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Saturday, October 20, 2018

The Romantic Approach - Stan Kenton

Sweet And Lovely
From The Creative World Of Stan Kenton Comes...
The Romantic Approach
In The Ballad Style Of Stan Kenton
Produced by Lee Gillette and Kent Larsen
Capitol Records T 1533


Trumpets: Ernie Bernhardt, Larry McGuire, Bob Rolfe, Sanford Skinner and Dalton Smith

Trombones: Jim Amlotte, Bob Fitzpatrick, Paul Heydorff, Dave Wheeler

Mellophoniums: Dwight Carver, Gordon Davison, Keith Lamotte and Gene Roland

Saxophones: Gabe Baltazar, Sam Donahue, Wayne Dunstan, Marvin Holladay and Paul Renzi

Drums: Jerry McKenzie

Tuba: Clive Acker

Latin Drums: George Acker

Bass: Peter Chivily

When Your Lover Has Gone
All The Things You Are
I'm Glad There Is You
Say It Isn't So
Sweet And Lovely
Fools Rush In
You're Mine, You!
Once In A While
Moonlight In Vermont
I Understand
Oh! You Crazy Moon

Friday, October 19, 2018

Dance To Swingin' Things From Cole Porter's Can Can - Skip Martin

Just One Of Those Things
Dance To Swingin' Things From Cole Porter's Can Can
Skip Martin and The Video All-Stars
Recorded in Hollywood under the direction of D. L. Miller
Audio Mix: Bill Putnam
Cover Photo: George Pickow
Cover Art: Will Dressler
Somerset SF-12400

From the back cover: Skip Martin is one of the busiest conductor-arrangers on the west coast today. But unlike many of his busy contemporaries, his scores never have that "overworked" feeling... they are fresh – above all – they swing! Skip's writing and conducting have every player on his recording sessions blowing for sheer swingin' pleasure.

At the age of 17 he played clarinet in the Indianapolis Symphony. However, as with many of our best modern musicians, the love of jazz was too strong for him to remain with the Symphony. Before heading to the west coast, Skip played sax with Glenn Miller, Benny Goodman and Charlie Barnett. His first arranging jobs were for Count Basie. After an NBC staff berth in New York, he moved to Hollywood where he has worked on several important films and TV shows.

From Billboard - April 18, 1960: The Skip Martin crew presents thoroly entertaining treatments of the Cole Porter score from "Can-Can." The settings really move. The score has been augmented to include several Porter tunes not in the original Broadway score. Set can prove a strong rack item.

I Love Paris
You Do Something To Me
Come Along With Me
Just One Of Those Things
C'est Magnifique
I Am In Love
It's All Right With Me
Let's Do It

Waltzes - Jan Garber

Jan Garber and His Orchestra
Decca Records
DL 8824

From the back cover: Once a featured violinist with the Philadelphia Symphony Orchestra and an expert on the marches of John Philip Sousa (Garber led a 50-piece brass band in the army), Jan Garber has been playing his very special brand of music for packed dance floors ever since he organized his first "hotcha" band, and developed the now-famous quality that is characteristic of all his work. Mr. Garber is currently featured at the well-known "Blue Room" in New Orleans' Roosevelt Hotel.

From Billboard - March 16, 1959: A fine album of popular waltzes by the noted ork of the hotel rooms. The smooth sounding LP contains such favorites as "When I Grow Too Old To Dream," "Meet Me Tonight In Dreamland," "Skaters Waltz" and "It Happened In Monterey." Wide appeal.

A Beautiful Lady In Blue
When I Grow Too Old To Dream
Petite Waltz
Meet Me Tonight In Dreamland
Skaters Waltz
Beautiful Love
You Are Forever
It Happened In Monterey
Silver Moon
Stars In My Eyes
La Golondrina

Our Love - Jose Melis

Our Love
Jose Melis
His Piano And Orchestra
Produced by Mort Hillman
Cover: Barry Blum & Harry Farmlett
Seeco CELP-471

Our Love
Story Of A Starry Night
More Than Anything
The Things I Love
You And Your Love
Always You
Tonight We Love
Isle Of May
March Of The Flowers

The Art Of Jazz - Zoot Sims

Ghost Of A Chance
Zoot Sims
The Art Of Jazz
Celebrity Jazz Series
Cover: Harry Farmlett & Barry Blum
Seeco CELP-4520

From the back cover: I was an 18-year-old drummer with Joe Sander's band at the Hotel Syracuse that fall of '43. Ells Rishell, the journeyman alto-man, was raving about a kid with whom he had played in the swinging Bob Astor band out west. Astor never quite made it, but Ells said something like, "Man, that Jackie Sims with Bob's band really blows! What a tenor! All he ever talked about was getting with Goodman. That was his dream." Well, the dream came true, because not two weeks later I was watching Benny Goodman at the Hotel New Yorker where Krupa had just rejoined after a hassle out west. Punching out section work and spitting occasional solos was a narrow, baby-faced blond about 19, then known as "Jackie" Sims.

Three years later he was back with Benny at the NBC Studios in Hollywood backstopping the Victor Borge Show. This was a pretty sharp BG mob with Bellson drumming and Dick Mains on trumpet. Sims had grown up, physically and musically, but was essentially still a big-band, gutsy blower. (Oh yeah, by now they had hung the "Soot" on him for keeps).

The next time I heard him was with Woody from the Palladium in early '48. I missed him with his other name credit, Bobby Sherwood, but I guess he must've been in and out of Benny's band four times in all, about the same with Herman.

But he grew. He piled his trade, progressed and finally slipped into the modern field where he became a solid exponent with that fresh, reaching imagination. You'll hear a lot of it on these sides. I'm not going to pinpoint choruses or titles; you'll do it anyway. But Zoot fools you. Sure, he's modern jazz, but now and then you'll hear him with that soaring, liquid flow much like his old mentor, Goodman. Often you'll be aware of the electric, erratic Parker-influence. Occasionally – with his highs – he'll even remind you of Ted Nash and "Early Les." Always though, if you know Zoot's allegiance, you'll be aware – as he is – of his devotion to our late "President," Lester Young.

Zoot's in and out of small groups now; Gerry Mulligan's, Woody Herman's, his own. I caught him just a few months ago with Woody's bunch at the Metropole. Zoot was heavier, more confident and I think even more exciting in his maturity and the freedom of the combo idiom, which is how you'll appreciate him here. Meshing well with him is valve-trombonist Bob Brookmeyer, who – though he slid with Stan Getz and Mulligan – worked mostly on piano with McKinley, Prima, Wald and Herman. Flanking the pair is John (ex-Getz) Williams, old pro bassist Milt Hinton and former Basie-drummer, Gus Johnson. – Jack Denton

Jack Denton, musician, (drummer – name bands 1942-1945), writer, (Red Skelton and Milton Berle shows), disc-jockey, (Cleveland, Milwaukee, Hollywood), comedian, (NBC & ABC network), was kind enough to take time to write the above notes. His background as a jazz disc-jocks, musician and newspaper columnist certainly give him the qualifications to write, as above.
From Billboard - April 8, 1960: The indomitable tenor man works with a quartet of supporters here, including Bob Brookmeyer on valve trombone. Milt Hinton, Gus Johnson and John Williams are also heard in support. This is a helping of bold, brash, gutsy modern blowing with both Sims and Brookmeyer engaging in extensive soloing. Eight number include three Sims originals. Good cover and fine recording.

