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Saturday, October 3, 2020

April In Paris - Count Basie

 

Midgets

April In Paris
Count Basie and His Orchestra
Supervised by Norman Grantz
Cover Photo: Herman Leonard
Verve Clef Series Hi-Fi MGV-8012
1957

Personnel:

Trumpets: Joe Newman, Thad Jones, Wendell Cully & Reunald Jones
Trombones: Henry Coker, Benny Powell & Bill Hughes
Alto Saxophones: Marshall Royal & Billy Graham
Tenor Saxophones: Frank Fowlkes & Frank Wess
Baritone Saxophone: Charlie Fowlkes
Piano: Count Basie
Guitar: Freddie Greene
Bass: Ed Jones
Drums: Sonny Payne

From the back cover: One night in Birdland the Count Basie band was playing a new arrangement by William "Wild Bill" Davis of an old song by Vernon Duke – "April In Paris". It's a striking arrangement, this one, for a song that has been played and sung in any number of ways since E. Y. (Yip) Harburg fashioned the words to Duke's melody, it becoming the most memorable feature of a 1932 Broadway show called "Walk A Little Faster". In Davis's arrangement there is one sequence which might well be an instrumental solo except that in Basie's hands the entire ensemble goes to work – the effect being, to say the least, highly unusual; hearing it for the first time one assumes that the band is playing an ad lib melody. Finally, there's the ending, which is a delightful fooler, as all jazz followers are aware by now. Well, on this night in Birdland it seemed natural for Basie to give his orders verbally. "One more time," he directed. Then"One more – Once..."

The result? One of Basie's biggest hits and, now, one of the most frequently requested tunes wherever the Basie aggregation goes. It's typical Basie, of course – swinging, exciting, weightless with a sound that's immediately identifiable. The solos in "April In Paris", incidentally, are authored by Thad Jones on trumpet and Benny Powell on trombone, and the piano, of course, belongs to William "Count" Basie.


April In Paris
Corner Pocket
Did'n You
Sweety Cakes
Magic
Shiny Stockings
What Am I Here For
Midgets
Mambo Inn
Dinner With Friends

The Lady In Red - Abbe Lane

 

We're Not Children

The Lady In Red
Abbe Lane
With Sid Ramin's Orchestra
Producer: Fred Reynolds
Cover: Lingerie by Salem Hosiery & Shoes by Andrew Geller
RCA Victory LIVING STEREO LSP-1688
1958

From the back cover: Abbe Lane is one of the most exciting and famous personalities in the world today. She is all woman and all wonderful. From a featured vocalist with Xavier Cugat's marvelous orchestra, she has rapidly advanced to star of Broadway musical comedy, motion pictures, television, supper clubs, and records. She is superb at whatever she decides to do.

Just as her starring role in "Oh Captain!" was something entirely new and different for her, so this album is a distinct departure from the mambo-rumba-cha-cha-Latin-American type of music with which she has been so closely and successfully associated.


In A Little Spanish Town
Do It Again
No Good To Me
The Lady In Red
Ain't Misbehavin'
Breezin' Along With The Breeze
You're Driving Me Crazy (What Did I Do?)
Femininity
All Of Me
I Get A Kick Out Of You
It's Been A Long, Long Time
We're Not Children

South American Nights - Harmonicats

 

Mambo Jambo

South American Nights
Jerry Murad's Harmonierats
Mercury Wing High Fidelity WING MGW 12163
1959


From the back cover: Jerry Murad, the leader of the group, was born in Constantinople, Turkey, and came to this country at the age of six. He learned to play the harmonica at an early age but didn't take it seriously until he became 20. He is one of the few people left in this country who makes, designs and repairs harmonicas. He joined the Borah Minevitch Harmonica Rascals and stayed with them for almost three years before he formed the Harmonicats late in 1944.

Al Fiore, who plays the rhythm accompaniment harmonica, met Jerry Murad while both of them were playing with the Minevitch Rascals. Al weighs 265 pounds and is considered the comic of the group. To see Al play the thirty-inch harmonica on "Harmonica Boogie" is a sight to behold.

Don Les, another member of the Minevitch group, rounds out our interesting little trio. Don was born blind and didn't receive the use of his eyes until he was 12 years old. He started playing the harmonica while in high school and advanced at a startling rapid pace. Many feel that living under a handicap for many years made it much easier for him to master this small, but difficult instrument in so short a time. Don is considered the best living jazz harmonica player.


From Billboard - October 26, 1959: The Harmonicats turn in a listenable set of readings of Latin tunes, nicely styled for dancing as well. The boys have a good, clean sound on tunes which include "Amapola," "Maria Elena," "Valencia" and "La Rosita," Set can achieve a level of activity on racks.

