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Tuesday, June 18, 2019

Laurie London

The Cradle Rock
Laurie London
England's 14-Year Old Singing Sensation!
Recorded in London
Capitol Records T10169

From the back cover: One of the phenomena of the record world in 1958 was the emergence of a 14-year-old English lad with a million-selling entry – the first song he ever recorded.

Laurie London still is a schoolboy, despite his fame.

He attends classes on Whitechapel Road in London along with others his age. Never has he had a music lesson. Nor is either of his parents particularly musical.

Yet Laurie London's simple, warm way with a lyric has charmed millions of listeners. His Capitol record of He's Got The Whole World In His Hands became a gigantic hit long before Laurie's boyish, adolescent face was ever seen b y American and Canadian audiences.

Laurie's triumphal appearances on Ed Sullivan's popular television show, beamed throughout North America from New York, merely enhanced his remarkable popularity. But then Laurie, his mother and father promptly returned home so that the lad wouldn't miss his classes on Whitechapel Road.

This is, of course, Laurie's first long-playing record. He is accompanied by Geoff Love's orchestra and the Rita Williams Singers of London, the very same who helped him record his first best-selling "single" disc.

Capitol is privileged to present a 14-year-old sensation whose career as an entertainer, obviously, is just getting started. But what a start!

He's Got The Whole World (In His Hands)
Handed Down
The Gospel Train
The Cradle Rock
I Gotta Robe
Pick A Bale Of Cotton
Joshua Fit The Battle Of Jericho
I'm Gonna Walk And Talk With My Lord
Up Above My Head I Hear Music In The Air
Basin Street Blues
Casey Jones

Monday, June 17, 2019

This Song's For You - Sherry Bryce

This Song's For You
This Song's For You
Sherry Bryce
Produced by Dick Glasser
Recorder: Ed Struzick
Mixer: George Soule
Background Vocals: Lea Jane Singers
Strings Arranged by D. Bergen White
Cover Design and Photography: Herb Burnette, Pinwheel Studios
Graphic Production: Bill Ward
MGM Records
M3G 5000

This Song's For You
Lay It Down Easy
For Husbands And Lovers
Baby Blue
Love Song
Alabama – The Heart Of Dixie
I Love Loving You
Hang On Feelin'
Simple Goodbye Song

Sounds Of The Drags - The Blasters

Sounds Of The Drags
The Blasters
Crown Records
Hi-Fidelity CLP 5392

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

Black marks seen on the left side of the cover are manufacturing (printing) errors.

Hot Rod Center
Black Pick Up
Don't Count On The Looks
Long Gone
Steering Wheel Stuck
Little Willys Dragster
Big Green Vet
Bad Rubber
Oil Burner
Chopped And Channeled

Sunday, June 16, 2019

Million Seller From The Movies - 101 Strings

Samantha's Theme
Million Seller From The Movies
101 Strings
Arranged and Conducted by Jack Dorsey
Manufactured by Alshire International
Alshire S-5252

Theme From Shaft
Summer Of '42
One Tin Soldier
Fiddler On The Roof
Samantha's Theme
Theme From Sherman's Heroes
Ghost Riders
Elvira Madigan Theme
Prairie Trails

Thursday, June 13, 2019

Donald Martino - Notturno / Charles Wourinen - Speculum Speculi

Speculum Speculi
Donald Marino / Notturno
Charles Wuorinen / Speculum Speculi
Speculum Musicae / Daniel Shulman & Fred Sherry, Conductors
Nonsuch H-71300
Recorded February 1974 at Rutgers Presbyterian Church, New York

Speculum Musicae:

Paul Dunkel: Piccolo, Flute & Alto Flute
Steve Taylor: Oboe
Virgil Blackwell: Clarinet & Bass Clarinet
Daniel Reed: Violin & Viola
Fred Sherry: Cello
Donald Palma: Contrabass
Ursula Oppens: Piano
Richard Fitz: Percussion

From the back cover:

Donald Martino (b. 1931, Plainfield, N. J.) studied composition with Ernst Bacon at Syracuse University, with Milton Babbitt and Roger Sessions at Princeton University, and with Luigi Dallapiccola on a Fullbright Grant in Florence, Italy; Martino holds music degrees from Syracuse and Princeton universities. He has taught at Princeton and Yale and has been a visiting lecturer on contemporary music at the Berkshire Music Center (where, in 1973, he also occupied the distinguished post of Koussevitzky Composer-in-Residence). Since 1969, Martino has been chairman of the Composition Department at the New England Conservatory.

Among his numbers awards have been commissions from the Paderewski Fund of Boston, Berkshire Music Center-Fromm Music Foundation, Naumburg Foundation, University of Chicago (for the Chicago Symphony), New York State Council on the Arts, and the National Endowment for the Arts. Other distinctions include the Brandeis University Creative Arts Awards Citation in Music, BMI-SCA Awards, two Guggenheim fellowships, and an award from the National Institute of Arts and Letters. In May 1974, Donald Martino received the Pulitzer Prize for Music for Notturno.

