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Saturday, January 19, 2019

Si! Si! M. F. - Maynard Ferguson

Si! Si! - M. F.
Maynard Ferguson and His Orchestra
Produced by Teddy Reig
Arrangements by Willie Maiden
Design: Moskof - Morrison Inc.
Photo: Chuck Stewart
Roulete Birdland Series SR 52084

Maynard Ferguson - Trumpet
Donald Arthur Rader - Trumpet
Rufus Jones - Drums
Gene Arnold Goe - Trumpet
John C. Gale - Trombone
Michael Christian Joseph Abene - Piano
Lincoln B. Milliman - Bass
Lanny Morgan - Alto Sax
Kenneth Harold Rupp - Trombone
William R. Maiden - Tenor Sax
Donald J. Menza - Tenor Sax
Frank J. Hittner Jr. - Sax
Natale Pavone - Trumpet

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

From Billboard - October 27, 1962: Maynard Ferguson is back once again with another LP tailored to the likes of big band fanciers. The album is nicely programmed between solid swing tracks and easy ballads, all done in an instrumental view. The band is ripping and roaring on the LP and the set features solid choruses by Maynard on trumpet, and good solo work from alto and tenor sax, trumpet and rhythm section. There's nothing Latin about the album but the title tune "Si Si," which emerges as one of the better tracks as do "Morgan's Organ" and "Early Hours."

What'll I Do
Early Hours
Morgan Point
Si! Si! - M. F.
Almost Like Being In Love
Morgan's Organ
Born To Be Blue
Straight Out

Jazz Of The Connecticut Traditional Jazz Club 8

Do What Ory Say
Jazz Of The Connecticut Traditional Jazz Club 8
Recording Engineer: Glenn Allen
Album Design: Andrew Heminway
Mastering & Editing: Glenn Allen, Pete Campbell, Bill Sinclair
Album Notes: Pete Campbell
CTJC - SLP - 8 Stereo

From the back cover: The Connecticut Traditional Jazz Club, Inc., that durable organization devoted to the preservation, documentation and presentation of the Traditional Jazz art, delights in offering this eighth album featuring selections from the 1972 archives.

We have noted before that jazz is an international language and that language has been spoken between our album covers of the past. But 1972 was an even more international year, for no less than three bands from across seas graced our concerts. Two of them, the famous "Papa But" Viking Jazzband from Denmark and the French High Society Jazz Band are contained herein, the latter in a combination jam session with the New Orleans Funeral and Ragtime Orchestra led by Dick Miller and Woody Allen. Barry Martyn's Ragtime Band made its fourth annual trek from England and can be heard on ConnTrad SLP 4.

The Popular Red Onion Jazz Band inaugurated what was to be a year notable in ConnTrad history. In addition to the variety and international flavor to the music, the club sponsored its first riverboat jazz cruise featuring the New Black Eagle Jazz Band led by transplanted British cornetist Tony Pringle. And a smashing success it was. The momentum was maintained by the most ambitious of the annual picnics. Over 250 members, guests and offspring heard a New Orleans band led by Percy Humphrey, and including Louis Nelson, Chester Zardis, Alfred Lewis and Louis Barbarin, blast the leaves from the trees under a warm September sun.

St. Louis Blues / Old Fashion Love / Royal Garden Blues
Hayes Alvis' Pioneer Of Jazz
Hayes Alvis - Bass / Leader, Doc Cheatham - Trumpet, Herb Hall - Clarinet, Clyde Bernhardt - Trombone & Vocal, Jimmy Evans - Piano, Wilbert Kirk - Drums
Meriden, Conn. 3/18/72

When Erastus Plays His Old Kazoo / 1919 March
Southhampton Dixie, Racing & Clambake Society Jazz Band
Bill Barnes - Cornet / Leader, Joe Ashworth - Clarinet, Roy Rubinstein - Trombone, Ted Prochazka - Piano, Connie Worder - Banjo, Barry Bockuss - Bass, Richard Barron - Drums
Bridgeport, Conn. 1/29/72

Do What Ory Say / The Chrysanthemum Rag
"Papa Bue's" Viking Jazzband
Arne "Papa Bue" Jensen - Trombone / Leader, Keith Smith - Trumpet / Vocal, Jorgen Svare - Clarinet. Jens Solund - Bass, Jorn Jensen - Piano, Knud Ryskov Madsen - Drums
Meriden, Conn. 7/7/72

Bugle Boy March
New Orleans High Society Funeral And Marching Band
John Bucher & Pierre Merlin - Cornets, Pierre Atlas & Woody Allen - Clarinets, Daniel Barda & Dick Dreiwitz - Trombones, Martine Morel & Dick Miller - Piano, Marshall Brickman - Banjo, Fredy Yzerman - Tuba, Teddy Hocquemiller - Drums
Wallingford, Conn. 4/21/72

Friday, January 18, 2019

Jazz Of The Connecticut Traditional Jazz Club 10

My Sweetie Went Away
Jazz Of The Connecticut Traditional Jazz Club 10
Recording Engineer: Glenn Allen
Album Design: Andrew Heminway
Mastering & Editing: Glen Allen, Pete Campbell, Bill Sinclair
Album Notes: Club Members
CTJC - SLP - 10 Stereo

From the back cover: This, we suppose, can be called our 10th "Anniversary Album", since it represents selections from our tenth full ConnTrad Concert year. Our beginnings can be traced to the January, 1965 appliance of George Lewis in Hamden. The society as it is presently organized from September, 1965.

Along the way there have been some memorable occasions, like the rousing "December Band" of 1965 with Kid Thomas, Cap'n. John Handy, Jim Robinson and Sammy Penn; and like that potentially disastrous February day in 1966 when it snowed the previous evening and nearly all the day of the concert, closing schools and businesses, only to have the heavens eventually quiet, the parking lot plowed, and Glorietta Manor in Bridgeport jammed with devotees to hear the famous Eureka Brass Band of New Orleans led by Percy Humphrey. And who remembers the July, 1968 visit of the Onward Brass Band, marching in the streets of Hartford? Or the SRO concert in December, 1969 of the Condon-McPartland Chicagoans featuring Gene Krupa
? Musicians have come from around the country and the world to present live jazz to our audiences.