September In The Rain
Down At The Loft
Ghost Of A Chance
Not So Deep
Them There Eyes
Our Pad
Dark Clouds
One To Blow On

Holiday In Europe - National Concert Orchestra

Holiday In Europe
National Concert Orchestra
Halo 5038

Super budget classical music compilation featuring a crazy fun cover.

A Night In Venice
Sabre Dance
Roman Carnival
Torna A Surriento
Hora Staccato
Danube Waves
Zampa Overture

F# Where There Is Music - Ernest Maxin

The Very Thought Of You
F# Where There Is Music
Ernest Maxin and His Orchestra
Top Rank

Unique book-fold jacket design features white ink printed on a black "velveteen" or "flocked" material. The front cover, right hand side, is die-cut to reveal the "key board" which is printed on the inside. There is nothing printed on the back jacket which is also covered with the black material.

From the inside cover: Maestro Maxin, at 34 is acknowledged to be among England's most gifted conductors. He is a producer for BBC-TV and has been instrumental in shaping the careers of such British stars as Dave King, Max Bygraves and Tommy Steele. But famed as he is, he still had some tall explaining to do before the lady in his life believed his tale of just-another-record-session. – Atra Baer

From Billboard - November 30, 1959: If The Billboard smells sweet this week – there's a reason for it. The reason is an ad on the back of Audition in this issue for a Top Rank album titled F Sharp... Where There Is Music," with the Ernest Maxin Ork. The printing ink used in this ad has been impregnated with a new perfume manufactured by Faberge of Paris and called (naturally) "F Sharp." The ad ties in with the Top Rank album which also has a sweet smell, since the flocked covers have been lavishly sprinkled with the perfume, even tho – as the liner notes say – the perfume lists for $27 per ounce.

Norm Weinstroer, sales chief at Top Rank, who is all hipped up with enthusiasm for the scented release, believes that the "F Sharp" LP is the history of the record business. The ad for the album in Audition is the first perfumed advertisement in the history of Billboard, which has had many firsts over the years. The Top Rank perfumed album appears to be part of a new entertainment idea, to please the nose as well as the eyes and ears. Right now the Hollywood folk are working on new odorful movie techniques called Aroma-rama and Smellovision. Weinstroer expects the music to sell the album, with the perfume working as an attention getter. But Faberge quietly hopes that the album will help them move a lot of "F Sharp" perfume during the holiday season.

Yes... even well over a half a century later... my nose can still detect a hint of "F Sharp" perfume on the cover.

As Time Goes By
Moonlight Becomes You
My Melancholy Baby
You'll Never Know
The Very Thought Of You
You Made My Love You
Over The Rainbow
That Old Feeling
My Foolish Heart

Larry Adler

Love For Sale
Larry Adler
A Study In High Fidelity Sound
Harmonica Virtuoso with Piano, Trumpet, Bass, Guitar and Drums
Audio Fidelity
AFLP 1916

From the back cover: I am not now, nor have I ever been a jazz musician. This does not disbar me, happily, either from liking jazz or from the pleasure of making music with jazz musicians.

Which immediately reminds me of a story. In 1934 I was engaged to play a solo in a film called "Many Happy Returns" for Paramount. My fee for the solo was to be $300 and even in 1934 that kind of money for a movie salary was hardly considered princely.

When I reported to the 2nd assistant director, which was all that my $300 rated, he told me that my scene would take place in a radio studio – my, my, that does date me, doesn't it – and that my solo would be accompanied by Guy Lombardo and His Royal Canadians.

I said that I didn't happen to like the music of Mr. Lombardo.

The 2nd assistant director said he was not asking for my likes or dislikes, he was telling me what I was going to do.

That, to use a British idiom, put my back up and I flatly refused. I was then ushered into the Presence, which is to say the director, to whom my fracas with 2nd assistant director was reported. The director told me to stop being a damned fool and to do as I was told. I still refused and so I was fired.

The next day I heard from the producer who summoned me to the studio for a talk. He was very patient with me and pointed out the opportunity that was being handed to me, an unknown, in giving me a chance to play a solo in a major film accompanied by a name orchestra. I agreed, but said that I didn't want to play with this particular name orchestra. The producer looked pained by his first encounter with juvenile delinquency (I was 18) and my status as a fired person, remained quo.

Later that week I heard from the secretary of Mr. William LeBaron, then head of Paramount. He wanted me in the office at 9:30 the next morning.

I still do not understand, and I'm not fishing, why so much trouble take over a comparatively insignificant item. Mr. LeBarron was kind and friendly and tried to get me to reconsider. He told me that Mr. L. was getting $40,000 as against my $300 but I remained unimpressed.

"You know who I like," I said, though no one asked me, "I like Duke Ellington."

"So do I, Larry," replied Mr. LeBarron, "but we can't just go hiring orchestras on your say-so."

I agreed but mention that the Duke was already on the lot, making a film with Mae West, so it shouldn't be too difficult to get him for one day's shooting. Mr. LeBaron suggested that I leave the running of the studio to him. He gave me one more chance to repent my iniquitous ways but I wouldn't do so home I went, no less fired than before.

At midnight the director phoned me.

"Well, you little bastard," he said, "we've got Ellington for you."

They had too. They paid him $5000 for the day to accompany my $300. He wasn't photographed because the whole thing had to be kept secret from Mr. Lambardo. The public never did know that Duke Ellington played my accompaniment but for the kick, for me, remains the same.

Almost everything on this alum is improvisation I say almost everything because we did tend to form a set pattern on "Summertime," say, or "Funny Valentine." But we play "How High The Moon" differently each time and while the pianist is consistently good I am less predictable.

No two takes of any title were very much the same, even on "Summertime" and even on my own composition, "Genievieve." The latter is the title waltz in the film, "Genevieve," for which I wrote the score. Bragging is permitted when a soloist writes his own sleeve notes so I will tell you that my music for "Genevieve" was nominated for an Academy Award award. It was beaten out by the score of "The High And The Mighty" by Dmitri Tiomkin and I don't believe there's any such person as Dmitri Tiomkin. The whole thing was fixed, that's what I think.

Let me call "Le Grisbi" to your attention. This too, is film music, from a French gangster film called "Touchez Pas au Grisbi." Even if you got straight A's in French you are liable no to know what that means. It is Montmartre argot and means, in effect, "Lay off the dough." My first record of "Grisbi," in 1953, won the Grand Prix du Disque, making me the first American artist to get this prize. The melody is by Jean Wiener, who was once half of a famous piano team called Wiener and Doucet and who claims to have introduced American jazz to Europe after the 1st World War. His "Grisbi" is, to me, one of the best blues since that "St. Louis" one.