Charles Wuorinen (b. 1938, New York) has to date composed over 100 works of all genres, and he is also active as performer, conductor, teacher, and writer. He holds degrees from Columbia University and an honorary doctorate from Jersey City State College, and has taught at Columbia and Princeton universities, the New England Conservatory, University of Iowa, University of South Florida, and the Manhattan School of Music.

In 1970, Wuorinen received the Pulitzer Prize for Music for his electronic work Time's Encomium. Other distinctions have included the Lili Boulanger Memorial Award, BMI-SCA Awards, Bearns Prize, Brandeis University Creative Arts Awards Citation in Music, Alice M. Ditson and Guggenhiem fellowships; commission from the Ford, Koussevitzky, Namburg, and Fromm foundations, Berkshire Music Center, New York State Council of the Arts, and the National Endowment for the Arts (for the New York Philharmonic). He has also been honored by the American Academy of Arts and Letters.

Speculum Musicae ("A Mirror of Music"), a chamber ensemble devoted to the performance of music ranging from early-20th-century "classics" to newly commissioned works, consists of 15 young instrumentalist noted – individually and in ensemble activities – for outstanding accomplishments in contemporary music-making. Speculum Musicae's first appearance (1971, at the Public Theatre of New York) was followed by a formal debut at Town Hall in 1972 resulting from a Young Concert Artists award. Since its inception, the ensemble has toured the U.S.A. widely to enthusiastic acclaim. In 1972, Speculum Musicae was honored with the first Walter W. Naumburg Music Award, enabling the group to give two concerts at New York's Alice Tully Hall and to commission new works. The results of these commissions are heard in this recording – Speculum Musicae's first appearance on Nonsuch.

Donald Martino
Nottruno (1973)
For piccolo/flute/alto flute, clarinet/bass clarinet, violin/viola, cello, piano, percussion (vibraphone, marimba, xylophone, glockenspiel, 6 temple blocks, 3 gongs)
Daniel Shulman, Conductor

Charles Wuorinen
Speculum Speculi (1972)
For flute, oboe, bass-clarinet, contrabass, piano, percussion (vibraphone, 4 drums, 3 gongs)
Fred Sherry, conductor

The Brazilian Mood - Antonio Carlos Jobim

Useless Landscape
The Wonderful World Of Antonio Carlos Jobim
The Brazilian Mood with Nelson Riddle
The Composer of "The Girl From Ipanema" and "One Note Samba" Sings His New Songs
Produced by Jimmy Hilliard
Engineer: Lowell Frank
Cover Photo and Art Direction: Ed Thrasher
Warner Bros. 1611

She's A Carioca
Aqua De Beber
Useless Landscape
So' Tinha De Ser Com Voce
A Felicidade
Samba Do Aviao
Por Toda A Minha Vida

Cuadro Flamenco - Los Macarenos

Cuadro Flamenco (Flamenco Portrait)
Los Macarenos
Cover Photo: George Jerman / Photography 2
Produced in the USA by Dave Dexter, Jr.
Capitol Records T 10301

*Sung by Manolo Sanchez
**Sung by Santiago de Cordoba
†Danced by Quique de Grana
Guitarists: Alfonso Labrador & Juan Segura

From Billboard November 6, 1961: A splendid album of native Flamencan music recorded in Barcelona. The sound is unusually crisp and with the glittering guitar music, abetted by enthusiastic shouts, hand-clapping and foot stomping, the set could qualify as a sound album. There are a dozen titles in all, and every one is performed with great verve and excitement. Can be recommended for the obvious markets involved.

Chirigotas de Cadiz*
Seguiriya y Solea †
Fandangos de Almeria**
Historia de un Amor*
Fandangos de Huelva**

Saturday, June 8, 2019

Jo + Jazz - Jo Stafford

Jo + Jazz
Jo Stafford
Arranged and Conducted by Johnny Mandel
Featuring Ben Webster, Johnny Hodges, Ray Nance, Jimmy Bowles & Don Fagerquist
Photo: John Engstead
Columbia CS 8361

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: This album, the most casual hearing will quickly confirm, is something very special. It marks a departure unique in Jo Stafford's recording career, though completely in keeping with everything her name stands for in music.

While Jo is generally acknowledged to be one of the classic singers in the popular field, her acceptance in terms of the printed word has not always matched the enthusiasm accorded to some of her peers. Critics tend to draw an arbitrary line between so-called "pop music" singers and jazz vocalists, though anyone who saw Jo trading choruses with Ella Fitzgerald on a TV spectacular last year will agree that there are more elements uniting them than dividing them.

Three factors give this program its remarkable character. First, it was decided to surround Jo with several outstanding instrumental soloists, whose reputation in their field is comparable with Jo's in hers. Second, tunes were selected that have built a long and honorable reputation in both popular music and jazz. Third, all these components had to be tied together by an arranger with ideas sympathetic to Jo and the soloists.

Johnny Mandel was an inspired choice for this duty. Only 35, a native New Yorker now living near Los Angeles, he has worked in a multitude of jobs, ranging from TV staff writing, and a number of name band engagements as trumpeter or trombonist (including five months in Count Basie's brass section in 1953) through a series of West Coast studio assignments, of which his magnificent film score for I Want Love is the best known. Johnny has had extensive experience as a writer of background music for a variety of singers from Annie Ross to Gary Crosby and the stars on the pioneer TV Show of Shows.