The Ragtime Dance / Snake Rag
Max Collie's Rhythm Aces
Max Collie - Trombone / Leader, Noel Kalentsky - Clarinet and Soprano Saxophone, Jack Gilbert - Clarinet, Trevor Williams - Baritone Saxophone (?), Jim Macintosh - Banjo, Ron McKay - Drums
Wethersfield, CT. 4 May, 1974

Stack O'Lee Blues / Bogalusa Strut
The Galvanized Jazz Band
Fred Vigorito - Trumpet / Leader, Noel Kaletsky - Clarinet & Soprano Saxophone, Craig Grant - Trombone, Bill Sinclair - Piano, Art Hovey - Baritone Saxphone (?), Tuba, Joel Schiavone - Banjo, Bob Becquillard - Drums
Wethersfield, CT. 29 June, 1974

Once In A While / My Sweetie Went Away / Mecca Flat Blues
The Red Onion Jazz Band
Bob Thompson - Drums / Leader, Lew Green - Clarinet, Denis Brady - Clarinet, Soprano Saxophone, Charlie Bornemann - Trombone, Hank Ross - Piano, Jack Harkavy - Tuba, Eric Hassell - Banjo, Natalie Lamb - Vocal, Thies Jensen - Guest Trumpet (cut one only)
Meriden, CT. 30 March, 1974

The Eel / Westmoreland Weave
Jim Cullum's Happy Jazz Band
Jim Cullum - Clarinet, Bobby Gordon - Clarinet, Mark Hess - Valve Trombone, Gene McKinney - Trombone, Cliff Gillette - Piano, Jim Newell - Banjo, Buddy Apfel - Soprano Saxophone (?), Harvey Kindervalter - Drums
Meriden, CT. 8 February, 1974

Street Of Dreams - Stan Kenton

Street Of Dreams
Stan Kenton
Production: Bill Stilfield
Mastering: Dave Ellsworth
Research: Audree Coke
Cover Photo: Ron Sheridan, Los Angeles
Graphics: Lexington Avenue West, Hollywood
Creative World Records
ST 1079

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

Enlarge the back cover image for lists of session personnel.

Send In The Clowns (From the Creative World album ST 1076 - Kenton '76 - 1976)
Rhapsody In Blue (From the Creative World album ST 1039 - Stan Kenton and His Orchestra Live at Brigham Young University - 1971)
Street Of Dreams (From the Creative World album ST 1065 - Birthday In Britain - 1973)
Body And Soul (From the Creative World album ST 1070 - 7.5 On The Richter Scale - 1973)
Tiare (From the Creative World album Stan Kenton and His Orchestra Live at Redlands University  -1970)
Too Shy To Say (From the Creative World album ST 1077 - Journey Into Capricorn - 1976)
My Funny Valentine (From the Creative World album ST 1076 - Kenton '76 - 1976)

Wanted! - Marion & Jimmy McPartland

Lonely Avenue
Marion & Jimmy McPartland
And The All Star Jazz Assassins
Producer: Steven Lapa
Engineers: Vince Morette and Bob Grotte
Art Design and Direction: Ron Warwell
Liner Design: Ed Thomas
Trans Central Reproductions, Inc.
Improv IMP-7122
A Division of Tobill Entertainment, Corp.
Distributed by Audio Fidelity Ent. Inc.

Marian McPartland - Piano
Jimmyu McPartland - Cornet
George Reed - Drums
Brian Torff - Bass
Herb Hall - Clarinet
Spider Martin - Saxophone
Buddy Tate - Saxophone

From the back cover: This live recording lets you share the magic that happened May14, 1977 at the Downtown Night Club in Buffalo, N.Y.

Bill Hassett has formed the Improv Record label in 1975. Several earlier releases had been done "live" at the club and met with excellent critical and market response.

That weekend was a jazz and good music festival in Buffalo. This album captures the essence of the joyful, easy, yet brilliantly disciplined playing of artists like the McPartlands, Buddy Tate, Herb Hall, and a newcomer who'll be heard a lot more – John "Spider" Martin. – Bill Hassett

All The Things You Are
Just A Closer Walk With Thee
Lonely Avenue
Royal Garden Blues

Anthology Of American Music Sound Forms For Piano

Conlon Nancarrow: Studies For Piano
Anthology Of American Music
Sound Forms For Piano
Robert Miller, Piano
Producer: Sam Parkins
Recording Engineers: Buddy Graham, Frank Laico, Roger Reynolds
Mixing Engineer: Arthur Kendy
Recorded at Columbia Recording Studios, 30th Street, New York and Mexico City
Cover by Elaine Sherer Cox
Photographs by Marc Musnick
New World Records NW 203

Experimental Music By

Henry Cowell
The Banshee / Aeolian Harp
Piano Piece (Paris 1924)

John Cage
Sonata I, V, X, XII and Second Interlude
(from Sonatas and Interludes

Ben Johnston
Sonata for Microtonal Piano

Conlon Nancarrow
Studies for Player Piano
#1, #27, #36

From the back cover: Robert Miller. During the past decade numerous works have been expressly written for Robert Miller by such leading American composers as Milton Babbitt, George Crumb, Charles Wuorinen, and Mario Davidovsky (the Pulitzer-Prize-winning Synchronisums No. 6). Miller's concert appearances have take him to the festivals of Tanglewood and Aspen, and to many other musical centers of North America. He has also made recordings for Deutsche Grammophon (in conjunction with Acoustic Research), Columbia, Turnabout-Vox, and CRI. Robert Miller combines his career as pianist with that of a practicing attorney on Wall Street.

The piano used for the Ben Johnston compositions was tuned microtonally using the Scalatron Tuner and Pitch Monitor. This equipment can establish any pitch progression both aurally and visually with extreme accuracy. We wish to extend our thanks to Richard J. Harasek and Motorola Scalatron, Inc. for their help and equipment for the microtonal tuning.

The Nancarrow "Studies" were recorded during an impromptu visit to the composer's home in Mexico City during March 1973. The recording equipment used was antiquated but well maintained. The studio in which Nancarrow's two Ampico upright player pianos are housed is approximately 20' x 50'. It is a resonant concrete-block structure lined with shelves containing musical books and manuscripts. Considerable care was taken in microphone placement in an effort to achieve a representative sound quality.

Wednesday, January 16, 2019

Shelby Flint

Shelby Flint
Arranged and Conducted by Perry Botkin, Jr.
Cover by George Jerman / Ken Kim
Valiant Records, Inc. VALIANT LP 401
Distributed by Warner Bros. Records, Inc.

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: Shelby is unashamedly "enthusiastic" when it comes to what she calls "my kind of music, folk music." A fan of participant in folk singing since her high school days in Los Angeles' San Fernando Valley, when she joined a folk song trio, she is still very genuinely surprised by her commercial singing success. As a matter of fact, Shelby is a dedicated anti-commercialist. When approached with the usual questions, such as "What is your greatest professional goal," Shelby honestly and frankly says, "I have none. I want to star right here at home with my husband and new baby girl, Tara Lee. I think my career is, well, as accident. Barry De Vorzon, the man who first brought me to records, is the one person to whom I owe most of my success.

Shelby met De Vorzon while in school. "I never had sung professionally before," Shelby recalls, "and had never had any aspirations to. My main interest in singing was in folk music, but I had performed only for friends, school programs, and civic groups." De Vorzon found Talent in the young Miss Flint; he and his partner Billy Sherman recorded her, and shortly thereafter were able to watch Angel On My Shoulder begin to climb up the national popularity charts. This was the beginning.

The success of that recording prompted the album, in which Shelby joins with Arranger Perry ("Bunny") Botkin, Jr. It is he who has added the instrumentations to Shelby's voice and guitar, backgrounding her with a variety of woodwind and string groups chosen to set Shelby off to her best advantage.

