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Sunday, October 20, 2019

Grandioso! - Van Wood

Jo Cleber and His Orchestra
Featuring the Italian Guitar of Van Wood and His Quartet
Columbia WL 157

From the back cover: Once upon a time there was a twelve-year old Dutch Boy Scout named Peter van Houten who sat by a camp fire one night and fell head over heels in love – not with the Princess he married in later years – but with an old guitar. Four years later the young Dutchman formed his own trio, sharing the honors with a jazz accordionist who is now his brother-in-law, Matt Matthews.

When the war broke out, and for four years thereafter, the two youngsters spent much of their time experimenting with new chords, modern harmonies and technical tricks. The occupying forces in Holland arrested Peter and Matt and put them in a concentration camp. Undaunted, the boys managed to dress up as old women and to escape on bicycles without tires. Taking refuge in a cellar, they began making wonderful music again.

After the war, young Peter went his own way, playing in the bistros of Paris and on the streets of Madrid. He sang for Radio Luxembourg and for audiences in all parts of North Africa. Slowly but surely his star began to rise. People liked this energetic guitar virtuoso with his mop of black curly hair, the gay twinkle in his eyes, the happy smile and vivacious voice. Night clubs began to offer him better and better contracts

In 1949, Peter reached Naples and was already half-way on the road to international stardom. In almost no time at all, his splendid playing captured the imagination of the Italians and he swiftly achieved the fame he had dreamed of. His interpretations of Italian melodies displayed a special flair for Mediterranean rhythms, and his fine musicianship was welcome by the music-loving citizens. Now that man who once performed for a hot meal lives luxuriously in Milan. On the door, as on the posters all over Italy, you'll find the English version of his Dutch name in shining capitals:

Van Wood

Millions of Van Wood's records have been sold in Italy alone. He has made countless TV appearances and radio broadcasts, and every club he chooses to play is full of happy and delighted listeners. As his name has changed, so has his guitar. Today it is a snow-white electric one, complete with echo chambers and tone pedals and all sorts of knobs for special effects.

Mrs. Van Wood, the former Princess Fatemeh Khatir, first saw the white guitar in Rome at a dance to which she had been escorted by the Persian Consul. Later she confessed that she didn't see the man behind it until several nights and dances later. Protected by the Iranian Embassy, Her Royal Highness did not meet Van Wood again easily. When he came to America in 1951 to play at the Waldorf-Astoria, the Princess persuaded her family of her intern in seeing America and soon thereafter Van and the Princess were married.

"Success is a very strange thing," Van Wood says, "I think the main factor is that you've got to like the thing you're doing. I am really very fond of playing the guitar and singing and making all the arrangements for my quartet. And furthermore, I love meeting lots of people." And lots of people like meeting and hearing Van Wood, too. He is admired by Johnnie Ray and Frankie Laine and once succeeded in getting King Farouk to his feet to applaud him.

Van Wood is one of the merriest musicians and has one of the finest quartets to emerge from the post-war world of entertainment!

Piccolissima Serenata
Ciao Ciao Bambina (Piove)
Anema e Core
'O Marenariello
Oh Maria Mari
Funiculi, Funicula
Torna a Sorrento

Two Kinds Of Love - Al Anthony

Dearly Beloved
Al Anthony Plays For Two Kinds Of Love
Arrangements by Ruby Raksin
Cover Photo by Gene Lester
Mixer: Alan Emig
Dot Records DLP-3056

From the back cover: For the past several seasons, Al Anthony has ben one of Palm Springs most popular personalities, presiding over the entertainment at Ralph Taylor's beautiful La Paz Hotel.

From Billboard - July 20, 1959: Columbia Records signed Al Anthony to a contract. His initial release will be a single scheduled for July 20 release singing his own cleffing "My Sister," Anthony was inked by Columbia's Coast Artist-Repertoire exec Alan Emig. Anthony currently has two albums on the market, "Two Kinds Of Love" for Dot and "Swingin' In Hi-Fi" for Liberty.

Lonesome Road
Ecstasy Tango
Juba Dance
Bumble Boogie
Dearly Beloved
The Song Is You
In Love In Vain
Have You Met Miss Jones?
Under Paris Skies
My Romance

For Your Dancing Pleasure - Ziggy Elman

Take Me In Your Arms
For Your Dancing Pleasure
Ziggy Elman and His Orchestra
M-G-M Long Playing Records (10 inch) E-535
Lowe's Incorporated

My Reverie
Take Me In Your Arms
Cheek To Cheek (from the film "Top Hat")
Body And Soul
Irresistible You
The Night Is Young And You're So Beautiful
You're Mine, You

Eddie Condon Is Uptown Now!

The Albatross
Eddie Condon Is Uptown Now!
Eddie Condon and His Boys
Cover Photograph by Lester Krauss
M-G-M Records E3651

From the back cover: The legend of the founding of Eddie Condon's night club, mysteriously called "Eddie Condon's", has been told almost as many times as Leonard Feather has told recently how jazz didn't come up the river. According to some, it began when Tim Costello, proprietor of a Third Avenue El stop mysteriously called "Tim Costello's", gave a party for the publication of John McNulty's book about Third mysteriously called "Third Avenue". Someone there suggested to Condon that he either ought to found a book or write a saloon. Condon is said to have said, "I knew the whiskey was strong in here, but I didn't know it was that strong." and then went out to "Twenty-One," where they let you drink in peace.

Another version of the founding of Condon's Third Street establishment credits the whole idea to Elaine Lorillard (Miss Louis P.), Mrs. Lorillard had published a book about Tom Costello and John McNulty, and at the publishing-day party someone suggested that she found a jazz festival at Newport, Rhode Island. She decided instead to start on a small scale, and thereupon founded Condon's Lord Action was hired as doorman, and George Wein (who later founded "Storyville" in Boston) was in charge. This combination later moved uptown and founded "The Ember," "The Metropole," "The Composer," "The Arranger" and "The Iron Chancellor."

History is beclouded: there are other myths that persist. Some say that Buddy Bolden himself was the original owner of the club, which he started in order to preserve his anonymity; others say Benny Goodman did it as tax relief. Perhaps the only person who has not been linked to the club by rumor, gossip or calumny is Lawrence Welk. Well, we may never know the truth. Condon himself refuses to discuss it in print (his monumental biography of Mezz, mysteriously called "Really The Mezz," occupies all his time these days, and when he finishes that he is planning a biography of Bull Montana.

The facts are these. In December, 1945, Condon opened "Eddie Condon's" at 47 West Third Street, New York; he closed it a little over twelve years later. The club was doomed to success from the very beginning. Condon's friends all said it would last three weeks, and optimistic relatives were sure it would get through the 1945 holidays. It survived a murderous summer and, by the fall of 1946, it was beginning to move over into the black. From then on, it became perhaps the most successful jazz nightclub in the history of the United States (excluding "Nick's," Seventh Avenue and Tenth Street).

When it became apparent that moving was necessary, Eddie spent almost as much time looking for a new location as he ordinarily spends putting on his clothes on a day when his hangover is extraordinarily severe (and as anyone who has ever waited on him will attest, that is a long, long time). He considered Madison Square Garden, decided against the Coliseum, vetoed Carnegie Hall and finally settled on a room in the Sutton, 330 East 56th Street. He and his co-damagers, Pete Pesci, Bill Funaro and all the old-hand waiters from Third Street, resplendent and uncomfortable in prank new scarlet jackets, moved in and were immediately panicked. I write about five weeks after "Condon's Uptown" opened the doors; the ropes have been up every night since "Condon's Uptown" opened the doors; the ropes have been up every night since the opening, and aren't you glad M-G-M decided to make this record? This way, you can hear the music even if you can't get in.

