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Saturday, February 23, 2019

For Dancers Only - Les Elgart

For Dancers Only
Les Elgart And His Orchestra
Columbia Records CL 803
1956

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

From Billboard - February 25, 1956 (Columbia promotional copy): Did you know that the reason with Les Elgart is the most popular band leader among college students is because he has actually made a career out of playing college proms and dances? Les plays more college affairs yearly than any other single big name orchestra. It took three years for the highly recognizable Elgart sound to be developed. Elgart's newest collection, "For Dancers Only" - (CL 802) contains the most often requested tunes on his college appearances. His catalog of Columbia albums in the industry's best-selling dance releases. Every album Les has released has passed the $100,000, retail mark. The average retailer will sell approximately 39 assorted Elgart albums this year.

For Dancers Only
The Sweetheart Of Sigma Chi
Out Of Nowhere
Perdido
Moonlight In Vermont
The Enchanted Waitress
Beautiful Love
September Song
Take The "A" Train
Tenderly
It Had To Be You
Harlem Nocturne

Billy Williams

Glory Of Love
Billy Williams
Cover Photo by Hobart Baker
Coral Records CRL 57184
1957

From the back cover: Billy bowed into television on the Max Liebman "Show of Shows" with his famous Quartet in 1951, and during the next five seasons he racked up the incredible total of 160 appearances on the popular hour and a half revue. He has become one of the biggest attractions in nightclubs and theaters all over the country, and his Coral recordings are always among the label's best sellers.

From Billboard - October 28, 1957: Material in this package is done in Williams' highly stylized manner, with swinging arrangements. Some of the sides generate real excitement as "The Honeydripper," with ork by Sy Oliver, and "Cry Baby," with arrangement by Dick Jacobs. Williams, of course, is pidgin well as a singles artist currently, and this is a good opportunity to sample other of his wares. Package includes "I'm Gonna Sit Right Down And Write Myself A Letter" and other tunes with which he is associated.

I'm Gonna Write My Baby A Letter
Butterfly
Follow Me
The Honeydripper
Glory Of Love
Cry Baby
A Crazy Little Palace (That's My Home)
Fools Rush In (Where Angels Fear To Tread)
Love Me
Pray
Whenever Wherever
I Guess I'll Be On My Way

Love In The Generation Gap - Ferrante & Teicher

This Guy's In Love With You
Love In The Generation Gap
Ferrante & Teicher
Produced by George Butler
* Arranged by Nick Perito
** Arranged by Ferrante & Teicher
Orchestra Conducted by Nick Perito
Engineer: Frank Laico
Ferrante & Teicher play Baldwin Pianos
Photographed at the 7th Veil Dress by the tree
Photographed at the Turkey Dinner
$1.00 Photos by Alvin Moley
United Artists UAS 6677
1968

From Billboard - December 21, 1968: One side of this LP is "now," and the other side is "then" but Ferrante & Teicher give pianistic flair to both. Bacharach & David's material dominates the "now" side and F&T treat it with expert hands. The standards on the flip side are tasty and enchanting.

The Look Of Love*
This Guy's In Love With You*
What The World Needs Now Is Love*
For Love Of Ivy*
To Wait For Love**
Prelude To Love**
Love Is Here To Stay**
I Can't Give You Anything But Love**
This Love Of Mine**
I Wish I Were In Love Again**
I Love Thee**
When I Fall In Love**

Hair Goes Latin - Edmundo Ros

Hair Goes Latin
Edmundo Ros And His Orchestra
All Titles Are Written by Ragni; Rado and MacDermot
Producer: Raymond Richardson
Arranger: Roland Shaw
Engineer: Arthur Bannister
Front and Rear Photo: Photo Media, Ltd.
Design: Marvin Edson Associates
Phase 4 Stereo
London SP 44134
1970

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 inside cover (book fold): It was in 1961 that London Records broke the sonic barrier, as it were, and unveiled the marvel of of "phase 4 stereo." A radically new and dramatic concept in the art of high fidelity reproduction, it combined the most attractive features of all the earlier stereo techniques, and added a good many others as well. It vividly expanded the scope and the spectrum of recorded sound; it permitted amazing flexibility in instrument placement; it introduced striking ideas in orchestration, especially designed to take advantage of the stereo medium. Perhaps the most remarkable innovation was London's custom-built 10-channel console mixer, which permitted a sense of motion and an uncanny illusion of spatial realism unapproached by conventional disc methods.

