue or canon. The trumpet provides color and changes of pace. I often have him playing without any piano background at all.

I tried to write each man's part especially for hime. I write best this way and it seems to add more color and depth. On Nine O'Clock, Jimmy and John play celeste while Pete and I play piano countermelodies. Then when we all play together, it builds up to quite a climax. These boys are really good musicians. With all this piano talent around, I was at first content to sit back and let them take all the solos. However, the temptation got the best of me and I had to give a little of my own solo interpretation to the song of Sid, Ol' Kid.

I might comment of the overture. It's sort of musical "editor's preface." I wrote it to give the listener an idea of what's coming next. It sets the mood for whole album.

This has been a real challenge. I've tried to keep strictly in the jazz idiom. Everything was written out except the improvised solos. In order to give the whole thing continuity, I often took a classical approach to the form. – Marty Paich (as told to Bill Olofson)

Overture – Take Me Along
Nine O'Clock
Little Green Snake
Promise Me A Rose
But Yours
Sid, Ol' Kid
Patience Of A Saint
Staying Young
Thinkin' Things
We're Home

Brazil! Brazil! Brazil! - Bud Shank

Brazil! Brazil! Brazil!
Bud Shank
Featuring: Laurindo Almeida, Chet Baker, Joe Pass, Clare Fischer & Joao Donato
Producer: Richard Bock
Art Direction: Woody Woodward
Design: Bernard Yeszin
Cover Photo: Fred Poore

From the back cover: Recently, I've had the opportunity to send some tape dubs of our North American bossa nova to a friend in Sao Paulo. These dubs included the work of Bud Shank, Clare Fischer, Laurindo Almeida, Joe Pass and the rhythm sections working in the present album. Let me tell you that my faith in certain occasionally disputed truths was immediately reaffirmed. When you listen to Bud with Laurindo playing bossa nova recorded in 1952, you know and I know you're not going to let anybody tell you that these guys didn't start the whole thing. And when you listen to Bud and Clare and Joe Pass play as they do here, as it was recorded in 1963, you're not going to let anybody convince you that these guys weren't right in the middle of the first North American bossa nova craze. In fact, when you tune into Clare Fischer playing his tribute to Joao Gilberto (Carnival) and Jobim's One Note Samba, may I ask you to bear in mind that these two tracks were in an album that critic Gene Lees termed one of the best bossa nova albums ever released in this country – high tribute in the face of the simply gorgeous packages by Jobim, Sergio Mendes, Astrud Gilberto and so many others that almost weekly reach these shores from heartland Brazilians.

Arranged by Julian Lee, a lovely flowing string section is present in this LP that for me, and I hope you, enhances the qualities that I feel are the most lasting – the introspective, the romantic, the quietness of these performances. All in all, the result is one of the very best collections of the bossa nova currently available from our better jazzmen. – John William Hardy

From Billboard - November 26, 1966: An exciting collection of 12 Brazilian tunes given the fossa-jazz treatment by Bud Shank, with top players Laurindo Almeida, Chet Baker, Joe Pass, Clare Fischer and Joao Donato, backed by a lush orchestra. Perfect for both easy-listening and jazz lovers. "Summer Samba" and "I Didn't Know Time It Was" excellent.

Summer Samba (So Nice)
Item A Note
If I Should Lose You
Carioca Hills
Samba Do Aviao
I Didn't Know What Time It Was
Quiet Nights Of Quiet Stars (Corcovado)
The Color Of Her Hair

Wednesday, June 13, 2018

Interplay - Derek And Ray

The Keyboard Sounds Of Today
Derek And Ray
Arranged and Conducted by Marty Gold
Co-Conducted by Sandy Block
Produced by Marty Gold
Recorded in Webster Hall, New York City.
Recording Engineer: Bob Simpson
Piano by Baldwin
RCA Victor LSP-3530

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

A groovy pop/mood set of 12 inventive, balanced orchestral arrangements featuring the keyboard sounds of Derek and Ray.

Danke Schöen
The Sweet Charity Theme
Wailing Waltz
Tell Me More
How High The Moon
Runnin' Wild
Makin' Whoopee
Dizzy Fingers
Sophisticated Swing

Looking At You - Pat Suzuki

You Better Go Now
Pat Suzuki
Looking At You
With Ralph Burns and His Orchestra
Produced by Herman Diaz, Jr.
Engineers: Ray Hall and Ernest Oclrich
Recorded in RCA Victor's Studio at New York City, Recording
RCA Victor LSP-2186

From the back cover: "I never minded slugging out an upbeat song as a change of pace but it was ballads that I began with and loved. So this album is me. I've never had more fun or been more relaxed in a studio. I've never been so satisfied with a recording session. I walked into a nice, clean studio and found my favorite nucleus of musicians – Doc Severinsen, Milt Hinton, Don Lamond and Barry Galbraith; and there, as an added attraction, was Ralph Burns conducting his own wonderful arrangements. And we went to work with pretty, simple tunes and it made me feel so good for after four years I was again singing what I wanted." – Martin Cohen (frequent contributor to TV Guide)

From Billboard - June 20, 1960: Here is a very attractive new album by thrush Pat Suzuki; in fact, one of her best releases to date. She handles the ballads with warmth and meaning, especially such items as "He's My Guy," "You Better Go Now," "Small World." The arrangements by Ralph Burns are striking. Good wax.