The personnel of the band in the old joint, for the last two years of its existence, consisted of Wild Bill Davidson, cornet; Cutty Cuttshall, trombone; Bob Wilber, clarinet; Gene Schroeder, piano (Gene is the only man who has been with Condon uninterruptedly since he very beginning, a tribute got almost unbelievable patience); George Wettling, drums; Leonard Gaskin, bass and, from time to time, Eddie Condon, scotch. Just before moving day, Wild Bill decided to devote more of his time to collecting antiques and was replaced by Rex Stewart, Some time before that, Bob Wilber went uptown to join Bobby Hackett and was replace by Herb Hall. To this group for this record, Condon has added some of the boys who are more or less regular Condonites: Billy Butterfield, trumpet; Dick Cary, alto turmpet, also horn (Condon calls the alto horn "the slop jar"); and Bud Freeman , tenor (under the provisions of the last Geneva Conference, FREEMAN's name must always be put in capital letters).

In the studio at the time these records were made; but not listed as artists were Mr. Jim Bishop, the eminent biographer of Jesus; Mr. Jack Lazare, the eminent disk jockey; Mr. Eli Waldron, the eminent Kerouac devotee; and Mr. Moe Moesdale, the eminent hangover. A friend from Scotland was present, too, and – in Condon's classic phrase – exhausted when it was all over. Condon's uptown now, dear friends; and so is - Richard Gehman (Mr. Gehman, notable public charge, is a contributing editor of COSMOPOLITAN magazine and indefatigable Eddie Condon chronicler.)

From Billboard - April 28, 1958: Now a very high class cat with an uptown night club, guitarist Condon has rounded up his regular crew, plus a guest roster that includes Bud Freeman, Billy Butterfield and Dick Cary, for some free-swinging Chicago-type sounds. Tunes include originals by band members (like The Albatross) and standards like "St. Louis Blues," Eddie's old-style, straight guitar work provides an unobtrusive but firm rhythm background.

The Lady's In Love With You
Third Street Blues
Ginger Brown
Wherever There's Love
Newport News
Trouble (from "The Music Man")
Everybody's Movin'
Ain't Misbehavin'
The Albatross
St. Louis Blues
Blue Lou
Eddie And The Milkman

Saturday, October 19, 2019

4-5-6 Trio - Fred Katz

Four, Five, Six
4 5 6 Trio
Fred Katz - Cello
Hal Gaylor - Bass
Johnny Pisano - Guitar
Mood Jazz in Hi-Fi
Decca DL 9213

From the back cover: Fred Katz is very clear in his insistence that although others may feel impelled to categorize his work, he himself will not be bound by any definitions but his own. "What I try to create for myself and for the group is music," he told Metronome. "What I'm out to express are ideas and feelings that are beautiful. Criticism that my work is not jazz makes no difference. What is important is that my music should be beautiful and that it should be judged as music, not by an artificial standard of whether it is jazz of not."

Metronome apparently agree with Katz, because in its enthusiastic review of his previous Decca set, Soul Cello (DL 9202), it ended: "First, to us, comes emotion, then creation, then theory, trying to describe and explain. If this is the case, and it is the case with all music of strength and conviction, Fred Katz will have no trouble. For this is the way we feel he grows."

Fred has an unusually diversified background, another reason he feels it natural to range though different kinds of disciplines to create finally what he feels is his own musical speech. Born in Brooklyn, February 25, 1919, he was a scholarship student of cello and piano at the Third Street Music Settlement; played at Town Hall at 13; studied conducting and composition; became musical director of the 7th Army Headquarters overseas; and wrote music for a ballet. in 1945. His works have been played by concert orchestras, including one program by the Heidelberg Symphony and that was devoted entirely to his work.

In the popular field, Fred has been piano accompanist for Lean Horne, Mindy Carson, Tony Bennett and others. He has written for films; taught; and has been commissioned by cello virtuoso Gregor Piatigorsky to write a jazz piece for him. In jazz, he first became widely known with the Chico Hamilton Quintet – for which he also wrote – and has since functioned on several albums as player, writer and occasionally leader.

Fred has the capacity to gain and keep the admiration of musicians with whom he has worked. Paul Horn has called him a "phenomenal musician" and credits Fred with having been the most important influence on him when he was with Chico Hamilton's unit. Fred has been and continues to be a source of encouragement – and instruction – for several young musicians on the coast who, like himself, believe in worrying about categories after the music had been created.

Like Fred, guitarist John Pisano and bassist Hal Gaylor are alumni of the Chico Hamilton Quintet. Pisano was born in Staten Island, New York, some 26 years ago. After high school and guitar studies with Chuck Wayne, he went into the Air Force and became a member of the service band, The Crew Chiefs. After being discharged, he freelanced in New York with several commercial and jazz units, and then replaced Jim Hall with Hamilton.

Taylor, born July, 1929, in Montreal, first played clarinet and saxophone. When he was 20, he picked up his father's bass and it became his primary instrument. He worked with singers and gigged in instrumental combos around Montreal, recording several years ago with the Canadian All-Stars. He worked with Paul Bley, another Canadian jazzmen, before joining Chico Hamilton.

The dominant voice in this unusual set of solos, duos and trios is Fred Katz. To my knowledge, this is the first non-classical album to feature a cellist throughout in this kind of intimate instrumentation and material. There is no place to hide when your only associates are guitar and bass. The challenge for Katz to sustain interest and his own invention over an entire 12" album. In his favor, aside from the multi-faceted background previously described in his remarkable flexibility on his instrument. He has made it so much an extension of himself that he can call on it to wail, literally and figuratively, to play with passionate romanticism; to be witty brisk; and to play a "straight" melody with very personal phrasing along with "legitimate" tone and technique. – Nat Hentoff

From Billboard - December 8, 1958: A unique string trio makes something special out of standards and originals. The three Chico Hamilton alumni are gifted musicians with "Sophisticated Lady," "Perdido" and "Della" standout. Find mood wax.

Four, Five, Six
Sophisticated Lady
Isn't It Romantic
Like Someone In Love
Mountain Air
Perdido (Lost)
I'm Getting Sentimental Over You

The Mellow Moods

Easy Now
The Mellow Moods
RCA Victor LPM 1365

Also see this issue: Mellow Moods Of Jazz - LPM 1365

From the back cover: The framework for this special type of mellowness have been provided by three unusually gifted arrangers: Ralph Burns (Why Shouldn't I; Pastel Blue, Moments Like This; Everything's Been Done Before), who wrote the memorably mellow Early Autumn for Woody Herman and lately has had great success in writing unhackneyed settings singers; George Siravo (What Do You Want To Make Those Eye At Me For?; Easy Now; Let's Take The Long Way Home), a quondam jazzman who has found this knowledge useful in giving singers – Frank Sinatra, for one – the kind of stimulating accompaniment which brings out all their potential; and Bill Stegmeyer (Robins And Roses; I'll Be A Friend With Pleasure; Keeping' Out Of Mischief Now; Morning Glory), a top jazz clarinetist who has written for numerous big bands since 1942, including that of his Transylvania College roommate Billy Butterfield.

