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Wednesday, January 27, 2021

Romeo And Juliet - Jackie Gleason


Quentin's Theme from ABC-TV's "Dark Shadows"

Romeo And Juliet
A Theme For Lovers
Jackie Gleason
Produced by Dick Jones
Orchestrations: George Williams
Recording Engineer: Bob Arnold
Recored at Criteria Studios, Miami, Florida
Capitol Records ST-398

Back Cover Photo: The Great One (Jackie Gleason) with Don Goldie

Also from the back cover: The soloist merits a special word. Far and away the most celebrated big band of the 1920's and 30's was the aggregation of the King Of Jazz, Paul Whiteman, and among its star-studded collections of musicians, for 15 years, was a fine trumpet man best known as "Goldie." Playing the trumpet solos in Jackie's album in Goldie's son, Don Goldie, himself a musician of stature who follows in his famous father's footsteps as a trumpeter of taste, skill and warmly individual sound.

For Once In My Life
Moment To Moment
By The Time I Get To Phoenix
Embassy Waltz From "My Fair Lady"
Love Theme From "Romeo and Juliet"
Didn't We
Yesterday, When I was Young
Quentin's Theme from ABC-TV's "Dark Shadows"
This Guy's In Love With You

Tuesday, January 26, 2021

Shout! Shout! - Ernie Maresca


Mary Jane

Shout! Shout!
Knock Yourself Out
Ernie Maresca
Produced by Mark Holtzman
Seville SV 77001

From the back cover: In the words and music, Ernie Maresca is an uncanny phenomenon. A couple of years ago, Ernie stood on the sidelines of show business watching new stars skyrocket to success. Deep down inside, he felt the longing that goes with talent. He knew he could write the melodies and lyrics of hit songs. Ernie was positive that with a little recognition as a song-writer, fame and fortune would come to any singer who recorded his material. In no time at all, this dream became a reality. Ernie Maresca's hits orbited the earth like a Mercury Seven capsule. "A Lover's Prayer," "Runaround," "No One Knows," "the Wanderer," "Runaround Sue," "Lovers Who Wander," and many others, helped Dion, The Belmonts, The Regents, and Nino and the Ebbtides to the red carpet of stardom.

Right in the middle of all this excitement Ernie and Tom Bogdany, a neighborhood buddy, got the idea for a follow-up to the Twist called "Shout! Shout! (Knock Yourself Out). To Seville Records Artist and Repertoire-man Marv Holtzman they came! Ernie's demonstration was exciting! Within a week Ernie had cut it and the rest is history. To the top of the charts it zoomed and as a result, Ernie Maresca is in the world-wide demand as one of America's top teen-age singing attractions

From Billboard - July 28, 1962: The kids should really find this one a winner. The album features the singer's recent smash and 11 other potent tracks by the lad. Maresco figures in as writer on all the titles, and the album supply some great swinging sounds that are solid for the teen trade. "Subway Blues," "They Don't Know," "Mary Jane," "Down On The Beach" and "I Don't Know Why" are some of the representative tracks.

Shout! Shout! (Knock Yourself Out)
Some Day You'll Change Your Ways
They Don't Known
I Don't Know 
I Don't Know Why
Down On The Beach
Crying Like A Baby Over You
Mary Jane
What A Good Is Living
How I Cry
I'm Gonna Make It Somehow
Subway Blues
Can't Forget About You

Color Me A Rainbow - Color Concepts For Early Childhood

Color Me Clever

Color Me A Rainbow
Color Concepts For Early Childhood
Melody House Recordings MH-80

Come And Make A Rainbow
Written by Jerry Caspell
Sung by Jerry Caspell
Post Elementary 6th Grade Chorus, Oklahoma City, Oklahoma
Director: Kathlyn Reynolds

Color and Shapes

Color Me Clever
Music by Jerry Caspell
Words by Sharron Lucky
Sung by Jerry Caspell

Rainbow Ritual

Color Mixmaster

March Of The Colors

Color Concoctions

Color Rhymes

Color Riddles

The Three Little Piglets Playlet

Hide And Go Seek

The Colors Of Nature
Written and sung by the music students of Kathlyn Reynolds at Wiley Post Elementary School, Oklahoma City, Oklahoma

