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Saturday, October 5, 2019

Get Up My Brother - Shirley Caesar

Study War No More
Get Up My Brother
Shirley Caesar
With The Thompson Singers
Produced by John Bowden
Cover Photo: Bill Smith - Aristocrat Studios
Art Director: Dick Smith
Recorded at Scepter Recording Studios, New York City
Audio Engineer: Josh Pridgen
Hob Records - A Division of Scepter Records, Inc.
HOB HBX 2144
1972

From the back cover: The past year has brought Shirley more honors and recognition than ever before. She won the Grammy Award from best Soul Gospel performance of 1971; starred on the nationally syndicated television program Soul; was featured in Ebony and in the book, The Gospel Sound: Good News and Bad Times. Her successful appearances at colleges like Florida A. And M. have further expanded her audiences.

Everyone knows Shirley as an extraordinary showman, a great storyteller, and a mistress of rocking gospel. This album suggests the range of her talent. I've always considered her among the most imaginative gospel stylists of her generation. One reason is her solid grounding in a down-home North Carolina quartet; her father, Big Jim Caesar was one of the great Carolina quartet leads. Notice the warm quartet feel in her re-arrangement of Down By The Riverside. Or if you want the modern sound, Shirley give People Get Ready its finest gospel performance, and fills Get Up My Brother with contemporary messages. Her sister Anne is also featured on this tune.


Get Up My Brother
Have Thine Own Way Lord
When The Savior Reach Down For Me
Study War No More
The Prayer
People Get Ready
Nobody But You Lord
Teach Me Master
The Healer

Kai Winding

The Ice Cream Man
Kai Winding
Photography: Don Bronstein
Recording Engineer: Phil Ramone
Director of Engineering: Val Valentine
Produced by Creed Taylor
Verve V/V6-8556
1963

From the back cover: Some people say "Kay," some say "Ki," some say Winding, and some say "Winding." This is a side discussion which is irrelevant to the music on this album, music of swinging rhythmic, extremely danceable variety. It is not required that you dance to enjoy, however, for the music is every bit as listenable as well as danceable. As you play this album, I predict you will not remain seated for long. Some portion of your anatomy will undoubtedly move in time to the rhythmic excitement generated by Kai Winding.

A record such as this can only be conceived by a musician of considerable experience and training. Kai Winding is such a musical. His formal musical education has been honed by a whole lot of experience, playing, arranging, and composing. Kai is best known to jazz fans for his work in the Stan Kenton band and for his successful collaboration with J. J. Johnson in a jazz quintet. The latter musical alliance was rewarding in all possible ways. The group was critically acclaimed, popular in the extreme, and, best of all from a musician's viewpoint, very highly thought of by Kai's colleagues. All of these areas of success are rewarding, but receiving the acclaim of one's fellow musicians tastes sweet indeed.

Kai is currently engaged in myriad musical endeavors. His group plays college dates every weekend and his recording sessions are numerous and varied. Kai handles the musical direction of New York's plush Playboy Club. All in all, he's a very busy man. With this album as well as his previous hit album "More," Kai extends his musical world into heretofore uncharted passages which will undoubtedly prove equally rewarding as past experiences.


From Billboard - December 28, 1963: Exciting readings of some big singles hits by other artists on this album. Trombonist Winding, with strong pop-styled backing swings through Claus Ogeman and Garry Sherman arrangements of such big 1963 hits as "Only In America," "Hey, Girl." "Mockingbird" and "Washington Square." There are also some fine originals. One is "Get Lost."

Get Lost
Only In America
Hey, Girl
The Lonely One
Theme From "Mr. Novak"
Washington Square
The Ice Cream Man
Mockingbird
China Surf
Burning Sands
Far Out East
Oltre L'Amor

Modern Country - Kai Winding

Busted
Modern Country
Kai Winding
Vocal Accompaniment Antia Kerr Singers
Arranged by Kai Winding & Bill McElhiney
Orchestra Conducted by Grady Martin
Director of Engineering: Val Valentine
Cover Design: Any Lehman
Cover Photo: Murray Laden
Recorded August 5 & 6, 1964
At Columbia Recording Studios, Nashville, Tennessee
Antia Kerr Singers appear through the courtesy of RCA Victor Records
The 1965 Mustang 2+2 is pictured on the album cover through the courtesy of the Ford Motor Company, Detroit, Michigan
Verve V/V6-8602

Personnel:
Leader, Arranger & Trombone: Kai Winding
Guitars: Grady Martin, Harold Bradley, Ray Edenton & Wayne Moss
Trombones: Gene Mullins & William Watrous
Bass: Joe Zinkan
Drums: Murray Harman, Jr. & Doug Kirkborn

From the back cover: To record this album, Kai and Verve producer Creed Taylor went to the home of the country and western movement, Nashville, Tennessee. Among the welcoming committee that greeted them were some of the most gracious and talented names in the c&w music field: Anita Kerr, Bill McElhiney, Grady Martin, Floyd Cramer and Harold Bradely.