Robins And Roses, one of Bing Crosby's early singing stints for the films, is decorated by the very Goodmanesque clarinet of "Peanuts" Hucko (it has been said of Hucko that he plays more like Benny Goodman today than Goodman himself does). Clarineting of a very different order – the lithe, feather-toned manner of Tony Scott – is the feature of another, later Crosby film tune, Let's Take The Long Way Home. Hucko also trots out his tenor saxophone to give a new sound to What's New, which was originally a trumpet showpiece called I'm Free when Billy Butterfield used to play it with Bob Crosby's band.

The same Butterfield, mellifluous as ever, teams up with the trombonist Urbie Green for an unusual duet of Cole Porter's Why Shouldn't I and has the solo spotlight to himself on two numbers – I'll Be A Friend With Pleasure, a tune that was granted immortality by Bix Beiderbecke's recording of it with Paul Whiteman's orchestra, and on of the more haunting of the old standards, Everything's Been Done Before.

Green, a trombonist of awesome versatility who is a graduate of several big bands, including Woody Herman's is the duet specialist in this set. In addition to his bit vis-a-vis Butterfield, he joins fellow trombonist Lou McGarity in a lovely version of Artie Shaw's Pastel Blue which is in the finest tradition of relaxed jazz playing. McGarity huffs along on "Fats" Waller's bouncing Keeping' Out Of Mischief Now.

Ernie Caceres, who has stopped briefly with most of the better big bands of the past twenty years (Glenn Miller, Goodman, T Dorsey and Herman head his list), is featured on What Do You Want To Make Those Eyes At Me For?, a number remembered for Berry Hutton's lusty rendition of it. Caceres changes the tenor of the tune but – clever fellow – he does it with a baritone saxophone. The lightly modern alto sax of Hal McKusick glides through Frank Loesser's Moments Like This, an old Maxine Sullivan specialty, while Lee Castle, the sure-lipped trumpeter who has also been known as Lee Castaldo during his tenures with Artie Shaw, Tommy Dorsey, Glenn Miller and others, recreates Duke Ellington's brilliant Morning Glory. The only new tune in the set, a worthy companion to the other well-seasoned selections, is Easy Now, embellished principally by Barry Galbraith's polished guitar work.

– John S. Wilson

From Billboard - February 23, 1957: A "Save on Records" selection in December, this is a solid commercial entry. While this is a "background" or "mood" type LP, it is in a jazz context and anything but musically innocuous. Three arrangers – Ralph Burns, George Siravo and Bill Stegmeyer – were given a big band for a session apiece and each produced some highly attractive settings for some lovely but neglected popular songs of the past. "Pastel Blue," which features he trombones of Urbie Green and Lou McGarity, would be a good demo band. The music is varied, but it is relaxed, melodic, danceable stuff that will have wide general appeal.

Robins And Roses - "Peanuts" Hucko, Clarinet
Why Shouldn't I - Urbie Green, Trombone and Billy Butterfield, Trumpet
What Do You Want To Make Those Eyes At Me For? - Ernie Caceres, Baritone Sax
Pastel Blue - Lou McGarity and Urbie Green, Trombones
Moments Like This - Hal McKusick, Alto Sax
I'll Be A Friend With Pleasure - Billy Butterfield, Trumpet
Keepin' Out Of Mischief Now - Lou McGarity, Trumpet
What's New - "Peanuts" Hucko, Tenor Sax
Morning Glory - Lee Castle, Trumpet
Easy Now - Barry Galbraith, Guitar
Let's Take The Long Way Home - Tony Scott, Clarinet
Everything's Been Done Before - Billy Butterfield, Trumpet

The Young Ones Of Jazz

Moon Song
The Young Ones Of Jazz
Twelve Outstanding Jazz Selections By America's New Jazz Greats
High Fidelity Jazz EmArcy
Jam Session
Mercury Records MG 36085

From the back cover: Youth, which is always bound to be served, gets some of its best servings in the world of jazz. Jazz is so much a music of youth – but not exclusively for youth – that it is difficult to think of even one jazz musician of high standing whose reputation was not well on the way to being made while he was still in his twenties – and his early twenties, at that. It is so much a music of youth that its giants can be established at an age when those undertaking other careers are only standing on the threshold.

That is certainly the case with Clifford Brown who, despite his death in an automobile accident in 1956 at the untimely age of 26, has won an unquestioned place as one of the most brilliant trumpet men in the history of jazz. Like Brownie, all of the stars in this album (with one exception) are in their twenties or have just crept over the line of thirty. They provide an impressive and exciting illustration or the new vitality that youth is constantly bringing to jazz in return for the opportunities for youthful recognition which the music offers.

The line-up of Young Ones tees off with Clifford Brown playing with the great group which he and Max Roach jointly led before the accident which ended the careers of both Brownie and the group's pianist, Richie Powell. Richie, Bud Powell's brother, wrote Gertrude's Bounce, a rhythmic, swinging piece named for a Chicago artist, Gertrude Abercrombie, whose walk, Richie explained, was just like the rhythm of the introduction. The Bounce includes a polished example of the more relaxed side of Clifford Brown's trumpet style. This group is filled out by Sonny Rollins on tenor saxophone and George Morrow on bass.

Morgana King, life Clifford Brown, was 26 when she made Frankie and Johnny. It is taken from her next long-playing record, which was the culmination of several years of study (including bath classical music and dramatics) and work in clubs in New York, Washington and Chicago.

The helpful influence of Lionel Hampton in the development of young talent is pointed up by this collection. Three of the seven Young Ones represented here have been given a boost up the ladder by Hampton: Brown, who achieved stardom with Hampton's band, Jackie Paris, who was encouraged to concentrate on his singing after working with Hampton as a vocalist, and trombonist Jimmy Cleveland who became known as a stand-out soloist during his four years with the Hampton band. Hampton had spotted Cleveland in a college band a year before he finally lured him away from Tennessee State University to join his trombone section. Jimmy was 29 when he made his first album under his own name in 1955. Little Beaver, which is taken from that album (EmArcy MG 36066), is Cleveland's own composition and features him with a group made up of Ernie Royal, trumpet; Lucky Thompson, tenor saxophone; Cecil Payne, baritone saxophone; John Williams, piano; Barry Galbraith, guitar; Paul Chambers, bass and Max Roach, drums.

John Williams, now 27 years old, made his first big impression when he was featured with Stan Getz at the age of 23. He made important contributions to several groups after that, including Jimmy Cleveland All Stars above, and finally got a recording date of his own (EmArcy MG 36061) at which he cut his blithe original, Okeefenoke Holiday, with Ernie Farrow on bass and Frank Isola on drums.

Nat Adderley has suffered a fate somewhat like that of another trumpet player, Charlie Teagarden – working in the shadow of an unusually talented older brother. Nat and his brother, Julian, who is more recognizably identified "Cannonball," rather than the retiring Nat, who drew the lion's share of attention at first. Nat has played trumpet on most of his brother's recordings and now, returning the favor, "Cannonball" plays alto on two of Nat's first recordings. Sun Dance and Little Joanie Walks. The rhythm section supporting the two Adderleys is made up of Horace Silver, piano; Paul Chambers, bass and Roy Haynes, drums.