Colors Poem by Larry Hillhouse 

Dinosaur Rock - Michele Valeri & Michael Stein


Tyrannosaurus Rex

Dinosaur Rock
Performed by Michele Valeri and Michael Stein
Cover Illustration: Kenneth Smith
The album is dedicated to Florence Mendelow Stein & Nettie and Hugo Valeri
All songs arranged and produced by Michael & Michele
Narrated by Jerry Terheyden
Photos: Paul A. Powers
Recording Engineer: R.B.
Tape Editor: Jayne Reby
Recorded at Track Recorders - Silver Spring, MD
Special thanks to Worth Rowley
Caedmon TC 1739

From the back cover: Michele Valeri is a singer, songwriter and children's entertainer. Her years of teaching and performing have brought her to every kind of stage – from elementary school auditoriums to the Smithsonian Institution, the Kennedy Center for the Performing Arts and the White House. She has produced, composed and performed two award-winning children's records; the second, Mi Casa Es Su Casa, was placed on the Parent's Choice Magazine list of best records for 1981 and featured on Good Morning America. She is presently the Artist in Residence for the Community Service Division of the Wolf Trap Foundation.

Michael Stein, actor, musician and singer/songwriter, has performed in many different areas of the entertainment world. As a teenager, he played the role of Peter in the original Broadway cast of Jesus Christ Superstar. After performing in Dude, another Broadway show, he toured in Tommy, the rock opera by The Who. He has also performed at the White House, Wolf Trap, the Smithsonian Institution and the Kennedy Center for the Performing Arts. Presently, Michael spends his time writing, recording and performing all styles of music. He is the father of two little boys, Jacob and Justing, who critique all of his material.

The Band is composed of Guitar: Pete Kennedy, Rhythm Guitar: Michael Stein, Piano:  Jon Carroll, Bass: Bryan Smith, Drums: Robbie Magruder

The Dinosaur Song by Michele & Bob Devlin
  Vocals: Michele & Michael
  Bob Devlin & Marc Spiegel

Professor Jones by Michele & Michael
  Pedal Steel: Jeff Agnew
  Vocal: Michael

Dinosaur Rock by Worth Rowley, Michele & Michael
  Vocal: Michele
  Chorus: Michael & Jon Carroll

Stella Stegosaurus by Michele
  Tuba: Marty "Tuba" Erickson
  Chorus: Michael, Seth Carlson & Jennifer Jones

The Sauropod Swing by Michele & Michael
  Vocalized Trumpet: Michele
  Vocals: Michele & Michael
Tyrannosaurus Rex buy Michele
  Vocals: Michele & Michael

The Tiny Little Babies & The Great Big Momma by Michele
  Fiddle: Michael
  Vocals: Michael

Leapin' Lizards by Michael & Michele
  Banjo: Bill Emerson
  Mandolin: Akira Otsuka
  Bass: Bill Smith
  Guitar & Fiddle: Michael
  Vocals: Michele & Michael

Where Did Everybody Go? by Michele & Michael 
  Piano: Patti Clements
  Guitar & Bass: Pete Kennedy
  Fiddle: Michael
  Vocals: Michele & Michael

We All Came From The Sea by Michele & Michael
  Guitar & Fiddle: Michael 
  Bass: Bryan Smith
  Concertina: Greg Artzner
  Vocals: Gordon Hawkins, Seth Carlson & Jennifer Johns
  Last Chorus: Gordon & Michele
    The Carlsons: Seth, Nancy & Bob
    The Johns: Jennifer & Martha
    The Steins: Michael, Kelly, Jacob & Justin
    The Petteways: Al, Patti, Sarah & Julia

Monday, January 25, 2021

What's It All About - Sammy Hall Singers


What's It All About

What's It All About
Sammy Hall Singers
Produced by Joel E. Gentry
Recorded: DBM Studios - Nashville
Engineer: Ben Hall
Photographer: Jimmy Moore
Artist: Carl Cartee
Christian Folk FCS-1972 STEREO

What's It All About
Jesus Is A Soul Man
The Old Rugged Cross
Had It Not Been
If I Had But One Life To Live
The Most He Had To Offer Me
Try A Little Kindness
Eternal Flame
Jesus Is Coming Soon

Friday, January 22, 2021

Summertime - Paul Desmond


Lady In Cement

Summer Time
Paul Desmond
Arranged by Don Sebesky
Produced by Creed Taylor - CTI
Cover Photographs: Pete Turner
Album Design: Sam Antupit
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded October 10, 16, 24; November 5, 20; December 26, 1968
A&M Records - A&M STEREO SP 3015