Kai and Creed went to Nashville to do something new – to team the fine Winding trombone with the fabled Nashville Sound. In the process they found out what goes to make the sound – people. The musicians, singers and arrangers in Nashville's artistic first team are a cooperative and versatile group and they make a point of contributing a lot more than just the sound of an instrument or a voice.

Both Creed and Kai were extremely enthusiastic about the concern these Nashville people feel for their craft. "After listening to a take," Creed said, "they criticized the result and suggested ways of embellishing and improving it. In some cases, it meant more work for them, or a major change in the arrangement. But, if this meant a better record they were all for it." – Jack Maher


From Billboard - November 28, 1964: Kai Winding treats country standards like "Slipping' Around" with a bright tempo and a pop trombone style. The Anita Kerr Singers provide effective vocal background, particularly on "Cool Water."

I Really Don't Want To Know
Busted
Wolverton Mountain
Bye Bye, Love
Cool Water
Wildwood Flower
Detroit City
I Walk The Line
Oh, Lonesome Me
Slippin' Around
Gotta Travel On
Dang Me

Frankie Carle's Finest

Blue Moon
Frankie Carle's Finest
Frankie Carle with Rhythm and Orchestra
Photo by Wendy Hilty
Gown: Ceil Chapman
RCA Victor PLM-1153
1956

From Billboard - August 6, 1956: Frankie Carle's piano style – lace-like and nimble – is virtually a standard commodity with a known sales potential. His performance is as pleasant as ever, the album's repertoire including such standards as "Whispering," "Sunrise Serenade," "Blue Moon," etc. Dearler can expect to move this package okay.

Whispering
Oh What It Seemed To Be
Sunrise Serenade
A Lover's Lullaby
Falling Leaves
Symphony
Blue Moon
My Silent Love
Twilight Time
Beg Your Pardon
Intermezzo
Moonlight Cocktail

Easy Living With Mary Ann McCall

'Deed I Do
Easy Living
With Mary Ann McCall
Ernie Wilkins and His Orchestra
Supervision" Ozzie Cadena
Engineer: R. Van Gelder
Engravings: Fidelity Engraves, Inc.
Regent Records Co.
REGENT MG-6040
1957

From the back cover: Mary Ann is a jazz singer. She has been associated with the finest in jazz domain and acknowledged as one of the expressive voices in the medium. She was a mainstay in the great Woody Herman band that "Played the Blues". And when Woody broke up she appeared with the fine group Charlie Ventura fronted. Since that time she has appeared in the best clubs throughout the Nation, ever maintaining her ability to sing a song in her own way and squeeze every drop of emotion from its core.

The folks at Regent have been long impressed by Mary Ann's vocalizing, and were pleased when she agreed to do this album. They believed she should be afforded the best musical background and consequently contacted Ernie Wilkins to do the arrangements and conduct the orchestra. That Ernie's task was successfully completed is evidenced on every track throughout this disc as he provides Miss McCall with a musical base which offers sympathetic as well as stimulating assistance. The group Ernie assembled for the session is as similarly distinguished as its leader, for here he has gathered some of the leading men in East Coast Jazz. They include the more-than-fabulous Joe Wilder on trumpet, a new setting of "Brothers" in the sax section, including Zoot Sims, who was a member of the original cast, Seldon Powell, George Barrow on tenors and Pee Wee Moore on baritone. The men of rhythm are Nat Pierce, piano; Wendall Marshall, bass; and Kenny Clarke, drums. Under Ernie's baton the orchestra ever provides a stimulus for Mary Ann, though never interfering with her singing. – Jack McKinney


From Billboard - January 26, 1957: At the $2.98 retail tag, this is a pretty fair name item. The thrush, to not one of the prime jazz stylists, should have maintained some sizable following since her Woody Herman and Charlie Ventura days. She achieves some neat jazz touches in a good program which includes the title tune, and a good "Deed I Do." Some of the writer credits on the liner ought to be checked. Fine work backing from Erinie Wilkins, and some beautiful trumpet bits by Joe Wilder.

Shake Down The Stars
You Can Depend On Me
Easy Living
Mean To Me
In My Solitude
I Thought About You
Deep Purple
"Deed I Do
It's You Or No One
It's Been So Long

Friday, October 4, 2019

Just You, Just Me - Jaye P. Morgan

As Time Goes By
Just You, Just Me
Jaye P. Morgan
With Marion Evans and His Orchestra
RCA Victor LSP-1682
1958

From the back cover: At age three, as the youngest member of a family vaudeville and radio act that also comprised four brothers, a sister and her emcee-ing father, Jaye P. Morgan made her initial mark in show business when she trundled out, as the climax of the act, to sing a raucous little ditty entitled I May Be Little But I'm Loud. It never failed to sew up the performance.