Because Jo is one of the most distinguished alumnae of the Tommy Dorsey band, and because several men long identified with the Duke Ellington orchestra took part in these sessions, inevitably half the material chosen had a Dorsey or Ellington association. But the songs, which are from 13 to 34 years old, were selected mainly on the basis of their suitability for the musical wedding achieved on these sides. – Leonard Feather

Just Squeeze Me
For You
Midnight Sun
You'd Be So Nice TO Come Home To
The Folks Who Live On The Hill
I Didn't Know About You
What Can I Say After I Say I'm Sorry
Dream Of You
Day Dream
I've Got The World On A String

Super Mann - Herbie Mann

Super Mann
Herbie Mann
Recorded at Power Station, NYC
A Patrick Adams Productions, Inc.
Engineers: Bert Szerup & Scott Litt
Assistant Engineers: Jeff Kendrickson & Joan Rotondi
Sound Place, NYC Engineers: Ralph Moss
Assistant Engineers: Robin Martinez & Tim Benedict
Photography: Jim Houghton
Art Directions: Bob Defrin
Atlantic Recording Corporation
SD 19221


Flutes: Herbie Mann
Keyboards: Patrick Adams, Nate Adderly, Jr. Thom Bridwell, Leroy Burgess & John Cooksey
Guitars: Clarence Burke, Stan Lucas & Ken Mazur
Fender Bass: Norbert Sloley
Drums: Richard Taninbaum
Percussion: Eddie Colon, John Cooksey & Michael Lewis
String & Brass Contractor: Jeff Delinks

Vocalists: Krystal Davis, Venus Dodson, Merle Medvene, Bruni Pagan, Sheila Pate, Jocelyn Shaw, Pete Warner & Christine Wiltshire (contractor)

Superman (Produced by Patrick Adams, Ken Morris & Stan Lucas)
Etagui (Produced by Patrick Adams & Ken Morris)
Jisco Dazz (Produced by Patrick Adams & Ken Morris)
Rock Freak (Produced by Patrick Adams & Stan Lucas)
Stomp Your Feet (Produced by Patrick Adams & Leroy Burgess)
Body Oil (Produced by Herbie Mann & Patrick Adams)
Django (Produced and Arranged by Patrick Adams)

Swing And Sway - Sammy Kaye

Rio Rita
Swing And Sway
Sammy Kaye and His Orchestra
Designed For Dancing / One Of A Series
RCA Camden CAL 355

Rio Rita
Stairway To The Stars
Sweet Leilani
Blue Skies
When You Wish Upon A Star
Alexander's Ragtime Band
A Pretty Girl Is Like A Melody
Say It Isn't So
How Deep Is The Ocean
Penny Serenade
Moon Love

Friday, June 7, 2019

Then There Was Light - Hubert Laws Vol. 1 & 2

Then There Was Light
Hubert Laws
Vol 1 & 2
Produced by Creed Taylor
CTI Records CTI 6065 & 6066
A Division of Creed Taylor, Inc.
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded February, 1974
Cover Photograph by Pete Turner
Liner Photograph by Pete Turner
Album Design: Rene Schumacher
Previously Released as CTX 3+3 – A 2 Record Set

Vol. 1

All arrangements by Hubert Laws except Gymopedie #1 arranged by Bob James - In The Beginning arranged by Clare Fischer - Come Ye Disconsolate arranged by Bob James and Hubert Laws

Flute: Hubert Laws
Bass: Ron Carter
Drums: Steve Gadd
Percussion: Airto, Dave Friedman (vibes)
Guitar: Gene Bertoncini
Keyboard: Clare Fischer (electric piano in The Beginning), Bob James (all piano and electric piano solos except in The Beginning), Richard Tee (organ Come Ye Disconsolate)
Tenor Saxophone: Ronnie Laws
Violin: David Nadien
Viola: Emanuel Vardi
Cello: George Ricci

In The Beginning
Come Ye Disconsolate

Vol. 2

Arranged by Hubert Laws

Flute: Hubert Laws
Bass: Ron Carter
Drums: Steve Gadd
Percussion: Airto, Dave Friedman (vibes)
Guitar: Gene Bertoncini
Keyboard: Clare Fisher (piano Mean Lene), Rodgers Grant (piano Mean Lene), Bob James (all piano and electric piano solos)
Tenor Saxophone: Ronnie Laws

Moments Notice
Mean Lene

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

I Love You - Elek Bacsik

Tea For Two
I Love You
Elek Bacsik
Produced by Bob Thiele
Engineer: Bob Simpson
Front & Back Cover Photos: Dale Thorsen
Liner Photos: Ray Roos
Design: Haig Adishian
A Product of Bob Thiele Music, LTD
Bob Thiele Music BBL-1-0556
Manufactured and Distributed by RCA Records - New York, N.Y.