Quiet Kind Of Love
Scarlet Ribbons
Lavender Blue
Far Away Places
I Will Love You
Heather On The Hill
The Riddle Song
Danny Boy
Hi-Lili, Hi-Lo
Every Night
Angel On My Shoulder

Percolator Twist - Earl Palmer

Hit The Road Jack Twist
Percolator Twist
And Other Twist Hits
The Drums Of Earl Palmer
Producer: Snuff Garrett
Engineers: Eddie Brackett and Jim Economides
Cover Design: Francis & Monahan, Inc.
Photography: Garrett-Howard, Inc.
Liberty LRP-3227

From Billboard - April 7, 1962: Drum star Palmer sets a fine, danceable beat for 12 catchy Twist tunes on this teen-appeal package. The line-up presented attractively by ork and young vocal chorus, includes such recent and current hit single songs as the title tune, "Dear Lady Twist," "Midnight In Moscow Twist," "The Twist," "Hit The Road Jack Twist" and "Twistin' The Night Away."

Percolator Twist
Twistin' The Night Away
I'm Blue (The Gong-Gong Song) Twist
Peppermint Twist
Dear Lady Twist
Midnight In Moscow (Twist)
The Twist
Hey! Baby (Twist)
Hit The Road Jack (Twist)
I Know (You Don't Love Me No More) Twist
Hey, Let's Twist
Let's Twist Again

Aquarius - Charlie Byrd

While My Guitar Gently Weeps
The Stroke Of Genius
Charlie Byrd
Produced by Teo Macero
All Selections Arranged and Conducted by Teo Macero
Engineering: Stan Tonkel, Frank Laico and Russ Payne
Cover Photo: Frank Bez
Columbia CS 9841


Charlie Byrd - Guitar
Bernard "Pretty" Purdie - Drums and Percussion
Bobby Rosengarden - Drums and Percussion
Ed Shaughnessy - Drums and Percussion
Herbie Hancock - All Keyboard Instruments (Courtesy of Blue Note Records)
Mario Darwin - Flute
Joe Mack - Fender Bass
Vinnie Bell - Electric Guitar
Romeo Pence - Flute, Alto Flute, Oboe, English Horn and Piccolo

Aquarius/Let The Sunshine In
My Way
Time Of The Season
You've Made My So Very Happy
While My Guitar Gently Weeps
The Way It Used To Be
Happy Heart
Where's The Playground Susie?

Here's Art Tatum

Here's Art Tatum
Piano Solos
Art Tatum Trio
Brunswick BL 54004

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

From the back cover: Born in Toledo, Art got his first chance to appear in public over his hometown station WSPD. He had begun at 13 as violinist, but Art soon recognized that the piano was his natural medium. After three years, Art left Toledo for Detroit, went on to New York, after which he shuttled between the East and Midwest. In 1938 he found himself in England where he became a sensation. He had always been interested in the classics – Chopin had been his favorite composer since youth – and his favorite pianists were such eminent classicists as Leopold Godowsky, Vladimir Horowitz and Walter Gieseking. Somehow, he was able to blend a classical feeling with a strictly modern rhythm and a forceful jazz technique.

Honeysuckle Rose
I Got Rhythm
Begin The Beguine
Tea For Two
Stormy Weather
Gone With The Wind
St. Louis Blues
Cocktails For Two
Deep Purple
After You've Gone

Tuesday, January 15, 2019

Pete Fountain Presents Jack Sterling and His Fascinatin' Rhythm

Golden Wedding
Pete Fountain Presents
Jack Sperling and His Fascinatin' Rhythm
Drum Solos with Orchestra Featuring Pete Fountain
Directed by Charles Dant
Coral Records CRL 57431

From the back cover: On each of the previous Pete Fountain albums for Coral the propelling factor at the drums has been Jack Sperling. It is not inappropriate, then, that such a basic and yet highly important integer be showcased with a special spotlight. And to add color, special arrangements were written, and a hand-picked group of musicians rounded up for the occasion. Don Bailey, who has appeared with Pete on at least one of his albums for Coral, and who is a Kenton big band alumnus, did the arrangements. Pete told me, gleefully, that after "Bags" has completed a couple of arrangements for the date he brought them in to Bud Dant and said, "Give me some more to do, man; my chops are fine!" Which, (in musicians parlance) usually refers to physical condition in playing, and more specifically embouchure; but in this case it was the arranging ideas that were flowing easily; and as you will hear, the results were as colorful and direct as Bagley's speech.

Rounding out the rhythm section and comprising the rest of the basic a quartet with Pete and Jack are pianist Stan Wrightman and bassist Morty Corp – both veterans of the jazz scene and no strangers to recording dates with Pete and Jack.

It's something of a tribute to Jack Sperling that I can't tell you minute biographical details about him. After I'd had a chance to give an advance dub of the album a listen we chatted long-distance (I here in New Orleans and he in Hollywood) and in my enthusiasm for the music I had heard and in discussing it I forgot to ask him where he was born, which shoe he ties first, how he likes his eggs (or if he even likes eggs!) and all that jazz. This we know: that he was with the Glenn Miller band that Tex Beneke took on the road right after World War II; that subsequent to that he became Les Brown's drummer and held that chair for several years on a steady basis, eventually relinquishing it to accept a position as staff drummer at NBC, but still working with Les on the Bob Hope TV shows. Needless to say he's an experienced, talented and swinging drummer; and if you can corner him long enough between duties, recording dates, etc., I'm sure he'll be glad to fill you in with additional personal data...

From Billboard - February 13, 1961: This happy, swinging set features Pete Fountain along with drummer Jack Sperling and musicians Stan Wrightsman, Bill Russelton and Conrad Gozzo, in a group of jazz classics. The tunes include "Sing, Sing, Sing," "Hawaiian War Chant," "Wire Brush Stomp" and "Big Noise From Winnetka." They are played with the usual Pete Fountain sparkle. Fountain is on clarinet and he's backed smartly by the combo. Album could be a big seller.

Fascinating Rhythm
Golden Wedding (La Cinquantaine)
Big Crash From China
Sing, Sing, Sing (With A Swing)
Hawaiian War Chant (Ta Hu Wa Hu Wai)
Wire Brush Stomp
Scott Free
Las Chiapanecas
Quiet Please
Creole Gumbo
Big Noise From Winnetka

Johnny Gruelle's Raggedy Ann Songs And Stories - Frank Luther

Little Wooden Willie
Johnny Grelle's
Raggedy Ann Songs And Stories
Frank Luther
A Product Of Decca Record
VL 3665

From Billboard - October 26, 1959: Strong low price kiddie merchandise. Luther does such material as "My Raggedy Ann," "The Cheery Scarecrow," "The Fairy Ring," and many other pieces of material.

My Raggedy Ann - The Cheery Scarecrow
The Fairy Ring - The Worn Out Doll - The Cookie Bush
Mother Dear - Belove Belindy - Frederika
The Swinging Brooklet - Christmas Morn - Little Wooden Willie
The Tired Old Horse - Coo Coo Clock
Snoopwiggy - Happy Bluebirds - Raggedy Andy

Accompanied by Jesse Crawford At The Organ (side two)
Raggedy Ann and Andy and The Nice Fat Policemen
Raggedy Ann and The Golden Butterfly
Raggedy Ann in The Magic Book

Gershwin For Moderns - Ted Heath

The Man I Love
Gershwin For Moderns
Ted Heath And His Music
London LL 1217


Ted Heath - Leader
Bobby Pratt, Bert Ezzard, Duncan Campbell, Eddie Blair - Trumpets
Wally Smith, Don Lusher, Jimmy Coombes, Ric Kennedy - Trombones
Les Gilbert, Roy Willox - Alto Saxes
Henry McKenzie - Tenor Sax & Clarinet
Danny Moss - Tenor Sax
George Hunter - Bariton Sax
Frank Horrox - Piano
Johnny Hawksworth - Bass
Ronnie Verrell - Drums

On Nice Work If You Can Get It, George Hunter (Baritone Sax) is replaced by Ken Kiddier

From Billboard - September 17, 1955: When Ted Heath played his most recent concert at the London Palladium August 21, London Records had its engineers on hand to tape the affair. This month the firm is releasing an earlier concert from the same source. No. 3 in the series. Heath also is represented this month with his "Gershwin For Moderns" LP.