And, of course, behind the sounds came the music – exciting music by such established artists as Edmundo Pos, Stanley Black and Ted Heath. Brilliant newcomers like Ronnie Aldrich joined the performing roster, and the revolutionary techniques of phase 4 stere were displayed in such dazzling musical showcases as the now-famous "Pass in Review" album. Not surprisingly, the impact of the initial twelve releases in the phase 4 stereo series was tremendous. Ten of them immediately swirled up to the bestseller charts, and the critics seconded the public's enthusiasm with phrases like "awesome sonic experience" and "most exciting sound ever." "Comes close to black magic" raved a reviewer in High Fidelity Magazine, while Dorothy Kilgallen summed it up quite nicely when she wrote in her syndicated column; "phase 4 is the ultimate in stereo sound."


Good Morning Starshine
Ain't Got No
I Got Life
Where Do I Go?
Hara Krishna (Be In)
Aquarius
Hair
Easy To Be Hard
Manchester England
Frank Mills
Let The Sunshine In
Donna

Friday, February 22, 2019

Big Hits By Pardo

Mambo No. 5
Bit Hits By Prado
Perez Prado and His Orchestra
Produced by Herman Diaz, Jr. and Dick Peirce
Recorded in RCA Victor Studios in New York and Hollywood
RCA Victor LSP-2104
1960

From the back cover: Prado has always taken full advantage of the most advanced recording techniques; this has been an important factor in giving his discs their special identifying stamp. Now that stereophonic recording has opened up still greater frontiers, Prado has brought his greatest hits of the past ten years up-to-date in this album, re-recording them in full width and depth. – Watson Wylie

From Billboard - August 1, 1960: This album contain many of Perez Prado's biggest single hits. Sides include "Cherry Pink," "Mambo Jambo," "In A Little Spanish Town" and "Patricia." Good cover and strong material make this look like a strong seller.

Mambo Jambo (Que Rico el Mambo)
Cherry Pink And Apple Blossom White (Cerezo Rosa)
Why Wait
Guaglione
Mambo No. 5
Paris
In A Little Spanish Town
Patrica
Ruletero
Mambo No. 8
My Roberta
Caballo Negro (Black Horse)

Et Tu Flute - Herbie Mann

Et Tu Flute
Herbie Mann
Produced Under The Personal Supervision of Norman Granz
Produced for Reissue by Eric Miller
Director of Engineering: Val Valentine
Remastering Engineer: Edwin Outwater
Cover and Liner Art by Laura Craig
Photography by John J. Krawczjk
All Selection Previously Released on Verve Albums, V6-8247, V6-8336, V6-8392 and V6-8527
MGM Records 1973
2-V6S-8821

Strike Up The Band
Baia
Body And Soul
I'll Remember April
Dearly Beloved
Moonlight Serenade
St. Louis Blues
Oodles Of Noodles
Frenesi
Stardust
Peanut Vendor
Come On Mule
The Amazon River
Autumn Leaves

Got My Own - Gene Ammons

Strange Fruit
Got My Own
Gene Ammons
Produced by Ozzie Cadenna
Recording and Remix Engineer: Rudy Van Gelder
Recorded October 28 and 30, and November 1, 1972 at Van Gelder Studios, Englewood Cliffs, New Jersey
Additional recording at Fantasy Studios, Berkeley, California
Recording Engineer: Jim Stern
Prestige Records 10058
1973

Gene Ammons - Tenor Saxophone

On Lady Sings The Blues, Play Me And Ben:
Joe Beck - Guitar
Ernest Hayes - Organ
Hank Jones - Electric Piano
Ron Carter - Bass and Electric Bass
Idris Mahammed - Drums
Strings Arranged and Conducted by Ed Bogas

On Fine and Mellow:
Joe Beck - Guitar
Ernest Hayes - Organ
Hank Jones - Electric Piano
Ron Carter - Bass and Electric Bass
Mickey Roker - Drums

On God Bless The Child and Tin Shack Out Back:
Maynard Parker - Guitar
Sonny Phillips - Electric Piano
Ron Carter - Bass and Electric Bass
Billy Cobham - Drums

On Strange Fruit:
Hank Jones - Electric Piano
Ron Carter - Bass and Electric Bass

From Billboard - March 17, 1973: This LP lies somewhere between being laid back and open explosiveness. Ammon's tenor moves righteously but never in open revolt. He is surrounded by strings and lots of electric piano and bass sounds. The tone of the package is strict commercial pop tunes with salutes to Billie Holiday (through three tunes), Neil Diamond and the Jackson Five. Best cuts: "God Bless The Child," "Play Me," Tin Shack Out Back" (the most open jazz blowing on the date).