Oliver Nelson
Hank Jones
Richard Davis
Bucky Pizzarelli
Ray Mantilla
Richard (Pablo) Landrum
Elvin Joes
Grady Tate

From the inside cover: Bacsik, a gypsy, was born in Budapest on May 22, 1926. At four, he had started playing violin, and three years later, was already into Mozart. While growing up playing gypsy music, Bacsik was also preparing for a career as a concert violinist, studying at the conservatory in Budapest with George Cziffra.

The war, however, turned everything "upside down," as Bacsik puts it. He was in the army for three years, and after the war, he left Hungry for Vienna, and later for Switzerland where he played what he calls "continental music" on violin, cello, cymbalum, and other stringed instruments. (He is, by the way, self-taught on all the instruments he plays, except for the violin. And while still in Hungry, he became renowned as that country's leading jazz guitarist only a relatively short time after having taken up the instrument for the first time).

Elek Bacsik's European odyssey included stays in Lebanon, Italy, Spain, Portugal and Paris. In that latter city, he performed with nearly all the key French and visiting American jazzmen from 1959 to 1966. Bacsik was best known in France as a guitarist, but as this album demonstrates, Elek is also an extraordinary virtuosos of the jazz violin.

Coming to the United States in 1966, Bacsik first toured with a gypsy band, then was based in Los Angeles for a time. Among his other musical experiences on the west coast was a tour with a near-eastern band backing a belly dancer. The band needed a bouzouki player and Elek, a half hour after he had picked it up, was manipulating that challenging instrument, he recalls with gusto, "as if I had been playing it all my life."

Since 1967, Bacsik has been in Las Vegas. Most of the time during the past four years he has been a characteristically resourceful member of the orchestra at the International Hotel. Now, with the release of I Love You, Bacsik, should soon be expanding his American scope by playing in major jazz clubs throughout the country, for he surely is one of the more vividly swinging musicians on the scene – on any scene anywhere.

From Billboard - July 27, 1974: This gypsy violinist-guitarist is a master musician, and his treatment of classic standards and originals is very noteworthy. While he plays guitar on only one track, he shows his versatility as a jazz musician. Back up musicians include Olvier Nelson, Richard Davis and the Jones brothers (Hand and Elvin). Best Cuts: "I Can't Get Started, " "Donna Lee," "Tea For Two," Blues For Elek." Dealers: The cover art is very appealing and with the violin in the mainstream. Play selected cuts.

I Love You
Blues For Elek
Valse Triste
Season Of The Rain
Tea For Two
They Can't Take That Away From Me
Donna Lee
I Can't Get Started

The World Of Country - Jeannie C. Riley

The World Of Country
Jeannie C. Riley
Hilltop by arrangement with Share Records
1972 Shelby Singletown Corporation
A Product Of Pickwick International, Inc.
Pickwick JS-6119

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

From the back cover: Jeannie's entire life is centered around music. She has an exceptionally large collection of records which she constantly plays. For relaxation she likes to take a drive in her car. As she explains it, the drives not only give her a chance to be alone, but also the opportunity to listen to the radio and find out the current trends in music in all fields. Many people have wondered whether Jeannie C. Riley is an impish pixie or in reality like "sock-it-to-em" sexpot from the mythical Harper Valley. The hazel eyed beauty is in fact very much a young woman with the likes and dislikes of the the feminine world.

The real Jeannie C. Riley is truly a very warm and human person, but she is also a person with a great amount of curiosity. Perhaps this is why she's never too busy to stop and chat with everybody, but when she does it's usually Jeannie that has all the questions.

The Wedding Cake
I Almost Called Your Name
We Were Raised On Love
I Love Him
A Change Of Heart
He Made A Woman Out Of Me
Darkness Falls
My Man
Thin Ribbon Of Smoke

Guitar Moods - Elario

Girl From Ipanema
Guitar Moods
All Arrangements with the exception of "Romanza de Amor" by Elario
EPI - Elario Production Inc. - New Orleans, LA
Recorded at Wild Dog Studio - Gentilly, LA
Engineer: Bill Strong
Photography: Sid Bowman
Jacket Design: Judi Lozano
Produced by Elario Productions Inc.
Instruments: Ovation Instrument Corp., Ignacio Fleta, Arcangel Fernandez

Girl From Ipanema
Theme from "Love Story"
Lara's Theme from "Dr. Zhivago"
Romanza De Amor
La Virgen De La Macarena
Manha De Carnival from "Black Orpheus"
El Condor Pasa
Theme from "The Godfather"
Theme from "The Sting"

Thursday, June 6, 2019

10 Trombones Like 2 Pianos - Pete Rugolo

Willow Weep For Me
10 Trombones Like 2 Pianos
Pete Rugolo And Orchestra
David Carroll: Recording Director
Mel Chisholm: Recording Engineer
Mercury Records PPS 6001


Session 1 (May 10, 1960)

Conductor: Pete Rugolo
Tenor Trombones: Frank Rosolino, Bob Fitzpatrick, Vern Friley, Herbie Harper, Milt Bernhart, Bob Pring, Harry Betts and Joe Howard
Bass Trombones: Kenny Shroyer and Russ Brown
Pianos: Russ Freeman and Johny Williams
Bass: Red Mitchell
Drums: Shelly Manne

Session 2 (May 12, 1960) as Session 1 except:

Tenor Trombones: Dick Nash replaced Herbie Harper and Dick Noel replaced Joe Howard
Bass Trombone: George Roberts replaced Russ Brown
Piano: Claude Williamson replaced Johnny Williams

From the inside cover: Pete Rugolo was born in San Piero, Patti, Sicily on Christmas day in 1915. His parents brought him to the United States when he was five. He was raised in Santa Rosa, California.