As we have already noted, Jackie Paris was guided toward his career as a singer by his experience singing with Lionel Hampton's band in 1949. Before that he had been primarily a guitarist who also sang. After his term with Hampton, he dropped the guitar completely and with such success that he was voted the best new singer of 1953 in Down Beat's critic poll. All this may make Jackie sound like a veteran, but he's a veteran who has just turned 30. Manny Albam backs him up as arranger and conductor of That Old Devil Called Love and Wrap Your Troubles In Dreams.

Joe Sayer is the oldest among those Young Ones. Now all of 33, the Scottish Pianist is still quite new to American audiences. During his career in Great Britain, which began when he was featured on accordion with Roy Fox's band at the age of 14, he has led his own groups, worked with Coleman Hawkins and been featured frequently at Ted Heath's famous Palladium swing sessions. On Moon Song and I'll Know, his piano is complemented by the haunting flute of Herbie Mann with rhythm support provided by Barry Galbraith on guitar, Milt Hinton on bass and Sonny Payne at the drums.

Gertrude's Bounce - Clifford Brown
Frankie And Johnny - Morgana King
Little Beaver - Jimmy Cleveland
O Keefenokee Holiday - John Williams
Sun Dance - Nat Adderley
That Old Devil Called Love - Jackie Paris
Little Joanie Walks - Nat Adderley
Moon Song - Joe Saye
Wrap Your Troubles In Dreams - Jackie Paris
I'll Know - Joe Saye

The Exotic Guitars

Quiet Village
The Exotic Guitars
Solo Guitar: Al Casey
Arranged and Conducted by Bill Justis
Produced by Randy Wood
Cover Design: Charles Cordell Jr. thru the art division of Fanfare Studios, Del Compton, Director
Engineers: Thorne Nogar, Don Blake, John Wood and Ron Compton
Ranwood Records, Inc.
Stereo RLP-8104

From Billboard - November 25, 1972: The Exotic Guitars continue to provide beautiful listening pleasure. Best cuts: "Quiet Village," "Telestar," and "Spanish Harlem."

Cursing Down The River
You Can't Be True, Dear
The Shadow Of Your Smile
Cold Cold Heart
In The Mood
Quiet Village
You Made My Love You
Spanish Harlem

Friday, October 18, 2019

Strolling Mandolins - Raoul Meynard

The Song From Moulin Rouge
Strolling Mandolins
Raoul Meynard his Mandolins and Orchestra
The Irresistible Sounds Of An Italian Night
Cover Photo: George Jerman
Warner Bros.
W 1405 High Fidelity

Return To Me
Three Coins In The Fountain
Oh Marie
Come Back To Sorrento
The Song From Moulin Rouge
Neapolitan Nights
Non Dimenticar
Arrivederci Roma
Vieni, Vieni
Santa Lucia

The Shape Of Sounds To Come - Larry Elgart

Arkansas Holler
The Shape Of Sounds To Come
Larry Elgart
A&R: Grace Elgart
Recording Studio: Webster Hall
Engineers: Ray Hall & Don Miller
MGM High Fidelity SE3896

From the back cover: The word is Truth.

The Shape Of Sounds To Come will be realistic.

This is what bandleader / audio engineer Larry Elgart believes. "Our goal is to achieve realism." he says, "The major part of the recording industry has been going the other way."

The young, bearded alto sax player notes, "There's too much emphasis these days on 'getting a sound' or tricking a record for stereos. We've avoided this kind of thing. "When this record is played in stereo, the listener will be hearing the band as it sounds live. We've done everything known in electronic recording to give this stereo recording all of the true sound of the band."

Elgart and his pretty wife Grace, who supervises all his recording sessions, decided long ago that there were two approaches to the use of electronics in recording: "you can strive to make something larger than life and not be interested in the original material, or you can use science and electronic skills as tools to recreate the original material with authenticity."

The Elgarts chose the latter course.

Larry credits Grace with making his records as lifelike as they are. "She has terrific hearing and understanding of what we're striving for," he says. "After all, we've been together since we met as kids at 14. Our concepts have developed together. And women are most sensitive to distortion, but Grace is unusually so. She can also be objective about my playing, and the sound of everyone in the band.

While Larry is with the band in the studio, Grace is perched behind the panel in the control room, feeding information and instructions to the recording engineers. Every take of every selection is played back so that everyone in the band can hear his part. The Elgarts reason that technical skill alone cannot make a good record. The musicians have to be comfortable, and have to be able to hear how they sound. This is area in which Larry can speak with authority, because first and foremost he is a superb instrumentalist with technique to spare and tonal brilliance few can match.

To help attain clean, realistic sound, Elgart has his band stand while recording. "Most musicians get a better sound standing up." he says. "For instance, sax players don't rest their horns on their knees and change their embouchures. And playing while standing helps breathing. It's particularly good for balance because the guys don't play into their music stands."

Larry and Grace spend considerable time in advance planning for each album. This set was fermenting in their minds before the echo had died from the final sessions of "Sophisticated Sixties." An idea, usually the strongest facet of the previous recording effort, is developed – in this case, sheer sound.

But the sound was to be a true sound, not one cluttered with echo or dazzling effects. After all, the band, and not a recording studio, is what takes to the road to play for dancing and concerts. There would be emphasis on sound, but the sound would be that of the band.

A staff of crack arrangers who regularly write for the band contributed a dozen fresh arrangements. John Murtaugh wrote "Get Out Of Town," "You Stepped Out A Dream," "I've Heard That Song Before," "All The Things You Are and Ain't Misbehavin';" Marty Homes penned "Theme From the "The Ingrates;" and Elgart's first Cha-Cha, Tony's Wife; Bill Finegan arranged "More Than You Know," "I've Got You Under My Skin" and "Rain On The Roof:" Bobby Scott cleaved "Arkansas Holler": and Lew Gluckin arranged "Jackie's Tune."

From Billboard - April 17, 1961: The Larry Elgart band comes through with fresh, sparkling performances here of a group of standards that should interest the ork's many followers. The arrangements are modern and stylish, and the dancing beat comes through on every tune. Songs include "I've Got You Under My Skin," "Get Out Of Town," "Tony's Wife" and "All The Things You Are."

I've Got You Under My Skin
I've Heard That Song Before
All The Things You Are
Theme From "The Ingrates"
More Than You Know
Tony's Wife
Get Out Of Town
Ain't Misbehavin'
You Stepped Out Of A Dream
Jackie's Tune
Rain On The Roof
Arkansas Holler

Thursday, October 17, 2019

It's Over - Jimmy Rodgers

Lonely Tears
It's Over
Jimmie Rodgers
Arranged and Conducted by Jimmie Haskell
Produced by Randy Wood
Engineer: Hank Cicalo
Dot Records DLP 3717

Bass: Buddy Clark
Drums: Hal Blaine
Guitar: Ralph Grasso & Glen Campbell

From Billboard - July 2, 1966: Featuring his current hit single, "It's Over," the singer-composer has assembled a group of his new compositions in this easy listening and highly commercial package. "I Keep Thinking" and "Let's Go Away" have strong hit single potential. His adaptation of "Sloop John B" is a standout.