You will notice that the tunes, except for "Genevieve" and "Grisbi" date from the 30s and 40s. Few musicians today are attracted by the meretricious product that passes for music in this Age of the Gimmick. For full details consult your local Hit Parade.

So, on this one album, Rodgers and Hart are represented four times with "The Girl Friend," "My Funny Valentine," (we play the verse twice – once as a piano and once, to end the melody, on unaccompanied harmonica.) "This Can't Be Love," and "Little Girl Blue," Les Freres Gershwin with tow melodies from "Porgy and Bess," "Summertime" and the wonderfully evil seduction them of "There's A Boat Leavin' For New York.' Cole Porter also twice with "Love For Sale" and "Begin The Beguine," Arlen and Ellington with one each, "Blues In The Night" and "Sophisticated Lady."

Every one of the songs just mentioned have lyrics fashioned by men who respected the English language and I wish that I could sing them on my harmonica. I think that the harmonica is, in fact, a singing instrument but it does tend to mess up its consonants.

One last bit of memory. The first time that I ever played the "Porgy And Bess" melodies was at a party in Beverly Hill. The hostess sang "Summertime" in a lovely delicate soprano. I played obligates and at the piano we had George Gershwin.

I should mention that Mr. Gershwin and I were in hot competition for the attention of the soprano. She, not unaware of this, had purposely invited us both and had thoughtfully installed a recording machine by the piano. She recorded the whole evening and I must say I'd like to hear those records again. You, on the other hand, (where I have a blister) want to know how that competition come out, don't you?

Gershwin won. – Larry Adler

From Billboard - November 9, 1959: Larry Adler, certainly one of the finest and most versatile of harmonica player, has a set of standards styled in quality renditions. He also includes some of his own material. They are played soulfully over excellent piano, trumpet, bass and drum support. It's a highly programmable item. Tunes include "My Funny Valentin," "Little Girl Blue" and "Grisbi." His wide range of expression includes overtones of jazz, pop and classical influences.

How High The Moon
Blues In The Night
Girl Friend
Love For Sale
My Funny Valentin
This Can't Be Love
Summer Time
There's A Boat Leaving
Sophisticated Lady
Little Girl Blue
Begin The Beguine

Thursday, October 18, 2018

Machito Dances And Other Latin Dance Favorites

Lucky Mambo
Machito Dances
And Other Latin Dance Favorites
Design: Alleen Hunt
Photo: B & J Kerr
Buckingham Records - New York City
PST 725

Apparently there is at least one or two tracks on this set that can be attributed to Machito. The remaining tracks are credited to Pepito Pavon & his Orchestra (credit on disc label). However, it sounds like there are three or four possible artists featured on this LP. Generally speaking for a budget Palace release, this isn't a bad set.

(Machito & his Afro Cubana)
Crazy Cha Cha
Mexican Hat Dance
Rainbow Cha Cha
Lucky Mambo
Glow Worm Cha Cha
Palm Tree Cha Cha
So Long Fellow Tango
Isla Verde Cha Cha
Cha Cha Amorosa
Good Times Meringue

Peter Duchin At The St. Regis

Something Gotta Give
Peter Duchin
His Piano and Orchestra
At The St. Regis
Decca Records
DL 74373

From the back cover: "It was the biggest Maisonette opening I've attended in years," said Gene Knight, New York Journal-American critic, of Peter Duchin's fabulous first night at the plush room in New York's swank St. Regis Hotel. "He is something special as a pianist," the noted critic went on to say, and "who could help but dance to this new band with the exuberance of youth?"

I Left My Heart In San Francisco
This Could Be The Start Of Something
A Fine Romance
I Concentrate On You
Something Gotta Give
It Had To Be You
The Second Time Around
The Way You Look Tonight
What Kind Of Fool Am I? (From the Musical Production "Stop The World - I Want To Get Off")
From This Moment On

Tuesday, October 16, 2018

Guitars Play The Sound Of Ray Charles - Tom & Jerry

Unchain My Heart
Guitars Play The Sound Of Ray Charles
Tom & Jerry
With The Merry Melody Singers
Mercury Records
MG 20671

From the back cover: Tom Tomlinson has been playing guitar since he was four. Born in Minden, Louisiana in 1928, he began plucking a Sears Roebuck guitar as a toddler and had mastered the instrument, without the benefit of formal training, by the time he was eight. During his high school years, he fronted his own band. After a stint in Korea as a U. S. Marine, he returned to music, to serve as lead guitarist for Johnny Horton, contributing his valuable sound to such Horton hits as Battle of New Orleans, Sink the Bismarck and North to Alaska. Injured in the same auto crash that took Horton's life, Tom spent months recuperating, then teamed with Jerry Kennedy in recording a hit Mercury single, Golden Wildwood Flower, which began the partnership that's still flourishing.

Jerry is from Shreveport, Louisiana. Like Tom, he flashed signs of musical talent at an early age age. He began studying the guitar at at the age of eight; by the time he was turned to the guitar, recording with Horton, Rusty Draper, June Valli Patti Page, George Jones and others. His present work with Tom indicates that he's taken advantage of that experience to become a mature musician.

Unchain My Heart
I Got A Woman
Hit The Road Jack
What'd I Say
Hallelujah I Love Her So
This Little Girl Of Mine
One Mint Julep
I'll Drown In My Own Tears
The Right Time
Swanee River Rock
Lonely Avenue
Leave My Woman Alone

Monday, October 15, 2018

Mod Mod Brass - The Brass Breed

Wade In The Water
Mod Mod Brass
The Brass Breed
Wyncote W9200
A Product of Cameo Parkway Records

There are only a few numbers on this typical Wyncote budget set, that may have been produced by a single studio group (The Brass Breed), that sound "mod."  Otherwise, the majority of the tracks are pretty drab sounding Latin filler material.

Wade In The Water
Sugar Town
March Of The Trumpets
Brass Theme
La Entrado
Opera Flamenco
Tequilla & The Bull

The Wizard Of Oz And Other Harold Arlen Songs - Shorty Rogers

If I Only Had A Brain
The Wizard Of Oz & Other Harold Arlen Songs
Shorty Rogers And His Orchestra
Featuring The Giants
Arranged and Conducted by Shorty Rogers
Produced by Dick Peirce
Cover Photo: Jerome Kuhl - Garrett Howard
RCA Victor LPM-1997
Recorded in Hollywood, California, February 3, 5 and 10, 1959

From the back cover: Heard throughout in solo spots on trumpet and flugelhorn is the effervescent Shorty constantly chased by the horns of Jimmy Giuffre (clarinet and tenor), Barney Kessel (guitar), Bob Enevoldsen (valve-trombone), Herb Gelder (tenor), Bud Shank (alto and tenor), Larry Bunker (vibes), Don Fagerquist (trumpet in the small group) and Frank Rosolino, whose gymnastic solo trombone is heard only in The Merry Old Land Of Oz. Joe Mondragon is responsible for the occasional bass interludes, and his rhythm mate, Mel "The Tailor" Lewis, sews up the time with relentless imaginative drive. Pete Jolly, whose piano is an unfailing asset both in rhythm section and solo, takes charge on Over The Rainbow which here takes the for of a miniature concerto for Pete's considerable talent. – John Tynan - Associate Editor, West Coast Down Beat

From Billboard - August 24, 1959: A very imaginative set of arrangements, bringing a modern jazz quality to some great material including "We're Off To See The Wizard," "In The Merry Land Of Oz," "Get Happy," and "That Old Black Magic." Performances range from slightly more than one minute, to five and one-half minutes – in brief, these are not cut and dried orchestrations. For smart programming.