Twenty-odd years later Jaye P. Morgan remains a tough act to follow, whatever the medium. No longer is she little, but she still sings up a storm in the top cafes on television and on records. Through her RCA Victor recordings, she has become what is commonly referred to in the trade as a "standard seller." A new Jaye P. disc is always a signal for a fresh wave of record-buying.

After an early band-singing career with Frank DeVol's orchestra in California, Miss Morgan successfully auditioned for the Robert Q. Lewis show and gained national recognition during the two years that she appeared with the horn-rimmed comedian.

In the last couple of years Jaye P. has branched out as a single act and has played practically all the top musical shows on television, in addition to her appearances at smart supper clubs.


From Billboard - January 23, 1958: Petite thrush Jaye P. Morgan tees off on a fine collection of standards on this new collection of standards on this new release to fairly good results. She is helped immensely by the superb arrangements of Marion Evans and the swinging ork performance and sound. Title tune and "I See You Face Before Me" and "Day By Day" are standouts. Steady sales indicated here.

Just You , Just Me
I See Your Face Before Me
The Song Is You
You are My Lucky Star
Why Shouldn't I
Day By Day
Love Your Spell Is Everywhere
I Wanna Go Where You Go - Do What You Do Then I'll Be Happy
There's A Small Hotel
As Time Goes By
Where Are You?
All I Do Is Dream Of You

Movie Themes - John Carlton

Man With The Golden Arm
Movie Themes
John Carlton and The Craftsmen All-Stars
Cover Model: Kim Novak - Star of Columbia Pictures
Craftsmen C8002
A Division Of P.R.I.

Around The World
The Third Man Theme
The Bells Of St. Mary's
The Merry Widow Waltz
Spellbound
Man With The Golden Arm
The Quiet Man Theme
Young At Heart
Gigi
Some Enchanted Evening

Blue Smoke - Johnny Desmond


Blue Smoke
Blue Smoke
Johnny Desmond
With Tony Mottola (Guitar) & Bob Haggart (Bass)
Cover Photo: Columbia Records Photo Studio - Henry Parker
Columbia Records
REGULAR CL 1477
1960

From the back cover: Originally this collection began as an experiment. Johnny Desmond had appeared in clubs with both Mottola and Haggart, and found that one of the most warmly-received parts of his act consisted of just such intimate numbers. Hesitant about its result on records, he arranged for a trail session, and so delighted was everyone with the outcome that the experiment blossomed into the present album.

As one of the nation's top singing stars, Johnny Desmond had been responsible for a long string of hits. He first attained fame as the featured vocalist with Glenn Miller's Air Force band, performing in England and on the Continent for GI's during World War II. (This period of Johnny's career was recently documented, with the original arrangements and many of the original sideman in "Once Upon A Time," CL 1399/CS 8194). Thereafter he began his recording career, producing an enviable string of best sellers, including Symphonie and The High And The Mighty. Nightclub and television appearances spread his fame still farther, and in 1958 he made his stage debut in "Say Darling." He also starred on television in "Your Hit Parade."


I'm Thru With Love
No One Ever Tells You
The Party's Over
I Gotta Right To Sing The Blues
It's A Lonesome Old Town
Blue Smoke
Last Night When We Were Young
Why Shouldn't I
Imagination
That Old Feeling
You Go To My Head
I'm Glad There Is You

Thursday, October 3, 2019

Blue Swing - Eileen Rodgers

I Guess I'll Have To Dream The Rest
Blue Swing
Eileen Rodgers
Orchestra Under The Direction Of Ray Conniff
Columbia CL 1096
1958

From the back cover: For a girl who had no particular interest in a singing career – in the beginning – Eileen Rodgers has come a long, long way, and she proves it conclusively in this fine, swinging album. Eileen, one of the brightest young stars around, is not one of your whispery singers, although she can get as pleasantly intimate as anyone; rather she sings out in a good, old-fashioned way that gives both the song and the audience a refreshing lift. Her selections here are predominantly lonesome in character, but there is nothing fretful about Eileen's performances – she gives the songs bracing, outgoing treatments that result in a collection which fully lives up to its title.

Eileen, of Irish and Italian extraction, comes from Pittsburgh, Pennsylvania, where she attended the Firck Elementary School and St. Paul's Cathedral High School for Girls. Active in the glee club and appearing from time to time in school operettas, she never gave a thought to a singing career until it practically fell into her lap. After graduation, she went to work in the local offices of the Blue Cross Hospitalization Service, but soon found that office work was not what she wanted. Out on a date in the Carnival Lounge in Pittsburgh, she stood up one night and sang a few songs with the band and so impressed the club's owner that he asked her to become part of the show. Eileen thought it over, and made her debut on New Year's Eve. Option after option was picked up, and her first engagement stretched out for twelve weeks.

Chicago television and nightclubs followed, and one night Charlie Spivak stopped by one of the clubs in which she was appearing. Luckily, he was looking for a girl vocalist for his band, and he signed Eileen at once. After two years with the band, Eileen decided she had acquired sufficient experience to resume work as a single act, and she set out for New York. There she made an audition record which came to the attention of Mitch Miller, who asked for a repeat audition. Just ten days before she turned 23, Eileen was signed to a recording contract and made her first record a week later.