It's Over*
Let's Go Away*
Little Boy Born
Sloop John B
Land Of Milk And Honey
The Grass Is Greener*
Morning Means Tomorrow*
Lonely Tears*
Let's Stay Together*

* Original Compositions by Jimmie Rodgers

Glory Of Love - Herbie Mann

Upa, Neguinho
Herbie Mann
Glory Of Love
Produced by Creed Taylor
Cover Photographs: Pete Turner
Album Design: Sam Antupit
Recorded at Van Gelder Studio
Engineer: Van Geldger
Recorded July 26, 27: September 19; October 6, 1967
A&M Records / CTI


Flute: Herbie Mann (1, 2, 3, 4)

Piano: Roy Glover (1, 2)
Roland Hanna (2)
Paul Griffin (3)

Roy Glover (1, 2)
Roland Hanna (2)

Ron Carter (1, 2, 3)
Earl May (4)

Grady Tate (1, 2, 4)
Herb Lovelle (3)

Ted Sommer (3)
*Roy Ayers (4)

Ray Barretto (1, 2, 3, 4)
Ted Sommer (3)
Johnny Pacheco (3)

Eric Gale (1, 3)
Jay Berliner (3)
Sunny Sharrock (4)

Flute & Piccolo
*Hubert Laws (1, 2, 3)

Trumpet & Flugelhorn
Ernie Royal (3)
Burt Collins (3)

Benny Powell (3)

Joe Grimaldi (3)

(1) July 26, 1976
No Use Crying
Glory Of Love
Unchain My Heart
House Of The Rising Sun
Oh, How I Want To Love You

(2) July 27, 1967
In And Out

(3) September 18, 1967
Upa, Neguinho

(4) October 6, 1967
Hold On, I'm Comin'
The Letter
Love Is Stronger Far Than We

• Herbert Laws and Roy Ayers appear thought the courtesy of Atlantic Records

From Billboard - December 23, 1967: Under a special deal, Herbie Mann, an Atlantic artist, has recorded one album for A&M. The package is an excellent cross section of the performer's talents, with his flute interpretations ranging from highly commercial renditions of "The Letter." the title tune "Unchain My Heart" and "House Of The Rising Sun" to his stylized "Upa Neguinho" and "Love Is Stronger Than We." While all the songs are done well, the latter group is the best.

No Use Crying (arranged and conducted by Roy Glover)
Hold On, I'm Comin' (arranged and conducted by Herbie Mann)
Glory Of Love (arranged and conducted by Roy Glover)
Unchain My Heart (arranged and conducted by Roy Glover)
House Of The Rising Sun (arranged and conducted by Roy Glover)
The Letter (arranged and conducted by Herbie Mann)
Upa Neguinho (arranged and conducted by Herb Bernstein)
Love Is Stronger Far Than We (arranged and conducted by Herbie Mann)
Oh, How I Want To Love You (arranged and conducted by Herbie Mann)
In And Out (arranged and conducted by Herbie Mann)

Tuesday, October 15, 2019

Meet Jack Reno

How Sweet It Is
Meet Jack Reno
Jab Records Series
Produced by Buddy Killen
Cover Photo: Walden S. Fabry
Cover Design: Loring Entemey
Recorded at Columbia Recording Studios, Nashville
Recording Engineers: Selby Coffeen & Charlie Bragg
Atco Records SD 33-251
A Division Of Atlantic Recording, Corporation

From the back cover: It's 1967. We sit in Buddy Killen's office in Nashville, home of Jab Records, talking music business shop talk. Buddy's desk a picture of organized confusion. Small mountains of unopened mail and demonstration tapes dwarfed by larger mountains of similar stuff, already opened.

"Hey, man, I want you to hear something."

Buddy, co-owner and producer of Jab Records, aims his hand in the direction of a medium sized mountain and plucks out a box of tape and it is quickly spinning on the deck at 7 1/2. Twin speakers on the wall pour out a liquid voice. "Repeat after me... darling I love you." Warm. Rich. "...I really need you." A strong, sure delivery, no gimmicks necessary, Buddy and I sit there digging the sound as it flows from the wall speakers. I like it. My introduction to Jack Reno.

It's later. Two months later. Jack Reno's record comes to me in the mail for review in Cash Box magazine. Radio stations across the country get copies at the same time. Deejays who know Jack as a fellow member of the radio society (he's a key jockey at WXCL in Peoria, Ill.) are introduced to Jack Reno the singer.

Still later. This time only a few days. Stations begin playing the record. Over and over. The warm voice spins on hundreds of studio turntables. Travels over thousands of miles of airwaves. Beams out of scores upon scores of radio speaker. Millions of listeners meet Jack Reno.

Now it's 1968. May. "Repeat after me" has become a smash success and Jack Reno is suddenly known from border to border. Fan clubs spring up. His second record has just been released and now there's no long waiting period. Stations are playing it heavily. Fans are out in the stores to get their copies. "How Sweet It is... to be in love with you." Same warm voice. Same sureness of delivery. And now it's time for an album. It has to be a strong album. Like Jack's voice. It has to have good songs all the way. – Tom McEntee - Country Editor, Cash Box Magazine

From Billboard - July 13, 1968: Jack Reno's current Jab Records Series hit single "How Sweet It Is (To Be In Love With You)" and his former hit "Repeat After Me" should help spark this, his debut album, to sales success since both are included here. But, the other 10 cuts are appealing as Reno sings Ferlin Husky's "Just For You," Henson Cargill's "Skip A Rope," and the standard "A Fallen Star" in fine style.

Just For You
Skip A Rope
A Fallen Star
Before The Bird Flies
Repeat After Me
You're Gonna Have To Come And Get It
How Sweet It Is (To Be In Love With You)
Music Is (The Language Of Love)
The Memory
Birds Can't Fly That High
The Market Place

Bill Hayes Sings The Best Of Disney

Bill Hayes Sings The Best Of Disney
With Don Costa's Orchestra and Chorus
Produced by Don Costa and Sid Feller
Cover Design: Bob Crozier
Cover Photography: Alan Fontaine
Engineering by Frank Abbey
ABC- Paramount ABC 194

From the back cover: To give these songs a proper setting and an interpretation worthy of Disney's own gauge of perfection, what better performer could be selected than the handsome and affable Bill Hayes? A thorough master of the vocal art, Bill began his professional career as a $10-per-week singing telegram boy for Western Union. Holding a master's degree in music from Northwestern University, he studied opera for a year at Roosevelt University (Chicago), then accepted his first role in professional show business with the Chicago company of "Carousel." His complete success in the exacting role earned him a starring spit in Olsen & Johnson's "Funzapoppin'," in which he toured the United States and Canada. The famed TV producer, Max Liebman, seeing the performance one evening, signed the talented youngster immediately as featured vocalist on the hour-and-a-half series, "Your Show Of Shows," starring Sid Caesar and Imogene Coca. During the show's summer hiatus from the tele waves, Hayes added to his thespian art by playing in stock in the strawhat circuit, which led to his motion picture debut in the Warner Brother's production, "Stop, You're Killing Me." Not long after, Bill was signed as featured juvenile lead in the musical comedy "Me And Juliet," by Robert and Hammerstein, which forced him to give up his stint on "Show Of Shows." Some two years later, after his emergence as a full-fledged star of musical comedy – based on his overwhelming success in "Me And Juliet," Hayes returned to the television scene and recordings, coming up with his fabulous waxing of "Davy Crockett." To date, the record has sold well over two million copies, and is still in demand.