We're Off To See The Wizard
Over The Rainbow
The Jitterbug
The Merry Old Land Of Oz
If I Only Had A Brain
Ding Dong! The Witch Is Dead
My Shining Hour
Get Happy Blues In The Night
Let's Fall In Love
That Old Black Magic

Friday, October 5, 2018

The Night Was Made For Love - Tony Martin

The Night Was Made For Love
Tony Martin
With Henrie Rene's Orchestra
RCA Victor LPM-1218

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

From the back cover: A California both by birth and inclination – Tony was born on a sunny Christmas morning and christened Alvin Morris, Jr. – he discovered music at such an early age that today he literally can't remember when he first came to know and love it. At any rate, by the time he was twelve he had mastered the sax and clarinet, and at sixteen, while still in high school, he was making more than $100 a week playing and singing with a band at the Palace Hotel in San Francisco.

After graduating from high school, Alvin, Jr. continued his dual role of student-singer. He attended St. Mary's College during the day and worked with local bands at night, making his coast-to-coast radio debut in 1932 on the "Lucky Strike Hour." It was a rough working schedule and conflict between his ultra-conservative daytime environs and the flamboyant entertainment world was inevitable. One day he was caught playing jazz on the college organ, and the next week his school days were over for good.

Leaving college and California behind him, Tony hit the road for a playing and singing date at the World's Fair in Chicago, where he met Frances Langford, then at the height of her fame as a singing star of radio and motion pictures. On her advice, the handsome young six-footer returned to the West Coast to try his luck in pictures. A few months later he signed a contract with 20th Century Fox, and the studio bigwigs promptly changed his name from Al Morris to Tony Martin.

The young troubadour was making a fairly prominent name for himself in Hollywood musicals when World War II cut short his movie career, and in 1942 he entered the Army Air Force. After serving overseas for four years in the China-Burma-India theater, he was honorably discharged as a Technical Sergeant with the Bronze Star and a Presidential Citation.

Upon his return to show business, a startled public soon discovered that something new had been added, and the results were electrifying. Whereas before the war he had been just another personable performer with a fine voice, the "new" Tony Martin fairly radiated confidence and that indefinable presence labeled "star quality" by the trade. The impact of his solid, all-around showmanship was particularly magnetic in person, and Tony quickly became one of the top ten night club attractions in America

Today, a decade later, Tony Martin is still a top night club draw, in addition to being a big name on records, TV and in motion pictures. At the same time his personal life couldn't be happier, and understandably so, since his lovely wife and mother of his two children is M-G-M's breathtaking beautiful dancing star Cyd Charisse. Maybe that's why no other singer today sells a love song with quite as much anticipation and warm conviction as Tony Martin does in this album. – June Bundy

The Night Was Made For Love
Night And Day
Marta (Rambling Rose Of Wildwood)
Tenement Symphony
There's No Tomorrow
Comme ci - Comme ca
La Vie en rose
Deep Night
Goodnight, Sweetheart

The Ahmad Jamal Trio

Love For Sale
The Ahmad Jamal Trio
LN 3212

From the back cover: Jamal's subtle keyboard structures were first heard with George Hudson's Orchestra insofar as public performance is concerned. A few years later he broke away to form his own group, known as Ahmad Jamal's Three Strings, and with this trio he played throughout the midwest and in New York, attracting considerable attention with his deft articulations. The Three Strings made a number of single records for Epic Records, collection as a best-selling Extended Play disc, and then returned to Chicago. The present group, heard in the first Jamal Long Playing Record, consists of Israel Crosby on bass and Ray Crawford on guitar, in addition to the leader.

Love For Sale
Rico Pulpa
Autumn Leaves
Squeeze Me
Something To Remember You By
Black Beauty
The Donkey Serenade
Don't Blame Me
They Can't Take That Away From Me

O. C. Smith At Home

My Cherie Amour
O. C. Smith At Home
Produced by Jerry Fuller
Arranged by H. B. Barnum
*Arranged by Tom McIntosh
**Arranged by Benny Golson
Cover Photo: Don Peterson
Back Cover Photo: Yoram Kahanna
Engineer: Peter Romano
Columbia Records
CS 9908

Daddy's Little Man
Friend, Lover, Woman, Wife
Color Him Father
Clean Up You Own Back Yard
If I Leave You Now
My Cherie Amour
The Learning Tree*
Didn't We
Sweet Changes
San Francisco Is A Lonely Town*
Can't Take My Eyes Off You**

The Voice Is Rich - Buddy Rich

Born To Be Blue
The Voice Is Rich
Buddy Rich Sings
Mercury Records
SR 60144

From the back cover: Moody, metallic, masculine, magnetic, mesmerizing, motivating, in fact, The Most!

Surprisingly, Buddy Rich, oft referred to as America's No. 1 Drummer, comes off mellifluously at the microphone making with the vocal music. Like the first martini or fifth martoonie that introduced on to the anchovie-filled olive, or the initial time one read Hemmingway writing a sports story, after a bit, the realization comes that Mr. Buddy Rich is one, deep-feeling vocalist.

Right-off, Rich regales the ear with his very own distinctive sound and style. Like the first time you heard Sgt. Friday on radio or maybe it was later on TV, it was his voice that fascinated. Buddy Rich's voice is an intimate voice. No big crescendos necessary to get the message home. It's a warm voice, one that reaches the heart strings in a hurry. It's a musician's voice that knows where to meld the words and music so the blend is just right.

Jack of all trades and master of One almost fits Buddy Rich, up to this album. Erstwhile actor with both motion picture and TV credits; moppet vaudeville actor; teen-age drummer sideman with bands; early twentiesh leader of his own big band and/or small jazz combo – And now, Buddy Rich Vocalizing!