El Coco
Inspiration
Amapola
Maria Elena
Valencia
La Rosita
Mambo Jambo
The Peanut Vendor
La Paloma
Malaguena
Roman Guitar
Latin Quarter

Ruckus At The Riviera - Kay Stevens

 

Come Rain Or Come Shine

Ruckus At The Riviera
Kay Stevens
In Person at The Riviera Hotel Las Vegas
Produced by Ernie Altschuler
Cover Photo: Leigh Wiener
Columbia CL 1716
1961

Hey! Look Me Over
I'm Confessin' (That I Love You)
Medley: I Wish I Could Shimmy Like My Sister Kate and Ballin' The Jack)
As Time Goes By
You're Nobody 'Til Somebody Loves You
Getting To Know You
Come Rain Or Come Shine
My Man
Dancing On The Ceiling (He Dances On My Ceiling)
Some Of These Days
Everything's Coming Up Roses

South Pacific - Williams and Ruick

 

Bali Ha'i

South Pacific
Richard Rodgers and Oscar Hammerstein, 2nd
Featuring The Duo Pianos of John T. Williams and Walter Buck
Album Production: Dave Pell
Recording Engineer: Thorne Nagar
Cover Photography: Courtesy Matson Lines
Tops Music Enterprises, Corp.
TOPS L1614

From the back cover: John T. Williams

This brilliant young pianist is a native of Flushing, New York, born in 1932.

His father, today a staff drummer of Columbia Studios, began early to encourage John in classical piano studies. When at 15 John moved with his family to Los Angeles, he continued in his music training through high school. His classical background stood him in good stead shortly thereafter as he broke into motion pictures playing.

Since that time, John has recorded a couple of LP's with Belafonte, worked for 10 months with Vic Damone on a coast-to-coast tour and was ballet pianist with dance companies in Hollywood. In addition, John has played concerts and clubs with such top names as Frank Sinatra, Nat "King" Cole and Howard Keel. John also works extensively in the studios with the foremost orchestras, including those of Nelson Riddle, Frank De Vol, Les Baxter and Elmer Bernstein.

Walther Beck

The career of this most capable and versatile pianist-composer might best be summed up in his own words: "At the age of 15 I left my native Boise, Idaho, to pursue a musical background – I worked with a variety of bands in Colorado, Texas and California."

"After deciding to settle on the west coast, I worked in theaters, radio and motion pictures studios as pianist, musical advisor and arranger. This gave me an opportunity to play for for and write dance arrangements for Eleanor Powell (during my 5 1/2 years at MGM), Fred Astaire and Gene Nelson. I also had the chance to write several original dance numbers during that period."

Walter has been associated with most of the distinguished radio and television conductors. He is currently occupied full time with composing and studio work in Hollywood
.

There Is Nothin' Like A Dame
Some Enchanted Evening
A Cock-Eyed Optimist
Bali Ha'i
A Wonderful Guy
Younger Than Springtime
Happy Talk
I'm Gonna Wash That Man Right Outa My Hair
Honey Bun
Dites - Moi

Bach Harpsichord Recital - George Malcolm

 

Chromatic Fantasia and Fuge in D Minor

Bach Harpsichord Recital
George Malcolm - Harpsichord
Cover Photo: Adam Woolfitt
London Records CS 6197
1961

From Billboard - April 3, 1961: Harpsichordist George Malcolm performs four important Bach works with masterly skill and musicianship. The selections include the "Chromatic Fantasia and Fugue in D Minor," the "Italian Concerto," the "Toccata in D Major," and the "French Suite No. 5." As difficult as the harpsichord is to record, it is captured with fine fidelity here, even though the stereo recording adds little to the solo instrument. Set should be of serious interest to Bach followers.

Chromatic Fantasia and Fugue in D Minor

Italian Concerto
1st Movement
2nd Movement
3nr Movement

Toccata in D Major
French Suite No. 5 in G Major
  1. Allemade
  2. Courante
  3. Sarabande
  4. Gavotte
  5. Bourree
  6. Loure
  7. Gigue

The Most Beautiful Music Of Hawaii - George Greeley

 

Beyond The Reef

The Most Beautiful Music Of Hawaii
The Piano Concerto Impressions of George Greely
With the World Famous Warner Bros. Orchestra and The Outriggers
Conducted by Ted Dale
Produced by Alvino Rey
Cover Photo by Tommy Mitchell
Vitaphonic High Fidelity
Warner Bros. W1366
1960

From Billboard - February 9, 1963: Dentist Now Employ Music To Drill By

Music dealers can now add dentists as prime prospects. United Stereo Tapes, the tape subsidiary of Ampex Corporation, has entered the audio analgesia field, releasing quarter - track stereo tapes for use by dentists to relax patients and alleviate pain.

A primary requirement is music pain-killing is to have sound reproduction as noise-free as possible. Therefore, each of the tapes prepared for this use are made directly from the first-generation master tape. Each package provides up to an hour's music, and is recorded in 3 3/4 four track i.s.p. cartridges or in reel-to-reel from, listing at $19.50 each.

The initial Audio Analgesia release consists of four pages. The play-back system used allows the patient to control the volume to his liking.

As an example of the type of music to pull teeth without discomfort, the initial release consists of: "The Most Beautiful Music Of Hawaii" and "The Most Records Songs Of All Time," George Greeley and Buddy Cole; "Have Organ Will Swing" and "Cole Plays Cole," Buddy Cole; "Waltz In Stereo" and "I'm In The Mood For Strings," David Rose and Ray Ellis; "The Sound Of Music" and "Moon River," the Pete King Chorale.