It was Hayes' substantial success with "Davy Crockett" which prompted executives of ABC-PARAMOUNT to sign him to a recording contract late in 1956, when casting about for a singer to do justice to two new Walt Disney songs, "Wringle Wrangle" and "Westward Ho The Wagons," from the picture of the latter title. This also propelled Hayes, once again, into hundreds of thousands of homes via the turntable route. Shortly thereafter, it was decided to compile the album of the best Disney, and Bill Hayes emerged as the logical choice to delineate these great songs for you.

Ferdinand The Bull
Lavender Blue
When I See An Elephant Fly
One Song
Wringle, Wrangle
Lazy Countryside
'Twas Brilling
When You Wish Upon A Star
Whale Of A Tale
Bella Notte

Dancing Over The Waves - Ray Anthony

Dancing Over The Waves
Ray Anthony
Capitol Records ST 1028

Dancing Over The Waves
This Is Our Love Song
Beautiful Lady
Cantabile Serenade
My Dream Of Jeanie
Martha's Song
Serenade To A Dance
Your Sweet Face
Melody Of Romance

Love Story - Hollywood Sound Stage Orchestra

I Love You, Phil
Hollywood Sound Stage Orchestra Plays Scores From The Paramount Picture Love Story
Composed by Francis Lai
And Other Romantic Film Favorites From Film Sound Track Scores
Recorded under the direction of D. L. Miller
A Damil U.S.A. Production
Stereo Gold Award GA-31
Manufactured by Haddon Record Corp.

Theme From Love Story
Snow Frolic
I Love You, Phil
The Christmas Trees
Love Story
A Love For All Seasons
Mozart: Piano Concerto No. 21
Nocturne For Lovers
Never Sorry

Gigi & My Fair Lady - John Senati

The Street Where You Live
Lerner And Loew's
Gigi & My Fair Lady
John Senati conducting the Bravo "Pops" Symphony Orchestra
Bravo! K104

I Could Have Danced All Night
I've Grown Accustomed To Your Face
On The Street Where You Live
Get Me To The Church On Time

Fabulous Hollywood - Frank DeVol

Return To Paradise
Fabulous Hollywood!
The Hollywood Sounds of Frank DeVol and His Orchestra
Columbia CL 1371

From Billboard - October 12, 1959: Big, string-filled orchestral readings of a group of top, all-time favorite screen hits. Selections include "Tammy," "Return To Paradise," "Gigi," "An Affair To Remember" and "Love Letters." Lush insturmentations with some beat here but the set is more listening than dancing. Lovely lady on the cover is inspecting the foot and handprints of Grauman's Chinese Theater in Hollywood, which sets the tone for the album well.

My Foolish Heart
Golden Earrings
Love Letters
True Love
Third Man Theme
Unchained Melody
Around The World In 80 days
Return To Paradise
An Affair To Remember
Love Is A Many-Splendored Thing

Very Frenchy - Jo Courtin

Toi L'Andalu
Very Frenchy
Direct From The Sidewalks Of Paris
Jo Courtin
Recorded by President Records, Paris
High Fidelity King International 2005

From Billboard - August 22, 1960: Courtin plays a musette accordion with full rhythm accompaniment, resulting in a set of instrumentals with the Continental touch. This is one of King's new International series. Material includes standards, most of them French, but many familiar to Americans.

Track list as it appears on the disc label:

C'est Ca L'Amore
Le Marchand De Bonheur
Toi L'Andalu
Nathanlie S'en Va
Fete A Napoli
Les Flons Flons Due Bal
Le Bar Des Amours D'un Soir
Strange Tango
Ole Amigo
La Valse A Mille Temps

Saturday, October 12, 2019

Tops In Pops Artists

Montuno In G
Tops In Pops Artists
Evon 312

Preacher And The Bear - Pee Wee Hunt
After The Ball - Fred Burton
Annie Laurie - Ted Nash
Montuno In G - Noro Morales
Barcarolle - The Three Suns
Sometimes I Feel Like A Motherless Child - Sarah Vaughan
The Whiffenpoof Song - Lanny Ross
Willow, Tit Willow - Marty Green
Rose Of Tralee - Frank Connors
Alohe Oe (Farwell To Thee) - Lani McIntire

Intoxicating Peral Bailey

Empty House Blues
The Intoxicating
Peral Bailey
Photo by Wesley Bowman
Mercury Records MG 20277

I'm Gonna Keep On Doin' What I'm Doin'
I've Taken A Fancy To You
Here You Come With Love
That's What You Think
Call Me Again When You're In Town
It Figures
The Saga Of My Life
What Will We Do On Sunday
You've Got It Made
Who Me? I'd Love It
Empty House Blues
Love 'Im, Love 'Im, Love 'Im

Wednesday, October 9, 2019

The Lennon Sisters Sing Twelve Great Hits

Harbor Lights
The Lennon Sisters Sing Twelve Great Hits
Arranged and Conducted by Milt Rogers
Cover Photo by Russ Halford
Dot Ultra Stereophonic Recording DLP 25292
Mfd. for Teleklew Prod. Inc.

From Billboard - July 11, 1960: The Lennon Sisters sell a group of familiar tunes with verve and sparkle on this bright new waxing. Hits range from "Among My Souvenirs," "Melody Of Love" and "Now Is The Hour." to "You Are My Sunshine" and "Harbor Lights." The gals sound very good on this waxing and the album could be a strong seller.

Among My Souvenirs
Mississippi Mud
Repeat After Me
Forever And Ever
Mexicali Rose
Harbor Lights
Melody Of Love
Tumbling Tumbleweeds
Choir Of Angels
You Are My Sunshine
Now Is The Hour
A Little Street Where Old Friends Meet

The Lennon Sisters' Favorites

Autumn Leaves
The Lennon Sisters' Favorites
Arranged and Conducted by Jimmie Haskell
Jimmy Haskell appears through the courtesy of Capitol Records
Produced by Ted Mack
Dot DLP-25481
Mfd. for Teleklew Prod. Inc.

The Green Leaves Of Summer
Scarlet Ribbons
Kisses Sweater Than Wine
My Rosary
Beautiful Ohio
Bei Mir Bist Du Schön
My Favorite Things
Lida Rose
Autumn Leaves
Kentucky Babe
Ave Maria

Stan Getz - Chick Corea & Bill Evans

Stan Getz
The Chick Corea / Bill Evans Sessions
The 1964 and 1967 recordings, machine Getz with the pianistic brilliance of Corea and Evan; also with Elvin Jones, Richard Davis, Ron Carter and Grady Tate.
Originally Produced by Creed Taylor
Reissue Prepared by Robert Hurwitz
Cover Art: Dave Hefferman
Art Direction: Beverly Parker (AGI)
Reissue Engineer: Ed Outwater
Mastering: Bob Ludwig (Masterworks)
Recorded in New York City, March 1967
Verve VE-2-2510
1976 Polydor Incorporated
Previously released on albums V6-8833 and V6-8693

From the cover: Getz, who is currently into his fourth decade of pacesetting tenor playing, joined Woody Herman's Second Herd in 1947 at the tender age of 20, after three years of cross-country touring under such diverse leaders as Stan Kenton and Benny Goodman. In late 1948 the Herd recorded "Early Autumn," a Getz ballad feature that established his lyrically warm but sonically cool approach as the style for tenor saxophonists to pursue.