Wayne Andre (2, 3, 5)
Paul Faulise (1, 2, 3, 4, 5)
Urbie Green (1, 2, 3, 4)
J. J. Johnson (1, 4)
Bill Watrous (1, 2, 3, 5)
Kai Winding (1, 2, 3, 4, 5)

Trumpet and Flugelhorn
Burt Collins (1, 2, 3, 4, 6)
John Eckert (2, 3, 5)
Joe Shepley (all dates)
Marvin Stamm (1, 2, 3, 4, 5)

Jack Jennings (1, 4)
Airto Moreira (1, 6)

Mike Mainieri (1, 4)

Flute and Oboe:
George Marge (6)

Flute and Bassoon:
Bob Tricarico (6)

Joe Venuto (6)

Alto Sax:
Paul Desmond (all dates)

Frank Bruno (6)
Ron Carter (1, 2, 3, 4, 5)

Herbie Hancock (1, 2, 3, 4, 5) - Herbie Hancock appears through the courtesy of Blue Note Records

Airto Moreira (4, 5)
Leo Morris (1, 2, 6)

Joe Beck (5)
Eumir Deodato (4)
Bucky Pizzarelli (6)

French Horn:
Ray Alonge (1, 2, 3, 4, 5)
Jimmy Buffington (1, 2, 3, 4)
Tony Miranda (2, 3, 5)

(1) October 10, 1968 - Where Is Love? / Summertime
(2) October 16, 1968 - Emily / North By Northeast
(3) October 24, 1968 - Olvidar / Someday My Prince Will Come
(4) November 5, 1968 - Lady In Cement
(5) November 20, 1968 - Samba With Some Barbecue
(6) December 26, 1968 - Ob-La-Di, Ob-La-Da

From the inside cover: When the Dave Brubeck Quartet called it a set at the end of 1967, Paul Desmond decided it was high time for Time Out. And rightly so. After all, he had been with the quartet since "before the Crimean War" (factually, 17 years), logged a million-plus miles in air travel, cut 50 or so LPs and played in as many countries, and was plain bushed.

For nine months he never laid lips on an alto sax. Four of those months he whiled away pleasantly in a rented house in Montego Bay. There he conceived the idea and set down the first jottings for a book of reminiscences – a book tentatively titled How Many Are There In Your Quartet? It was a question Payl and his colleagues had learned to live with, since it was put to them so sweetly – and so often! – by airline stewardesses.

Samba With Some Barbecue
Ob-La-Di, Ob-La-Da
Someday My Prince Will Come
Autumn Leaves
Where Is Love?
Lady In Cement
North By Northeast

Tony Martin At The Desert Inn


So In Love

Tony Martin At The Desert Inn
Conducted by Al Sendrey
Produced by Dick Peirce
Recording Engineers: Al Schmitt & Norman Cook
Recorded at Wilbur Clark's Desert Inn, Las Vegas, Nevada
RCA Victor LPM 2146

Fire Down Below
Autumn Leaves
So In Love
You Made Me Love You
Thank Heaven For Little Girls
Stranger In Paradise
All Of You
Arrivederci, Roma
Around The World
I Love Paris
There's No Tomorrow / I'll See You In My Dreams (Clarinet Solos by Tony Martin)

Strass Waltzes - Andre Kostelanetz


Blue Danube Waltz, Op. 314

Strauss Waltzes
Andre Kostelanetz and His Orchestra
Cover Photograph taken at the St. Regis Roof / Dirone
Columbia Records CL 805

Blue Danube Waltz, Op. 314
Southern Roses, Op. 388
Tales from The Vienna Woods, Op. 325
Waltz from "The Gypsy Baron"
Waltzes from "Die Fledermaus"
Artist's Life, Op. 316
Voices Of Spring, Op. 410
Emperor Waltz, Op. 437
Vienna Life, Op. 354
A Thousand And One Nights, Op. 346

5 Star Fiesta - Firestone


Riders In The Sky - Kay Starr

5 Star Fiesta
Dean Martin, Jackie Gleason, Nat King Cole, Kay Starr, Guy Lombardo
Produced by John H. Begley Associates
Capitol Custom CSD-1001
Firestone Stock #4-Q-1

Riders In The Sky - Kay Starr
Blue Gardenia - Nat King Cole
Autumn Leaves - Jackie Gleason
Memories Are Made Of This - Dean Martin
Now Is The Hour - Guy Lombardo
Side By Side - Kay Starr
Mona Lisa - Nat King Cole
Love Letters - Jackie Gleason
Return To Me - Dean Martin
Love Is Here To Stay - Guy Lombardo