Beyond The Reef
My Little Grass Shack In Kealakekua
Hawaii
Hawaiian Wedding Song
King Kamehameha
Blue Hawaii
Hawaiian War Chant
Song Of The Islands
Malihini Mele
Sweet Leilani
Lovely Hula Hands
On The Beach At Waikiki
Aloha Oe

Friday, October 2, 2020

Porgy And Bess - George Rhodes

 

Summertime

Porgy And Bess
Arranged and Conducted by George Rhodes
Recorded December 1958
AAMCO Records
A Division of Alison Enterprises, Inc.
1959

From the back cover: George Rhodes too, wanted to have his interpretation be, "all of one piece," and so he carefully selected exactly the musicians and singers he wanted. In the band, the trumpets are Reunald Jones, Sr. (lead); Ray Copeland (open solos); and Taft Jordan (the muted and growl work). Trombones include Elmer Crumbley and Richard Harris, who took most of the solos. In the reed section were: George Dorsey, alto and flute; Reuben Phillips, alto; Seldon Powell, tenor; and Heywood Henry, baritone. All doubled on clarinet. In the rhythm section were George Rhodes, piano; Herbie Lovelle, drums; and alternating on bass were Joe Benjamin and Bill Pemberton. Arranger-pianist George Rhodes has played with Arnett Cobb, Joyce Bryant, Jonah Jones, Sammy Davis, Jr., and was freelancing before he joined the staff of Aamco Records.

Outstanding in this album are Rebecca Hall, (heard recently in the successful Aamco album, A Tribute To Bessie Smith), and Carnegie Burruss. Rebecca, or Becky to her friends, displays a warmth and feeling for lyric in this album rarely found in vocalists today. Carnegie possesses the ability to run the tremendous emotional scope needed in this demanding work of Gershwin.

From Billboard - May 8, 1959: Still another bid for the sales on "Porky and Bess." This disk, arranged and conducted  by George Rhodes features vocals by Rebecca Hall and Carnegie Burruss. The off-beat musical interpretation may help capture the sales for this version.

Summertime 
A Sometime Thing
My Man’s Gone
I Got Plenty Of Nothing
Bess You Is My Woman Now
Boat Leaving
My Bess
It Ain’t Necessarily So

The World Is A Circle - Franck Pourcel

 

The Things Of Life

The World Is A Circle
Franck Pourcel
Produced by Robert Colby
Paramount Records PAS-6047
Distributed by Famous Music Group
1973

The World Is A Circle
Imagine
Ben
Mammy Blue
Blue Bach
The Time Of My Song
Popcorn
The Things Of Life
Song Sung Blue
Love Theme From "The Godfather"
The No-Color Time Of The Day

Countdown - Time In Outer Space - Dave Brubeck

 

Castilian Blues

Countdown
Time In Outer Space
The Dave Brubeck Quartet
This Album is Dedicated to Lieut. Col. John H. Glenn, Jr.
Columbia Records CS 8575
1967

From the back cover: Countdown - Time In Outer Space is the third in a series of recordings devoted to exploring rhythms unusual in jazz. The realization of (1) improvised cross-rhythms and (2) a broadened rhythmic-base for jazz was preceded by twenty years of planning, training and test runs through countless unrecorded choruses.

Dave Brubeck has exerted a great deal of influence on American jazz. I can remember when the early Dave Brubeck records on Fantasy were a great source of stimulation to me in breaking into new areas of "serious" jazz music.

Also from the back cover: The Dave Brubeck influence has reached the four corners of the earth, and now is finding new dimensions. Great musicians are following Dave Brubeck's experience in new time mediums, in different time signatures – 3/4, 5/4, 7/8, 11/4 – heretofore hidden dimensions in jazz. It seems that the next step in influence will be from polyrhythms (shifting of the accents on different tempos of the beat in any given bar), to polytempos (different tempos at the same time – here exemplified in the Brubeck Time In Outer Space). You can see and feel the new direction in the complicated but swinging rhythms of Dave Brubeck, Joe Morello and Gene Wright, beneath the florid style of Paul Desmond. – Teo Marcero

From Billboard - May 5, 1962: This new album by the Dave Brubeck Quartet should be another smash for the group both in jazz and pop fields. In the manner of "Time Out" and "Time Farther Out," this album shows off Brubeck's jazz experiment in polyrhythms and polytempos. And it is all done with persuasive and exciting performances by Brubeck, Paul Desmond, Joe Morello and Gene Wright. Most of the tunes are originals, mainly by Brubeck and Desmond with best tracks "Someday My Prince Will Come" and "Eleven Four."

Countdown
Elven Four
Why Phillis
Someday My Prince Will Come
Castilian Blues
Castilian Drums
Fast Life
Waltz Limp
Three's A Crowd
Danse Duet
Back To Earth

Teenage House Party - Sandy Nelson

 

Teen Age Party

Teenage House Party
Sandy Nelson
Imperial High Fidelity LP 12215
1962

From the back cover: "I'm (Nelson) very pleased with the reception people give my music," says the soft-spoken young percussionist who is destined, in the opinion of critics, to become the world's greatest drummer.

When he does, it will be altogether fitting and no surprise to his family since Sandy springs from a lineage that has much greasepaint coursing through the vies of its family tree. His mother' great grandfather was a concert violinist in Europe and another branch of his kin were Danish circus people.