This is Eileen's first collection, although she has a score of highly popular single records to her credit. With Ray Conniff and his orchestra, she offers a dozen solid standards, most of them firmly associated with the swing era and most of them blue, not in the sense of the classic blues, but deriving from them. As Ray lays down a firm, swinging beat, Eileen carries through and presents a group of performances that amply demonstrate her extraordinary talent and show why she has so quickly become a major recording star. Her enthusiasm, her sure musical instinct, and her vibrant personality all combine to provide an enlivening and delightful musical offering.


From Billboard - March 31, 1958: In this first LP album by Eileen Rodgers, her fine, swinging voice, clear diction and keen sense of phrasing are showcased in a dozen blues-flavored standards like "Solitude." "Washbah Blues" and "Some Of These Days." A solid backing by Ray Conniff and an attractive cover. She has strong potential as an album artist.

Wabash Blues
Am I Blue
Some Of These Days
Don't Get Around Much Anymore
Solitude
I Guess I'll Have To Dream The Rest
Sunday
I'd Climb The Highest Mountain
I Ain't Got Nobody
Lonesome Road
I Cried For You
After You've Gone

Cha Cha Jubilee

Honeysuckle Rose
Cha Cha Jubilee
A Collection Of Cha Chas In A Variety Of Expressions
Cover Design: Sy Leichman
Photograph: Charles Varon
Jubilee Records
JUBILEE 1097
A Product of Jay-Gee Record Co., Inc.

From the back cover: Sy Oliver and His Orchestra lift "In A Little Spanish Town" right out of the past into today. Sy is the famous arranger-conductor, formerly with the great Jimmy Lunceford and Tommy Dorsey Orchestra

The Frank Ortega Trio, well-known on the West Coast for its swinging concert touch, treat classical and popular melodies to the new tempo

Mark Monte and the Continentals play for dancing at the Plaza Hilton in New York City. Their two medleys reflect the authenticity of the Latin lilt.

The Accents express their feeling, vocally. This group appears on "The Hit Parade" each week. Here, they sing with Sy Oliver and His Orchestra.

Moe Koffman, the jazz flutist best known for his original "The Swinging' Shepherd Blues," and the Sy Oliver Orchestra play "The Shepherd's Cha Cha.

Melino and His Orchestra blend the music of the American cowboy with the driving tempo of the Caribbean.

Notes by Mort Goodie


In A Little Spanish Town - Sy Oliver
The Gypsy - Frank Ortega Trio
Medley: Adele & Wham! - Mark Monte & The Continentals
My Yiddish Momme Cha Cha - Frank Ortega Trio
22 Del Rio Avenue - The Accents
Shepherd's Cha Cha - Moe Koffman
Third Man Theme - Frank Ortega Trio
Medley: Chi Chi Cha Cha Cha & Tremendo Cha Cha Cha - Mark Monte and The Continentals
Honeysuckle Rose Cha Cha - Frank Ortega Trio
Tumbling, Tumble Weed - Melino and His Orchestra

Here's Where It's At Beat '66 - The Haircuts & The Impossibles

Monday, Monday
Here's Where It's At
Beat '66
With The Haircuts & The "Impossibles"
Recorded Under The Direction: D. L. Miller
Cover Design: Chic Langanella
Somerset ALBUM SF-27100
An Alshire Production
1966

Winchester Cathedral
Monday, Monday
Frankie And Johnny
Greenbeans
Dragsville
Where Did Our Love Go
Gear Down
I Want To Hold Your Hand
Liverpool Stomp
Henry The Eighth



Shades Of Brass - Bobby Byrne

The Pendulum Swings Both Ways
Shades Of Brass
Bobby Byrne
Musical Arrangements: Dick Hyman, Walter Levinsky, Richard Lieb, Chico O'Farrill & Robert Byrne
Producer: Robert Byrne
Engineering Supervision: C. R. Fine
Recording Engineer: George Piros
Remix Engineer: Russell Hamm
Evolution Stereo 3003

My copy came with the "B" side disc label fixed to both the "A" and "B" sides.

The shiny gold jacket is constructed as a standard single "sleeve" with two additional attached front "flaps" which open to reveal a poem and the track list. The center flap is die-cut to reveal the "red circle".

Respect
Help Yourself
The Pendulum Swings Both Ways
Delilah
The 59th Street Bridge Song
Hurry Love
A Shade Of Brass
Can't Take My Eyes Off You
Barbarella
Windy

Great Jazz Brass

Buckin' The Blues
Great Jazz Brass
Photo by Wendy Hilty
RCA Camden CAL-383
1957

From the back cover: Louis Armstrong has generally been regarded as the most important influence in jazz, a warm, emotional musician whose trumpeting and singing have thrilled and inspired his listeners for almost two generations. His hot is evident on the opening and closing eight bars of the first selection, the rest of which is devoted to some friendly vocalizing with Jack Teagarden.

