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Saturday, August 10, 2024

Switched On Beatles - New World Electronic Chamber Ensemble

 

Strawberry Fields

Switched On Beatles
New World Electronic Chamber Ensemble
Arranged, Produced & Engineered by The New World Electronic Chamber Ensemble
Howard M. Leese, Michael A. Flicker, Robert Deans
Recorded at Can-Base Studio, Vancouver, B.C.
Mastered by Doug Sax at the Mastering Lab, Hollywood
Album Concept: Kerry Waghorn and Deborah Shackleton
Illustration: Kerry Waghorn (The Kerry Wahgorn Studios)
Photography and Design: Deborah Shacklehorn (Toby Rankin & Assoc.)
Special Thanks: Duris Maxwell, Rolf Hennemann, Rick Milford, Ray Ayotte, Charles Richmond, Wes & Shelly
Excerpt from Bach's Prelude in C Min. in "Eleanor Rigby" dedicated to Edward Parker
The N.W.E.C.E. dedicated this album to George Martin
Mushroom Records  IL PS-9300 (MRS-5003)
1976

Instruments & Equipment
Synthesizers - Moog, ARP, Roland
Mellotron 400
Mu-Tron III
Foxx Fuzz Machine
Eventude Clockworks Instant Phaser
Leslie Model #122
E.M.T. Stereo Echo Plate & Tape Delay
Cooper Time Cube 920-16
R.S.D. Auto-Stereo Phase Shifter
Stereo Dolby System A #361
Tape Recorders - Ampex MM1000 16 Track, Ampex AG440 4 Track, Scully 280 2 Track

Equalizers, Filters & Limiters
Langevin EQ-252-A Graphic Equalizer
Langevin Hi/Lo Pass Filter Set
Richmond Sound Design Program Equalizer
Altec 90638 Equalizer
United Audio #550A Filter Set
United Audio #565 Little Dipper Filter Set
United Audio Limiting Amplifiers: #175-B, #176, #1176 L N Stereo
Can-Bass Studio 16 Track Console
Set of Studio Percussion Courtesy of Drums Only

Norwegian Wood (This Bird Has Flown)
Sgt. Pepper's Lonely Hearts Club Band
Ob-La-Di, Ob-La-Da
Lady Madonna
Eleanor Rigby
All You Need Is Love
Good Day Sunshine
Penny Lane
A5 Here, There, And Everywhere
Strawberry Fields
Something
Maxwell's Silver Hammer
When I'm 64
Your Mother Should Know
Scrambled Eggs
Yesterday
In My Life
Michelle
Got To Get You Into My Life
Let It Be / Hey Jude

Tyree Glenn At The London House In Chicago

 

Blue Lou

Tyree Glenn 
At The London House In Chicago
Produced by Rudy Traylor
Photo: Bernard Friedman
Roulette R 25138
1961

From the back cover: Tyree Glenn is one of those rare artists who manages to convey his own personality through his music. The very essence of his character is in his performances. He is by nature a warm, happy-go-lucky gregarious sort who would prefer to always leave you laughing. This is not to say that Tyree doesn't have his serious moments, it's just that by his very make-up he rarely comes upon such moments. This is the nature of the man, and this too is the nature of the artist. His music is smart, light, effervescent, often tongue in cheek – and always a delight to hear. This collection depicts Tyree's successful stand at the famed London House in Chicago. For this purpose, Tyree has brought  together some of the greatest musicians now playing. Together they mix some old and new favorites with a verve and bounce that belies the fact that some of these songs have been performed many times, by many artists. Tyree's lighting fast arrangement on the vibes on "Avalon" or his slow, "two beat guy" raucous trombone rendition on "Lonesome Road" are just two examples of Tyree and the group's sparkling originality with the songs in this set. Tyree Glenn is a personality worth meeting and the best way to meet and know him is to hear him. Whether live at the London House in Chicago, or at your house on the phonograph, Tyree Glenn is always fun and it's always a pleasure to have him around...

