After Hours At The London House - Sarah Vaughan

 

Thanks For The Memory

After Hours At The London House

Sarah Vaughan

Supervision: David Carroll and Jack Tracy

Cover Photo: Don Bronstein

Design: Emmett McBain

Carmen Cavallaro's introduction courtesy Decca Records

Mercury Records STEREO Hi-Fi SR 60020 & MG 20383

Recorded March 7, 1958 at the London House, Chicago.

Recorded by Universal Recording Corp,. Malcolm Chisolm, engineer. Microphones used included: voice (Telefunken U-47); piano (RCA 77 DX), bass (Fentone B&O ribbon); drums (Shure 556 S); solo horns (Fentone B&O ribbon). The entire session was taped at 30 its (inches per second) on a specially-adapted Ampex 350-2 tape recorder.

From the back cover: It began at 2:30 a.m. at Chicago's London House before a specially-invited audience of prominent entertainers who had finished their shows, disc jockeys, newspaper columnists, and other assorted night people.

Sarah already had done three shows that night at Mister Kelly's and was rushed hurriedly to the London House for the session. Carmen Cavalloro, whose trio was working at the club, graciously turned the bandstand over to Sassy and the session was on.

Pandemonium reigned. And rained.

Professional courtesy unfortunately was forgotten by more than a few of the professionals in attendance. Flashbulbs popped continuously as representatives of Life magazine covering the event shot pictures as if they were going out of style, and photogs from Mercury and the London House, not to be outdone, matched'em shot for shot.

The bandstand, built to accommodate three or four musicians, bulged with microphones, Sarah, her trio, and guest sitters-in Thad Jones, Henry Coker, Frank Wess, and Wendell Culley. It looked not unlike a traffic jam in a telephone booth.

Thought it all Sarah maintained a composure and simple dignity that stood out in stark contrast to the tumult all about her. In just two hours the album was complete. Only on the final Thanks For The Memory was more than one take needed, and so delightful were the fluffs she made on it ("I got hung with a word,") both false starts have been included.

The session was completely improvised, as Sarah came equipped with only a bundle or sheet music, her great sense of musicianship, and, as she so simply stated it, "Faith."

But this is the sort of musical element in which Sassy shines. The backgrounds are almost floppy-loose and non-constricting. The musician she chose from Count Basie's band to work with were just right – Frank Wess, with his thick, warm sound and unerring sense of whaat and when to play; Thad Jones, whose brief solos are highlights; Henry Coker, who plays simply and without pretense, and Wendell Culley, whose muted obligatos and moody solo on Thanks For The Memory provided comforting surroundings.

Her own trio with Ronnell Bright on piano, the gifted Richard Davis, bass and incisive Roy Haynes on drums, offered a knowing core that bent to every musical whim of Sarah's.

Like Someone In Love

Detour Ahead

Three Little Words

I'll String Along With You

You'd Be So Nice To Come Home To 

Speak Low

All Of You

Thanks For The Memory

Neon - The Cyrkle

 

The Visit (She Was Here)

Neon
The Cyrkle
Produced by John Simon
Arranged by John Simon and The Cyrkle
Cover Photo: Bob Cato
Columbia Records CS 9432

1967

From the back cover: Tom and Don play all the guitar parts. Tom plays all bass and sitar parts. Marty plays all drum, tambourine, conga, cowbell, finger cymbal, triangle and gong parts, assisted, when he hasn't a free hand, by Bobby Gregg, Buddy Saltzman, Ray Barretto and the like. Michael plays all keyboard parts except when, all too often, John Simon feels like playing. Also assisting are brass, string and woodwind players from the International Brotherhood of Brindle Makers Marching Band & Chowder Society.

From Billboard - February 18, 1967: The "Red Rubber Ball" group scored on the charts with their first album, and this well-balanced program should do equally well. "Please Don't Ever Leave Me," "I'm Happy Just To Dance With You" and their current hit "I Wish You Could Be Here" are enhanced by their smooth vocal blend and top arrangements.