The solo's success allowed Getz to lead his own group from 1949 on, but it did not turn him into a one-dimensional musician. In 1950 Getz emphasized his commitment to more intense blowing on some marvelous live recordings made at George Wein's old Boston club Storyville. "It's fun swinging and getting hot for a change instead of trying to be cool," Getz told Leonard Feather at the time. "I don't want to become stagnant. I can be a real stomping tenor man.

For all the polls he won without interruption during the decade, the '50s were a time of crisis for Getz. A brief but unhappy stint as a studio musician, a failing marriage, drug busts, a suicide attempt, six months in a California Jail, an auto-crash that almost killed one of his sons, a near-fatal case of pneumonia, and the increasing hostilities of black musicians all took their toll; in July 1958, Getz and his Danish second wife fled the United States for the outskirts of Copenhagen. When Getz returned in January 1961, John Coltrane had established himself as the dominant trendsetter among tenor saxophonists. Getz could have accommodated as eager group of reactionary listeners who felt Coltrane's way was somehow "anti-jazz," but sedate rehashing of "Early Autumn" and "Moonlight In Vermont" were not what he had in mind. He proceeded to hire such young explorers as Steve Kuhn, Jimmy Garrison and Scott La Faro, and at the close of '61 undertook the soloist's role in Eddie Sauter's ground-breaking work "Focus."

Then, without warning, success struck for the second time. In early 1962 Getz and Charlie Byrd recored some new tunes the guitarist had brought back from Brazil. The resulting album, Jazz Samba (and its lead tune "Desafinado"), became a Top Ten hit and brought Getz his first Grammy Award. Bossa nova was the musical sound of the moment, thanks to the Getz/Byrd recordings, and the smart business move was to place Stan in additional Brazilian settings. Verve responded accordingly, matching Getz with Luis Bonfa, Laurindo Almeida and Gary McFarland's big band bossa nova," but the saxophonist refused to fall into a samba somnolence. In clubs, he condescendingly referred to his hit time as "Dis Here Finado"; in the recording studio, he hosted the 1963 summit meeting with Bill Evans, Elvin Jones, Richard Davis and Ron Carter, included on this collection's first record.

The pairing of Getz and Evans had been anticipated for years, as both players represent the epitome of lyricism, attention to nuance, and quiet strength. The real stroke of genius on the part of Getz, Evans and producer Creed Taylor was in the choice of a rhythm section. Elvin Jones, who was lighting brilliant percussive fires under Coltrane at the time, brought out the assertive side of both soloists. As Getz appreciatively told Leonard Feather a year after the session, "Elvin's a wonderful drummer... so wide and loose." These adjectives could also apply to Ron Carter and Richard Davis, two then up-and-coming bassists with distinctively iconoclastic approaches to the modern mainstream. Each had previously worked productively with Eric Dolphy, a sign of their inquisitive natures.

As many performances of the '60s Getz left the choice of material to others. Evans clearly called the tunes here: "Night And Day' and "My Heart Stood Still" appeared on early Evans trio sessions, and a recent live album found the pianist still playing "But Beautiful." Getz came to this session intending to blow, and if occasional reed squeaks and honked low notes suggest that he may have been forcing it a bit, we generally hear a master in inspired, heated flight, far from the polite niceties of the stark contrast to his more commercial work of that time that kept the Getz/Evan sessions unissued for a decade.

Night And Day
But Beautiful
My Heart Stood Still
Grandfather's Waltz
O Grande Amor
Sweet Rain
Con Alma

Tuesday, October 8, 2019

After Hours - Sarah Vaughan

Black Coffee
After Hours
Sarah Vaughan
Photo by Hugh Bell
Columbia CL 660

From the back cover: Rarely a popular singer in the commercial sense, Sarah's talents are nevertheless both popular and commercial, as the proprietors of any club or theater are able to attest. (For that matter, several of the numbers in this collection, notably "Thinking Of You", "I Cried For You" and "Perdido", made the best-seller lists). This sort of thing is a steady note in her career, which has gone forward and upward steadily ever since her debut. Her first public appearance were in Newark, N.J., where she sang in the choir of her church. Entering an amateur contest at the Apollo Theater in New York, she won not only the first prize, but a week's engagement, appearing with Earl Hines' orchestra. Before the week was up, Hines offered her a permanent berth with his group, which also featured Billy Eckstine.

After Hours
Street Of Dreams
You Taught Me To Love Again
You'er Mine, You
My Reverie
Black Coffee
Thinking Of You
I Cried For You
Deep Purple
Just Friends

Hits Again 3 - Klaus Wunderlich

Theme From "Shaft"
Hits Again 3
Klaus Wunderlich
Hammond with Rhythm
Telefunken SLE 14 694-P

Avenues And Alleyways
I'm On My Way

Speak Softly Love
You're A Lady
Theme From "W"

Oh Lonesome Me
Kiss Me

Last Date

Look At Me
Delta Queen


Theme From "Shaft"
If You Could Read My Mind

Crocodile Rock

I Will Follow Him
Wig-Wam Bam

Sugar Me
Standing In The Road

An Evening With Franklyn MacCormack

Beyond The Brightest Star
An Evening With Franklyn MacCormack
Organ Accompaniment: Adele Scott
Producer: Jerome V. Man
Cover Art: Tru-View Studios
Cover Art: Tru-View Studios
IRC International Recording Co.

From the back cover: Since March of 1958, MacCormack has been starred on "The-All-Night Meister Brau Showcase." a six and one-half hour program on WGN radio in Chicago. Several awards have been given to the show which can be heard throughout most of the country. Ratings and surveys have shown that his show has more listeners than any other all-night program. It is significant to note that the Peter Hand Brewery, brewers of Meister Brau, have been his sole sponsor during this time.

Why Do I Love You?
Because You Love Me
Good Night Son
My Lonely Heart
Beyond The Brightest Star
I Cannot Be Alone
The Time To Remember
When The World Was Young
This Is All I Ask
September Song

Pal Joey - 101 Strings

Overture - Bewitched - My Funny Valentine
101 Strings Play Hits From Rodgers and Hart Pal Joey
And Victor Herbert's The Red Mill
Stereo Fidelity
Manufactured by Miller International Co.

Pal Joey
My Funny Valentine
The Lady Is A Tramp
I Could Write A Book
I Didn't Know What Time It Was

The Red Mill
Because You're You
Everyday Is Ladies Day With Me
In Old New York
Isle Of Our Dreams

Linda's Player Piano - Linda Carillon Berry

Linda's Player Piano
Linda Carillon Berry and Her Player Piano
Audio Fidelity
AFLP 1846

Mary Lou
When Your Hair Has Turned To Silver
Under The Double Eagle
In The Evening
I Never Knew What Moonlight Could Do
La Golondrina
Beer Barrel Polka
Jolly Coppersmith
National Emblem March

'Gator Tails - Williw Jackson

Someone To Watch Over Me
'Gator Tails
Willis Jackson
Arranged by Robert Banks & Claus Ogerman
Director of Engineering: Val Valentin
Cover Photo: Chuck Stewart
Cover Design: Any R. Lehman
Produced by Creed Taylor
Recorded at A&R Studios, N.Y.C.
Phil Ramone, engineer
Verve V/V6-8589

I Almost Lost My Mind
The Crocodile
On Broadway
Swimming' Home Baby
The Skillet
Frankie And Johnny
Someone To Watch Over Me
Lonesome Road
Early One Morning

Monday, October 7, 2019

Feel Good! Look Great! - Debbie Drake

Exercise Number 6
Feel Good! Look Great!
Exercise Along With Debbie Drake
Noel Regney and His Orchestra
Produced by Clifford Snyder
Epic STEREO/BN 26034

From Billboard - February 9, 1963: A package designed for sales. Where TV exercise queen Debbie Drake is seen regularly, it should do especially well, but it can rack up consistent sales elsewhere too. There are 38 different exercises. Each is explained first by Debbie, then accompanied by the Noel Regney Ork. A folder also find Miss Drake illustrating each dance through a series of 192 photos.