The yen to perform sprang early in Sandy's life. Born in Santa Monica, California, he was only seven when his parents took him to see Gene Krupa play at a Los Angeles theatre. The tremendous display of rhythm and flashy percussion offered by the then-world's greatest drummer made an enormous impact on young Sandy. He asked Santa Claus to bring him a set of drums for Christmas – and when the kindly old gent in the red suit and whiskers complied, he couldn't have known that he was helping launch the career of a young man destined to supplant Krupa at the top of the tympani tribe.

In addition to developing his proficiency at the paradiddle, Sandy also branched out into the study of piano and, while attending University High School in Los Angeles, embarked on a professional musical career. His first job was with a teenage band playing at parties and rock 'n' roll shows, then graduating to sitting in on recording sessions with The Teddy Bears and Gene Vincent.


House Party Rock
Hearts Of Stone
Let The Four Winds Blow
Tweedle Dee
Let The Good Times Roll
Feel So Good
Day Train
Night Train
Limbo Rock
Junior Jive
Dumplins
Teen Age Party

Move Up - Rev. Willingham

 

Won't It Be A Good Time

Move Up
Rev. Willingham
Produced for Nashboro Records by Shannon Williams
Recording Engineer: Lee Carrol Hazen
Recorded in Woodland Sound Studios
Graphics and Art Direction: Aesthetics, Inc.
Nashboro Records STEREO 7099
1971

We Shall Know Him
Prayer For 1971
I Have To Tell Jesus
Sleep On Mother
Won't It Be A Good Time
Move Up
See How They Done My Lord



Come Dance With Me! - Frank Sinatra

 

Too Close For Comfort

Come Dance With Me!
Frank Sinatra
Billy May and His Orchestra
Produced by Dave Cavanaugh
Capitol Records SW 1069
1959

From Billboard - January 19, 1959: Another sock package from the boss of them all. Except for the last tune in the set, "The Last Dance," all of the numbers are in a bright, swinging' vein. He's never sounded better, and Billy May's fine ork backing is also tops. Good cover shot and excellent sound are additional assists. A natural for big coin.

Come Dance With Me
Something's Gotta Give
Just In Time
Dancing In The Dark
Too Close For Comfort
I Could Have Danced All Night
Saturday Night
Day In, Day Out
Cheek To Cheek
Baubles, Bangles And Beads
The Song Is You
The Last Dance

Thursday, October 1, 2020

Million Or More! '75 - Kings Road

 

Lucy In The Sky With Diamonds

Million Or More! '75
Kings Road
Pickwick International, Inc. SPC-3537
1975

Mandy
Do It ('Til You're Satisfied)
Lady Marmalade
Back Home Again
Pick Up The Pieces
Loving You
Please Mr. Postman
Fire
Lucy In The Sky With Diamonds

Nimble Fingers - Lawrence Welk

 

Lullaby Of Birdland

Nimble Fingers
Lawrence Welk and His Champagne Music
Instrumental Fox Trots
Coral Records High Fidelity CRL 57178
1957

From the back cover: Lawrence Welk has been on the American Musical scene for thirty years. An amiable, soft spoken man in his early fifties, Lawrence formed his first band in 1927. Consisting of six pieces it made its way from Barn dances to square dances and community gatherings throughout the midwest. In 1938 the Lawrence Welk orchestra, larger in size and prestige, was booked into the William Penn Hotel in Pittsburgh. This proved to be the turning point for Lawrence and his orchestra as he was allowed to play his music over the Mutual Broadcasting Network twenty times a week. For the first time he had a coast-to-coast audience and a loyal legion of Lawrence Welk fans were born.

After years of playing in America's top flight hotels, supper clubs and ballrooms, the Lawrence Welk orchestra, settled on the West Coast and made the famous Aragon ballroom its headquarters. When his performances began being televised to west coast audiences in 1951, it aroused very favorable comment, and resulted in his winning his current ABC program. The network show started with a modest rating, but with the acclaim from critics and viewers, its audience increased rapidly. Today, "The Lawrence Welk Show" is rated head and shoulders above its national competitors.


From Billboard - September 16, 1957: With Lawrence Welk continuing to reign close to the top of the TV and pop album sales heap, it's fair to predict that this package can pull down its share of loot along with the rest. This time, Welk himself is spotlighted as an accomplished accordionist backed up by the band. Arrangements are typical on a danceable group including "Dardanellam," "Doll Dance," etc. Put this where it can be seen and it will sell by itself.

Dardanella
Nimble Fingers
Flapperette
Nola
Dainty Miss
Keyboard Serenade
Lullaby Of Birdland
Rag Doll
Doll Dance
The Wedding Of The Painted Doll
Dancing Tambourine
Holiday

Wednesday, September 30, 2020

Concord Super Band In Tokyo

 

Nuages

Concord Super Band In Tokyo
2-Record Set
Produced by Carl E. Jefferson, President, Concord Jazz, Inc.
Recording Engineer: Yoshihisa Watanabe
Remix Engineer: Phil Edwards
Photography: Kinjiro Miyazaki
Cover Design: Kaoru Kato
Recorded at Tokyo Yubin Chokin Hall September 15, 1979
Concord Jazz, Inc. CJ-80
1979