The Man I Love Love Walked In
Nice Work If You Can Get It
Love Is Here To Stay
Clap Your Hands
I Got Rhythm
But Not For Me
Someone To Watch Over Me
That Certain Feeling
Embraceable You
Changing My Tune

At The Varsity Drag - The Australian Jazz Quintet

At The Varsity Drag
The Australian Jazz Quintet
Illustration by Burt Goldblatt
Recorded July, 1956 in Hollywood, California
Bethlehem Records BCP-6012

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


Dick Healey - Alto, Flute
Errol Buddle - Tenor, Bassoon
Jack Brokensha - Vibes
Bryce Rohde - Piano
Jimmy Gannon - Bass
Frankie Capp - Drums

From the back cover: The title of this album, besides being the name of one of the tunes, is in honor of the success of the group with the younger, college set. Even though the costumes of the collegian crowd isn't as depicted on the cover, the spirit is still with us in their appreciation and support of jazz of all kinds. The Australian Jazz Quintet's success is naturally partly due to this kind of youthful support of their appearances in clubs, at "Varsity Drags" and on records.

This is the Quintet's first complete twelve inch record. The others in the Bethlehem catalog are all or partly by the earlier quartet.

The group is heard here is a well rounded sampling of their current product: jazz, within the framework of swinging arrangements, interpreted on their many instruments.

The Quintet, with the addition of an extra man for this recording, here has a full rhythm section of piano, bass and drums (not including vibes). Perhaps because of the added rhythm, on the out-and-out "swingers" like That Old Feeling, New South Wail or Koala, the group swings harder than on their earlier records. – Joseph P. Muranyi

From Billboard - December 22, 1956: The title emphasizes the great appeal that this group has for the college set and for young people, generally. The AJQ strives for a sound and musical approach that lies somewhere between the Modern Jazz Quartet and that of the Shearing combos. Typically, it's soft, "cool," impressionistic – and accessible. Rather commercial, perhaps, but certainly not devoid of serious musical interest. Jack Brokensha's work on vibes is particularly worthy of note. Dick Healy contributes a fine flute solo in "Lover Man." To show off the swingy, extrovert side of the AJQ, demonstrate "The Lady Is A Tramp."
Alone Together
That Old Feeling
Affaire d'Amour
The Lady Is A Tramp
Lover Man
The Thrill Is Gone
New South Wail
Few Get It
So Nice
Varsity Drag
It Might As Well Be Spring

Monday, January 14, 2019

The Cheerleaders Sing Dixieland Jazz

The Cheerleaders Sing Dixieland Jazz
Under Direction of Sid Robin and The Post Paraders
Carlton Record Corporation LP12/105

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

From the back cover: What makes a "good group"? The answer is obviously a personal one and each of us would define it in his own terms. But there are certain things that must be common to both your definition and mine: The Cheerleaders sing in tune. Now there's a gimmick in itself. Pay Pinney, Donna Manners, Tom Roddy, and Joe Pryor (as you listen from the top voice down) work as a unit – on one is flying off on an irresponsible tangent like a loose neutron which has just spotted a pretty female portion next door. There is cohesiveness in the way The Cheerleaders perform. A unity that can only verify their having been together since 1950, and digging it!

The shame of the music business is sometimes its lack of immediate recognition for deserving artists. There are many logical and illogical reasons for this which we needn't burden ourselves with here. Suffice to say that The Cheerleaders, although perhaps new to your record player, have a large and loyal following thanks to appearances in such diverse media as New York's Blue Angel", Palace Theater, and T.V.'s Dave Garroway, Tennessee Ernie, Betty Hutton and Frank Sinatra show. – Jack Lazare

From Billboard - November 17, 1958: The bright, bouncy sound achieved by The Cheerleaders in this platter is more in the mood of the old Pied Pipers and Modernaires groups than anything that came out of New Orleans. About half of the songs are "semi-Dixie" treatments of oldies like "Copenhagen," and the rest, like "Woodchoppers' Ball," are almost straight swing vocals. Nice stereo work, with singers "centered" before Side Robin's ork. rather than confined to one channel. Group's fans should like it.

King Porter Stomp
Monday Date
Savoy Blues
Yancey Special
New Orleans Post Parade
Nocturne For The Blues
Sweet Lips
Woodchoppers Ball
Cornet Chop Suey
Wrappin' It Up

Here's Cugat - Xavier Cugat

Here's Cugat
Featuring Xavier Cugat and His Orchestra
Mercury Records MG 25120

Available from online vendors so I will not be posting a sample. Presented here to share the original 10 inch jacket art.

From the back cover: It is no accident that Xavier Cugat is acclaimed the foremost exponent of Latin-American music today, for he comes from a family which prided itself on its patronage of the arts and which traces its ancestry back several generations in Spanish history. He was born in Barcelona, Spain, studied music at the finest conservatories in Europe and groomed for the concert stage.

It was during a concert in Rome that the Great Enrico Caruso heard the brilliant young violinist, Cugat, perform and persuaded him to accompany him on a tour of the United States. After remaining with Caruso for five years, Cugat realized that he could not become the greatest concert violinist in the world, and if he could not be the greatest, he would seek a new vocation. Thereupon, he decided to do cartooning, which had been a hobby of his since he was a young man. He achieved great success as a cartoonist for the Los Angeles Times newspaper, but finally became bored with the routine of having to meet deadlines and once more returned to his first love – music.

He formed an orchestra in California featuring Latin-American music. This type of music was partially unheard of at that time, but his unique treatment of it soon "educated" the public and was widely accepted. Credit, in considerable part, is due Xavier Cugat for the popularity of the Rhumba, Tango, Conga and Mambo today, for his music not only popularized but actually influence these dance rhythms.