Pete inherited much of his musical talent from his father who loved opera and played banjo and baritone horn. Pete himself played baritone horn in his high school band. In the school orchestra he played French horn. In the dance orchestra he played piano. Thus, even as a teenager, Rugolo became personally acquainted with the various instruments of the orchestra.

"I studied myself." Pete affirms. "I just listened to records. I'd listen to a Duke Ellington record maybe a hundred times. I learned by trail and error."

Rugolo received his BA degree at San Francisco State College. He then studied with Darious Milhaud (as did Dave Brubeck) and received his MA at Mills College.

"You know I always loved tone colors," Pete recalls, "I used to listen then mostly to Stravinsky, Ravel, Debussy and Bartok. When I started composing and arranging, people said I was too modern. And you known, I didn't care!"

Rugolo's first job as a professional instrumentalist was with the famous Johnny Richards. The job was at Hermosa Beach, in southern California.

"We all wrote fantastic wild arrangements. In those days we didn't worry about public acceptance. And the whole band rehearsed regularly every afternoon before the job," Pete remembers.

This Johnny Richards band was basically in the Lunceford style.

"However," says Pete, "we used flutes, waltz introductions, everything! This was a very experimental band!"

Then in November 1942, Rugolo went into the army. During the war he met Stan Kenton. He started arranging for Kenton and, on his discharge from the army at the end of 1945, he joined the Kenton organization. Rugolo's associations with Kenton produced some of the most historic compositions and arrangements in jazz.

In 1949 Pete Rugolo went to New York as musical director for Capitol Records.

He had unique and unprecedented success at Capitol. He discovered, developed, signed, arranged for and recorded so many artists who are, today, the biggest names in the business. He produced some of the earliest records for Nat King Cole (the first string dates), Mel Torme, June Christy, Peggy Lee, Miles Davis (the historic Cool album), Woody Herman, Charlie Barnet, Lennie Tristano and Harry Belafonte – to mention but a few.

Then Pete was called to Hollywood to work for MGM studios.

"I did 25 film scores in four year," he notes.

During the middle fifties he did a tour with his own 20 piece orchestra. However, he was so overwhelmed with studio assignments that he was forces to disband, after just a few months.

For the last five years Pete has been constantly busy composing and arranging in all media – films, records and television. TV producer Dick Powell points out: "Pete Rugolo's scoring was one of the major factors in making our Richard Diamond series so different and so popular. No one but Pete could have written such exceptional music."

From Billboard - February 6, 1961: Here's a solid entry in Mercury's new Perfect Presence Sound Series with strong appeal for sound fans. Rugolo's inventive arranging genius is utilized to great effect on a group of standards and originals, including "Love Is Here To Stay," "Willow Weep For Me" and "Like Love." Stereo effects are fine with 10 trombones and two pianos split between two speakers. Bass and drums complete the ork. Handsome double-fodld album packaging.

Moonglow and Theme From "Picnic"
Let There Be Love
Like Love
Willow Weep For Me
Intermission Riff
Love Is Just Around The Corner
Angel Eyes
Love Is Here To Stay
It's A Most Unusual Day
Basin Street East
Ten Trombones Like

Romantic Riviera - Bruno Canfora

Romantic Riviera
Bruno Canfora and His Orchestra
Art Direction: Ken Kim
Original Dischi Ricordi Production - Italy
Monument Record Corp. SLP 18056

Monaco Concerto
La Mer
Volare (Nel Blu Dipinto Di Blu)
Love In Portofino
Venezia, La Luna E Tu
Vitti 'Na Crozza
Santa Lucia
Luna Caprese
Torna A Surriento

Hi-Fi Hammond Vol. 2 - Jackie Davis

You Don't Know What Love Is
Hi-Fi Hammond
Vol. 2
Jackie Davis
Produced by Bill Miller
Capitol Records T1517

From the back cover: A "volume two" album nearly always indicates a highly successful predecessor. This one is certainly no exception. The first "Hi-Fi Hammond" was a hard-to-match hit. But both Jackie Davis and Capitol Records sincerely believe that this one tops it, with Jackie playing at his very best and the most advanced recording techniques providing the ultimate in fine sound. Those who have interest in the technical "how" and "why" of the sound can read about it below. But, first and foremost, here's some information about the music and the man at the console.

Jackie Davis has a very rare knack for translating fluid jazz-flavored ideas into terms the Hammond can deal with. And when this is expertly done, the electronic organ can indeed, deal with them in a way that no other instrument can. It has the potential sound of a big band, and when Jackie goes into action his uptempo style brings forth all the cracking force of brass and percussion sections at full power; his ballad treatments are full, yet rich and mellow.

Jackie's success on records is matched by his popularity at clubs across the country, where a Davis engagement always calls for many happy returns. His repertoire is probably as vast as any artist's ever has been or will be. And the selections here are some that draw the best response from his audiences.