Bix Beiderbecke, the legendary trumpeter who died much too young, is responsible for a relaxed, gentle way of playing that is the forerunner of the style of many of today's trumpeters. Starred in Paul Whiteman's band, with many groups of the Chicago school, he appears here as a member of a big band led by Hoagy Carmichael, blowing an exciting chorus right after the first novelty vocal. The tenor sax passage is by Bud Freeman.

Buck Clayton, a modern version of Armstrong, is best known for his warm work in Count Basie's band and as leader of his own current group. Here, with the Esquire All American Award Winners, he blows an intimate, relaxed muted horn, sharing solos with guitarist John Collins on an original blues.

Lee Collins is an early New Orleans trumpeter, highly respected by the men who were led by his strong, singing horn. Featured on this 1929 disc with the Jones and Collins Astoria Hot Eight, he shares the solo spotlight with co-leader David Jones and his tenor sax, clarinetist Sidney Arodin and pianist Joseph Robichaux.

Ziggy Elman was the powerhouse star trumpeter of Benny Goodman's band who, during his BG days, made several records with his own pickup group. On this traditional Jewish air he emotes in his unique, waling manner, receiving notable support from pianist Jess Stacy and the rhythm section.

Harry James played alongside Elman in the Goodman band, then branched out as one of the most successful bandleaders of all time. On this record, made shortly after he joined Benny, he solos on a tune he had just helped Ben Pollack's band, of which he was a member, make into a hit. The trumpet solo and the arrangement are by Harry; the clarinet by Benny; the tenor sax by Vido Musso.

J. J. Johnson and Kai Winding are two modern trombonists whose facile styles have, independently, established them as top men in the field, and who combined their playing into a pattern of duets that brought them additional fame. Kai's clipped clauses complement Johnson's richer, more legato style enticingly, with both contributing impressive solos.

Tommy Ladnier is a most respected New Orleans trumpeter, who was born in that city shortly before it produced Louis Armstrong. His playing is in the style of Louis', and on this record he revives the New Orleans jazz flavor with the famed Sidney Bechet. Also heard on this rollicking rendition are Hank Duncan's Waller-like piano and Teddy Nixion's trombone.

Wingy Manone, another New Orleansian (four years younger than Armstrong and Ladnier) displays more of the kind of jazz typical of that city. As famous recently for his humor (he has appeared often with Bing Crosby), he blows his horn here in a dipsy-doodlish version of the blues, sharing the solo spotlight with Chris Berry's tenor sax.

King Oliver is generally looked upon as the beginning of jazz, a forthright trumpeter to whom others, such as Armstrong himself, give great credit for starting things off. On this record, made in 1929, his biting horn leads the ensemble, which plays an arrangement (unusual for Oliver) and features additional solos by alto saxist Glyn Pacque and trombonist Jimmy Archey.

Muggsy Spanier is a leading exponent of the Chicago style of Dixieland, a direct, driving type of jazz that's at its best when led by a horn with the fire and authority of one like Muggsy's. Featured with him on this record are clarinetist Rod Cless and pianist George Zack.

Jack Teagarden is one of the real giants of jazz, a warm, creative, rhythmic trombonist, with a style steeped in the blues tradition. The star of countless big and small bands (including his own), he is featured here with Eddie Condon's Hot Shots, singing and blowing the blues. The trumpeter is Leonard Davis; the pianist is Joe Sullivan; the C melody saxist is Milt "Mezz" Mezzrow.

Notes by George T. Simon


Rockin' Chair - Louis Armstrong
Barnacle Bill, The Sailor - Bix Beiderbecke
Buckin' The Blues - Buck Clayton
Tip Easy Blues - Lee Collins
Bubitchki - Ziggy Elman
Peckin' - Harry James
Lullaby Of Birdland - J. J. Johnson and Kai Winding
I've Found A New Baby - Tommy Ladnier
Jumpy Nerves - Wingy Manone
New Orleans Shout - Muggsy Spanier
That's A Serious Thing - Jack Teagarden

The Twist - Teddy Reynolds

Eyes On You
The Twist
Teddy Reynolds And The Twisters
Crown Records CLP 5245
1962

Do You Wanna Twist
She'll Only Twist For You
Twist All Night
Twist With Me Baby
I Want To Twist With Baby
I'll Do The Twist
You Changed Me
Eyes On You
Louise
I Thought The War Was Over

Life Of The Party

Joshua
Life Of The Party
RCA Special Products
Special Products PRS-414
1972

Frim Fram Sauce - Larry Elgart
Java - Al Hirt
Joshua - Ralph Flanagan
Cherry Pink And Apple Blossom White - Perez Prado
Peppermint Tree - King Curtis Combo
Charleston - Jean Goldkette
St. Louis Blues Mambo - Richard Maltby
Woodchopper's Ball - Bob Scobey
Chattanooga Choo-Choo Cha-Cha-Cha -Tito Puente
The Party's Over - Aaron Bell Trio