Looking At You
Small World
Cheek To Cheek
He's My Guy
My Funny Valentine
You Better Go Now
You Brought A New Kind Of Love To Me
I See Your Face Before Me
Easy Living
Don't Look At Me That Way
Let Me Love You

Rock And Roll - Hen Gates

Rock Around My Baby
Let's Go Dancing To Rock And Roll
Hen Gates And His Gaters
Masterseal MSLP 5005

Rock Me Sugar
Rock Around My Baby
Love To Rock With You
Choo Choo Rock
Rock Rock Rock
Rock'n And Walk'n
Shoe Shine Rock
Juke Box Rock
Rock Around Rosie
Fish Beat Rock
Rock'n Time
The New Rock

Friday, June 8, 2018

Memories Of Cuba - Orquesta Casino de la Playa

Memories Of Cuba
Orquesta Casino de la Playa
RCA Victor LPM-1641

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

From the back cover: The Cuban orchestra, Casino de la Playa, can claim more credit than almost any other group for the introduction and acceptance of contemporary popular music in Latin America. From the moment that the name of these wonderful musicians crossed the borders of Cuba to enter the hearts of other Latin people, the music of Latin America assumed new and exciting proportions.

As a result of the popularity of the orchestra's recordings, new stars were born. Among them were such vocalists as Miguelito Valdes, Cascarita, Gualfredo de los Reyes and Antonio de la Cruz, and Anselmo Sacasas, a pianist of extraordinary ability.

On this recording we hear the original musicians of the same Casino de la Playa Orchestra which was so popular in the years 1940 through 1945. The performance is one which all record collectors will treasure for years to come.

Once again the magnificent and brilliant interpretations of Miguelito Values are heard. These are the songs which have made him famous, presented in the style that is still unique among singers. Babalu, Carchita, Bruce Manigua and El Manisero live again in these memories of Cuba as well-deserved tribute of admiration and affection to the Casino de la Playa Orchestra

On the second side of this album the orchestra providers a musical setting for the sensational Orlando Guerra, better known as Cascarita, and Antonio de la Cruz, two of the most beloved Latin-American singers. – Mario de Jesus

Bruca Manigua
Mis Cinco Hijos
El Manisero (The Peanut Vendor)
Quiero um Sombrero
Yo Pico un Pan
Esto Es lo Ultimo
Coge Pa' la Cola

The Soundaroundus - Marty Gold and His Orchestra

The Soundaroundus
A Marriage Of Music And Electronics
Marty Gold and His Orchestra
Arrangements by Marty Gold
Produced by Danny Davis
Engineer: Mickey Crofford
Recorded ih Webster Hall, New York City
RCA Victor

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

From Billboard - August 23, 1966: Special recording sounds makes this one exceptional! "People," "Michelle," "The Soundaroundus," 9 more.

Uneven LP featuring almost no "electronic" playfulness or "groovy" sounds. More of a "late-to-the-market" set featuring a variety of arrangements to showcase quality stereo engineering.

Michelle is a sweetly presented lush strings arrangement.

The Shadow Of Your Smile
A Taste Of Honey
Sunrise, Sunset
King Of The Road
Here's That Rainy Day
A Walk In The Black Forest
Lara's Theme
Bye Bye Blues
What The World Needs Now Is Love
The Soundaroundus

Coffee Break - Reg Owens

What A Human Thing To Do
Coffee Break
Reg Owen and His Orchestra
Photo: David Hecht
Cover: China courtesy Georg Jensen, Inc.
RCA Victor LSP-1582

From Billboard - June 23, 1958: Here's an album of attractive background music, played by the Reg Owen Ork. The set is graced with a truly funny set of liner notes penned by that irrepressible altoist formerly on the Vik label, Ferris A. Benda. Tunes include standards such as "Oh But I Do," "Was That A Human Thing To Do," "A Little Kiss Each Morning," etc. Intriguing title and cover could help this move.