There are many more things that cane be told about Jackie – he received his B.A. degree in music from Florida A&M and got his early inspiration from listening to Art Tatum and Fats Waller (Notice their influence on Jackie's piano style, too, where he has "overdubbed" in two selections.) But the things he likes most to get across to people can be learned best through listening to his music. He has a great way with the Hammond, and it follows that nearly everyone who hears him play soon agrees that it's about as good a way as there is!

From Billboard - March 20, 1961: Jackie Davis at the organ always means enjoyable listening and this new album is no exception. It is Volume 2 in this series and it features strong performances of a group of standards by Davis, over swinging drum backings. The tunes include "Walkin' My Baby Back Home," "I Hadn't Anyone Till You," "Star Eyes" and "Without A Song." Stereo recording adds depth and color to the swinging performances.

Walkin' My Baby Back Home
You Don't Know What Love Is
Without A Song
I'll Never Stop Loving You
Stop At My House
I Hadn't Anyone Till You
Sweet And Lovely
Star Eyes
I Would Do Anything For You
Just Friends

Tuesday, June 4, 2019

The Best Of Bostic

The Best Of Bostic
King Records, Inc. - Cincinnati, Ohio

From the back cover: A name that has always been high on the list of great jazz musicians of our era is the King Of The Alto Sax, Earl Bostic.

Although Earl has been recording for the past ten years, his true genius was not recognized by the general public until fairly recently.

Earl was born in Toledo, Ohio. Becoming interested in music through a friend of his who played in a local orchestra, Earl started playing in the high school band at Booker T. Washington High School in Toledo, and that is the start of what is to become a fabulous musical career. Earl attended Xavier University in New Orleans and most of his musical knowledge was taught to him by a nun there.

Besides being recognized as to top alto man in the music world, Earl is quite an arranger as well as composer. He made his first musical arrangement in high school on "St. Louis Blues" by humming the parts and writing them down. He has composed many of his recorded hits and also such tunes as "Let Me Off Uptown," "The Major And The Minor" and "Brooklyn Bridge" that were recorded by his fellow musicians and became big successes.

Earl has played with many great bands – Don Redman, Cab Calloway and Lionel Hampton to name a few. Before forming his present small combo, Bostic did arranging for Louis Prima for over six years, Lionel Hampton for two years and Jack Teagarden for one year. He made his first recording in 1942 with The Lionel Hampton Sextext where he played alongside such greats as Red Allen, J. C. Higginbotham, Sid Catlett, Teddy Wilson and the great Hamp.

Included in this first 12" long playing album by Earl Bostic are some of the biggest hit recordings that Earl has had released on single records. His rendition of "Flamingo" is recognized by the jazz purist, as well as the layman, as being one of the greatest arrangements of this particular standard. "Serenade," "I Can't Give You Anything Buy Love," "Always," "I'm Gettin' Sentimental Over You," all great standards, as well as some originals that Earl is so famous for – "What No Pearls," "Seven Steps," "Don't You Do It" – to name a few – are included here.

Deep Purple
Smoke Rings
What No Perals
Jungle Drums
I Can't Give You Anything But Love
Seven Steps
I'm Getting Sentimental Over You
Don't You Do It
Steamwhistle Jump

Easy Beat - Bobby Hackett

Too Close For Comfort
Easy Beat
The Bobby Hackett Quartet
Produced by Andy Wiswell
Cover Photo by George Jerman / Photo 2
Capitol Records ST 1413

From the back cover: To stretch out, eyes closed, in an easy chair, and lend a pleasure-loving ear to the mellow sounds of the Hackett horn... to move, eyes closed, across an uncrowded floor in the arms of a graceful partner, propelled by the easy Hackett beat. There are few more satisfying experiences.

Long a leading light of swinging-music fans, Bobby Hackett gained his widest fame riding his round tones atop the smooth sound of Jackie Gleason's mood music. Here the unhackneyed horseman bobs up again, this time with something a bit different though equally delightful.

Back by a trio of excellent rhythm men, namely Pepe Morreale on piano, Bill Cronk on bass, and Buzzie Drootin on drums, Bobbie stays within the relaxed, expressive middle range as he proceeds to create the pretty shapes and colors that are so inimitably his. In the process he proves once again that the beat can be felt, lightly swung, at even the easiest tempos. The pulse the dancer seeks is always there, like the skip implicit in the child's barefooted saunter. What results here is a program of performances to be prized – equally good for listening and dancing.

From Billboard - July 11, 1960: Backed by piano, drums and bass, Hackett's trumpet comes thru prettily indeed. Beautiful sound, in a set of danceable arrangements of "Embraceable You," "Take the 'A' Train," "Sleepy Lagoon," etc.