Dont' Cry, No Fears, No Tears Comin' Your Way
The Visit (She Was Here)
Weight Of Your Words
I Wish You Could Be Here
It Doesn't Matter Anymore
Two Rooms
Our Love Affair's In Question
I'm Happy Just To Dance With You
Problem Child
Please Don't Ever Leave Me
I'm Not Sure What I Wanna Do

The Best Songs From The 60's - The Now Generation

 

Mrs. Brown You've Got A Lovely Daughter

The Best Songs From The 60's

The Now Generation

Produced by Tommy Downs

Cover Design: Jim Johnson

Recorded at Star Recording Studio

Nashville Sound 6004

Dang Me

Stranger On The Shore

Mrs. Brown You've Got A Lovely Daughter

Green Green Grass Of Home

Wichita Lineman

Georgie Girl

I Can't Stop Loving You

Roses Are Red

The Lonely Bull

Walk Right In

Blowin' In The Wind

The Twist

Let's Make Love - Marilyn Monroe - Yves Montand - Frankie Vaughan

 

Latin One

Let's Make Love

Marilyn Monroe & Yves Montand

In Jerry Wald's Production of Let's Make Love

Co-Starring Tony Randall & Frankie Vaughan

Directed by George Cukor

Written for the screen by Norman Krasna

Songs by Sammy Cahn & Jimmy Van Heusen

Orchestra Conducted by Lionel Newman

An Original Sound Track Recording

20th Century-Fox Presents A Cinemascope Picture

Columbia Records CL 1827

1960

Let's Make Love

Incurably Romantic

Latin One

Specialization

Let's Make Love

My Heart Belongs To Daddy

Hey You With The Crazy Eyes

Strip City

Incurably Romantic

The Jazz Piano Of John Coates, Jr.

 

A Minor Waltz

The Jazz Piano Of John Coates, Jr.

Record "Live"... in Concert with DeWitt Kay, Bass & Glen Davis, Drums

Executive Producer: Yoshino Inornata

Cover Artwork: Bob Doney (for display at the Deer Head Inn)

Jacket Design and Typography: Willie Lonardo

Engineer: Peter Kiefer

Omni Sound N-1004

From the back cover: When executives from Shawnee Press are asked "How did you discover John Coates?" they answer quite simply and logically, "We walked across the street." For the past 11 summers Coates has been entertaining and amazing jazz buffs and fellow musicians at the Deer Head with his remarkable interpretations and improvisations, as well as with a growing bag of originals. Concurrently for seven of those years, John has held down an editorial desk at Shawnee Press from which has come some 75 publications to his own credit, including many arrangements of folk and pop songs which have become among the most sung and sought after by school and college choral groups in this country and abroad.

John Coates, Jr., (his father is a musician too) started playing the piano at the age of three. At seven he began piano study, first at Mannes College of Music, later at Dalcroze School Music, New York City. At the age of 12, John began playing professional jazz piano. By the time he was 17, John and his own trio had a jazz record released; much of the music on the album was written by John.

After high school graduation, John went "on the road" in the United States and Europe for two years, playing piano and vibraphone. With that experience under his belt, John went to Rutgers University, New Brunswick, New Jersey, where he continued his study of music but majored in Italian. At Rutgers he was elected to Phi Beta Kappa and graduated magna cum laude, which just about brings us up to where we were a couple of paragraphs ago.

For those who know John Coates' work the best, it might be described as superbly spontaneous; but Coates the man is never impulsive. For a number of years his many fans have been encouraging him to make a record. But it was not until Yoshio Inomata, executive producer for Omnisound, said, "Hey, can we put up some microphones and see what happens?" that this album happened on February 3, 1974, at Northampton Community College. Without rehearsal and with the help of DeWitt Kay, Bass and Glen Davis, Drums, things were arranged, and the result is, we feel, some of the most exciting jazz to be put down in a long, long time. Just the way it happened, Live.

From Billboard - November 30, 1974: This is an exceptional first effort by a totally innovative jazz pianist, who has been hailed by many jazz masters as a true genius. Four of the six tunes are originals in the Dave Brubeck mold and the other two including a Beatles tune are equally impressive.