Wednesday, January 20, 2021

Synanon - Neal Hefti



Columbia Pictures Presents A Richard Quine Production
Original Sound Track Recording
Music Composed, Arranged and Conducted by Neal Hefti
Producer: Dave Pell
Engineer: "Lanky" Linstrot
Cover Design: Studio Five
Liberty Records LRP-3413

From the back cover: Neal Hefti

As recently as a half-dozen years ago the use of a jazz composer-arranger to do a film underscoring would have made headlines in the music press. It was an implacable theory on the part of the movie-makers that jazz writers might be nice to visit once in awhile, but certainly no one would want to live there.

That attitude has taken an abrupt about-face, however, and one of the men chiefly responsible for the change is Heal Hefti. He, along with men like Henry Mancini and Andre Previn, has shown that the jazz composer is not only technically equipped to handle the problems of film scoring, but that he brings with him a vitality and freshness that adds immeasurably to the picture's impact. He provides more than "background music" – he makes the music an integral part of the action.

Hefti's skill at heightening drama, building tension, and supporting action with out intruding upon the dialog can be heard at its very best in Synanon. Neal has that rare ability to write temptation to try to make the viewer leave the theater saying, "Wow, did you hear that score?"

And one does not have to see the picture to appreciate the irony of "Main Street" or the wistful resignation of "The Wiffenpoof Song" as they are programmed on this album. They tell an eloquent story.

It did, indeed take the film industry a long time to tap the rich lode of music that is to be mined from jazz. But when it did make its move, it went first class. It looked to men like Neal Hefti.

Zankie (Main Title)
The Perfect Beginning
Main Street
Blues For Hopper
Tonight's The Night
Zankie And Put Your Little Foot
Open House
Put Your Little Foot
The Whiffenpoof Song (Written by Minnigerode, Pomeroy, Galloway, Vallee)

Music Of Vincent Youmans - Andre Kostelanetz



Music Of Vincent Youmans
Andre Kostelanetz and His Orchestra
Columbia Masterworks ML 4382

From the back cover: Vincent Youmans was a man of generous enthusiasms. He loved to entertain his friends far into the night with his piano playing, but what he played chiefly were the works of other composers. He talked about music warmly and fluently, especially the works of his musical gods – Sibelius, Rachmaninoff (whom he also revered as a friend) and Delius. But he was reluctant to discuss his own musical achievements.

After he had become a successful, much admired composer of musical comedy and film scores, Vincent Youmans began a serious study of composition, taking courses at Loyola University and in Colorado Springs. What he might have accomplished if his long illness and untimely death had not interfered, we can only conjecture. What he has left us, though, is abundant proof of a fine and lovable genius. These songs of his are shapely and warm-colored flowers in the garden of American music.

From Billboard - June 16, 1951: Kostelanetz's concertized approach to pop music has plenty of melodic meat to dig into in the music of Vincent Youmans, one of the giants of Tin Pan Alley. Kosty manages to squeeze a dozen of Youman's best known songs into this lush presentation. The set should prove a popular item with that sizable family crowd which goes for Kosty's kind of schmaltz.

Hallelujah! (from "Hit The Deck")
Time On My Hands (from "Smiles")
Tea For Two )from "No, No, Nanette")
Carioca (from "Flying Down To Rio")
Without A Song (from "Great Day")
Great Day (from "Great Day")
More Than You Know (from "Great Day")
Orchids In The Moonlight (from "Flying Down To Rio")
Sometimes I'm Happy (from "Hit The Deck")
I Know That You Know (from "Oh, Please")
Through The Years (from "Smiling Through")
Drums In My Heart (from "Smiling Through")

One Night Stand - Harry James


Mam Bongo

One Night Stand
Recorded At The Aragon Ballroom, Chicago
Columbia CL 522
Originator of The Modern Long Playing Record

Trumpets: HarryJames, Nick Buono, Arthur DePew, Everett McDonald, Ralph Osborn
Trombones: Carl Elmer, Lewis McCreay, Gene Norton, David Wells
Saxes: William Masingill, Robert Poland, Francis Polifrani, Musky Ruffo, Herb Stward
Piano: Bruce MacDonald
Drums: Jackie Mills
Bass: Paul Morsey
Harry James plays the bongos in "Mam Bongo:
Thomas Gunina plays accordion in "The Flight Of The Bumble Bee"

From the back cover: No matter how exciting the record date – and Harry James has had some that number among the most magnificent – the interchange between players and audience that make live music so endlessly interesting is missing. A particularly relevant demonstration of this occurs in the Benny Goodman records, when Harry James was contributing genuinely sterling performances to that fine group: the record sessions were almost entirely eclipsed by the recording of the Carnegie Hall concert, and records made from tapings of broadcasts of some of the Goodman one-night stands. Something of the same happens in this James one-nighter, bringing the flavor of the James group through on records as it has rarely been caught before.