Swing Me An Old Song - Julie London

After The Ball
Swing Me An Old Song
Julie London
With Jimmy Rowles and His Orchestra
Producer: Si Waronker
Engineers: Ted Keep & Don Gallese
Color Photography: Garrett-Howard
Cover Design: Pate/Francis & Associates
Liberty Records, Inc. LRP 3119

From Billboard - July 20, 1959: Julie London provides something new in the old-song area. She thrushes the quaint oldies in her usual sultry, sexy fashion, with pleasant jazz-flavored backing by Jimmy Rowles Ork. Effective, unusual wax for jocks. Selections include "Comin' Thru The Rye," "Old Folks At Home," etc.

Comin' Thru The Rye
Cuddle Up A Little Closer
After The Ball
Be My Little Bumble Bee
Camptown Races
Old Folks At Home
Downtown Strutters' Ball
How Come You Do Me Like You Do
Row, Row, Row
By The Beautiful Sea
Bill Bailey, Won't You Please Come Home
Three O'Clock In The Morning

Black And White Magic - Winifred Atwell

Strangers In Paradise
Black And White Magic
Magic Fingers, Volume 1
Winifred Atwell and Her Pianos
London Records LL 1246

From the back cover: She (Atwell) was born in Tunapuna, Trinidad, and started to learn the piano at the age of four. At six she had already given Chopin recitals at local concerts. Her father was a chemist, and Winifred was sent to study pharmacy in order that she might eventually take over the family business. But the urge to become a pianist was too strong and eventually she got parental permission to study music full time. She gave classical recitals at the Service Clubs in Piarco, where one day somebody bet her she couldn't play boogie-woogie. Winifred proved that she could by turning up next day with a composition that was eventually recorded under the name of Five Finger Boogie.

In 1946 she came to England and studied the piano under Harold Craxton, at first playing only one or two minor concert engagements. Then came a chance to go into variety. The producer, Eric Fawcett, was working out the idea for a show that was to be called "Sepia", starring Adelaide Hall and Edric Connor. He took a chance with the unknown Winifred Atwell, and her performance of a piece called Voodoo Moon proved to be one of the best parts of the program. Her really big break came when as agent put her in a charity show in a big London theatre in place of an actress who, at the last moment, was unable to appear through illness. She was a great success and was immediately signed by Bernard Delfont on a long-term contract. The first theatre she played at was the Empire Theatre, Belfast, soon followed by a twice-nightly spell at the London Casino, and a period with Edmundo Ros at the Bagatelle Restaurant. In the last few years she has headed her own shows sharing the bill with Frankie Howerd and other top line entertainers. Her recent triumphal tour in Australia has confirmed the world-wide popularity of the girl from Trinidad.

In 1951 she made her first record with London; this was The Gypsy Samba And Manzanilla. The second record, on one side of which was Jezebel, became a bestseller, but it was Black And White Rag which undoubtedly made her out of the top entertainers in this country. To suit the old style of the George Botsford ragtime tune she had chosen, she found an old tiny piano, and the intriguing tones of this instrument started a craze for this kind of recording. She always called this her "other" piano. More recordings of this type followed, Jubilee Rag, Britannia Rag, Dixie Boogie and Coronation Ray, most of them her own compositions, interspersed with her South American rhythm numbers and novelty items like the barrel-organ take-offs of popular waltz tunes. It was perhaps the rags, more than anything else, that became the Atwell trademark.

One of her greatest triumphs was her fortnight at the London Palladium. By now she was no longer the stage-shy beginner, but the polished and confident performer with a warn and charming personality. At this Mecca of all variety artists, English and American, Winifred Atwell has a tremendous success, with the natural result that anything she recorded from then on automatically became popular favorite. She capped all this being invited to appear at the 1952 Royal Command Variety Show.

Choo-Choo Samba 
Jubilee Rag
Stranger In Paradise
Swanee River Boogie
El Cumbanchero
Dixie Boogie
The Black And White Rag
17th Century Boogie
Buda Buda
Flirtation Waltz
Dinah Boogie

Sunday, October 6, 2019

Mambo At The Waldorf - Xavier Cugat

Mambo At The Waldorf
Xavier Cugat and His Orchestra
Columbia Records CL 732

Mambo At The Waldorf
Yo Quiero un Mambo
Mambo Gallego
Mambo Gordo
Mambo en Espana
Mambo No. 8
Sax Cantabile
La Cumparsita
Mambo Retozon

Frankie Carle's Sweethearts

Frankie Carle's Sweethearts
Frankie Carle, Piano with Rhythm Accompaniment
Photo: Mitchell Bliss
RCA Victor LPM-1222

From the back cover: Frankie is a leader of that school of musicians who believe firmly in letting the melody be heard. Not for him the intricate pianistic pyrotechnics (though he's perfectly able to play them), the start-and-stop rhythms, the overloaded arrangements affected by lesser artists. Frankie plays the tune straight in a danceable rhythm, and gets variety by a careful, subtle use of dynamics. accents and decorations. For all its apparent simplicity, Frankie's playing is very sophisticated. such artful simplicity is the true sign of the master musician.

The only thing spectacular about the Carle career is the fame that has followed the years of obscure drudgery during which he was "learning by doing" all the tricks in the expert musician's bag of tricks. Mastery like Frankie's of keyboard, orchestra and music comes only after many years of experience, and Frankie has had plenty of them.

It's a big head start, of you want to be a musician, to have one in the family. As a boy in his native Providence, Rhode Islan, Frankie had a musical uncle, Nicholas Colangelo, throughly trained in European conservatories, who was only too glad to teach his nephews. The catch was the nephew wanted none of it, thank you – he wanted to be a boxer. But eventually parental persuasion and perhaps his own changing inclinations led him to study piano with Uncle Nick. He made fast progress, so fast that he had his first music job when he was nine and wrote his first song – for Frankie is a first-rate composer of pop music – when he was thirteen.

In his teens and twenties he had a variety of music jobs all over New England, and played with some of the best sidemen of the day. His rise to fame really began in 1939, when he joined Horace Heidt's band as solo pianist and, later, co-leader. It was during his five years with Heidt that his name as a composer spread. His Sunrise Serenade, a smash hit in '39, was only one of a series of great Carle tunes, including Lover's Lullaby; Oh, What It Seemed To Be; Deep In Your Eyes and Blue Fantasy.

He went out in '43 with his own band, opening at one of the country's biggest hotel spots, the New York Statler. He caught on at once and skyrocketed into the top bracket of banddom's elite. A star ever since on radio and TV, in night spots and hotels, he's achieved his most phenomenal success on records, of which more than fifty million have been sold.

Oh Marie!
Peg O' My Heart
For Me And My Gal
Sweethearts On Parade
I Wonder What's Become Of Sally
You Were Meant For Me
You And I