Down The Old Ox Road
I Was Born To Be Blue
I've Heard That Song Before
I Want A Little Girl
I Can't Give You Anything But Love
You've Changed
Me And My Shadow
Ah, The Apple Trees When The World Was Young
It's Been A Long Long Time
I Don't Want To Walk Without You
Back In Your Own Back Yard

Friday, September 28, 2018

Congas Rumbas - Lecuona Cuban Boys - Antobal

Cubanakan - Lecuona Cuban Boys
La Conga - Antobal And His Orchestra
Columbia Presents Congas Rumba
Lecuona Cuban Boys
Antobal And His Orchestra
Set Number C-65

Dime Adios
Rumba Tambah
La Guajira
La Conga
El Maraquero
Ay Si, Ay No

Cubano Rhythms - Arturo Arturos

Jungle Drums
Cubano Rhythms
Arturo Arturos
A Victor Musical Smart Set
Victor P-105

From Billboard - February 14, 1942: Backed by the rhythms of the characteristic drum instruments of the Latin Americas, this album showcases the piano playing of Arturo Arturos. Eight sides are variated to provide the rumba, Afro-Cubano, beguine and bolero rhythms, titles including Jungle Drums, Misirlou, The Lady in Red, Lumento Borincano, Begin the Beguine, Silencio, Isle of Capri and Taboo. While the setting is authentic enough and Arturos follows the melodie line nicely, there are none of those intoxicating improvisations from the melody instrument, with attending changes in the melody and mood to match the changing maze of drum beats, akin to the jam sessions of our own musicians.

Jungle Drums
The Lady In Red
Lamento Borincano
Begin The Beguine
Isle Of Capri

Manhattan Spiritual - Reg Owen

The Swinging Brigade
Manhattan Spiritual
Reg Owen And His Orchestra
Produced by Jack Kluger
Recorded in Europe
Cover and Liner Printed by MacMurray Press, N.Y.
Palette - Color In Music
LPZ 1001

From the back cover: There are no set of patterns of rules for getting a start in the entertainment business. The stories are numerous – running from the old fashion "horn in a truck" routine to the dramatic last-minute replacement of an understudy for an ailing star. It's usually some little trick of fate that sets the wheels in motion and changes the course of a person's life.

In Reg Owen's case it was a gift of a saxophone, when he was a boy of 15, that shaped his future. He was recovering from a serious attack of peritonitis when his father brought him the sax as a get-well-quick token. He started playing it during his convalescence and hasn't stopped in the more than two decades that have followed.

Instead of going into the textile business in London, as his parents desired, he decided to use his self-taught knowledge of the sax as a stepping stone to a musical career. The career began inauspiciously with a group called the Royal Kiltie Juniors Band. The salary was only one pound a week, with free board thrown in, and it only lasted six months but it was enough to whet his appetite to get into the music business more seriously. He studied saxophone with Benny Goodman's famous band, and then went on to the Royal College of Music in London.

In 1938 he was ready to start on his own and formed a group called "The Local Gig Band." He made the rounds of the London clubs for the next year and then organized the eight-piece outfit which set up shop at the Montague Ballroom at Ealing. He was playing with Harry Roy's band at the Embassy Club a year later when he was called into the RAF. During his five years in the service, as a member of the RAF Band, he taught himself arranging by transcribing all the works of Artie Shaw, Tommy Dorsey and Benny Goodman.

Reg learned his lesson well because on the day of his discharge from the service in 1945, he received a call from Ted Heath and became one of the founder members of the Heath organization. He stayed with the Heath outfit for 10 years as a sax sideman and then gradually taking over all the writing and arranging for the band's library.

An automobile accident in 1954 put him out of action for about six months. At the same time his contract with Ted Heath expired and he didn't know which way to turn. But just as the gift of the saxophone affected his life as a boy, so did the meeting with a Belgian named Jack Kluger reshape his life as a man. With Jack Kluger's confidence and backing, Reg regained his courage and ambition and began working on his own again, developing a new pop sound which was to become an Owen trademark. With this new inspiration, he wrote music for Cyril Stapleton's Show Band and recorded LPs for numerous record labels in the United States. At present he is working on the ABC-TV Michael Bethine series, "After Hours." – Mike Gross

From Billboard - March 30, 1959: Reg Owen and his Ork. the English crew that recently had the big hit "Manhattan Spiritual," have a swinging driving album here that could also turn into a runaway best-seller. The set contains the hit tune, plus the band's new release "Down By The Riverside" and 10 other tunes played with an exciting rocking beat. "Jericho," "The Petite Waltz Bounce" and "Swing Low Sweet Chariot" could easily become single hits themselves. The stereo sound is outstanding. This set swings.

Manhattan Spiritual
Swing Low, Sweet Chariot
Jack The Ripper
Down By The Riverside
Solomon Stomp
Car Hop
The Petite Waltz Bounce
The Swinging Brigade
Lullaby Of Birdland
Ritual Blues

Sunday, September 9, 2018

Nancy Naturally - Nancy Wilson

Willow Weep For Me
Nancy - Naturally
Nancy Wilson Sings, and Sings, and Sings
Arranged and Conducted by Billy May
Produced by David Cavanaugh
Photo Courtesy of TV Guide/Prigent
Capitol Records T 2634

From Billboard - January 7, 1967: It's Nancy Wilson at her swingingest, bluesiest best! Destined to be a blockbuster sales item, this package is loaded with electrified performances such as heard in the pulsating "Ten Years Of Tears." With strong support of Billy May arrangements, this Dave Cavanaugh production is one of the best in the long string of Wilson hits. Top interpretations include "My Babe" and "Alright, Okay, You Win." Her exceptional reading of "Willow Weep For Me" is second to none.

In The Dark
Ten Years Of Tears
Since I Fell For You
You Ain't Had The Blues
Willow Weep For Me
My Babe
Just For A Thrill
Alright, Okay, You Win
I Wish I Didn't Love You So
Smack Dab In The Middle
Watch What Happens
Ain't That Lovin' You

Friday, September 7, 2018

Theme From The Silencers - The Wilson Lewes Trio

Theme From Our Man Flint
The Wilson Lewes Trio
Diplomat DS 2380

Theme From The Silencers
Theme From The Silencers (Reprise)
Theme From Our Man Flint
Song From The Oscar

Tops In Pops - Bobby Krane

Sea Of Love
Tops In Pops
Today's Juke-Box Parade Of Hits
Bobby Krane And His Orchestra
A BK Production
Bravo Records KC101

I'm Gonna Get Married
There Goes My Baby
Baby Talk
The Three Bells
Sea Of Love
Broken-Hearted Melody
Lavender Blue
Sleep Walk
My Heart Is An Open Book
What A Difference A Day Makes

Award Hits - The Cinema Sound Stage Orchestra

Award Hits
The Cinema Sound Stage Orchestra
Somerset SF-34200

Windmills Of Your Mind
Reverie (Debussy)
El Choclo
Chopin (Love Theme)
Romeo And Juliet (Love Theme)
Londonderry Air
Romance (Tchaikovsky)
Beautiful Dreamer

Percussion In A Tribute To Glenn Miller - Frankie Capp

V Hop
In A Tribute To Glenn Miller
Featuring The Frankie Capp Percussion Group
Arranged by Jerry Gray
Sounds In Motion
Kimberly 2008