Lady Sings The Blues
God Bless The Child
Strange Fruit
Fine And Mellow
Play Me
Ben
Tin Shack Out Back

Doc Severinsen Command Performances

Summertime
Doc Severinsen Command Performances
Originated and Produced by Loren Becker, Robert Byrne and Julie Klages
Art Director: Charles E. Murphy
Mastering George Piros
Recording Chief: Robert Fine & Fred Christie
Command Records RS 904 SD
1966

From the inside (book fold) cover: His (Severinsen) trumpet covers the whole field (Classical & Jazz). He was one of the most brilliant and exciting performers ever to play in the trumpet sections of Tommy Dorsey's and Charlie Barnet's big bands. For the past 16 years he has been a top trumpeter in New York for TV and recording work. Since 1952, he has been an outstanding member of the orchestra on TV's Tonight Show and has made personal appearances at trumpet clinics and concerts for Getzen trumpets, which is the instrument he uses. In the spring of 1966, he formed a sextet built around a unique blend of trumpet and alto saxophone which took New York, and then the country, by storm.

In these choice selections, you hear all the sides of Doc Severinsen. You hear Doc and his sextet playing "the Severinsen Sound" on When the Saints Come Marching In and Summertime – a sound based on the interplay of Doc's trumpet with the alto saxophone of Arnie Lawrence, interplay which sometimes comes out in dazzling duets, sometimes erupts into startling challenges between the two mucsians.

You hear Doc with a big band which is an incomparable assemblage of past masters of the big band idiom – stars of the band of Count Basie, Woody Herman, Charlie Barnet, Duke Ellington, Stan Kenton, Artie Shaw, Benny Goodman, Jimmy Dorsey, Claude Thornhill, Gene Krupa, Sauter-Finegan, Bunny Berigan, Glenn Miller, Tommy Dorsey and Bob Crosby.

You hear Doc in a ballad context, using the subtle, soft, singing qualities of his trumpet on Stormy Weather and Don't Worry 'Bout Me.

You hear Doc with a loose, free-wheeling small group on In A Little Spanish Town and On A Clear Day, a group with which Doc has the room to explore the color and flavor of a broad range of playing styles.

And you hear an amazing combination of Doc Severinsen's trumpet virtuosity and Command's engineering virtuosity on It Ain't Necessarily So and Bluesette on which he plays duets with himself – duets that are without precedent because, unlike most over-dubbing records, they are played for musical values instead of simply for novelty effects and, even more important, they are the work of one of the truly great contemporary virtuosi.


From Billboard - December 3, 1966: The brilliance of Doc Severinsen's trumpet rings throughout this Command package as he masterly performs standards ranging from an exciting "When The Saints Come Marching In" to a soft, sensitive "My Funny Valentine." The album is indeed a command performance as Severinsen's musical dexterity is in full display.

When The Saints Come Marching In
Stormy Weather
Baubles, Bangles And Beads
My Funny Valentine
It Ain't Necessarily So
On A Clear Day (You Can See Forever)
In A Little Spanish Town
Summertime
Love For Sale
Don't Worry 'Bout Me
Bluesette
Stardust

Wednesday, February 20, 2019

Town Hall Jazz Concert - Charlie Barnet

Town Hall Jazz Concert
Charlie Barnet
December 6, 1947
Columbia CL 639
1955

Personnel:

Charlie Barnet - Soprano, Alto and Tenor Sax
Trumpet - Joe Graves, Clark Terry, James Nottingham, Jimmy Campbell, Doc Severenson
Trombone - Zolman Cohen, Fred Zito, Red Benson
Saxophone - Kurt Brown, Bob Dawes, Clifford Shank, Jr., Walt Weidler, Wolfgang Weidler
Bass - Don Tosti
Drums - Dick Shanahan
Piano - Claude Williamson
Vocalists - Bunny Briggs - Jean Louise

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: This album really makes you get the nostalgics. It brings back some very fond memories and I sure would like to relive some of those days. That's when the band business was a rompin', stompin' thing and everybody was swinging and I can't help but think back to the group of guys in the band – it was a happy band and even with the one-nighters it was a big ball.