From the inside cover: The Concord All Stars, headed by Carl Jefferson, President of Concord Jazz, gave their opening concert at Tokyo's Yomiuri Hall on September 8, 1978. Only Monty Budwig and Jake Hanna had visited Japan previously, Monty with Benny Goodman and Jake in the rhythm section of Super Sax and later with Zoot Simms. The rest of the group, Ross Tompkins, Cal Collins, Warren Vache and Scott Hamilton, were known to their Japanese fans solely by virtue of their recordings on the Concord label. As the band took the stage amidst thunderous applause, many in the audience expressed surprise to see Scott Hamilton without his trademark dark glasses, looking more like a diplomat than a saxophonist. But when he began to play in his distinctive lush style, there was no mistaking his vocation. A near-capacity crowd of jazz enthusiasts and music critics (including some specialists in rock music) was rewarded with the kind of outstanding playing we have come to expect from Hamilton, in addition to equally skillful performances by Warren Vache, Cal Collins and Ross Tompkins, none of whom had ever appeared in concert in Japan. After the show, many in the audience, still flushed with excitement generated by the Super Band adjourned to nearby coffee houses to discuss the stirring performance they had witnessed.

From Billboard - March 10, 1979: Taped in Tokyo last September the band comprises Scott Hamilton, Warren Vache, Cal Collins, Ross Tompkins, Monty Budwig and Jake Hanna. Repertoire includes 11 jammable standards spread out over four LP sides, all of it attractively packaged. Hamilton on tenor (he is 24) continues to impress as one of the most exciting soloists in recent years but there are few dull spots in the entire presentation. Best cuts: "Blue Lester," "Blue Lou," "Don't Blame Me."

I Would Do Anything For You
Blue Lester
Nuages
Don't Blame Me
Blue Lou
You're Driving Me Crazy
Blue And Sentimental
I'm Gonna Go Fishing
Sleepy Time Down South
Take The "A" Train
Undecided

Stairway To Heaven - Gian Piero Reverberi

 

Stairway To Heaven

Reverberi
Stairway To Heaven
Arrange, Conducted and Produced by Gian Piero Reverberi (concert master)
Milan Symphony Orchestra, Choir, International Children's Choir
Violin: Sergio Almangano
Engineer: Gian Luigi Pezzera
Re-mixed at Record Plant Studios - Hollywood, California
Art Direction: DH Studio
Cover Photo: Garry Sato
Bob Skaff/Pausa Productions
Recorded at Ricordi Studios - Milan, Italy
Pausa Records, Inc. / United Artists Records UA-LA813-H

Gian Piero Reverberi: Steinway Grand Piano, Hohner Clavinet Fender Rhodes, Hammond Organ, Minimoog, Vibes, Glockenspiel, Bass Harmonica, Voice, Tympany & Tambourine
Gigi Cappellotto: Electric Bass Guitar
Tullio De Piscopo: Drums
Larry "Nastyee" Latimer: Congas, Timbales, Guiro, Shaker, Cow Bell, Woodblock
Vanda Radicchi: Voice
Marco Zoccheddu: Electric Guitar
Massimo Verardi: Acoustic & 12 String Guitar
Hugo Heredia: Bamboo Flute Solo (Bahia)
Michael James Turre: Soprano Saxophone (Stairway To Heaven)
Ivana Porrini: Lyric Soprano (Windy Wendy)

From Billboard - December 7, 1977: This is a soothing collection of classical and jazz flavored instrumental compositions recorded in Italy with a cast of Italian musicians. The title passage is a warm rendition of the classic Led Zeppelin song. The remainder are Reverberi originals, with his piano and organ fronting as extensive band The Milan Symphony among other perform. Best Cuts: Stairway To Heaven," "Angel Drops."

Muni's Mood
Beethoven's 7th
Windy Wendy
Stairway To Heaven
Innervoice
Escalation
Angel Drops
Bahia
Take Care

Thad Jones, Mel Lewis & UMO

 

Tip-Toe

Thad Jones, Mel Lewis & UMO
Composed and Arranged by Thad Jones
Produced by Esko Linnavalli
Engineered by Harold Burgon
Mastered by George Peckham
Photography and Album Design: Erik Uddstom
Recorded a SoundTrack, Helsinki - December 3 & 4, 1977
RCA Victor STEREO AFL1-3423
1978

UMO/The New Music Orchestra

Conductor, Composer, Arranger & Cornet: Thad Jones:
Co-Leader & Drums: Mel Lewis:
Alto Saxophone: Juhani Aaltonen & Pekka Poyry
Bass Trombone: Tom Bildo
Brass & Bass Clarinet: Pentti Lahti
Clarinet: Juhani Aaltonen & Teemu Salminen
Double Bass: Pekka Sarmanto
Electric Guitar: Otto Berger
Flugelhorn: Esko Heikkinen, Kaj Backlund, Markku Johansson & Simo Salminen
Flute: Juhani Aaltonen, Pekka Poyry & Teemu Salminen
Percussion: Esko Roswell
Piano, Electric Piano: Esko Linnavalli
Soprano Saxophone: Eero Koivistoinen, Juhani Aaltonen & Pekka Poyry
Tenor Saxophone: Eero Koivistoniene, Juhani Aaltonen & Pekka Poyry
Trombone: Juhani Aalto, Mircea Stan & Petri Juutilainen
Trumpet: Esko Heikkinen, Kaj Backlund, Markku Johansson & Simo Salminen