Love Is Enough

Tune No. 4

A Minor Waltz

Deep Strings

Yesterdays

Little Rock Getaway

The Robert De Cormier Folk Singers

 

Bye 'N' Bye

The Robert De Cormier Folk Singers

Originated and Produced by Enoch Light

Associate Producer: Julie Klages

Recording Chief: Robert Fine

Mastering: George Piros

Designed by Charles E. Murphy

Command Records STEREO RS853SD

1963 Grand Award Records

From the inside cover: Some of the special and unique qualities that the De Cormier Singers have can be traced to two prime influences on De Cormier's work as a choral conductor. One is the breathtaking brilliance and excitement created by the large, colorful folk singing groups to be found in eastern Europe and the Soviet Union. The other influences come from his experience in organizing and directing the Belafonte Folk Singers, an association in which he caught the dramatic impact that Harry Belafonte brings to his performances.

De Cormier had known Belafonte long before he became an internationally famous star. They first met at Erwin Piscator's Dramatic Workshop when Belafonte's goal was a career as an actor rather than as a singer. During the years when Belafonte was establishing himself as a new and highly theatrical type of folk singer (drawing on that Dramatic Workshop background), De Cormier was teaching music in New York, conducting choruses and writing arrangements. Belafonte's first major record success was an album of Calypsos. When it was decided to follow this with another calypso collection, Belafonte asked De Cormier to write and conduct the album for him. 

From tis recording developed the Belafonte Folk Singers, a group of twelve men who backed up Belafonte and did one or two numbers on their own at Belafonte's concerts. After two years, the Singers made a concert tory of their own, made a record album of their own and, under De Cormier's leadership, developed an identity of their own. But maintaining a group of this size was not completely practical in financial terms and, in 1961, Belafonte decided to disband the group.

No sooner was this done, however, than Columbia Artists Management asked De Cormier to form a group of his own. This time he included women in his ensemble along with four instrumentalists. An introduction tour was lined up for the Robert De Cormier Folk Singers in the winter of 1963 but first they made an phenomenal debut in New York City.

Like everything about the De Cormier Singers, this debut was phenomenal not in the usual sense (a packed concert hall, glowing reviews in the newspapers) but in an unusual sense. It occurred in a tiny Greenwich Village coffee house, the Bitter End, where the group was booked for a three-week engagement. De Cormier look on this as an opportunity to get his ensemble fully prepared for its concert tour and to serve as a showcase for arousing interest in the Singers.

When the eight men, five women and four instrumentalists crowded onto the small coffee house stage, it scarcely seemed that there would be any room left for an audience. But there was. And it was an audience that was quickly swept up by the excitement and fervor that the De Cormier Folk Singers generated. Yet, for all the audience response, most New Yorkers did not know that anything remarkable was happening at the Bitter End because this occurred in the midst of the strike that shut down New York's newspapers for four months.

Word spread through the entertainment grapevine, however. Command Record's Enoch Light, constantly searching for exciting and important new talent, was one of the first to realize the full potential of the De Cormier Singers. He recognized not only their amazing musical potential but the possibilities  this colorful group of voices provided for unusual and brilliant recording in the world-famous Command tradition of superb engineering craftsmanship.

From Billboard - September 21, 1963: Robert De Cormier is well known as the man who organized the Belafonte Singers. More recently he put together a sizable choral group of his own, which bowed at New York's Bitter End folk club. Enoch Light found them there and later cut them with the benefit of the great Light touch for sound. The arrangements here are standouts and the singer is rich and full-bodied. Could all get much play.