Irving Berlin In Latin America - Machito and His Orchestra

Cuba
Irving Berlin
In Latin America
Machito and His Orchestra
Forum - A Division of Roulette Records F-9040
1959

Always
I've Got My Love To Keep Me Warm
Slumming On Park Avenue
How Deep Is The Ocean How High Is The Sky
Heat Wave
Let's Face The Music
Marie
You'd Be Surprised
Be Careful It's My Heart
Blue Skies
The Say It's Wonderful
Cuba

Wednesday, October 2, 2019

Peyton Place With Other TV And Film Greats

Gunsmoke
Peyton Place
With Other TV And Film Greats
Spinorama M-161
A Division Of Premier Albums, Inc.

Peyton Place
12 O'Clock High
Ben Casey
Bonanza
Gunsmoke
Story Of Three Loveres
Wonderland By Night
Love Story
Undercurrent
Can Can

Straight Life - Freddie Hubbard

Straight Life
Freddie Hubbart
Straight Life
Produced by Creed Taylor
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded November 16, 1970
Cover Photographs: Pete Turner
Liner Photographs: Chuck Stewart
Album Design: Bob Ciano
CTI 6007

Personnel:

Trumpet and Flugehorn: Freddie Hubbard
Guitar: George Benson
Drums: Jack DeJohnette
Percussion: Richie "Pablo" Landrum
Tenor Sax: Joe Henderson
Bass: Ron Carter

Herbie Hancock appears through the courtesy of Warner Bros. Records
Jack DeJohnette appears through the courtesy of Milestone Records

From Billboard January 23, 1971: Hubbard has himself a sure winner with his second LP for CTI Records. Utilizing modern jazz greats such as George Benson, Ron Carter, Jack DeJohnette, Herbie Hancock, Joe Henderson and Pablo Landrum. Hubbard plays new tunes with older jazz traditions, making this an LP that bridges the gap of modern and traditional styles. Hubbard's trumpet is exquisite and all of the musicians complement each other to great extremes.

Straight Life
Mr. Clean
Here's The Rain

Tuesday, October 1, 2019

Pat Suzuki's Broadway '59

Two Faces In The Dark
Pat Suzuki's
Broadway '59
Arranged and Conducted by George Siravo
Produced by Herman Diaz, Jr.
Photo: Al Wertheimer
Jewels by Carol Channing
Recorded in New York City, December 1958 and January 1959
Hit Show Tunes
RCA Victor LPM-1965

From Billboard - March 30, 1959 (Album Cover Of The Week): Happy photo by Al Wertheimer of the adorable miss in a red and white sailor hat makes for an attractive cover. It's a charming shot that will no doubt increase the album's sales.

Flower Drum Song
I Enjoy Being A Girl
Love, Look Away
Sunday

Redhead
Two Faces In The Dark
Just For Once

My Fair Lady
On The Street Where You Live

Bells Are Ringing
The Party's Over
Just In Time

First Impression
Not Like Me
I Feel Sorry For The Boy

The Music Man
Till There Was You

Gil Fuller & The Monterey Jazz Festival Orchestra

Angel City
Gill Fuller & The Monterey Jazz Festival Orchestra
Featuring Dizzy Gillespie
Arranger & Conductor: Gil Fuller
Producer: Richard Bock
Album Design: Woody Woodward
Cover Painting: Achille Perilli
Back Cover Photo: Arthur Adams
Audio: Richard Bock
Pacific Jazz 93
A Product of Liberty Records
1965

Personnel:

Trumpets: Dizzy Gillespie, Freddie Hill, Harry Edison, Melvin Moore and John Audino
Trombones: Lester Robinson, Francis Fitzpatrick and Jim Amlotte
French Horns: Herman Lebow, Sam Cassano, David Duke and Alan Robinson
Reeds: Buddy Collette, Gabe Baltazar, Bill Green, Carrington Visor, Jr. and Jack Nimitz
Guitar: Dennis Budimir
Piano: Phil Moore, Jr.
Bass: Jimmy Bond
Drums: Earl Palmer

Dizzie Gillespie appears through the courtesy of Limelight Records

From the back cover: In the years since it began, the Monterey Jazz Festival has produced some of the most memorable moments in jazz history and Dizzy Gillespie has been a major factor in many of them.

Many great jazz men have contributed to Monterey's glory but none more consistently over the years, by outstanding performances and the sheer force of personality, then Dizzy.

So it is completely appropriate that Dizzy should preside as host at the 1965 Monterey Jazz Festival with its theme "Tribute to the Trumpet." (Louis Armstrong's 65th Birth Year seemed like the right time to do it.)

In this album Pacific Jazz presents Gil Fuller and the 1965 Monterey Jazz Festival Orchestra featuring Dizzy Gillespie.