Green Eyes
Linda Mujer
Walter Winchell Rhumba
A Gay Ranchero
Cucaracha Mambo
Jungle Flute
Yours (QuiƩreme Mucho)

Friday, January 11, 2019

I Remember Tahiti - Eddie Lund

Upaupa Umeume
I Remember Tahiti
Eddie Lund and His Tahitians
With Mila
Cover Photo: Leonard Clairmont
Recorded in Tahiti
Tahiti Records - Papeete, Tahiti
EL 1005

From the back cover: For those who are still strangers to the South Pacific and its music, we hope that the fascinating off-beat guitars, coconut ukuleles and native drums, the striking tone colors of nose flutes and bamboo woodblocks, and especially the exciting voice of Mila, Tahiti's favorite singer, will be inducement enough for them to break away and join the ever-increasing group of aficionados who murmur with a sigh and a faraway look in their eye: "I remember Tahiti..." – Eddie Lund

Vocals by Mila

To Reo Iti Maru
Tahiti Nui
Farara Matai
Tau Tiare Iti
Te Moe Nei

Tahitian Instrumentals

Upaupa Umeume
Tahiti Nui
Pahu Moorea
Manu Rere
E Nia Te Marama

Hits From My Fair Lady

Indian Love Call
Hits From My Fair Lady
Halo 50202

Hits From My Fair Lady

I Could Have Danced All Night
On The Street Where You Live
I've Grown Accustomed To Her Face
With A Little Bit Of Luck

Other Hits

Donkey Serenade
Song Of The Vagabonds
Rose Marie
Some Day
Love Me Tonight
Indian Love Call
Giannina Mia

Continental Cocktails - Rene Amont

Blue Night
Continental Cocktails
Rene Amont And The Internationals
Modern MLP 7024

Love Song
Dreaming Of You
All My Love
Blue Night
Adios Muchachos
Longing For You
La Cumparsita
Beautiful One

Mambos - Xavier Cugat

Mambo Mania
Xavier Cugat And His Orchestra
And His World Famous Orchestra
A Selection Of Eight Favorites
Mercury Records MG 25168

10 inch LP.

From the back cover: It is no accident that Xavier Cugat is acclaimed the foremost exponent of Latin-American music today, for he comes from a family which prided itself on its patronage of the arts and which traces its ancestry back several generations in Spanish history. He was born in Barcelona, Spain, studied music at the finest conservatories in Europe and groomed for the concert stage.

It was during a concert in Rome that the Great Enrico Caruso heard the brilliant young violinist, Cugat, perform and persuaded him to accompany him on a tour of the United States. After remaining with Caruso for five years, Cugat realized that he could not become the greatest concert violinist in the world, and if he could not be the greatest, he would seek a new vocation. Thereupon, he decided to do cartooning, which had been a hobby of his since he was a young man. He achieved great success as a cartoonist for the Los Angeles Times newspaper, but finally became bored with the routine of having to meet deadlines and once more returned to his first love – music.

He formed an orchestra in California featuring Latin-American music. This type of music was partially unheard of at that time, but his unique treatment of it soon "educated" the public and was widely accepted. Credit, in considerable part, is due Xavier Cugat for the popularity of the Rhumba, Tango, Conga and Mambo today, for his music not only popularized but actually influence these dance rhythms.

Sun! Sun!
Park Avenue Mambo
China Boy Mambo
Mambo Mania
Mi Prieta
Riviera Mambo

Great Themes From James Bond - The Cheltenham Orchestra

The James Bond Theme
Great Themes From James Bond
Thunderball / Goldfinger
The Cheltenham Orchestra & Chorus
Wyncote W9134

Whoa... This is a totally insane budget set from Wyncote. Even the tunes (see Goldfinger and The James Bond sample above), that are not completely "badtastical"... are crazy as well. Additional material (6 out of the 10 tunes on the set), are songs that relate to the album theme in title only and were provided by one or more unnamed small jazz combos rather than "The Cheltenham Orchestra.

The Capture
Laser Shot
Sea Chase
The James Bond Theme
From Russia With Love
Night Love
Sids Mark

Mission Impossible - The Larry Schaffer Orchestra

Mission Impossible
Mission Impossible
The Larry Schaffer Orchestra
Custom Records CS 1102

Mission Impossible
La Golondrina
Two Guitars
Mission Outside
The Sun
Sabre Dance
El Relicario
Cielito Lindo
Mission Inside

Colgate - Palmolive Household Products Division Presents Opportunity Unlimited

Opportunity Unlimited
Cologate - Palmolive Household Products Division
Souvenir Record
Produced by Gordon Crowe Productions, Inc.
Lyrics and Original Music by Robert Haymes

Opportunity Unlimited
Wouldn't It Be Lovely
Coffee Break
Suds And Bubbles
When Opportunity Comes A-Knocking
Do You Remember?
King Of The Road

Thursday, January 10, 2019

Sweetheart Of Sigma Chi - Ivy Hall Glee Club And Orchestra

Sweetheart Of Sigma Chi
Sweetheart Of Sigma Chi
Ivy Hall Glee Club Songs
Coronet Studio Orchestra and Vocalists
Coronet Records CX 62

Notre Dame Victory March
Hail Oh Hail, Cornell
For Boston
Sweetheart Of Sigma Chi
Little Brown Jug
Old Nassau
On Wisconsin
Fair Harvard
Rambling Wreck From Georgia Tech
Gadeamus Igitur
Landlord Fill The Flowering Bowl
Maine Stein Song

The Jazz Of The Connecticut Traditional Jazz Club - 666

I've Found A New Baby
Just A Closer Walk With Thee (vocal Jeanne Carroll)
Jazz Of The Connecticut Traditional Jazz Club
Recording Engineer: Glenn Allen, Pete Campbell, Hank O'Neal and Franz Jackson
Album Design: Andrew Heminway
Mastering & Editing: Glenn Allen and Pete Campbell
Album Notes" Albert Vollmer
Conntrad Jazz CTJC SLP-6

I've Found A New Baby
Condon McPartland Chicagoans
Meriden, CT. 5 December, 1969
Eddie Condon, guitar; Jimmy McPartland, trumpet; Ed Hubble, trombone; Jonnie Mince, clarinet; Dill Jones, piano; Bill Pemberton, bass; Gene Krupa, drums

Burgundy Street Blues
Albert Burbank Of New Orleans
Newington, CT. 27 September, 1969
Albert Burbank, clarinet; Jack Fine, trumpet; George Edward Stevenson, trombone; Noel Kalet, saxophones; Bill Sinclair, piano; Dave Duquette, banjo; John Tourmine, bass; Mike Burgevin, drums

Franz Jackson's Original Jass All Stars
New York City, 8 December, 1968
Franz Jackson, clarinet; Leon Scott, trumpet; Preston Jackson, trombone; Lil Hardin Armstrong, piano; Bill Oldham, tuba; Ikey Robinson, banjo; Tommy Benford, drums

Coney Island Washboard / Melancholy Serenade
Smith Street Society Jazz Band
Meriden, CT. 20 March, 1970
Bruce McNichols, banjo, Sop. Sax *& co-leader; "Deacon" Jim Lawyer, guitar; banjo & co-leader; Benny Ventura, trumpet; Dick Rath, trombone; Herb Gardner, trombone & alton; Joe Hanchrow, tuba & el. bass; Herb Wasserman, drums

Panama / When The Saints Go Marchin' In (vocal Punch Miller, John Handy)
Cap'n John Handy's Louisiana Shakers
Newington, CT. 7 May, 1970
Cap'n John Handy, alto saxophone; Ernest "Punch" Miller, trumpet; Andrew Morgan, clarinet & tenor saxophone; Homer Eugene, trombone; Dick Wellstood, piano; Sylvester Handy, bass, Lester Alexis, drums

Wednesday, January 9, 2019

Super Hits Volume 3

You've Got A Friend
Super Hits
Played & Sung Like The Original Hits
Volume 3
A product of Pickwick International, Inc.