Dance, Boatman Dance

Where Have All The Flowers Gone

Hallelujah

Bye 'N' Bye

Bella Bimba (Italian Folk)

Kissin' No Sin

Go Tell Aunt Rhody (folk)

Amen

The Hammer Song

Igra Kolo (folk)

Rainbow

The Virgin Mary Had A Baby Boy

Walk Together Chidden

Perry Como Sings Just For You

 

Long Ago

Perry Como Sings Just For You

Photo: Don Stewart

RCA Camden CAL 440

1958

You're Adorable

Let's Take An Old-Fashion Walk

I'm Confessin' (That I Love You)

Forever And Ever

You Won't Be Satisfied (Until You Break My Heart)

Long Ago (And Far Away)

It's Only A Paper Moon

There Never Was A Night So Beautiful

You Alone (Solo Tu)

My One And Only Heart

Marcheta

I Love You

Singin' Kay Starr - Swingin' Erroll Garner

 

Good For Nothing Joe

Singin' Kay Star

Swingin' Erroll Garner

Art Direction & Production: Florette Bihari

Crown Records CLP 5003

From the back cover: In presenting Singin' Kay Starr, the One and Only, and the Great Swingin' Erroll Garner, is a rare collection item that will live through music history. This session was taped direct from a live show staged at the Shrine Auditorium in Los Angeles.

Kay made her debut while still in high school on a local local radio station. She sang briefly with the Glenn Miller Orchestra and gained much of her experience while singing with Bob Crosby and Joe Venuti Orchestras. She was first well known in Jazz as a vocalist with Charlie Barnet – later becoming nationally known as a top solo artist. Still steeped in the tradition of the big voiced blues singers of the past, Kay retained some of these Jazz qualities. Such a combination makes her one of the finest vocalists of all time.

Erroll Garner – one of the all time great pianists did not study music nor did he ever learn to read music. He is one of the rare born musical talents. He was an early associate of Billy Strayhorn. He began playing with many of the local bands and soon came to New York where he was featured in night clubs and on many recording dates with The Slam Stewart Trio. After appearing at The Paris Jazz Festival, he achieved recognition with the public through a style that was found acceptable by many non-jazz minded people. He uses the spread chords and melodic variations on the popular themes, and on the faster tempo, a delayed-action, single note, right handed style accompanied by the strumming of the chords, with the left hand, in a guitar-like fashion.

Ain't Misbehavin'

Good For Nothing Joe

Lover

Just For You, Just Me

Them There Eyes

Blue Lou

Tenderly

Little Girl

Country And Western Stars - Hank Locklin

 

Queen Of Hearts

Original Country And Western Stars

Hank Locklin

Design Records DLP-603

1962

Queen Of Hearts 

Mysteries Of Life
Paper Face
Send Me The Pillow You Dream On
I'm Lonely Darling
Come Share The Sunshine With Me
No One Is Sweeter Than You
A Year Of Time
Let Me Be The One
Born To Ramble

Porgy And Bess - Percy Faith

 

My Man's Gone Now

Percy Faith

Plays George Gershwin's

Porgy And Bess

Columbia CL 1298

1959

From the back cover : For this album I used two-orchestral combinations of thirty-seven and forty-two pieces. The performances of the men were so fine that I am inclined to give credit where credit is due, and list the names of those who played important solos, and to praise the orchestra as a whole. I have always thought of this orchestra as an individual, as a soloist rather than as an ensemble.

From Billboard - April 20, 1959: A sparkling album of Gershwin's folk opera – full of color, spirit and beautifully arranged. Material includes all the well-known songs, such as "Summertime," etc., and also much lesser-known material, as "Oh I Can't Sit Down," the street cries of "The Strawberry Woman" etc. The individual instrumentalists contribute greatly to the total effect, and are listed on the back cover by Percy Faith. Cover is an eye-catcher.

Violin - George Ockner

Piano - Bernie Leighton

Trumpet - "Doc" Severinses

Alto Sax - Jimmie Abato

Tenor Sax - Russ Banzer

Drums - Terry Snyder

Mallets - Phil Kraus

Cello - Lucien Schmidt

Oboe - Harold Feldman

Catfish Row

Summer Time

A Woman Is A Sometime Thing

My Man's Gone Now

Leavin' That Promised Land

I Got Plenty O' Nuttin'