A lot of the fellows are still around today, in studio bands and all. Jimmy Nottingham is with CBS in New York, Doc Severenson is working in TV, Dick Shanahan is doing studio work in LA, and Clark Terry is with Duke Ellington. We're pretty much all scattered around, although Jean Louise is still with my band, but I run into some of the guys every once in a while and it's a kick to sit down and talk. We had some fine young musicians and some fine arrangers working for us; Neal Hefti, Ralph Burns, Billy May, Andy Gibson, Billy Moore.

As I said it was a real happy band and it was a real happy business. Lately, I've been alternating a big band and a jazz quintet, because I've found that trying to keep a big band together all year around is pretty much a financial fiasco. There's the essential question of staying on the road in a series of one-nighters, and since there are no more theaters left now and there are very few spots that can or will get up the money for a big band, I've found that my best operation is an occasional tour through a limited section of the country. But things look pretty good now, because soon I'll have a TV show of my own on the Coast and we've got a new approach for presenting bands and we'll be able to present our own big band.

Meanwhile, I hope there are as many kicks in this Town Hall Concert set for you as there were for me. It makes a great review of a band I will always feel proud of.


Rockin' In Rhythm
Tell Me, Tell Me, Dream Face
My Old Flame
Caravan
Andy's Boogie
Pompton Turnpike
Cherokee
Redskin Rhumba
Skyliner
East Side, West Side
Terry Tune
Things Ain't What They Used To Be
Hello Baby Blues
The Gal From Joe's
Barnetology (Cherokee; Pompton Turnpike; Skyliner; Things Ain't What They Used to Be; Cornet Confab; Smiles)

Words And Music Country Style - Tommy Collins

Smooth Sailin'
Words And Music Country Style
Tommy Collins
Capitol Records T776
1957

From the back cover: Tommy is only twenty-six years old, but he has developed an understanding of people and human situations that, turned into songs, has made him a young giant in the country and western musical field. Many country singers write their own material and accompany themselves, but few have cultivated this combination of talents with the depth and versatility of Tommy Collins.

Though Tommy always had dreams of becoming a singing star, common sense told him that he should prepare to earn a livelihood elsewhere, if a singing career proved too precarious; so he entered college with plans to become a chemical engineer. A job singing on an Oklahoma City radio station (his first professional singing job) interrupted the student life, and halted his engineering plans. He left the Oklahoma radio station for a hitch in the marines. After that he decided to move to California to live, and there he met Capitol recording star Ferlin Husky, who was to give his career a big boost. It wasn't long before Husky and Faron Young (another Capitol country star), and a legion of others were singing songs of the young writer, and not much longer before Tommy himself was signed to a recording contract.

Tommy's first single record was "You Gotta Have A License" and it sky rocketed him right into the hit class. Subsequent releases like "You Better Not Do That" and "It Tickles" kept him on the best-seller lists.


From Billboard - January 26, 1957: Here's a dozen country ballads, novelty songs, sacred items – all of them written and sung by Tommy Collins. Performances are good, and Capitol's engineering is better than most labels. But this package would have been better if it had included some of the great country standards written by others than Collins. As it is, it's fair package, with moderate potential.

All Of The Monkey's Ain't In The Zoo
How Do I Say Goodbye
Love-A-Me S'Lili Vous Plait
Those Old Love Letters From You
A Man We All Ought To Know
The Feet Of The Traveler
Smooth Sailin'
I'll Always Speak Well Of You
Think It Over Boys
I Think Of You Yet
Are You Ready To Go
Upon This Rock

Lights Out, Sweet Dreams - Bert Kaempfert

Highland Dream
Lights Out, Sweet Dreams
Bert Kaempfert And His Orchestra
Recorded by Deutsche Grammopon/Polydor Series
Decca Stereo DL74265
1963