From the back cover: Putting together this recored was a ball. It's great working with guys in the group who really dig doing some other guy's hit or (a gal, sorry about that you women's lib types, out there.) Our A&R man, "Bugs" Bower and myself put our heads together and rapped what goes in and who goes out. Then there's the front cover. We use the top models from the New York Agencies. Super girls who are tuned in. The photo session is a gas too. – Keith Wood

Maggie May
Go Away Little Girl
The Things We Care About
I Woke Up In Love This Morning
Do You Know What I Mean
The Night They Drive Old Dixie Down
You've Got A Friend
Is That The Way
Call My Name And I'll Be There

Country & Western Hits - Melba Montgomery & Hank Locklin

Folsom Prison Blues
In The Ghetto
Stand By Your Man
Melba Mongomery & Hank Locklin
Photo: Ken Beckles
Design Records SDLP-651

Mickey Barnett - Folsom Prison Blues
Sunny Mavis - Stand By Your Man
Melba Montgomery - Since I've Known You
Melba Montgomery - What Makes You Think I Still Miss Him
Melba Montgomery - Happy You, Lonely Me
Howard Miller - In The Ghetto
Hank Locklin - Queen Of Hearts
Hank Locklin - Mysteries Of Life
Hank Locklin - Midnight Tears
Hank Locklin - Shadows

Woody Herman Sextet At The Roundtable

Just A Child
Woody Herman Sextext At The Roundtable
Forum Records SF 9016
A Division Of Roulette Records Inc.

Woody Herman - Alto Sax & Clarinet
Nat Adderley - Trumpet (Courtesy of Riverside Records)
Charlie Byrd - Guitar
Eddy Costa - Piano & Vibes
Bill Betts - Bass
Jimmy Campbell - Drums

From the back cover: Herman was playing great jazz horn with small combos when the big, arranged bands were all the thing. And he was leading big, new, expensive bands in the days when anybody could tell you the big band business was dead. Now he comes back on this record, "Woody Herman Sextet At The Roundtable," with a small group. And, as might be expected, he has reached out for some of the youngest and most forward thinking musicians to be grabbed. With Herman alternating between clarinet and alto, this group features the brilliant Charlie Byrd on guitar, using a style which somehow makes the more familiar heavily amplified guitar sound like something out of a Hawaiian strolling group. Also present is Eddy Costa, well known to younger cats than myself as the most explorative of pianists, but who on this record will knock you out on vibes.

And there is Nat Adderley, finally doing with a trumpet so many of the things he was previously indicated he wants to do. And for bass there is Bill Betts and on drums we have Jimmy Campbell. With considerable shame I must admit this is my first meeting with theses lads. But just listen to the background rhythm they give to the Sidney Bechet masterpiece, "Petite Fleur" and you'll see what I mean. – Robert Sylvester

From Billboard - May 4, 1959 (Roulette R25067 review): The Herman name should prove a draw to this item. Herman gives ample solo room to his sidemen in the package. There's some fine work by Nat Adderly, Eddie Costa and Charlie Byrd and support by Jimmy Campbell on drums and Bill Betts on bass is also noteworthy. The tunes are interesting. Herman is heard on both alto sax and clarinet to good advantage. With exposure, this can sell. "Just a Child" is an excellent track.

Black Nightgown
Pea Soup
Just A Child
Petite Fleur
Lullaby Of Birdland
Inside Out
The Swingin' Shepherd Blues
The Deacon And The Elder
Princess "M"
Moten Swing
Early Autumn
The Late Late Show

Bourbon Street In Las Vegas - Royal Dixie Jazz Band

Dollar Bill
Bourbon Street In Las Vegas
Royal Dixie Jazz Band

From the back cover: Dixieland jazz, that magical music – spawned in the street bands of New Orleans in the late 1800's, weaned in the brawling south side of Chicago during the cold winter of 1916 an destined to mature as the first native American music style, is on the move again.

Now, it's Bourbon Street, Las Vegas, with the banners of the hot jump being borne by an aggregation of the finest Dixieland talent available today.

The "Royal Dixie Jazz Band" is the culmination of the lifetime dream of player-leader Charles "Chuck" Diamond, violinist, trombonist and graduate of the Cleveland Conservatory of Music, who turned down a job with the St. Louis Symphony to organize a Dixieland jazz band. That was several years and many bands ago.

In 1973 Diamond's break came with an extended gig at Michael Gaughan's Royal Inn Casino in Las Vegas. Diamond's band began to take shape with a solid rhythm section. For the past six months, in its final form, the band has consistently packed the lounge at the Royal Inn with Dixieland fans.

This album's 12 recordings are daily fare at the Royal Inn and a sampling of the versatility of these musicians.

Henry "Hot Lips" Levine, whose driving trumpet carries the melody line, at age 15 replaced Nick LaRocca with the world famous "Original Dixieland Jazz Band." He originated the highly rated NBC radio show, "The Chamber Music Society of Lower Basin Street," and is considered the finest Dixieland trumpet in the country, if not the world.

George Mosse, clarinetist, plays flawless counterpoint on the treble notes. His "take off" on breaks and solos is always in traditional Dixieland style. Mosse is a music major graduate of Southern Methodist University. It was during his college years that he first became interested in Dixieland music. His love of the traditions of Dixieland fits him to Levine's trumpet like a hand in a glove, and some of the best solo work in this album is by Mosse.

James Fitzgerald, trombonist, cut his musical teeth on Dixieland music in the basement of his Mason City, Iowa home. Fitzgerald's father, a Dixieland player, knew the music from its inception and began teaching his son trombone at age 7 when the youngster had to use his foot to play the bottom of the slide. His first Dixieland band was organized at age 12 and two years later the group was playing dates. Fitzgerald's ensemble work is outstanding and he plays in the traditional "gut-bucket" style of the original Dixieland groups.

Joe Mayer, banjoist, orphaned at nine, began playing banjo on street corners for pennies. He grew up with Dixieland music in speakeasies and barrooms and for many years led the top ranked vaudeville and television act, "The Novelites." Mayer's banjo and vocal work is the frosting on the cake of this band.

George "Fingers" Pollak, pianist, plays with the free-swinging style of the best ragtime piano players and his work on "The Old Piano Roll Blues" is a bare taste of his keyboard abilities. Pollak, one of the most in demand pianists in Las Vegas, has backed some of the top entertainers that have appeared on "The Strip." His preference, however, is at the "88" with the Royal Dixie Jazz Band."