Groove Merchant
It Only Happens Every Time
Tip-Toe
The Great One
Kids Are Pretty People
Summary
Little Pixie
Only For Now

Tuesday, September 29, 2020

On The S. S. Catalina - The Shipmates & Ginger

 
Red Sails In The Sunset

On The S. S. Catalina
With The Shipmates & Ginger
Photographs: George Elton Watson
Venise 7015

From the back cover: Part of the fun of Catalina is in getting there. The ocean voyage aboard the Big White MGRS Steamship S. S. Catalina is an experience in itself, and one that's not likely to be forgotten. Entertaining passengers on each trip are The Shipmates and Ginger, who recreate their famous shipboard performance in this album. It is a versatile group that produces a happy sound. The Ginger of the group is Ginger Smock, violin, and the Shipmates are Leroy Morrison, bass; Al Mitchell, guitar and trumpet; Art Maryland, fender guitar, and Edward "Sharkey" Hall, drummer-vibraharpist. Lets take a musical cruise with them right now to the isle of Romance, Santa Catalina.

Avalon
Twenty-Six Miles
Beyond The Reef
Song Of The Islands
Catalina, Lovely Isle Of The Sea
Red Sails In The Sunset
Santa Catalina
Chimes Of Avalon
Aloha
Avalon Town

Saturday Nite Date - Dean Lester

 

Sweet And Lovely

Saturday Nite Date
Dean Lester and His Hollywood Recording Orchestra
Cover Photography: J. H. Maddocks
Art Direction & Production: Sheldon Marks & Florette Bihari
Crown Records HI-FI CLP 5039

Sweet And Lovely
I May Be Wrong
Penthouse Serenade
The Continental
Ramona
When Shadows Fall
Autumn Leaves
Too Marvelous
Mean To Me
The Night Is Young
Ciribiribin
Tenderly

New Electronic Music - Cage, Pousseur & Babbit

 

Trios Visages de Liege

New Electronic Music From Leaders Of The Avant-Garde
John Cage: Variations II
Henri Pousseur: Trois Visages de Liege
Milton Babbitt: Ensembles For Synthesizer
Produced by David Behrman
Engineer: Frank Laico & Ed Michaiski
Cover Art: Richard Mantel
Music Of Our Time
Columbia STEREO MS 7051
1967

From the back cover: John Cage was born in Los Angeles in 1912 and studied with Henry Cowell, Arnold Schoenberg and D. T. Suzuki. In addition to his activities as composer and performer, Cage has written and lectured extensively. The impact of Cage's work on composers and artists throughout the world is inestimable. The noted author and critic Peter Yates calls him "the most influential composer, worldwide, of his generation." Through his interest in Oriental thought (particularly Zen) and his employment of such ideas in his work, Cage has been a significant catalyst in the drawing together of East and West. This is increasingly apparent.

For more than thirty years it has been Cage's consistent concern to expand our consciousness and enhance our appreciation of the sounds – intended or accidental – that are always around us. To these ends he has composed work for conventional and unconventional instruments alike, believing all sounds to be acceptable musical materials. In 1952, Cage "opened the doors of music to the sounds which happen to be in the environment" with his 4' 33", "a piece in three movements, during all of which no sounds are intentionally produced."

Milton Babbitt was born in Philadelphia in 1916 and raised in Jackson, Mississippi. He received his B.A. from New York University and his M.A. from Princeton, where he studied with Roger Sessions and where he is currently Professor of Music. He has been a frequent contributor to leading music periodicals and has lectured in the United States and abroad.

Babbit is one of the first American composers to employ Schoenberg's twelve-tone method, and he has continued to extend and elaborate that method into a complex system of serial composition. His Three Compositions for Piano (1947) and Composition for Four Instruments (1948) were the first totally serialized works written for this country. Since then, employing such mathematical concepts as set and group theory, Professor Babbitt has continued his systematization of serial composition and in recent years has carried over these structural principles and techniques into his electronic works. He has composed four works in this medium, all created at the Columbia-Princeton Electronic Music Center, of which Mr. Babbitt is a director. In the 1950's, then the most advanced device for the production of electronic tape music. Mr. Babbitt has made it his unique province, employing in to realize all his electronic music.

Henri Pousseur was born in Malmedy, Belgium, in 1929. He was educated at the Royal Conservatory of Liege and at the Royal Conservatory in Brussels, where he received first prizes in harmony, solfege, organ and fugue. He is presently Sleeping Professor of Composition at the University of New York at Buffalo and is also director of the Electronic Music Studio in Brussels.