The James orchestra is, of course, one of the oldest currently in the music business. With the exception of one of two other tenacious gentlemen, Harry is the only one of the big name leaders from the great days of swing to keep his orchestra more or less constantly going up to the present. When the surge toward vocalists began around 1945, many of the old stand-by had been knocked about by the war to begin with, and the craving for vocalists rather than instrumentalists pulled the remaining props out from under many first-rate orchestras. However, Harry James kept the big-band torch burning, and with considerable brightness. His tours became shorter and less frequent, but the band was still in business and playing beautifully. And then, with the revival of interest in orchestras, there he was, playing just as brilliantly as ever and still great name in music.

This particular one-night stand on records is not quite an accident. During an Eastern swing by the Harry James orchestra in the fall of 1952, Columbia pop album director George Avakian huddled with James between sets in a dance hall to discuss future plans. Each discovered that the other was thinking along the same lines: to set up a session some time during an actual performance. Shortly thereafter, the band played in the Aragon Ballroom in Chicago, where the Columbia Broadcasting System has a direct wire to its studio in the Wrigley Building. Avakian arranged with Columbia Records' Chicago engineering department to monitor the band's lat broadcasts to determine the quality of the sound in the ballroom. A tape was made of one of the broadcasts, and the line was left open for the rest of the evening. The results were so successful that it was decided to clear the experimental tape with the American Federation of Musicians as an actual recording session. The result you can now hear, a remarkable example of vintage James performances, including some of his most famous numbers. The orchestra has clearly caught fire from the audience in the required exchange, and the excitement comes through with telling effect. Moreover, the James trumpet is soaring as high and as free as ever, challenging the historic solos he contributed in the past.

The James background is too well known to require more than a swift listing here: his early days traveling with his family with a circus, where he learned the trumpet; his adolescence in Texas, playing with local bands; his discovery by Benny Goodman and his participation in the great music-festivals of that organization; his first, not-too-rewarding experiences with his own orchestra, and then the skyrocketing success in 1940 and thereafter. Since that time, he has made his fans and his business advisers happy with appearances in movies, on radio and records and  at theater dates, as well as his annual tours across the country. A marginal note on the James orchestra is that the members of the natives, and the boys pile out for a swift game. This athletic propensity is not common to musicians, a congenitally inactive group of people, and many to some extent explain the singular liveliness heard in the playing here. Instead of sitting doubled up in their bus all day, these men have taken time out of lope around a diamond, to arrive at the hall limbered up for the evening ahead.

Blues from "An American In Paris"
Mam Bongo
Memphis Blues
The Flight Of The Bumble Bee
There They Go
Jackpot Blues
You Go To My Head
Don't Stop
Feet Draggin' Blues
Back Beat Boogie

Music And Memories - Georgia Gibbs


After You've Gone

Music And Memories
Songs by Georgia Gibbs
Mercury Records MG 20071

From the back cover: Georgia was raised in a New England orphanage and made her first personal appearance at the age of thirteen in a Children's Concert at the orphanage. By the time she was sixteen, she was already singing with local bands. Even at this early age, her voice showed the spark that was to burst into the flame of success in the years to come. One can say that the key to Georgia Gibb's success is found in the fact that she worked instead of waited for her big break. After touring the country with several name bands the big break finally came in the form of a phone call from Jimmy Durante who wanted her to sing on his network radio show. From that moment on Georgia Gibbs star climbed steadily to the top. Georgia capitalized on this break with the great energy for which she is noted, playing in rapid succession all of the major theaters and night clubs in the land. Georgia's success in the record business was inevitable, her recording of "Kiss Of Fire" followed by "Seven Lonely Days," skyrocketed her to the top and she has had a long run of hits ever since.