Bess, You Is My Woman Now

Oh, I Can't Sit Down

It Ain't Necessarily So

The Strawberry Woman And The Crab Man

I Loves You, Porgy

There's A Boat That's Leavin' Soon For New York

Bess, Oh Where's My Bess

O Lawn, I'm On My Way

Bells Are Ringing - Guy Lombardo

 

Do It Yourself

Bells Are Ringing

Music Of The Motion Picture

Played For Dancing By Guy Lombardo 

And The Royal Canadians

Recording Produced by Lee Gillette

Capitol Records ST1453

1960

From the back cover: Here is the music of Guy Lombardo at its danceable best, in a wonderful array of vocal and instrumental renditions of tunes from the delightful MGM film musical, "Bell Are Ringing, starring Judy Holliday and Dean Martin

These are songs that lend themselves perfectly to the distinctive Lombardo touch which has captivated the dancing and listening public for nearly three decades. Now Guy offers his long-playing salute to the Betty Comden-Adolph Green-Jule Styne hit which was first a smash on Broadway and is now enjoying great success as a motion picture.

Two of the tunes in this album were written especially for the film version of "Bells Are Ringing", They include Better Than A Dream, which is sung here by Kenny Gardner, and Do It Yourself, handled vocally by Cliff Grass. Kenny also sings Just In Time and I'm Going Back, while Bill Flannigan steps forward to contribute his sensitive rendition of the hauntingly beautiful ballad, The Party's Over. The Lombardo Trio takes over the spotlight on the very clever novelty number, Drop That Name.

The remaining selections are instrumentals played in a fine variety of Lombardo dance tempos as "The Sweetest Music This Side Of Heaven" adds new luster to this superb collection of songs from "Bells Are Ringing".

Just In Time

Do It Yourself

It's A Perfect Relationship

Drop That Name

I Met A Girl

Mu-Cha-Cha

Better Than A Dream

The Midas Touch

Bells Are Ringing 

The Party's Over 

I'm Going Back

Magic Party - Sanford The Great

 

Magic Party

A Tickling Treat Of Tricks

Magical Merriment For You Next Party!

Performed by "Sandford The Great" - Famous TV Magician

A Magic Party Record

Keane Records - Hollywood, California

MR-2

Magic Fun! - Sanford The Great

 

Magic Fun!

Tricks & Treats... For One, Or A Party!

A Jubilee Of Jollities Performed By "Sanford The Great"

Keane Records - Hollywood 27, California

MR-1

While You Were Away - Eric Rogers

 

I've Got A Gal In Kalamazoo 

While You Were Away

The Eric Rogers Chorus And Orchestra

Photo: Ron Hafter

Richmond Stereo S 30068

A Product Of London Records 

Paper Doll 

The White Cliffs Of Dover
Chattanooga Choo Choo
I'll Get By
Elmer's Tune
Deep In The Heart Of Texas
you are my sunshine
I Don't Want To Walk Without You
I've Got A Gal In Kalamazoo
As Time Goes By
The Last Time I Saw Paris
I Left My Heart At The Stage Door Canteen

Soft Lights And Sweet Music - Lew White

Say It Isn't So

Soft Lights And Sweet Music
Lew White At The Organ
MGM E3261
1956

From the back cover: Whether you know it or not, you've heard the musical magic of Lew White again and again. As one of radio's busiest musician's Lew made the transition to TV as well easily. Millions of radio listeners relied upon him to introduce their favorite programs – shows like "Grand Central Station" and "Portia Faces Of Life" and "Inner Sanctum" – with appropriate music. And, White backgrounds have been heard on many an important video program.

The job of providing music for every occasion took Lew White from the concert stage to the studio by way of motion picture theatre throughout the country. After completing his studies of the piano, Lew became accompanist for the famous 'cellist, Hans Kindler, and later turned to popular music as a soloist in many of the country's leading hotels and theaters. His career as an organist began when he furnished music for silent pictures, and in 1927 joined the Roxy Gang as chief organist of the Roxy Theatre in New York City. As a member of the Roxy Gang, Lew became nationally known to theatre and motion picture audiences, and – with the advent of radio – Lew's ability to produce just the right song of background theme for every mood prompted him to devote his talent almost solely to broadcasting.