I'm In The Market For You
Embraceable You
Mr. Wonderful
'Tis Autumn
Take The "A" Train
Bright Eyes
Too Close For Comfort
Anytime, Anyway, Anywhere
What's New?
C'est Fini
Prelude To A Kiss
Sleepy Lagoon

Steel Guitar Favorites - Jerry Byrd

Steelin' The Blues
Steel Guitar Favorites
Jerry Byrd
Mercury Records MG 20345

From Billboard - May 12, 1958: Long a big name in the country and Hawaiian fields of steel guitar strumming, Jerry Byrd shows his talents to advantage in a hand-picked list of perennial favorites. His fans will delight in his smooth, clean twanging on such ditties as "Steel Guitar Ray" and "Georgia Steel Guitar" or the gentle hula beat of "Cocoanut Grove."

Steelin' The Blues
Steel Guitar Rag
Cocoanut Grove
Texas Play Boy Rag
Limehouse Blues
The Jitterbug Waltz
Panhandle Rag
Steelin' The Chimes
Wang Wang Blues
Georgia Steel Guitar
Wabash Wah-Wah Blues
Gold Coast Blues

Monday, June 3, 2019

Premiere! - Frank Perkins

The Frustrated Floorwalker
Frank Perkins And His "Pops" Orchestra
A Collection Of Original Orchestral Novelties
Decca Records DL 7551 (10 Inch Disc)

From the back cover: Frank Perkins was born April 21, 1908, in Salem, Massachusetts. Although all members of his family were intensely fond of music in all its forms, not one was a performer except his mother, who played light classics on the piano for her own amusement. Frank was educated in the local public schools, graduated from the Moses Brown School in Providence and the even better know Brown University in the same city. In 1929 he got his Ph.B. in – of all things – Economics.

By the time he graduated he was practically a one-man orchestra. Although his specialty was the piano, he could play organ, trombone, saxophone, and all the instruments of percussion, drums, tympani, etc. During college and after, he studied with various private instructors, including, Tibor Serly, the noted music educator who was a student of the famous Hungarian composer Bela Bartok.

All of this equipped him as a well-rounded musician. In college he had his own successful dance band and, after traveling briefly in Europe, returned to America to become a song writer. In 1934 he joined Fred Waring and His Pennsylvanians and remained with them as arranger until 1938, when he went with Warner Brothers as conductor and composer. Since 1946 he has devoted more and more time to his own compositions, achieving many screen credits for his motion picture work.

Here is a collection which presents Perkins in a series of moods and a range which covers almost the entire gamut of musical effects.

From Billboard - July 3, 1954: Frank Perkins's first Decca album is a collection of original orchestral novelties by the conductor himself. Many of them are charming, and the overall effect is light, romantic and thoroly enjoyable. However, Perkins well-known in the movie background music field, has yet to build a reputation in the record market, and both his name and the instrumentals in this album will be unfamiliar to the average disk buyer. Fans of David Rose, Mantovani and Bernie Wayne should find Perkins to their liking.

Kentucky Trotter
The Deserted Patio
Popgun Patrol
The Frustrated Floorwalker

Touch Of Genius - George Shearing

Touch Of Genius
The George Shearing Quintet
MGM Records E90
Lowe's Incorporated

From Billboard - October 6, 1951: The smooth subtlety of George Shearing Quintet is put handsomely on parade in a package of eight fresh selections, none available previously. The bulk of the album is given to the proven Shearing method of applying his style and sound to standard ballads. Delicate and fresh approach to these evergreens with emphasis on melody line make the lustrous lure for the Shearing brigades. Three of the selections are instrumental originals, structurally modern and aurally quite intriguing. Shearing fans and modern jazz hound will find considerable pleasure in this album.

My Silent Love
Midnight Mood
If You Were The Only Girl In The World
I'll Never Smile Again
They All Laughed
We'll Be Together Again
Loose Leaf

I Hear Music - George Shearing

So Is This Cuba?
I Hear Music
The George Shearing Quintet
MGM Records E155 (10 Inch Disc)
Lowe's Incorporated

I Hear Music
Over The Rainbow
Easy Livin'
I Don't Stand A Ghost Of A Chance With You
Wait Until You See Her
Lonely Moments
So This Is Cuba?
How High The Moon

Sunday, June 2, 2019

The Mello-Larks & Jamie

Whatever Lola Wants
The Mello-Larks and Jamie (Dina)
Epic LN 1106

Whatever Lola Wants
Gideon Bible
Shoeless Joe From Hannibal, Mo.
Here I Am In Love Again
Dum-Dum Widdy

Here's That Rainy Day - Paul Horn

Here's That Rainy Day
Here's That Rainy Day
The Paul Horn Quintet
With Voices
Arranged and Conducted by Ralph Carmichael
With The Ralph Carmichael Singers
Produced by Al Schmitt
Recorded in RCA Victor's Music Center of the World, Hollywood, California
Recording Engineer: Dave Hassinger
Liner Notes: Patrick Regan
RCA Victor LSP-3519

Paul Horn - Clarinet, Flute, Bass Flute and Alto Flute
Bill Plumber - Bass
Ralph Carmichael - Arranger and Choral Director
Lynn Blessing - Vibes
Bill Goodwin - Drums
Mike Long - Piano

Who Can I Turn To (When Nobody Needs Me)
Here's That Rainy Day
How Insensitive (Insensatez)
The Shadow Of Your Smile (Love Theme from "The Sandpiper")
In The Wee Small Hours Of The Morning
Girl Talk
Moment To Moment
On A Clear Day (You Can See Forever)

Thursday, May 23, 2019

¡Que Buena Esta... Elena!! - Elena Madera

Canto Karabali
¡Que Buena Esta... Elena!!
The Torrid Voice Of Elena Madera
With Lou Perez and His Orchestra
Produced by Pedro J. Rosaly, Jr.
Cover Photo: Columbia Photo Studio - Henry Parker
Columbia Special Products
Special Archives Series
EXRP 1760

From the back cover: Elena Madera is famous throughout Latin America for her brilliant performance of "Pepito," her own composition. Elena's father was West Indian and her mother Cuban; she herself grew up in New York City. She first achieved success as a dancer at New York's Palladium. Later she appeared in Mexico City as a nightclub entertainer.