The Frankie Capp Percussion Group
Trumpet: John Best, Ray Linn, Frank Beach, John Audio, Zeke Zarchy, Al Porcino
Trombone: Jimmy Priddy, Hoyt Bohaman, Joe Howard, Ray Sims, Milt Bernhart
Sax: Wilbur Schwartz, John Rotella, Ronnie Lang, Dave Harris, Babe Russin
Piano: Ernie Hughes
Bass: Rolls Bundock
Percussionists: Frankie Capp, Emil Richards and Mel Lewis

From the back cover: Frankie Capp is not a newcomer to the percussion world. He is one of the top men in the jazz field today, being featured as the third man in the Andre Previn trio and as featured soloist with the Dave Pell Octet. He has also been with such aggregations as Neal Hefti, Billy May, Harry James, Shorty Rogers and Stan Getz. He has at various times worked with Peggy Lee, Ella Fitzgerald and David Rose. At present he is one of the busiest studio musicians in Hollywood and we are very happy to present him as a bandleader in his own right.

Emil Richards, one of the outstanding vibraphone players of our day, started as a legitimate concert and symphonic percussion player of the Hartford and The New Britain Symphonies. In 1956 he joined the George Shearing group and stayed with him until he made his home on the West Coast in 1960. Since that time he has played with the Paul Horn group and has been very busy as a free lance studio musician.

Anvil Chorus
Sunrise Serenade
Little Brown Jug
Sweet Eloise
String Of Pearls
V Hop
At Last
Tuxedo Junction
Moonlight Serenade
Crew Cut

Thursday, September 6, 2018

Super Hits - Volume 5

Sweet Seasons
Runnin' Away
Stay With Me
Super Hits (King's Road Super Hits)
Volume 5
Pickwick International, Inc.

Sweet Seasons
Day After Day
Heart Of Gold
The Nickel Song
Stay With Me
My World
Never Been To Spain
Mother And Child Reunion
Runnin' Away

Strings In Stereo - Domenico Savino

Stranger In The City
Strings In Stereo
Domenico Savino and His Symphonic Strings
Recorded in Europe
RCA Camden CAS-487

From the back cover: Domenico Savino was born in Taranto, Italy, in 1881. He attended the Royal Conservatory of Naples, majoring in composition and piano. Arriving in the United States at an early age, he soon began making a name for himself – as a matter of fact, he began making two names for himself. Some of his works were published under the nom de plume of D. Onivas.

A growing reputation earned him an offer from one of the leading record companies. Savino became musical director for Pathe Phonograph. He functioned as a conductor, and also as a supervisor of recording sessions. He guided some of the best-known singers of the day through the intricacies of recording techniques. Among them were grand opera's famed Claudia Muzio; Tito Schipa with his modest tenor voice and memorable artistry; and the exceptionally beautiful Lina Cavalieri.

Ever alert to the promise that new technical developments held, Domenico Savino was one of first to realize that motion pictures offered a fertile field for musical expression. He penned many effective orchestral background music scores for the "silent" films. Both M-G-M and Twentieth Century-Fox utilized his talents. He did the music for the film "The Patriot," which starred one of filmdom's all-time greats, Emil Jannings.

Savino retained a deep interest of the music business, and is reputedly the first musician to arrange a popular song in symphonic style.

It would be difficult to find a phrase of the music business in which Savino was not active at one time or another. For a while, he was chief editor of one of the most prominent music publishing houses in this country, the Robbins Music Corporation. He was also an important stockholder; and when M-G-M purchased the Robbins Music Corporation, Savino was compensated in an amount that gave rise to some fantastic rumors in Tin Pan Alley. Savino admitted that the payment ran well into six figures, but declined to be too specific.

Long-time music lovers will recall Domenico Savino's work on such radio programs as the Paramount Hour, the La Paling Cigar program, and the American Telephone and Telegraph Hour. Savino also spent some time as musical director of one of the major radio networks.

The financial problem, which has proved a stumbling block for many a talented musician, was no great obstacle for Savino. After earning an excellent living for a number of years in the popular music field, he found himself in an economic position which permitted him to retire to concentrate on composing classical music. With over 900 compositions to his credit, Savino could count on a steady income from his membership in the American Society of Composers, Authors and Publishers – popularly known as ASCAP.

When he left the popular music field to write in a more serious view, Savino also decided to pursue the art of painting. He plunged into this new field with typical enthusiasm. Before too long, every wall in his eight-room Manhattan apartment was covered with pictures. Then he rented another eight-room apartment in the same building, and repeated his feat. And while all this was going on, Savino was busy producing piano works, choral music, cantatas, and band music. Among his better known serious compositions are Four Impressions and the Overture Fantasy. – Notes by Leonard Raphael

To A Water Lily
In The Orient
Stranger In The City
Humoresque Miniature
June Barcaolle
To Spring
Norwegian Dane No. 2
Autumn Intermezzo
Waltz From "Serenade For Strings"

Fire & Frenzy - Valente/Ros

Fire & Frenzy
Caterina Valente with Edmundo Ros and His Orchestra
London International Series
TW 91253

On the cover: New York City artist, Barbara Bert has rendered an exciting cover story for this album: an oil painting whose colors, bold brush strokes and dramatic composition bind together the conception so appropriate to the music contained on this record – fire & frenzy!

From the back cover: When Caterina Valente sat down with London Records' Artist and Repertoire executives to discuss her next LP for the company, the notion was proffered that she make a record with Edmundo Ros; thirteen seconds later the notion had turned into fact, and the fact has become the record of the year.

From Billboard - February 6, 1961: Caterina Valente does a superb job on this set of Latin tunes most of which fall into standard category. Edmundo Ros' fine work does an exceptionally fine job of backing the thrush. Besides standards like "Misirlou," Adios" and "Frenesi" there are not so often heard but equally intriguing tunes like "Estralita Del Sur" and "Felicidade Infeliz." The excellence of the performance and the names involved might make the set a consistent seller.

Estrellita Del Sur
Felicidade Infeliz
Fale Baixinho
Saudades Da Bahia
Canto Karabali (Jungle Drums)
Contiga En La Distancia

Tuesday, September 4, 2018

Cat On A Hot Tin Horn - Cat Anderson

Blue Jean Beguine
Cat On A Hot Tin Horn
The "Cat" Anderson Orchestra
Recorded in New York City, Aug. 23, 1958
Supervision: Jack Tracy
The trumpet used on the cover courtesy of the Conn Band Instrument Corp.
Mercury Records SR 80008

Trumpets - Cat Anderson, Ernie Royal, Ray Copeland and Reunald Jones
Trombones - Jimmy Cleveland, Frank Rehak and Henderson Chambers
Saxes - Earle Warren, Alto; Ernie Wilkins and Jimmy Forrest, Tenors: Sahib Shihab, baritone; rhythm - Jimmy Jones
Piano - George Duvivier
Alto; Bass, Panama Franics
Drums - Clark Terry
Trumpet added on tracks 2, 6, 7, and 8.