From Billboard - January 28, 1956: Whether many customers recognize Lew White's name or not, there is not likely to be one who has not heard him play many times as one of the most active providers of background music on radio and TV. The veteran organist has come up with a shrewdly programmed handsomely arranged set of romantic standards ("Deep Purple," "Sleepy Lagoon," etc.) that makes for an enjoyable hour of listening. Interest is kept high by spotlighting solo piano, trumpet, sax, guitar and so on, one after the other, against White's songful organ obbligato.

Soft Lights And Sweet Music
Sleepy Lagoon
Love Walked In
Say It Isn't So
Someday I'll Find You
One Love
Deep Purple
Love Will Find A Wa
I'll Follow My Secret Heart
Among My Souvenirs
Zigeuner
Make Believe

 

Porter - Berlin Favortries - Al Sack

 

What Is This Thing Called Love

Cole Porter - Irving Berlin Favorites

Al Sack Concert Orchestra

Jay Wilbur String Orchestra

Tops L1506-149

1957

Cole Porter

Easy To Love

Night & Day

Begin The Beguine

What Is This Thing Called Love

In The Still Of The Night

I Get A Kick Out Of You

Irving Berlin

Blue Skies

They Say It's Wonderful

Piccolino

How Deep Is The Ocean

Cheek To Cheek

Doin' What Comes Naturally

Hummm And Strum Along With Chet Atkins

 

John Henry

Hummm And Strum Along With Chet Atkins

Complete With Song Book

Produced by Chet Atkins

Recorded in Nashville, Tennessee, February 1, 3 and 5, 1959

Recording Engineer: Bob Farris

RCA Victor LSP-2025 & LSP-2025 RE (reissue - 2 cover variations)

1959 & 1961

In The Good Old Summertime

Beautiful Brown Eyes

The Prisoner's Song

Titanic

Tennessee Waltz

Sweet Bunch Of Daisies 

John Henry

Birmingham Jail

Music! Music! Music!

Cold, Cold Heart

Bill Bailey

Goodnight Irene

Songs Of The West - The Norman Luboff Choir

 

Bury Me Not On The Lone Prairie

Songs Of The West

The Norman Luboff Choir

Columbia Records CL 657

1955

Bury Me Not On The Lone Prairie

The Old Chisholm Trail

Red River Valley

Whoopie Ti Yi Yo

Doney Gal

Tumbling Tumbleweeds

Poor Lonesome Cowboy

Colorado Trail

I Ride An Old Paint

Night Herding Song

Cool Water

Streets Of Laredo

Home On The Range

Flower Drum Song - Andre Kostelanetz

 

I Am Going To Like It Here

Rodgers And Hammerstein's

Flower Drum Song

Andre Kostelanetz

Columbia CS 8095

1959

Grant Avenue 

Sunday
You Are Beautiful
I Enjoy Being A Girl
I Am Going To Like It Here
Fan Tan Fannie
Chop Suey
Love, Look Away
Like A God
Don't Marry Me
A Hundred Million Miracles And Reprise: Sunday

Earl After Dark - Earl Grant

 

Mountain High, Valley Low

Earl After Dark

Earl Grant

Organ Instrumentals With A Beat

Decca Records DL 4188

1962

From Billboard - April 14, 1962: Another fine instrumental album from Earl Grant. The organist fits beautifully into the "sweet-with-a-beat" pattern on this set. The slow ballads are played with strong feeling and with a simple affection for the melody of the standards included. The album is tops for adult dance programming and easy listening formats. Among the better tracks are "Moonlight In Vermont," "Mood Indigo," "Get Of Of Town," "All The Way."