The Man That Got Away
I'll Be Seeing You
How Did He Look
What'll I Do
Baby Won't You Please Come Home
After You've Gone
It's The Talk Of The Town
He's Funny That Way
Say It Isn't So
If I Had You
I'll Always Be In Love With You
Somebody Loves Me

Tuesday, January 19, 2021

My Mexico - Maria De Lourdes

Llora, Paloma, Llora

My Mexico
Tasty Pop Tunes In Spanish by Maria De Lourdes
And The Lively Mariachi Jalisco
Produced by Dave Dexter, Jr.
Recorded In Mexico 
Capitol Of The World - Capitol Records ST10249

From the back cover: Maria de Lourdes Perez Lopez was born in Mexico City, and has been singing since she was a child. Today she is immensely popular on radio and television and widely known in Latin America through her many tours. This is her first album for 'Capitol' of the World, and an exciting introduction it is to this glamorous artist.

From Billboard - February 13, 1961: From its Capitol of the World series, the label introduces a rich-throated Mexican contralto singer of pop songs of that nation, to the colorful and striking accompaniment of a great mariachi band known as Mariachi Jalisco. The attractive thrush bases her program on the idea of birds as a symbol of love with such translated titles as "Frivolous Swallow," "Weep, Dove, Weep," "Little Mountain Bird," etc. A most attractive performance.

Golondrina Presumida (Frivolous Swallow)
Llora, Paloma, Llora (Weep, Dove, Weep)
Paloma Torcaza (Wild Dove)
Cu-Cu-Rru-Cu-Cu Paloma (Singing Dove)
Pajaro Azul (Blue Bird)
Pajarillo De La Sierra (Little Mountain Bird)
Paloma, Paloma Negra (Black Dove)
Golondrina Aventurera (Fancy-Free Swallow)
Dos Palomas Al Volar (Two Doves Flew Out)
Vuela, Paloma (Fly Away, Dove)
Amor De Palomos (Pigeon Love)
Paloma Herida (Wounded Dove) 

8 Top Hits - The Chordates & Archie Bleyer


Hearts Of Stone

8 Top Hits
Featuring The Chordates
Archie Bleyer • 4 Top Haters • Mary Del • Maddy Russell
Cadence Blue Label Series  LP 3055 (10 inch)

Mr. Sandman
Let Me Go Lover
Naughty Lady Of Shady Lane
Hearts Of Stone
Melody Of Love
Make Yourself Comfortable
Dim Dim The Lights

Toni Arden & Shep Fields


Two Loves 

Shep Fields and His Orchestra with Toni Arden
Don Baker Organ and Rhythm (there are no "Don Baker" tunes on this disk)
Royale Long Play (10 inch) 18142

Track list from the jacket

Two Loves
Let's Be Sweethearts Again
We Just Couldn't Say Good-bye
Baby Don't Be Mad At Me
Dark Eyes
Musical Moment
Southern Rhythm

Track list from the disk label 

Shep Fields and His Orchestra with Toni Arden

Two Loves 
Let's Be Sweethearts Again 
We Just Couldn't Say Good-bye 
Baby Don't Be Mad At Me 

Music of Rodgers & Hart and others

Thou Swell
Where Or When
There'a A Small Hotel
My Heart Stood Still

Monday, January 18, 2021

Furioso! - Sabicas


Gitana Te Enamoraste

Sabicas and Dolores Vargas
With Los Companeros del Flamenco
Flamenco Compositions by Sabicas
Decca Records DL 8900

From the back cover: About Sabicas

The name of Sabicas is everywhere synonymous with the purest traditional Spanish Flamenco style and the highest degree of virtuosity. Sabicas was born in 1917, in Pamplona, the capitol of Navarra, and began to play the guitar at the age of five. Without benefit of formal instruction, his natural mastery of the instrument enabled him to concertize for the first time at the age of eight in his native Pamplona! Barely three years later he won a coveted prize in a nationwide contest held in Madrid.

In 1937 he formed his own company and toured extensively throughout South America. Carmen Amaya chose him, in 1942, for her first U.S. tour, and for five years Sabicas shared her triumphs, both on Broadway and in Hollywood. Later he returned to Mexico (where he now makes his home) concertizing frequently in the Latin capitols and working in domestic and foreign films. Recently he again joined Carman Amaya's troupe as solo guitarist and arranger, capturing anew audiences in both the United States and Canada. On this recording, his fourth album for Decca, he is also accomplished by a selected group of virtuosos guitarists, Los Companeros del Flamenco.