Pousseur was a leading member of the generation of composer that came to prominence after the war, a group that also include Pierre Boulez, Karlheinz Stockhausen, Luigi Nono and Luciano Berio. For these composers, the works of Anton Webern served as a kind of Corpus Juris Canonici, and the serial organization and pointillist textures of Pousseur's early works (Trois chants sacred, 1951; Quintet in Memory of Webern, 1955) reflect that influence. Pousseur soon realized that the arbitrary application of the series to all parameters of the music that characterized "total organization" produced a "statistical" effect not unlike the similar use of chance determinants. He has written: "A pitiless regimentation would appear to rule over this music, controlling the course of event even in its most intimate details. But, if one goes beyond a simple analysis of such music and beyond a dissection of its notations, if one relies primarily on concrete hearing... it often happens that one perceives just the contrary of such regimentation. Precisely where the most abstract constructions have been applied, it is not seldom that one has the impression of finding oneself in the presence of consequences of an aleatory free play. If the charm of the music is undeniable nonetheless, that is less of the more mysterious charm to be found in our awareness of the many distributive forms found in nature; the unhurried dispersion of passing clouds, the twinkle of pebbles in the bed of a mountain stream, or the breaking of surf against a rocky coast." Thus, in works such as Mobile For Two Pianos (1957-58) and Repons (which is dedicated to John Cage), Pousseur has introduced elements of chance or indeterminacy. In his most recent work, Notre Faust, an opera written in collaboration with the French author Michael Butor, the course of events taken by the opera is determined by the responses of the audience at each performance.

From Billboard - November 25, 1967: The avant-garde at its weirdest is offered in this electronic music disk. Babbitt's "Ensemble For Synthesizer" is a tour-de-force for the electronic tape machine, while Pousseur's "Trioz Visages de Liege" uses voices along with electronic sounds for dramatic effect. Tudor's association with Cage has produced in "Variations II" an interesting perplexing piece.

John Cage: Variations II - David Tudor, Piano

Milton Babbitt: Ensembles For Synthesizer

Henri Pousser: Trois Visaged de Liege
I – L'Air et I'eau
II – Vois de la ville
III – Forges

Monday, September 28, 2020

Billy May 70

 

Road To Hong Kong

Billy May And His Orchestra
Arrangements: Billy May
Process 70
Series 2000
Cover Painting by Kimsou
Artist and Repertoire: Bob Shad
Orchestra Manager: Manny Klein
Original and Re-recording Engineer: Bill Putnam
Mastering: Process 70
Liner Notes: John Astor
Research and Re-mixing Supervisor: Pete Spargo
Production Coordinator: Harry Ringler
Album Coordination: Sandi Greene
Typography: The Composing Room
Album Design: Murray Stein
Time Records S/2064
1960

Personnel and Instrumentation:

Violins

Vic Arno
Israel Baker
Harry Bluestone
Jacques Gasselin
James Getzoff
Ben Gill
Anatol Kaminsky
Murray Kellner
Dan Lube
Erno Neufeld
Stan Plummer
Lou Raderman
Nathan Ross
Mischa Russell
Myron Sandler
Eudice Shapiro
Paul Shure
Felix Slatkin
Gerald Vinci
William Weiss

Violas

Dorothy Cotton
Alvin Dinkin
Louis Kievman
Virginia Majewski
Alex Neimann
Paul Robyn
Abraham Weiss

Celli

Victor Gottlieb
Justin DiTullio
Armand Kaproff
Ray Kramer
Edgar Lustgaten
Dave Pratt
Joseph Saxon
Elanor Slatkin

Trumpets

Frank Beach
John Best
Pete Candoli
Ray Triscari
Trombones

Milt Bernhart
Ed Kusby
Murray McEacherm
William Schaeffer

Woodwinds

William Calkin
Fred Falensby
Justin Gordon
Arthur Hurfurt
Jules Jacobs

Bass

Joe Mondragon
Meyer Rubin

Harp

Verlye Mills Brilhart
Irving Cottler

Guitar

Al Hendrickson

Piano

Bud Cole

Percussion

Larry Brinker
Frank Flynn
Ralph Hansell
Stan Levy
Amiel Riehard

About Process 70

Process 70 has its own unique way of mastering, different from that used by recording companies. The net result is apparent enough that you will hear a difference. The improvement is most apparent in respect to the improved transient response and the cleanness in the high frequency range which is attendant on the operation of the system on a bias that leaves better overload reserve.

Perforated film "35mm" is known to shrink so that sprocket drive tearing mutilates the medium beyond usefulness. 35mm is guided and never pulled past the recording head. This is a tremendous disadvantage since continuous head contact is not obtained except at relatively higher contact pressure. PROCESS 70 does not have this liability because it is pulled past the recording heads and never loses peak fidelity of highs, lows or mid-range. Therefore, dimensional stability of PROCESS 70 is excellent compared to that of film recording methods now in use.


From the inside cover: Billy May is an arranger with imagination, technique and a unique sense of humor unmatched by any other arranger. The artists that Billy has magnificently supported are among the greats in the recording field – Frank Sinatra, Nat "King" Cole and Mel Torme, just to mention a few. His brilliant, colorful orchestrations on the famous "Bozo The Clown" series have become classics and recommended studying for any arranger, whether he be novice or professional.

Billy's career has touched on many facets. He studied the usual number of instruments – piano and trombone before he settled on trumpet. He began arranging at an early age and learned a great deal by practical experience. His most noted accomplishments were with the Charlie Barnett orchestra – "Cherokee," "Redskin Rhumba," and "Pompton Turnpike." In the early part of his career, Billy was more noted for his great trumpet work with the Glenn Miller band during the big band's golden era.