By And By When Morning Comes
On The Alamo
Lonesome Road
Stomping At The Savoy
Some Other Spring 
Waycross Walk
Mack The Knife
'Til There W'as You
Avalon
Learn To Croon
Blue Lou
Indiana

Roy's Got Rhythm - Roy Eldridge

 

School Days

Roy's Got Rhythm
Featuring Roy Eldridge
EmArcy MG 36084
1956

From the back cover: It would be hard to find a more fitting title for this set than Roy's Got Rhythm; for if there is a jazzman with whom the word rhythm is virtually synonymous, this would be David Roy "Little Jazz" Eldridge.

Roy is regarded by many jazz students as the middle-era link between the basic trumpet jazz style established by Louis Armstrong in the 1920s and the new era instituted in the '40s by Dizzie Gillespie. Born in 1911 in Pittsburgh, Roy was only a teen-ager when he worked with such early middle-west jazz stars as Horace Henderson, Speed Webb, Zack Whyte, Cecil Scott and Elmer Snowden. Remaning with Snowden from 1928-31, later led a combo with his brother, the late Joe Eldridge, an alto saxophonist. Later in the '30s, Roy was an important part of the Chicago and New York jazz scenes, playing with McKinney's Cotton Pickers, Teddy Hill, Fletcher Henderson; leading his own small combo at the Three Deuces in Chicago, and later a larger band in New York City. The 1940s saw him leap to national fame as a member of the Gene Krupa band in 1941. He had various gourds of his own off and on during the next few years, as well as working with Artie Shaw in 1944-5 and again with Krupa in '49.

In 1950, Benny Goodman signed Roy for a tour of Continental Europe. After the tour was over, Roy stayed on, playing night clubs and making records in various countries until his return here in summer of 1951. It was during that period that he recorded the sides heard here.

All but two of the tunes were recorded in Stockholm, Sweden, January 20, 1951, with Lennart Sundewall on trombone and second trumpet; Carl Henrik Norin, one of Sweden's foremost modern jazzmen, on tenor sax; Charles Norman, piano; Thore Jederby, bass; Andrew Burman, drums.

Noppin' John and Scottie were recorded January 29, 1951, with Ove Lind, clarinet; Charles Norman, harpsichord; Rolf Berg, guitar; Gunnar Almstedt, bass; Andrew Burman, drums.

The presence of the harpsichord recalls the use of this instrument in Artie Shaw's Gramercy Five; in fact, these two numbers were released in Sweden under the imprint of "Roy Eldridge and His Gramercy Five."

Noppin' John is a minor-key riff theme; Scottie is a simple and attractive little opus credited to the noted American bassist, George Duvivier.

The blues, always an important part of Roy's repertoire, is strongly represented here. On No Rolling Blues, Roy sings the traditional story of feminine infidelity, then picks up his horn and wails as if the whole world begins and ends with the blues. They Raided The Joint and Saturday Night Fish Fry originated respectively in the bands of Hot Lips Page and Louis Jordan. Both tell a basically similar story of an evening that began as a ball and ended in the patrol wagon. Roy handles the lengthy narrative of the fish fry with his inimitable vocal charm. A fourth number with a blues foundation is School Days, realigned here into a format Gus Edwards would scarcely recognize.

On the remaining titles, Roy keeps the arrangements to a minimum and the improvisations at a maximum, both in intensity and inspiration. Echoes Of Harlem stems back to the 1930s when Duke Ellington introduced it as a solo specialty for Cootie Williams.

It is not difficult to discern, in listening to these sides, that he appreciated the high level of musicianship of the native jazzmen, as well as their good fellowship and hospitality. As a result, it is abundantly evident throughout both sides that Roy's got rhythm – and who could ask for more?

Scotty
No Rolling Blues
The Heat's On
Saturday Night Fish Fry (1)
Saturday Night Fish Fry (2)
Noppin' John
They Raided The Joint
School Days
Echos Of Harlem
Roy's Got Rhythm

Electric Hair - Robert Byrne

Walking In Space

Electric Hair
Switched-On Hits From America's First Tribal Love Rock Musical
Production, including Musical Arrangements, Electronic Realizations and Conducting by Robert Byrne
Special Thanks to Fred Cameron / Electronic and Recording Engineering
Recorded at Athena Sound Studios 
Stereo Mastering by Gilbert Kong
Cover Sculpture and Graphic Design by Charles E. Murphy
Evolution STEREO 2013
1970