Dizzy Gillespie, himself, chose Gil Fuller to serve as musical director and coordinator of the 1965 Monterey Jazz Festival. Fuller was the arranger for Gillespie's big band of the bop era and this is his first album as leader.

This album celebrates the 20th anniversary and the reunion of Gillespie and Fuller, an historical association which started in June 1945 and produced such jazz classics as "Manteca," "Things To Come," "One Bass Hit" and "Ooi Ya Koo."

The reunion sounds like one of the best things that has happened to Gillespie in years. Just as the reunion of Dizzy and James Moody was a natural thing, so is the reunion of Dizzy and Gil Fuller. The recorded version of "Groovin' High" is a direct link to the historically and musically important first big band flowering of Modern Jazz. The original numbers by Gil Fuller for this album continue the theme. "Angel City Blues," "Moontide," and "Big Sur" show Dizzy in a variety of moods. The lovely reflective lyricism of "Moontide," the exuberant (and witty) sounds of "Angel City Blues" and the tough-fibered improvisation of "Man from Monterey" fit the theme and the man

Thus, too, the inclusion of "The Love Theme From The Sandpiper," a Johnny Mandell composition of great delicacy and romantic mood. The film was shot in Big Sur and the Monterey Peninsula, which makes the tie more binding. Fuller's inclusion of the two compositions by Phil Moore, III is also in keeping with Gillespie and Monterey tradition of making opportunities available to young musicians.

Throughout the album, as in the Festival itself, the links between contemporary musicians and the tradition and roots of jazz continue. Dizzy's exchange of statements with Harry Edison on Dave Burns' and Gil Fuller's "Be's That Way" (Burns and Fuller were both associated with the first Gillespie big bands), the solos by Buddy Collette on "Big Sur" (Buddy is one of the most frequently over-looked first rate players in jazz) and Gabe Baltazar (a young altoist formerly with Stan Kenton) and Phil Moore, III (son of an illustrious father quite and obviously destined to add further glory to the name) are right in line.

The 1965 Monterey Jazz Festival music clearly is designed to last. The amalgam of the talents of Gillespie and Fuller are insurance that it will. The orchestra, listed in full, played the music at this session for all time, which is the way good jazz is always played. – Ralph J. Gleason, Chronicle Features Syndicate


Also from the back cover: Our cover painting is an excerpt from Achille Perilli's original oil entitled "L'Inaugurazione Del Terrore" and is here reproduced by arrangement with the Flix Landau Gallery of Los Angeles. Mr. Perilli, who recently designed costumes and settings for the ballet, "Mutazioni," at La Scala, Milan, has had more than a dozen one-man shows in Europe, and North and South America, including one at the 1962 Venice Bienale and one at the Landau Gallery in 1965. His individual approach to subject matter combined with his very personal use of color, have made Perilli, at 38, one of the most talked about of the younger Italian painters.

Man From Monterey
Angel City
Love Theme From Sandpiper
Groovin' Hight
Be's That Way
Big Sur
Moontide
Things Are Here

Monday, September 30, 2019

The Three Flames At The Bon Soir

I Got Eyes
The Three Flames At The Bon Soir
Mercury Records MG 20239
1957

From the back cover: The Three Flames have been burning brightly at New York's famed Bon Soir night club for five consecutive years. Today they constitute a roaring bonfire in any plush boƮte where they perform.

In fact, there's hardly an entertainment medium where their rollicking, frolicking offerings haven't found instant favor. They had their own TV program, "The Three Flames Show" on NBC for thirty-nine weeks, and have been featured on Ray Bolger's television starrer, "Washington Square."

The Three Flames – Tiger Haynes on guitar; Loumel Morgan on piano, and Averill Pollard on bass – have a way with a song, bringing to it their own tongue-in-cheek touch, taking it out of the realm of mere music and converting it into crackling entertainment.


Honolulu Rose
Lazy River
Arkansaw
I Got Eyes
I'm In Love With You
Jeepers Creepers
Somethin' Better Happen Soon
Fulton's Folly
The Sheik Of Bleeker Street
Yum, Yum, Yum
I Saw My Mother Hugging Daddy Last Night
Stay On The Road Of Love

I'll Sing You A Thousand Love Songs - Reg Owen

It's Magic
I'll Sing You A 1000 Love Songs
(I'll Sing You A Thousand Love Songs)
Reg Owen and His Orchestra
Produced by Simon Rudy
Recorded in England
RCA Victor LPM-1908
1959

I'll Sing You A Thousand Love Songs
Love Is The Sweetest Thing
Secret Love
The Very Thought Of You
The Love Nest
A Kiss In The Dark
I Only Have Eyes For You
You And The Night And The Music
I Get A Kick Out Of You
You Go To My Head
It's Magic
Parlez-moi d'amour

Cuddle Up A Little Closer - Reg Owen

What Is This Thing Called Love
Cuddle Up A Little Closer
Reg Owen and His Orchestra
Instrumental Favorites
Photo: Elanor Browning
Recorded in London
RCA Victor LPM-1914
1959

From Billboard - June 1, 1959: Owen Albums Pack Fine Mood Sound

RCA Victor has released five new sets by the popular British maestro, Reg Owen, three of which feature stereo counterparts. Basically, the approach is the same in each set with choirs of strings and brass weaving in and around the mostly familiar standard themes. In a set titled, "You Don't Know Paree," the framework is the same, with the added voice of a rippling solo piano on some of the tracks.