Believe In You
Theme From "Advise And Consent"
Oglan Oglan
The Naked Island
Once Again
Handful Of Stars
Bashful Billie
Lovewise
Road To Hong Kong
Pennies From Heaven
Perdido
Change Partners

Rain Forrest - Walter Wanderley

 

Song Of The Jet

Rain Forrest
Walter Wanderly
Brazil's No. 1 Organist
Produced by Creed Taylor
Cover Design: Act Lehman
Recorded at the Van Gelder Studios - Englewood Cliffs, New Jersey, on May 16 and 17, 1966
Director of Recording: Val Valentin
Verve V6-8658 STERE

Soloists:

Flute: Joe Grimm
Trombone: Urbie Green
Guitar: Bucky Pizzarelli
Percussion: Bobby Rosengarden

"If you like Ella, Duke, Count, Sinatra... you'll love Walter Wanderley's music." – Tony Bennett

From the back cover: The young Sao Paulo organist first caught the public ear with his brilliant arrangements for his good friend and compatriot, Joao Gilberto. The year was 1961. By '62, Wanderley was a headliner in his own right, launching a string of hits that included The Girl From Ipanema, Desadinado and the high-flying Song Of The Jet (which you'll hear in this album).

Sumer Samba
It's Easy To Say Good-Bye
Cried, Cried
Rain
The Girl From Ipanema
Beloved Melancholy
Taste Of Sadness
Beach Samba
Cry Out Your Sadness
The Great Love
Song Of The Jet

JFK A Profile Of Courage - Documentaries Unlimited Vol. 1

 

President Kennedy on Cuban Crisis

A Profile Of Courage
JKF May 29, 1917 - November 22, 1963
Narrated by Barry Gray
Editing by Richard Sloan
Recording Supervision by Daniel Sloan
Documentaries Unlimited Inc.

From the back cover: Paradoxes of John F. Kennedy

Although a Roman Catholic, he tenaciously clung to the unprecedented dream of presidency for a Catholic.

Despite bitter clerical criticism, his campaign pledge of no Federal aid to private or parochial schools was kept.

Although a Democrat, he supported a strong civil rights program, thereby incensing the Southern Democrats.

Although it militated against his sensibilities, he ultimately resorted to the use of Federal troops to implement the inherent right of negro students to enroll and receive education in southern colleges. 

Although a multi-millionaire, he dared to block the steel industry from courting inflation by raising its prices

Although a peaceful man, he courageously flirted with death – for principles he believed in.

Also from the back cover: Barry Gray, our narrator, is an eminent journalist and broadcaster who is known for his humanitarian and critical examination of mankind's present problems. His pen and voice are committed to the cause of freedom and liberty. Drawing upon a deep reservoir of knowledge, experience and courage, Mr. Gray has championed causes – popular and unpopular – that he believed should be brought into the bright light of open scrutiny. We believe that our narrator is eminently qualified to represent the highlights of John F. Kennedy, man and President, in vie of their common dedication.

Side One

News Coverage
Ambassador Adlai E. Stevenson
Senator Barry M. Goldwater
President Dwight D. Eisenhower
Sir Alec Home
His Holiness Pope Paul VI
President Lyndon B. Johnson
Eyewitness Account Of Assassination
Pre-Election Speech Of Kennedy
Election Speech Of Kennedy
Talking Of Oath Of Office For Presidency By Kennedy
Inaugural Address Of Kennedy

Side 2

Presidential Press Conference
Address To National Women's Press Club
President Kennedy on Peace Corps
President Kennedy on Space Flights
President Kennedy on Alliance for Progress
"Jackie" Kennedy Speaking in Spanish in South America
President Kennedy on Cuban Crisis
President Kennedy on Berlin
President Kennedy in Houston, Texas
President Kennedy in Dallas, Texas

Presenting Dionne Warwick

 

I Smiled Yesterday

Presenting Dionne Warwick
Scepter Records SCEPTER 508
1963

From the back cover: First record, first hit. It's not as easy as it sounds. Dionne studied music for years. In time she became an accomplished singer and pianist. Playing and singing in church every Sunday, her talent for music flourished and grew. Her next step forward took Dionne to the recording studios in New York. There she sang in the background chorus on many recording sessions. This was when she was first seen and heard by two songwriters, Burt Bacharach and Hal David. They brought her to the attention of the Scepter Record Co. and what followed is "Don't Make Me Over."

From Billboard - April 20, 1963: Dionne Warwick has a sound and a style and she has a chance to get attention with this, her first album for the label. She sells in a warm and tender way both originals and standards that should interest and "Don't Make Me Over," "Empty Place" and Wishin' and Hopin'."

The Empty Place
Wishin' & Hopin'
I Cry Alone
Zip-A-Dee-Doo-Dah
Make The Music Play
If You See Bill
Don't Make Me Over
It's Love That Really Counts
Unlucky
I Smiled Yesterday
Make It Easy On Yourself
The Love Of A Boy

This Is Nat "King" Cole

 

Nothing Ever Changes My Love For You

This Is Nat "King" Cole
Arranged and Conducted by Nelson Riddle
Capitol Duophonic Record
Capitol Records DT 870
1957

Dreams Can Tell A Lie
I Just Found Out About Love
Too Young To Go Steady
Forgive My Heart
Annabelle
Nothing Ever Changed My Love For You
To The Ends Of The Earth
I'm Gonna Laugh You Out Of My Life
Someone You Love
Love Me As Though There Were No Tomorrow
That's All
Never Let Me Go