Lou Lalli, drummer, is the heartbeat of the band. Lalli was one of Diamond's first choices in selecting his rhythm section. Dixieland drumming, more than any other musical style, requires playing as well as maintaining a strong beat. In each of these areas Lalli proves his mastery of the instrument, maintaining a strong backbone beat for each song, than adding the extra Dixieland flavor which can only be described as melody. – Boyd Hagen

Mostaccioli Rag
San Francisco By The Bay
Clarinet Marmalade
Yakitty Sax
At The Jazz Band Ball
Dollar Bill
Piano Roll Blues
Sensations Rag
Bourbon Street Parade
Just One Of Those Songs
Country Road
Jazz Me Blues

Tuesday, January 8, 2019

Tonight - Clark Terry & Bob Brookmeyer

Sometime Ago
Clark Terry & Bob Brookmeyer Quintet
Artist & Repertorie: Bob Shad
Original Recording Engineer: Bob Arnold
Mastering: Hal Diepold
Liner Notes: Peter Spargo
Production Coordinator: Harry Ringler
Album Coordination: Elena Festa
Cover Art and Design: Jack Lonshein
Typography: The Composing Room, Inc.
Printing and Fabrication: Globe Albums, Inc.
Liner Photographs: Burt Andrews
Mainstream Records S/6043
Personnel and Instrumentation

Clark Terry - Flugelhorn & Trumpet
Bob Brookmeyer - Trombone
Piano - Roger Kellaway
Bass - Bill Crow
Drums - Dave Bailey

From the back cover: "Sorry to keep you waiting." In Clark Terry's words this phrase sums up this entire album. The Clark Terry - Bob Brookmeyer Quintet was formed back in 1961 and this is the first recording released by the group. Originally for another label they recorded a live session at the Half Note but due to the horrible intonation of the piano, the whole session was junked.

It all started back in 1961 when the owner of the Half Note asked Bob Brookmeyer to form a group in order to perform at the club. Bob called Clark Terry to play with the group but Clark who is on staff at one of the networks was not allowed to do outside engagements unless as a leader-hence the title Clark Terry - Bob Brookmeyer. In the original group besides Clark and Bob were Joe Benjamin, bass; Osie Johnson, drums and the late Eddie Costa on piano. The present aggregation which has been together for well over a year features Bill Crow, bass; Dave Bailey, drums and Roger Kellaway, piano.

This is one group that must be seen to be fully appreciated. It's a visual group that entertains while playing some of the finest modern jazz that is being performed today. Each member has an acute sense of humor and a crisp wit, to go along with their consummate musicianship. Many times Clark would be singing a blues chorus and Dave Bailey would be throwing lines trying to break him up. Another bit which always went over at the Half Note was the band would play "Battle Hymn Of The Republic" and Frank Cantarina, the owner, would come out of the kitchen and as Clark said they called it "Getting Frank Out Of The Kitchen."

From Billboard - February 13, 1965: Exciting, smooth, drivingly rhythmic! More than a year of performing on TV and in clubs has produced a great organized sound – Brookmeyer's valve trombone, Terry's flugelhorn (trumpet on two cuts), a compelling rhythm section and a rare stride piano interlude. A real swinger.
Tete A Tete
Pretty Girl
Blue China
Blindman, Blindman
Step Right Up
Straight No Chaser
Sometime Ago

Tonal Expressions - Donald Shirley

The Man I Love
Tonal Expressions
Donald Shirley - Pianist
Richard Davis - Bassist
Cover Design: Don Shirley
Cadence CLP 1001

From the back cover: In considering his (Shirley) background, you should know that his first teacher was his mother, that he was born in Kingston, Jamaica on January 23, 1927, that at the age of nine he was extended an invitation to study theory with Mittolovski at the Leningrad Conservatory of Music, that he later studied with the famous organist Conrad Bernier, and that he studied advanced composition with both Bernier and Dr. Thaddeus Jones at the Catholic University of America in Washington, D. C.

Shirley made his concert debut with the Boston "Pops" Symphony Orchestra in Boston June 25, 1945, with Dean Dixon as guest conductor. In 1949 he received an invitation from the Haitian government to play at the Exposition Internationale du Bi-Centenaire De Port-au-Prince followed by a request from Archbishop Le Goise and President Estime for a repeat performance the following week. Upon Arthur Fiedler's recent trip to Chicago, Shirley was again extended an invitation to appear with the orchestra in June 1954.

With such a background, it is evident that Shirley is a highly respected legitimate musician possessing great technical skill and an innate musical ability. He displays also great tenderness and emotional depth which render his performances inspiring.

As a composer, Don Shirley has to his credit four organ symphonies, a group of small pieces for piano, two string quartets and a piano concerto. He has written a full variation concerto against Ravel's "Bolero" much the same as Rachmaninoff did with the "Paganini Variations". It is his ambition to record this with full symphony orchestra. A nation-wide concert tour is his next venture and you will, we are sure, want to hear this fine artist in person. – Al "Jazzbo" Collins

Promotional quotes from the back cover include:

The coordination and rapprochement between the classical and modern literature went beyond mere metrical accuracy. – George Shearing

The most glorious sense of shading, phrasing and balance I've ever heard. – Sarah Vaughan

I Cover The Waterfront
No Two People
Secret Love
The Man I Love
Love Is Here To Stay
Dancing On The Ceiling
They Can't Take That Away From Me
Answer Me My Love
Medley for "New Faces
My Funny Valentine

Is It True What They Say About Dixie? - The Dixie Double-Cats

Blues In The Night
Is It True What They Say About Dixie?
The Dixie Double-Cats
Cover: Walter Chandoha
Courtesy, Ohrbach's N. Y.
20th Fox
Fox 3027


Trumpets: Mel Davis and Bernie Privin
Soprano, Sax and Clarinet: Phil Bodner
Sax and Bass Clarinet: Deane Kincaide
Trombone: Harry DiVito and Rod Levitt
Piano: Marty Napoleon
Guitar: John Quara
Bass: Sandy Block
Drums: Cliff Leeman

From the back cover: These Double-Cats are unusual in several ways. For one thing, the group is actually a double Dixieland team – instead of the usual front line of trumpet, trombone and clarinet, there are two or each. That's why they're The Dixie Double-Cats. The additional instrumentation gives them opportunity for all kinds of solo and ensemble variations that would not be possible for a standard Dixieland group.
They "double" in other ways, too. The clarinetists also play saxophone (tenor, soprano and baritone) and even bass clarinet, adding even more variety to the tonal palette. On top of this, it's the sort of cooperative group in which each man has an opportunity to act as leader, to present his ideas to the rest of the group and to have a piece played the way he thinks it should be done. It's such a happy, friendly, democratic system that they might have called themselves The Dixie Demo-Cats.

A set-up such as this can produce new ideas and fresh approaches but it doesn't mean that these ideas will have a true association with the Dixieland tradition. But that doesn't happen here because the men who make up The Dixie Double-Cats know that tradition from A to Z, from Canal Street to The Village. Some of them have even helped to create that tradition.

Take one of the two saxophonists, for instance – Deane Kincaide (the other saxophonist is Phil Bodner). To those of you whose memories go back to the great Bob Crosby band of the 1930s, Kincaide's will be a meaningful name. He was one of the charter members of that band and, along with Matty Matlock and Bob Haggart, he wrote the arrangements which set the tremendously successful pattern of big band Dixie which carried the Crosby band to fame. Before that he had played in Ben Pollack's band (which had also nurtured Benny Goodman, Glenn Miller and Jack Teagarden), wrote the arrangement of Bugle Call Rag which became Benny Goodman's first big hit, and later played for Woody Herman when he was on a Dixie kick for Tommy Dorsey and Ray McKinley.