Sentimental Journey
Highland Dream
Dream
Gemma
Body And Soul
Sweet Dream
Whispering
Magnolia Blossoms
If I Had You
Love Letters
Tell Me Why
Daybreak Serenade

Tuesday, February 19, 2019

Deep Night - The Ray Charles Singers

All Through The Night
Deep Night
The Ray Charles Singers
Decca DL 78988
1960

From the back cover: Deep Night is music for the hours between midnight and 6 A.M. Between the hours of midnight and 6 A.M. there can be two sound reasons for music; love has come or love has gone. We think we have covered both of these possibilities pretty thoroughly in this collection. Being of a naturally modest nature, I, as the arranger and conductor of the Ray Charles Singers, am loathe to say that the performances are warm, sincere and musically impeccable. So much for the why of the record.

What of the record? What, indeed!

One final word in parting. A deep bow to Nick Perito for all the wonderful accordion playing, and my sincere thanks to all the singers who participated; for their patience with the leader and their wonderful performances, in spite of him. – Ray Charles


From Billboard - August 8, 1960: The very capable Ray Charles Singers offer an album full of smartly conceived and executed arrangements. Most are of the deeply sentimental mood variety for late hour listening, as with "Solitude," "You And The Night And The Music" and "All Through The Night." But for a change of pace there are some sprightly and novel renditions of "Dancing On The Ceiling," "Four Twenty A.M." and "Hit The Road To Dreamland." Fine quality for either or both moods, and built for broad appeal.

Deep Night
I Kiss Your Hand, Madame
Dancing On The Ceiling
Solitude
Street Of Dreams
Four-Twenty A.M.
You And The Night And The Music
In The Wee Small Hours Of The Morning
Three O'Clock In The Morning
All Through The Night
Hit The Road To Dreamland
Good Night Sweetheart

Sunday, February 17, 2019

Skylight Rhapsody - Joe Bushkin

Flamingo
Skylight Rhapsody
Joe Bushkin
His Piano and Orchestra
Arrangements by Joe Bushkin and Glenn Osser
Cover Photo by Derujinsky
Capitol Records T759
1957

Body And Soul
She's Funny That Way
My Romance
It Could Happen To You
Can't We Be Friends?
Bess, You Is My Woman
Autumn In New York
Someone To Watch Over Me
Flamingo
Why Shouldn't I?
Something Wonderful Happens In Summer
It's All Right With Me

Ted Heath's 100th London Palladium Sunday Concert

Fascinating Rhythm
Ted Heath's 100th London Palladium Sunday Concert
Ted Heath and His Music
Recorded at The London Palladium February 14th, 1954
London LL-1000

From the back cover: This is the second 12-inch LP made at one of the famous Ted Heath London Palladium Swing Sessions. This, however, is the disc with a difference; it marks the Hundredth Swing Session, and is the record of a historic occasion when the immaculate Heath Music was at the peak of its form and the audience full of enthusiasm and the party spirit. This has resulted in a remarkable degree of warmth and atmosphere – usually quite foreign in a studio-made recording – going into this memorable disc.

The record can also be regarded as a tribute to one of London's most famous musical institutions, for that is what the Ted Heath Swing Sessions have become. These sessions, at which scores of the great names of dance music have featured, started as a modest experiment in 1945, soon after the band's formation. Now, eight years afterwards, they have reached their century – and every single concert since the series started has been a pack-out, with standing room the order of the day.

This disc will therefore be greeted with far more than the usual interest; it faithfully records one of the great dance music occasions of our time.

Both sides lean heavily on the prowess of top-line arranger Reg Owen, who is responsible for at least six of the scores. Also used to telling effect in a couple of the numbers is the work of ex-trombonist, now free-lance arranger and composer Johnny Keating.


Lush Slide featuring Don Lusher (trombone)
Birth Of The Blues featuring Bobby Pratt (trumpet)
Fascinating Rhythm featuring Johnny Hawksworth (bass)
Our Waltz featuring Frank Horrox (piano)
Theme From "Moulin Rouge"
Viva Verrell featuring Ronnie Verrell (drums)
Henry IX featuring Henry Mackenzie (clarinet)
Mood Indigo featuring Wally Smith (trombone) and Roy Willox (soprano saxophone)
Sheik Of Araby
Holiday For Strings
How High The Moon featuring Johnny Hawksworth (bass) and Ronnie Verrell (drums)