From Billboard - June 22, 1959: Spirited Spanish music with heel-stompin', castanets and Flamenco guitar. Flamenco singer, Dolores enlivens the program and things get pretty wild – Spanish-style – on side two. If any of your customers dig Flamenco or have bought Sabicas earlier releases try them on this one. Pretty special stuff.

Gitana Te Enamoraste (Tientos)
Catalina Por Bulerias
La Castanuela (Tanguile)
La Rabida (Fandango)
Ay Mi Huelva (Fandango)
Aires De San Fernando (Alegrias)
Danza De Las Marianas 
Los Arraynes (Granadine)
Bulerias Del Terremoto

The Calypso Carnival


Ministre A Zaca

The Calypso Carnival
Columbia Records CL 1007

Honey Man
Victoria Market
Small Island
Better Woman Than You
Union Street
Ministre A Zaca
Trinidad Blues
Miss Emmalina
Solas Market
Chicken Gumbo And The Okra Water
Shimmy Like A Lady
Zombie Jamboree

Saturday, January 16, 2021

England's Enchanting Beverley Sisters


I Thought Of You Last Night 

England's Enchanting Beverley Sisters
The Royal Command Performance Girls Sing With Tony Osborne's Orchestra
Recorded in England
Capitol Records T 10286

From the back cover: Once upon a time there were three pretty sisters living in the snug Northamptonshire countryside, because there was a terrible war on, and London, where they were born, was no place for little girls. Though there were three, sometimes you might have thought there were only two, because Teddie and Bass were look-alike twins.

Joy, the eldest, was wild about horsed and wanted to become a groom. Teddie and Bass wanted to join the police force. Their Dad and Mum were Coram and Mills, well known in their day as a music hall singing and comedy act, and the girls learned to sing in the cradle, practically. But they were still very, very young.

Then one day an advertising photographer needed some bonny children to snap for a cocoa ad. He picked the girls, photogenic then as now.

While Jock Ware (the photog) was adjusting lenses and lights, the girls harmonized. "A discovery!" cried Ware, and wrote to a friend at BBC who auditioned them.

When they got their first radio spot Teddie and Bass were just 14. That was in 1949.

Within a year and a half, the Beverley Sisters were a top British singing act, and then went to conquer America in a stay of eighteen months. 1952 saw (and heard) their first recording for EMI. In the same year they gave their first Royal Command Performance; their second was in 1958. Their own television program and many more American tours have added the crowning touch to their popularity.

What magic spell brought about their fairy story of musical success? Some point out that there has been troupers' blood in their veins from birth. Some credit their good looks and unspoiled charm. Others think it's due to the hard work the girls have put in on their arrangements, lyrics, routines – even their costumes.

Anyway, we hope they'll live happily ever after, and that they'll keep making records as smooth and warm as the great songs in this album.

In The Wee Small Hours Of The Morning
A Cottage For Sale
Once In A While
When The Boys Talk About The Girls
I'm Always Chasing Rainbows
No One But You
The Nearness Of You
It Takes So Long To Say Goodbye
Beneath The Lights Of Home
I Thought Of You Last Night

Where Did Everyone Go? - Nat King Cole


That's All There Is

Where Did Everyone Go?
Songs Of Love And Loneliness By Nat King Cole
Arranged and Conducted by Gordon Jenkins
Produced by Lee Gillette
Cover Photo: Capitol Photo Studio - Ken Veeder
Capitol Records SW 1859

From Billboard - April 13, 1963: Nat Cole's year just past has been one of his hottest, disk wise, in his long career, with both single and album hits in various moods and tempos. Here he is in a superb collection of ballad tunes, many of them in a lonesome, blue mood with standout backing provided by Gordon Jenkins. Included is the title tune plus "When The World Was Young," "Spring Is Here," etc. Great mood wax for buyers and spinners.