From the back cover: Cat was born in Greenville, S. C., but was orphaned at the age of 7 and raised in the Jenkins Orphan Home at Charleston, S. C. "At the Jenkins Home school they taught a lot of trades if you wanted to learn any." Anderson recalls. "I heard Jabbo Smith and Peanuts Holland, who were there, and later a record by Louis Armstrong, Laughin' Louis and Basin Street Blues. I studied all the brass instruments I can still play them today, but I'd be afraid to. I carry around a trombone, but it's more for practice than for performance."

The education Anderson received at the Jenkins Home laid the groundwork for his career. He toured for three-years with the Carolina Cotton Pickers, four years with the Sunset Royal orchestra, and worked with the bands of Erskine Hawkins, Lionel Hampton, and Lucky Millinder before joining the Ellington band late in 1947 for a brief venture as a leader, but the times were bad for big bands and he rejoined Duke in 1950.

To keep himself at the required edge for his activities with Ellington's trumpet section, Cat practices about 2 1/2 hours a day. "I just have to do that to keep versatile in the things that I play," he says. "In the band, every member has to be versatile. I play exercises and practice according to a system I made up." He travels with two huge Connstellation trumpets, one for the job and the other for hotel room practicing.

Cat is a good-natured, barrel chested man who looks considerably less than his 42 years. He is the first to break into important contribution to the art to date has been his extension of the range of his horn. Until he bought his incredible upper register into the Ellinton band, there had been very few trumpeters on whom composers could count for the filling out of important chords, or around whom they could build the soaring, emotional brass climaxes so popular today.

With Cat in the section, Ellington and Billy Strayhorn could, and often did, write trumpet lines well above the staff with the assurance that they would be played cleanly, with superb articulation.

The sides included in this album were cut a continuous session. Anderson admits he was pleased on hearing the playbacks, and add, "I just can't say enough about Ernie Wilkins. He's just wonderful... a wonderful arranger. And I felt the guys on the band were so great. Technically, their playing was wonderful. This has been a new big band experience for me.

Little Man
Cat's In The Alley
Blue Jean Beguine
My Adorable "D"
June Bug
Don't Get Around Much Anymore
Birth OF The Blues
You're The Cream In My Coffee

Swing vs. Latin - Heath vs. Ros

Swing vs. Latin
Heath vs. Ros
Ted Heath and His Music
Edumdo Ros and His Orchestra
Arrangements by John Keating
Produced by Tony D'Amato
Recording Engineer: Arthur Lilley
Phase 4 Stereo
London SP 44038

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

From the back cover: Ten minutes before recording time Mr. Heath and Mr. Ros entered the studio leading their respective bandsmen. As the bandsmen took their places and started to warm-up their instruments the studio air which had been up to that point friendly, but firm, was being filled with multicolored sounds. From Ros's sector came the steely patter of tight-skinned drums, the barely disciplined sound of a jungle flute, the piercing top notes of muted trumpets; claves were struck; maracas were shaken; cabanas whirled.

On the other side of the partitions, in the Heath quarter, one could hear the forceful, deep-throated tones of the trombones; rapid running fingers of the saxophones; the clear brassy ring of jazz trumpets. The Heath drummer with bass drum, two tom-toms, snare drum, four cymbals, brushes, sticks and hammers, was last to set-up. Testing his kit for sound, he looked up confirming readiness.

The scores were on the stand. The engineer turned on the red light, and the big battle, Swing versus Latin, was on.

South America Take It Away
The Coffee Song
In The Still Of The Night
Come Rain Or Come Shine
Ted Meets Ed
Heat Wave
Speak Low
Anything You Can Do

Sweet And Hot - Wild Bill Davison

Sweet And Hot
Wild Bill Davison
With Ralph Sutton, Albert Nicholas, Baby Dodds
Produced by Bill Grauer
Notes by Robert Parent
Re-Mastering by Reeves Sound Studios
Contemporary Series
Riverside RLP 12-211

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

From the back cover: Bill Davison was born in January, 1906. This simple statistic takes on significance when you start adding on your fingers and note that he was therefore in his forties when these recordings were made and is at this writing (1956) at the mid-century mark. Nevertheless, there is more than enough fire and strength in his horn to arouse considerable envy in even the most spirited performer half his age. Davison's birthplace was Defiance, Ohio (a place name that can lead searchers after symbolic coincidence and/or puns to draw all sorts of parallels with the usually wild sound of his horn).

His first instrument was the banjo; as a banjoist and when he first switched to cornet, he was a member of assorted undistinguished bands in Cincinnati and thereabouts. According to some accounts, Bill was at first no better than his surroundings called for, but by the mid-'20s he had (like a good many other young horn men) heard Armstrong and Beiderbecke, and had fallen under the spell of honest creative jazz. He has been playing, ever since then, in much the same full and aggressive style he displays here.

But it took Davison a while to make his presence really felt on the jazz scene. Later in the '20s he played with such midwestern bands of those of Chubb Steinberg and Benny Meroff, which have been described as "genuinely corny." His earliest recordings were with these groups, and a couple of them do manage to testify rather clearly that Bill deserved to be in better company. He did work briefly with the Chicago jazz crowd, but did not record with them. (It might as well be set down here, as it is in most accounts of Davison's career, that for quite some time he was identifiable to jazz fans only as their driver of the car at the time the brilliant clarinest Frank Teschebacher met his death in an auto accident).

Bill led groups in Milwaukee throughout the '30s and it was not until 1942 that he first struck New York. "Struck" is no exaggeration. A long stand at Nick's established his reputation with local fans; he recorded with George Brunis, Eddie Condon and others; and when Condon's own club was opened just after the end of World War II, Davison became just about a staple item there and – along with Condon – just about a living symbol of latter-day Dixieland.

During 1947, Wild Bill was a mainstay of the series of weekly Mutual Broadcasting System programs, produced by Rudi Blesh under the overall title of "This Is Jazz," that marked the only serious inroads made by unadulterated jazz into commercial (even though unsponsored) network radio. The personnel consistently represented the best available talent of its kind, and the lineups on the selections issued here are typical: Albert Nicholas, Edmond Hall, and on occasion their great New Orleans colleague, Sidney Bechet; Harlem trombonist Jimmy Archey; pianists like Ralph Sutton and Jimmy Johnson; and usually a solidly traditional Danny Barker-Pops Foster-Baby Dodds rhythm section. Quite often, as here, the group was lifted and driven by the fierce Davison horn. The Side 2 selections are from the following 1947 broadcasts #1 - July 26; #3 - June 21; # and 4 - September 27; #5 - July 5; #6 - August 2.

The more unusual examples of the richly romantic potentials of the Davison horn are from a recording session that also featured Sutton, Archey and Garvin Bushell, a skilled and versatile reed-man whose credits range from playing with Jelly Roll Morton to playing with symphony groups. All twelve of these selections originally appear on the Circle label.