Owen recently enjoyed success in the States with a single, Manhattan Spiritual," and this may serve to bring these Owen albums to the attention of mood-minded jocks. All will serve as splendid mood and background music. On the other hand, the sets are well-packed, particularly, the one titled "Cuddle Up A Little Closer," which shows a mother bassett hound and her brood of pups doing just that.

Recordings are all of high quality and the stereo, where it's available, is good without being exaggerated.


Cuddle Up A Little Closer
What Is This Thing Called Love
You Oughta Be In Pictures
It's Only A Paper Moon
Pretty Baby
Thou Swell
If I Could Be With You
Oh, You Beautiful Doll
Beautiful Baby
Dancing On The Ceiling
I Guess I'll Have To Change My Plan
Let's Put Out The Lights

Big Band Bossa Nova - Stan Getz

Noite Triste
Big Band Bossa Nova
Stan Getz
With The Gary McFarland Orchestra
Arranged and Conducted by Gary McFarland
Produced by Creed Taylor
Cover Painting: Olga Albizu
Recorded in New York City, August 27 & 28, 1962
Engineering: George Kneurr and Frank Laico

Personnel:

Stan Getz: Tenor Saxophone
Trumpets: Doc Severinsen, Bernie Glow or Joe Ferrante, Clark Terry or Nick Travis
French Horn: Ray Alonge
Trombones: Tony Studd or Ray Brookmeyer
Alto Flute: Eddie Caine
Clarinet: Ray Beckenstein and/or Babe Clark and/or Walt Levinsky
Bass Clarinet: Romeo Penque
Guitar: Jim Hall
Piano: Hank Jones
Bass: Tommy Williams
Drums: Johnny Rae
Tambourine: Jose Paulo
Cabassa: Carmen Costa

From the inside cover: My first experience to bossa nova was in the Spring of 1960 when a friend played a recording by Joao Gilberto, a Brazilian guitarist and vocalist. I liked it immediately. Naturally, I responded to the rhythm, but it was more than that. There seemed to be more underplay, more subtlety than in other Latin rhythms but just as much buzz or intensity. The songs had interesting chord progressions, and the melodic intervals were more modern than in traditional samba melodies. I'm sure that Gilberto's singing had much to do with my response to this music. His voice has an indefinable quality – something close to melancholy, but not quite.

I asked a Brazilian friend about the bossa nova, and he explained that it is a variation of the samba with modern harmonies and more syncopation that the traditional samba. He also told me that the first reaction in Brazil to this new music was similar to the American public's reaction to be-bop in the 40s – it was misunderstood by the traditionalists. However, it is now more widely accepted.

When Stan asked me to write an album for him, he told me to do anything I wanted. I had written a few bossa nova arrangements for Cal Tjader's group, and Stan had recorded a jazz samba album with Charlie Byrd. We both enjoyed working with this music, so we decided to do a big band album with four songs by Brazilian composers and four songs of mine.


Also from the inside cover: Gary McFarland has been hailed as the brightest young composer/arranger in jazz by critics, writers, and fellow musicians. Still in his 20s, McFarland has contributed fresh, original material to the book of Gerry Mulligan Concert Jazz Band, and has written for Johnny Hodges, Anita O'Day, Ray Brown, and Bob Brookmeyer, among others. His lovely original ballad, Why Are You Blue, is repertoire material in the programs offered by the Modern Jazz Quartet. A native of Los Angeles, McFarland first became interested in jazz while at the University of Oregon. He took up vibes while in the Army in 1954. He was encouraged to pursue jazz as a career by John Lewis of the Modern Jazz Quartet, jazz columnist Ralph J. Gleason, and jazz star Buddy Montgomery. Scholarships to the School of Jazz in Lenox and The Berklee School in Boston helped give him a solid musical foundation. His first album was The Jazz Version Of "How To Succeed In Business Without Really Trying" (Verce V/V6-8443), hailed by reviewers as the first truly jazz version of a Broadway score. His brilliant arrangements for Anita O'Day's album, All The Sad Young Men (V/V6-8442), won him wide acceptance and even greater acclaim. – Don Cerulli

Manha De Carnival (Morning Of Carnival)
Balanco No Samba (Street Dancing)
Melancolico (Melancholy)
Entre Amigos (Sympathy Between Friends)
Chega De Saudade (Too Much Longing)
Noite Triste (Night Sadness)
Samba De Uma Nota (One Note Samba)
Bim Bom