In her first Columbia collection, Elena is heard with her popular Cuban composer and arranger Lou Perez in twelve songs that demonstrate the many facets of her intriguing personality. Both as a singer and composer, Elena creates great excitement.

El Pollo Se Me Escapo
Sonando Contigo
La Botella
Tu Eres Todo
Hermosa Tierra
Que Buena Esta Elena
Tu Seras
La Golondrina
Canto Karabali
La Comparsa

The Best Of Wanda Jackson

The Best Of Wanda Jackson
A Delightful Dozen Of Her Best And Biggest!
Producer: Ken Nelson
Starline Capitol Records ST 8-2883

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

From the back cover: Almost everyone who listens to music knows the name Wanda Jackson, and for a pretty good reason. Wanda's fame has not been confined to one field. She has had big Country songs, hit "rock and roll" numbers, records in the "pop" music charts, not to mention smash hits in Germany, Japan and Holland, singing the songs in the native tongues of those lands. ("Santa Domingo," her great German hit sung in German, is included in this album.)

Such popularity has led to Wanda's being a big box-office attraction all over North America, Europe and Asia. I don't have to tell you how pretty Wanda is, how warm her personality both on and off the stage, nor do I need to elaborate about this "poised and polished performer on the podium." But I can tell you fans some of the background that led to the worldwide stardom of this famous Oklahoma girl.

Some years ago, Tom Jackson brought his dark-haired daughter to my dance at the Trianon Ballroom in Oklahoma City. Wanda was a very young teen-ager, just blossoming into womanhood. She had on a colorful Western costume that her mother Nellie had made for her. I might add that it did fit tight in all the right places.

Wanda came up on stage and sang with my band. She cut a few corners on the meter, missed a few chords on the guitar, and was a little awkward with the microphone – which, with her volume of voice, she didn't need anyway. But the people loved this pretty girl with the trumpet tonsils.

Wanda had been performing since she was a small child. She even had her own radio show on a local station, in the afternoons after school was out. In the summer, I got her to travel with the band and me on some tours. We used her regularly on our TV show and Saturday night dances. In fact, I'll never forget when Wanda first started appearing on our television program. We were doing the show "live," and during one appearance she forgot the words to her song. Then I came along and messed up the words on one of my numbers.

Wanda said, "Hank, now I don't feel so bad, when I hear you sing the wrong words to a song."

And I said, "That's good, but Wanca, I wrote that song originally. So I didn't really miss the words; I just re-wrote them on the show."

I think maybe that was a kind of inducement, because right after that Wanda stated writing songs herself, and she has created a lot of her own big numbers. I don't think she missed the words too often nowadays!

I have proudly watched Wanda progress from those days, steadily and confidently maturing the talent that was so obvious even then. As one big Wanda Jackson fan to another, let me tell you that you are holding in your hands one of the very best albums she has ever made. That's saying a lot, because she's made some great ones. I particularly like this one because it has so many of her finest performances.

I'd like to suggest that you take the record out, and put it on your player, and get set for hours of good listening.

Hours of listening in one album?

That's right, my friend, because you're going to be playing this one over and over again!

– Hank Thompson

From Billboard - March 9, 1968: The many facets of Wanda Jackson are reflected in this LP. Her scope branches many forms of music, but she specializes in country songs such as "Right or Wrong," "The Violet and the Rose," and "Kickin" Our Hearts Around." But to demonstrate how capable she is, here's also "Santo Domingo," a hit for her in Germany, sung in German. Here's also one of her rock songs – "Let's Have A Party" – from years ago.

Right Or Wrong
In The Middle Of A Heartache
If I Cried Every Time You Hurt Me
The Violet And The Rose
Santo Domingo
Tears Will Be The Chaser For Your Wine
I Wonder If She Knows
Kickin' Our Hearts Around
Reckless Love Affair
Let's Have A Party

Wednesday, May 22, 2019

My Favorite Things - The Organ Masters

My Favorite Things
My Favorite Things and Other Hits
The Organ Masters
Produced by Ethel Gabriel
Recording Engineer: Bob Simpson
Recorded in Webster Hall, New York City

My Favorite Things
A Minute Of Your Time
Lo Mucho Que Te Quiero
I Love You You Love Me
Goodnight My Love
I'm Gonna Make You Love Me
What The World Needs Now Is Love
Happy Hurdy Gurdy Man
Beautiful Morning
Aura Lee