Where Do Everyone Go?
Say It Isn't So
If Love Ain't There
(Ah, The Apple Trees) When The World Was Young
Am I Blue?
Someone To Tell It To
The End Of A Love Affair
I Keep Goin' Back To Joe's
Laughing On The Outside (Crying On The Inside)
No, I Don't Want Her
Spring Is Here
That's All There Is

Friday, January 15, 2021

Easy Does It - Julie London


April In Paris

Easy Does It
Julie London
Arrangers: Kirk Stuart, Don Bagley, Allyn Ferguson
Art Direction: Woody Woodward
Design: Gabor Halmos
Photography: John Engstead
Engineer: Lanky Linstrot
Produced by Cal Carter
Liberty Records STEREO LST-7546

Show Me The Way To Go Home
Me And My Shadow
This Can't Be Love
Spring Will Be A Little Late This Year
Soon It's Gonna Rain
I'll See You In My Dreams
April In Paris
Bidin' My Time
The Man I Love
It Had To Be You
We'll Be Together Again
The One I Love Belongs To Somebody Else

Delightfully Modern - Chico Hamilton / Laurindo Almeida

Blue Sands


Delightfully Modern
The Chico Hamilton Quintet
The Laurindo Almeida Quartet
Jazztone Society J 1264

From the back cover: The Chico Hamilton Quintet

No chamber-music style group to come along during the past few years swings as much as does the Chico Hamilton Quintet. Its exciting drive, light, delicate, yet assured, and its highly original sound made it one of the highlights of last year's Newport Jazz Festival and subsequently the most talked-of new jazz group of 1956.

Credit for much of the swinging beat must go to its leader, for Chico Hamilton is a swinger from way back, a steady, tasty drummer who reflects the style and the teaching of his early idol, Jo Jones. Noted especially for his light, deft touch, Chico did bang away with big bands like Ellington's, Hampton's and Basie's before touring the world with Lena Horne as her accompanist, joining up with Gerry Mulligan as one fourth of his original quartet, working in Paramount Pictures' studios, and then forming his own group in 1955. Equally responsible for that group's great time is its bassist, Carson Smith, another quarter of the original Mulligan four who still in his early twenties, has received great acclaim from fellow-musicians. Say Chico, who used to work alongside the greatest of all bassists, the late Jimmy Blanton, "I get everything I could possibly want from Carson Smith."

As for the unique sound of the quintet, credit must be divided equally between its three remaining members. Fred Katz's cello is, of course, the most obvious innovation. Originally suggested the use of the cello to Hamilton who immediately seized upon the idea. Katz is also an arranger, so that his contributions to the group include not only his rich, sonorous sounds, but also many of its ingenious voicings.

Buddy Collette, who plays the dextrous flute and clarinet, started out as a jazz musician, playing with numerous small West Coast outfits, before he went into the studios, working on shows like Groucho Marx's You Bet Your Life and doing quite a bit of teaching of reed instruments as well. It was Hamilton who enticed him back to jazz, and it is doubtful that Chico could have uncovered a musician with a better mixture of jazz understanding and technical mastery than Collette.

Jim Hall, the group's studious-looking guitarist, obviously is an admirer of the late Charlie Christian, as his clean, incisive playing attests. Like the other members of the quintet, he is also an extremely well-trained and articulate musician, whose feeling for jazz and ability to blend with the other instruments helps to create the superbly polished, swinging sounds that emanate from this record.

The Laurindo Almeida Quartet

The sound of a classically-trained guitarist, playing finger-style without a pick on an unamplified instrument is certainly a rarity in jazz. And it becomes a most delightful rarity when played by an artist as superb as Laurindo Almeida.

This is the guitarist who is probably best-known among jazz fans for his work with Stan Kenton's band in the late forties. But even then he was no new-comer to music, in general, for he had already achieved fame as an outstanding classical guitarist in his native country of Brazil. To Kenton must go the credit for adding the sound of this instrument to modern jazz. And to Laurindo, himself, must go all the accolades for drawing such gorgeous sounds from his guitar, pure and legitimate sounds that are still much in the jazz idiom.

Equally responsible for this group's delightful jazz is one of America's great young alto saxists. Bud Shank, who, after having attended the University of North Carolina, played in the big bands of Charlie Barnet and Kenton, and then became one of the leading lights of the growing West Coast jazz movement. Also a flutist of rare jazz abilities, Bud has won numerous popularity polls.

The group's rhythm section is comprised of two musicians also closely associated with the growth of West Coast jazz. Bassist Harry Babasin played in the Benny Goodman and Woody Herman band, also dabbled around with jazz cello, worked in Hollywood's studios and even started his own record company, Nocturne Records. Roy Harte, formerly the drummer with such big swing bands as Les Brown's and Boyd Raeburn's has been one of the leaders in the move to utilize more complex rhythms in jazz, as his use of numerous South American beats on this record shows so well.

The Chico Hamilton Quintet

A Nice Day
My Funny Valentine
Blue Sands
The Sage
The Morning After

The Laurindo Almeida Quartet

Blue Baiao