Moonlight In Vermont

All The Way

Gee, Baby, Ain't I Good To You

Mountain High, Valley Low

Moon Indigo

Old Devil Moon

Bali Ha'i

Get Out Of Town

Then I'll Be Tired Of You

A Hundred Years From Today

On The Street Where You Live

Robbin's Nest

Polka Carnival - Al 'Cocoa' Czelusniak

 

Rainfell Polka (Vocal Al Cocoa)

Polka Carnival 

Al 'Cocoa' Czelusniak 

And His Gaytime Orchestra

Rex Records LP 670

Evening Shadows Polka

Fun House Polka

Beer Garden Oberek (Vocal Al Cocoa)

Roller Coaster Polka

Rainfell Polka (Vocal Al Cocoa)

Clamshell Oberek

Little Diane Polka

Angel Wings Polks (Vocal Al Cocoa)

Midway Oberek

Bobsled Polka

Tea Cup Oberek

Riverboat Polka

I'll Walk Beside You - The Melachrino Strings

 

Chanson De Martin

I'll Walk Beside You

The Melachrino Strings

Conducted by George Melachrino

RCA Victor LPM 1329

1956

From the back cover: I'll Walk Beside You is another of many releases which brings to this country one of Great Britain's most popular orchestras. Music by Melachrino is known throughout Britain, where it is heard regularly over broadcasts of the BBC, on His Master's Voice records and in the cinema. Famed for its string section, the Melachrino ensemble has become internationally acclaimed for the beauty and eloquence of its orchestral interpretations.

A Prefect Day

I'll Walk Beside You

Goin' Home

In A Monastery Garden

Chanson De Martin

Love's Old Sweet Song

Song Of Paradise 

Whispering Hope

Abide With Me

Bless This House

Merry, Merry, Merry Christmas - Captain Kangaroo

 

Charles Dicken's Christmas Carol 

Merry, Merry, Merry, Merry, Merry Christmas

From Captain Kangaroo

The Sandpipers Singers and Orchestra

Bob Keeshan (Captain Kangaroo)

Lumy Branhum (Mr. Green Jeans)

Musical Director: Jimmy Carroll

Golden Record LP 126

1964

Merry, Merry, Merry, Merry Christmas
Sleigh Ride!
Crackerjack Christmas
Little Fir Tree
Santa Claus Is Coming To Town
When Santa Claus Gets Your Letter
I Want A Hippopotomus For Christmas
Jingle Bells
Santa's Other Reindeer
Pull Together
Rudolph, The Red-Nosed Reindeer
Charles Dicken's Christmas Carol
Silent Night
Deck The Halls
Joy To The World
Happy Little New Year
Reprise

Have You Met Miss Carroll?

 

Get Happy

Have You Met Miss Carroll?

Barbara Carroll Trio

Joe Shulman - Bass & Ralph Pollack - Drums

RCA Victor LPM-1137

1956

From the back cover: A native of Worcester, Massachusetts, Barbara has come a long way from the childhood days when, to make youthful ends meet, she gave piano lessons to her playmate for a flat rate of twenty-five cents. She worked her way through the New England Conservatory of Music in Boston and, soon after, began to make fairly regular appearances in night spots both in Bean City and New York. It was in the latter metropolis that fortune finally smiled upon her, for while playing at a Manhattan establishment called The Embers, she was simultaneously discovered by the critics and public alike. Since that date, only a few years ago, she has not only returned countless times to the scene of her first triumph, but has also spread her particularly happy brand of piano magic in most of the other major cities of the country.

From Billboard - January 28, 1956: Miss Carroll, as easy-to-take jazz pianist, swings with the best of 'em. Both jazz and plain buyers can be sold this happy collection of tunes, including such as "It's All Right With Me," "Love Is A Single Thing," "Happiness Is A Thing Called Joe" and her theme, "Barbara's Carol." Ralph Pollack on drums and hubby Joe Shulman on bass help out.

Everything I've Got Belongs To You

It's All Right With Me

Happiness Is A Thing Called Joe

Almost Like Being In Love

Love Is A Simple Thing

Get Happy

Two Ladies In De Shade Of De Banana Tree

My Heart Belongs To Daddy

You're Mine You

Have You Met Miss Jones

I'm Glad There Is You

Barbara's Carol

The Good Life - Kathy Keegan

 

Looking For A Boy

The Good Life

Kathy Keegan

Produced by Bob Stephens & Tom Russell

Malibu 100

Distributed by Jay Gee Record, Co., Inc.