More than any other arranger, Kincaide has been able to extend the essential Dixieland tenets by using devices developed during the Swing Era. To do this he needs men who understand both styles – and that is precisely what he has in The Dixie Double-Cats. Trumpeters Bernie Privin and Mel Davis have had long careers with the major single great band – he has been with Bunny Berigan, Tommy Dorsey, Benny Goodman, Artie Shaw, Charlie Barnet and Glenn Miller). The trombonists, Harry Divito and Rod Levitt, come from similar backgrounds. Pianist Mary Napoleon's credentials, aside from his relationship to Phil Napoleon (nephew), includes spells with Louis Armstrong, Gene Krupa and Charlie Ventura and frequent appearances at the Metorpole in New York. The bass and drum team of Jack Lesburg and Cliff Leeman have played everything from Dixie to Beethoven and back under batons as different as those of Leonard Bernstein and Eddie Condon.

When men with all this experience, with a known urge to breathe fresh air into the Dixieland atmosphere, come together in as unique a unit as The Dixie Double-Cats, the program they pick is bound to be provocative. And the way they play that program should be even more exciting.

Columbia, The Gem Of The Ocean
High Society; When The Saints Go Marching In
Georgia On My Mind
It It True What They Say About Dixie?
Shake It And Break It
Blues In The Night
Dreamer's Rag
Bugle Call Rag
Wabash Blues
Original Dixieland One-Step
I Heard
The Caissons Go Rolling Along; Dixie

All Time Kiddie Favorites

Ding Dong Bell
All Time Kiddie Favorites
24 Nursery Rhymes and Games
Cover Design: Hobo Arts
Crown Records CLP 5075

Hickory Dickory Dock
London Bridge, Loopy Loo, Mulberry Bush
A Hunting We Will Go
Hey, Diddle, Diddle
Where Has My Little Dog Gone
3 Little Kittens
Humpty Dumpty
Old Woman Who Lived In A shoe
Old Mac Donald
Ding Dong Bell
Pop Goes The Weasel
Farmer In The Dell
Goosey Goosey Gander
Pussy Cat, Pussy Cat
Fiddle De Dee
Little Bo Peep, Little Miss Muffet, Little Jack Horner
Little Boy Blue
Marry Had A Little Lamb
Sing A Song Of 6 Pence

Sunday, January 6, 2019

Calypso By The Tower Islanders - Volume II

Mango Walk
As Played at Tower Isle, Jamaica, B. W. I.
By The Tower Islanders
Volume II
Fiesta Records Company, Inc.

Mary Ann
Advice To Men
Linstead Street
The Pretty And The Ugly Girl
Slide Mongoose
Mango Walk
Advice To Woman
Solas Market
Old Lady
Mathie's Rag
Long Time Gal

Ralph Sutton Piano Solos

Boogie Joys
Ralph Sutton
Piano Solos
With Art Trappier on Drums
Commodore Album FL 30,001

Bix Beiderbecke Suite
Modern Piano Compositions

In The Dark
In A Mist

Piano Portraits
With Art Trappier on Drums

Boogie Joys
Them There Eyes
Sweet Lorraine
Three Little Words
When You're Smiling
Squeeze Me

Opus De Jazz

Opus De Jazz
Recording Supervised by Ozzie Cadena
Recording Engineer: Rudy Van Gelder
Notes by H. Alan Stein
Savoy MG-12036

Available from online vendors so I will not be posting a sample. Presented here to share this particular issue of the cover art and bio information from the back cover.


Frank Wess - Flute
Also plays tenor sax and arranges. Born 1922 in Kansas City. Has played with Blanche Calloway, Bill Eckstine, Eddie Heywood, Lucky Millinder orks. Joined Count Basie 1953 to present. Great fame as tenor man and also as first jazz flute star on records. Won DOWN BEAT Critic's Poll "New Star" award 1954. Hear him on Savoy LPs Mg 12006, 12022

Vibes - Milt Jackson
"Bags" also plays piano. Born 1923 in Detroit. Came to New York to play with Dizzy Gillespie in 1945. Has played with Howard McGhee, Tadd Dameron, Thelonius Monk combos. Joined Woody Herman 1949. Re-joined Gillespie since 1953. Changed concept of vibes playing from Hampton style into "cool" idiom. Won Esquire May New Star Award 1947. Hear him on Savoy LPs MG 12006, 12020, 12026, 12042, 12046

Piano - Hank Jones
Born 1918 in Pontiac, Michigan. Came to N. Y. in 1944. Early influences Al Haig, Andy Kirk bands. Accompanist for Billy Eckstine and Ella Fitzgerald (Europe 1948). Gigged with John Kirby, Howard MeGhee, Coleman Hawkins. Toured with JATP, 1947. One of the most underrated and yet best representatives of modern school. Hear him on Savoy LPs Mg 12007, 12015, 12017, 12018, 12019, 12021, 12022, 12033, etc.

Bass - Eddie Jones
Born in 1929 in Red Band, N. J. a neighbor and friend of Count Basie family. Studied bass at Howard University and left to teach at Beauford, S. C. 1951. Taught and played in trio, worked in post office. Joined Count Basie band August 1953 to present. An outstanding member of the world's greatest swinging rhythm section. Hear him on Savoy LPs MG 12006, 12022

Kenny Clarke - Drums
"Klook" was born in Pittsburgh, 1914. Musical family, he studied piano, trb., drums, vibes, theory HS. Early jobs include Roy Eldridge 1935. Toured Finland Edgar Hayes 1937. Claude Hopkins, Teddy Hill to 1940. Played Minton's during formative bop days. Played Satchmo, Ella, Red Allen and Coleman Hawkins till '43. Army stint on trb. in Paris. Dizzy Gillespie '46, Tadd Dameron, Echstine. Organized Modern Jazz Quartet '52. A major figure in Modern Jazz.

Opus De Funk
Opus Pocus
You Leave Me Breathless
Opus And Interlude

Friday, January 4, 2019

Bongo Bongo Bongo - Preston Epps

Bongo Bongo Bongo
Preston Epps
Original Sound Record Co., Inc. OSR-LPM-5002

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

From Billboard - April 25, 1960: Preston Epps has a wild drum item, and he makes the most of it with some sharp bongo work, backed by a rhythm combo. The record has life and a chance for coins.

Bongo In The Congo
Bongo Rock
Jungle Drums
Doin' The Cha Cha Cha
Bongo Bongo Bongo
Bongos In Pastel
Call Of The Jungle

Thursday, January 3, 2019

The Blend & The Beat - The Ames Brothers

Autumn Leaves
The Blend and The Beat
The Ames Brothers
Orchestra and Chorus und the direction of Sid Ramin
Produced by Herman Diaz, Jr.
Recorded in Webster Hall, New York City, Orchestra conducted by Sid Ramin
Vocal Arrangements: Al Semola
Recording Engineer: Ernest Oelrich
RCA Victor LPM-2182

From Billboard - May 30, 1960: The Ames boys continue to turn out an appealing commercial sound as they demonstrate their familiar harmony sound to interesting backings by Sid Ramin. As the title suggests, the accent is on blend and rhythmic beat. All the tunes are of a vintage nature and they include "Autumn Leaves," "Begin the Beguine" and "Night Train."

'S Wonderful
On A Little Street In Singapore
Autumn Leaves
Harbor Lights
September Lights
Begin The Beguine
Is You Is Or Is You Ain't (My Baby)
Too Marvelous For Words
Mood Indigo
So In Love
Night Train