Oh, But I Do
Ask Anyone Who Knows
Was That The Human Thing To Do
Every Day
Please Don't Talk About Me
Twenty-four Hours Of Sunshine
When Hearts Are Young
Keep Smiling At Trouble
Have A Little Faith In Me
Love Will Find A Way
A Little Kiss Each Morning

The Huckle-Buck and Robbin's Nest - Buck Clayton

The Huckle-Buck and Robbin's Nest
A Buck Clayton Jam Session
Produced by George Avakian with the assistance of John Hammond
Recorded December 16, 1953, at Columbia Studios, 205 East 30th Street, New York City
Columbia CL 548

Trumpets: Buck Clayton, Joe Newman; Trombones: Urbie Green, Henderson Chamgers; Alto Sax: Lem Davis; Tenor Sax: Julian Dash; Bariton Sax: Charlie Fowlkes; Piano: Sir Charles Thompson; Guitar: Freddie Green; Bass: Walther Page; Drums: Jo Jones

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

From the back cover: Buck Clayton, trumpet and leader. Born in Parsons, Kansas, about forty years ago, Buck became known internationally when he was featured soloist with Count Basie's band from the years 1936-1943. He is also on many of the best Teddy Wilson-Billie Holiday records and was a great artist at the Benny Goodman Carnegie Hall Jazz Concert, Volume 1. He has led bands in New York, Shanghai, and Paris.

Joe Newman, trumpet. Joe is now filling Clayton's chair with Count Basie's band, which he joined two years ago. Before that he was with the 'Bama State Collegians, Lionel Hampton, and Illinois Jacquet.

Henderson Chambers, trombone. A veteran of the Edmond Hall band at Cafe Society, Chambers has played with Louis Armstrong, Al Sears, and Lucky Millinder, to name a few.

Urbie Green, trombone. Urbie (for Urban) played with Woody Herman's band for several years before settling down in New York, where he is currently sweating out both a card and steady work with Lester Lanin's Society Orchestra

Lem Davis, alto sax. In the days of swing Lem played with Eddie Heywood's great little band. Along came bop; Len heard Charlie Parker, and changed his style. Swinging more than ever, he can now be heard with Teacho WIlshire's combo at the Midway Lounge in Brooklyn, N.Y.

Julian Dash, tenor sax. A loyal alumnus of Alabama State College, Julian made the trek to New York some years back with Erskine Hawkins, whom he has never left.

Charlie Fowlkes, bariton sax. After many years with Lionel Hampton, Charlie now provides the foundation for Count Basie's reed section.

Sir Charles Thompson, piano. Sir Charles is from Independence, Kansas, the son of a Methodist minister. He has played with the groups of Lionel Hampton, Lester Young, Charlie Barnet, and Illinois Jacquet, among others. He is also an arranger, composer and organist.

Freddie Green, guitar. For seventeen years Freddie has been the mainstay of Count Basie's rhythm section. (I cannot think of a greater compliment for this great musician. G. A.)

Walter Page, bass. Back in the late twenties, Bill Basie was playing piano with Page's Blue Devils, the southwest's most exciting band. After a long association as a sideman in the Basie Band, Walter is now a permanent fixture at Eddie Condon's, in New York.

Jo Jones, drums. Another Basie veteran, Jo (for Jonathan) recently had the distinction of becoming a father and grandfather within the same week. He has his own combo, which can usually be heard at the Embers, in New York.

– John Hammond

Thursday, June 7, 2018

Music From The Golden West - Jay Gordon

Western Moon
Music From The Golden West
The Jay Gordon Concert Orchestra
TOPS L1550

Riding The Range
Home On The Range
Wagon Wheels
Western Moon
El Rancho Grande
Twilight On The Trail
Pop Goes There Weasel
You Are My Sunshine
The Quilting Party
Camptown Races
Carry Me Back To The Lone Prairie

Friday, June 1, 2018

Lionel Hampton's All-Star Group

Open House
Lionel Hampton's All-Star Groups
Photo: Burt Goldblatt
C-C. Clubs, Inc.
Jazztone J1246

Musicians listed on the back cover: Chu Berry, Benny Carter, Charlie Christian, Cozy Cole, Nat "King" Cole, Coleman Hawkins, Mill Hinton (and others)

From the back cover: Open House (Hampton, vibes; Marshall Royal, clarinet; Ray Perry, amplified violin; Sir Charles Thompson, piano; Irving Ashby, guitar; Vernon Alley, bass; Lee Young, drums – December, 1940) is a happy, bouncy opus played by a group of Hollywood swingsters. Ashby's guitar answers Perry and Royal (the latter is currently Count Basie's lead saxist) to start things off; Hamp, Perry, Royal and Camp again solo. Ashby swings through the first of the last chorus, with Alley's hugh-toned bass filling in the open holes, and then all return to the original riff.

Dinah (Murphy-Marshall)
Dough-Ra-Me (Southern - Hampton - Cole)
When Lights Are Low (Kahn-Koehler-Fiorito)
Open House (Hampton - Royal)
Shoe Shiners Drag (Ferdinand "Jelly Roll" Morton)
The Heebie Jeebies Are Rockin' The Town (Boyd Atkins)
House Of Morgan (Lionel Hampton)
My Buddy (Kahn - Donaldson)
Altitude (Duke Ellington)
Big Wig In The Wigwam (Case - Bradley)
Jivin' With Jarvis (Lionel Hampton)
High Society (Steele - Melrose)