Why Was I Born?
Just A Gigolo
A Ghost Of A Chance
She's Funny That Way
When Your Lover Has Gone
Hotter Than That
St. Louis Blues
Swinging Down The Lane
As Long As I Live

Thursday, August 30, 2018

Hi Fi-ing Herd - Woody Herman

Dandy Lion
Hi Fi-ing Herd
Woody Herman And His Orchestra
M-G-M Records E3385

From the back cover: There are even a pair of cool tributes to the M-G-M mascot in Leo The Lion and Dandy Lion.

New Golden Wedding
East Of The Sun (And West Of The Moon)
Blue Flame
Prelude To A Kiss
Love Is Here To Stay
In A Little Spanish Town ('Twas On A Night Like This)
Hollywood Blues
I Would Do Anything For You
Dandy Lion
Cuban Holiday
By George
Leo The Lion

Wednesday, August 29, 2018

Stan Rubin And His Tiger Town Five

Tin Roof Blues
Stan Rubin And His Tiger Town Five
Jubilee Records
JGM 1016

From the back cover: This is the first in a series of 12" albums by one of America's youngest, most spirited and talented Dixieland jazz bands. During the past two years, the boys have won national and international acclaim; the former made possible by prize-winning appearances on Paul Whiteman's radio and television shows aides by disc jockey programs which have featured Volume 1 on numerous occasions. The international acclaim was achieved during the summer of '53, when the group made its first tour throughout Europe.

Ted Husing, well-known WMGM disc jockey, recently termed the group one of the finest college jazz bands in the land. After the Tigertown Five's highly successful European trip, Elsa Maxwell wrote in her Journal American column, "I know they added enormously to as perfect a bit of Americana as you could ever get in France."

Stan Rubin '55 of New Rochelle, N.Y., organized the group on the Princeton campus during his freshmen year. Since that time his band has been booked constantly to give jazz concerts throughout the East. Appearances at the Dartmouth Winter Carnival, the University of Vermont's Kakewalk, Cornell, and the University of Pennsylvania have made the boys favorites among the college set.

The success of the band is illustrated by the warm welcome it received in Europe last summer, after it had played its way over on the S. S. Groote Beer. While in Paris, they caused a sensation on Bastille Day by playing on the Boulevard Saint Germain during the evening celebrations. The group was heard at such outstanding night spots as the Vieux Columbia, the Academie du Vin, and to be sure, Harry's New York Bar. After renting a car, the boys headed for the Mediterranean, where they were featured at MAXIM'S the largest night club on the French Riviera. This was where Elsa Maxwell saw them, and invited the boys to play at one of her gay parties. Celebrities including, Hedy Lamar, Claudette Colbert, Lady Ashley, Prince Bernadotte of Sweden and Aly Khan's two sons, were truly thrilled with the performance at the Tigertown Five on the porch of the Carlton Hotel in Cannes.

After an appearance in Sorrento, the group played at the famous Exselsior Palace at Lido Beach, Venice. A great tribute to their success was an appearance at the Taboris in Lausanne, Switzerland. Here they followed such name bands as Stan Kenton and Dizzy Gillespie. The group made a lasting impression on thousands of newly acquired European fans with their expert musicianship and great enthusiasm.

Back in the states the boys are still playing the college circuit, adding such schools as Colgate, Swarthmore, Rutgers, Vassar, Sarah Lawrence, and Smith to their growing list. Stan and company often find themselves with three or four engagements on a weekend, involving over a thousand miles of traveling in banjo player Dick Shallberg's '41 Chevy coupe.

Spring vacations find them in Bermuda at the Elbow Beach Surf Club, and Princeton grads always find the group playing at the biggest Reunions each June. Palisades Amusement Park recently featured the group in its opening day festivities. The boys have also planned a return trip to Europe for another gala organized tour, playing their way over in the S.S. Waterman. Newest addition to the group is sophomore Ed White playing bass in this album. – James L. Schisgall

Royal Garden Blues
Mississippi Mud
Tiger Rag
Muskrat Ramble
The Saints
Tin Roof Blues
Dixieland One-Step
Yes Sir, That's My Baby
Basin St. Blues
The World Is Waiting For The Sunrise

The Dixieland Dandies On Bourbon Street

The Dixieland Dandies On Bourbon Street
Photo: Stephen P. Haas
Treasure Productions, Inc.
TLP 855

Suanee River
Bourbon Street
Way Down South
Just Thinkin'
High Off The Hog
Man Bites Dog
No Blues Allowed

Monday, August 27, 2018

The Piano Artistry Of Jonathan Edwards

Autumn In New York
The Piano Artistry Of Jonathan Edwards
With Darlene Edwards
Columbia CL 1024

From the back cover: This album was originally conceived as a piano album, but the careful listener will detect a voice amidst the twinkling arpeggios. It is, of course, that of Mrs. Edwards, or, as she is known to her many friends and admires, Darlene. Mrs. Edwards, who is now a prominent clubwoman and a driving force in her community, returned from private life to take part in this album, selecting her own repertoire of sophisticated songs, several of which she originally introduced in Trenton, New Jersey. Once Mre. Edwards had forcefully expressed her willingness to participate in this album, Jonathan, always the devoted husband in spite of the many demands on his time and energy, accepted graciously.

It Might As Well Be Spring
Poor Butterfly
Autumn In New York
It's Magic
Sunday, Monday or Always
Cocktails For Two
Dizzy Fingers
Three Coins In The Fountain
You're Blasé

The Original Salty Dogs

The Original Salty Dogs
G.H.B. Records

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


Lew Green, Jr. - Cornet
Jim Snyder - Trombone
Kim Cusack - Clarinet
Johnny Cooper - Piano
Bob Sundstrom - Tuba
Way Jones - Drums

From the back cover: Since 1947, the members of The Original Salty Dogs have been leading traditional jazz crusaders in the Midwest. Countless numbers of jazz enthusiasts have enjoyed the music of this unique group. It is unique in that to its fans, the band's brand of authentic, complete arrangements sound to be the well-rehearesed, polished work of full-time musicians; in reality, the band is composed of part-time musicians, each member pursing a full-time career in the business world.

Over the years, some of the faces have changed; during collegiate days at Purdue, often-times in a one-year period, half of the band would graduate (or drop out) only to be replaced by waiting, novice jazzmen. Since 1962, the personnel has remained constant in that after college, the present members of the band settled in the Chicago area playing numerous weekend club dates and jazz concerts. The tradition set down in 1947 has withstood all of these changes and today, The Original Salty Dogs Jazz Band continues to approach jazz with the same vigor and dedication as those members who have gone before.

You've Been A Good Old Wagon
Emperor Norton's Hunch
All The Wrongs You've Done To Me
Come Back Sweet Papa
Cornet Chop Suey
Tia Juana
The Chant
Ida, Sweet As Apple Cider
Flat Foot
Annie Street Rock