Printed and Fabricated by Globe Albums, New York, N.Y.

1963

From the back cover: The Good Life began with Kathy Keegan. For Kathy Keegan it began with The Good Life.

The above is not as paradoxical as it may read. Both statements are provably true. The results on either end have been great beginnings. For Kathy, this album is the anticipated, exciting conclusion of Chapter I in her career.

It really began, on both ends, when Kathy's record of The Good Life was released a few months ago. Audiences reacted immediately to the refreshing voice, the straight-forward ballad style. The song, too, was launched poignantly, powerfully. The pairing of the rich, flexible voice and the solidly-qualified material spelled good fortune for each. Kathy Keegan is now an accepted artist. The Good Life, many-times recorded by other singers since her record, has long-lasting quality.

Kathy has a simple, direct projection. She avoids mannerisms and twists. There is an easy, graceful lyricism and yet she manages to mix a deep emotionalism that comes through the appealing timbre of her voice.

All the promise and the good taste are evident here. The selection of songs, old and new, is excellent. The treatments are fresh and varied. The title song is Kathy's original version as it was arranged and conducted by George Siravo. He contributed his fine efforts to the remainder of this album.

There are two entirely different versions included on Call Me Irresponsible. It is sung in the usually-heard ballad-style and is also swung. And Kathy does swing. The melody of the title song was written  by Sascha Distel. Another of his tunes, Moonlight Melody, is heard here for the first time. Michel Le Grand, another French composer, and Johnny Mercer wrote Once Upon A Summertime. It, too, is one of the best of the new songs of this season.

Steve Allen wrote a fine tune for the Broadway show, Sophie. The title I love You Today. Listen to the way Kathy gets the message through. There are other fine songs, by Julie Styne and Sammy Cahn, by the Gershwins and others. It is a fine and fertile grouping, varied and vital.

The diction and the accents are barely evident but Kathy Keegan was born and educated in Blackburn, England. Her father was a bookmaker (it's a respected profession over there) and his daughter was a singing mascot for the house owners, the trainers and the noblemen who followed the Sport of Kings. When her parents died, Kathy migrated to the United States. She had to come in under the stringent quota-regulations as a domestic. She has been both domestic and hat-check girl while gaining her early singing training.

Benefit appearances around New York brought her to Art Ford's attention. Kathy appeared on his television show. She has also been heard with Sammy Davis, Jr., Alan King, Joey Bishop, Dick Shawn and Tony Bennett.

From Billboard - September 28, 1963: Kathy Keegan who jumped into the national spotlight with a much-aired single of "The Good Life," displays on her first album a warmth and sincerity that should please devotees of the standard sound. She projects emotion and excitement reminiscent of Judy Garland and Lean Horne. Set should find ready acceptance with the deejays and buyers. "The Good Life" and "I Love You Today," among others, are sung with grace and feeling.

The Good Life
Don`t Ever Change
By Myself
Where Are You Running
Moonlight Melody
Call Me Irresponsible (Slow)
Once Upon A Summertime
Looking For A Boy
London By Night
I Love You Today
Guess I`ll Hang My Tears Out To Dry
Call Me Irresponsible (Fast)

The Diamonds Meet Pete Rugolo

Ain't Misbehavin'

The Diamonds Meet Pete Rugolo

Photo by Garrett & Howard
Mercury Records MG 20368
1958

From Billboard - April 7, 1958: The quartet divides into bass vs. other three for happy noises on "Lulu's Back In Town," "Ain't Misbehavin'," "One For My Baby" and other standards. Rugolo's jazz arrangements contain super-imposed rock and roll beat to please fans. Group sells hard. Can sell.

Wrap Your Troubles In Dreams
Baby Won't You Please Come Home
The Best Things In Life Are Free
Ain't Misbehavin'
Until The Real Thing Comes Along
I'll Always Be In Love With You
Will You Still Be Mine
Tenderly
For All We Know
One For My Baby
Lulu's Back In Town
You'll Never Walk Alone