Be In (Hare Krishna)
Frank Mills
Let The Sunshine In (The Flesh Failures)
Walking In Space
Hair
Aquarius 
Easy To Be Hard
Good Morning Starshine
Three-Five-Zero
Donna

Friday, August 9, 2024

Sho-Time At The Colony Club - Bill Coburn

 

Sho-Time At The Colony Club

Sho-Time At The Colony Club
Bill Coburn's Dixieland Band
Recording Engineer: Robert K. Dye, P. E.
Jacket and Label Design: David Bartholomew
Band Photos: Ed Johnson (Journal-Hearld)
Colony Records VT-104
QCA - Queen City Album - Cincinnati, Ohio
60576

Bill Coburn - Trombone
Vic Tooker - Banjo & Piano
Syl LaFata - Clarinet
Bob Winged - Cornet
Gene May - Tuba
Kenny Hall - Drums

From the back cover: Being a platter-purveyor (I hate the term D.J.) I'm supposed to be relatively glib with words and phrases... but when Bill Coburn approached me to write the liner notes for his first album I was appalled at the task set before me for Bill said it was to be an all-Dixieland release and he knows I HATE DIXIELAND! Well, that may be too strong a phrase. Let's put it this way... I don't enjoy Dixieland on recordings. I do enjoy it in person, "Live", as they say, in living color as performed nightly at Jim Sullivan's Colony Club in Dayton, Ohio. Until this album, I felt that Dixieland music per se loses its exuberant spontaneity when faced with the cold, sterile confines of a recording studio. The sounds contained herein completely disprove my theory, as you'll find out at first listen.

Bill Coburn (Trombone and Leader), Vic Tooker (Banjo, Piano and What-have-you), Syl LaFata (Clarinet), Bob Winged (Cornet), Gene May (Tuba) and Ken Hall (Drums) combine to illustrate the utter happiness of the real, true Dixieland and convey the spirit and essence of this basically Southern music.

Not the warmth of Wingett's vocal on "Lazy River" and Tooker's languid piano on same. Dixieland spiced with oregano is offered on "Oh, Marie" and the bluest kind of blues is portrayed on "Wabash Blues" utilizing some melancholy and seldom-heard single-sting banjo. Bill's "Teagarden" vocal on "Basin Street Blues" and Vic's "Satchmo" voice joining in on "Baby, Won't You Please Come Home?" demonstrate the group's versatility. On "Wabash Blues" Leader Bill shows the correct usage of the famed "plumber's helper" as he plunges into his solo... there's a pun there somewhere, man. All through the album there's a steady beat that can only be laid down with drums, banjo and tuba, but delicately tip-toeing through it all, is the consummately tasteful clarinet of Mr. LaFata.

Next time you're in Dayton, stop at Jim Sullivan's Colony Club... have a hefty steak or an artfully prepared Chateaubriand... a bottle of St. Emilion or Medoc... then adjourn to the band-bar and truly become part of some of the happiest sounds in the world... Bill Coburn's Colony Club Jazz Band... until then, open this album... put it on the turntable and "Enjoy, Enjoy, Enjoy!!!" – Notes by B.W. (Dayton's Leading Platter-purveyor)

Oh, Marie
Muskrat Ramble
Basin Street Blues
Runnin' Wild
Lazy River
Who's Sorry Now?
Saints
Vic's Banjo Medley
Wabash Blues
San Francisco 
Tin Roof Blues
Baby, Won't You Please Come Home?
Bourbon Street Parade

Wednesday, August 7, 2024

TV Action Jazz - Mundell Lowe

 

Theme From "The Untouchable"

Themes From Mr. Lucky, The Untouchables
And Other TV Action Jazz
Mundell Lowe and His All Stars
Produced by C. E. Crumpacker
RCA Camden CAL 627
1960

From the back cover: Here's more TV Action Jazz!

Eight swinging themes from top TV shows, arranged by guitarist Mundell Lowe, gathered here for the satisfied thousands who picked up on the first volume, TV Action Jazz! (RCA Camden CAL-522).

Mundell Lowe scored the dramatic themes for trumpet or Fluegelhorn, four trombones, one reed, bass, drums, piano or vibes, and his own jazz guitar.

For this session, he surrounded himself with the cream of New York's current crop of jazz players: trumpet and Fluegelhorn: Clark Terry; trombones: Urbie Green, Frank Rehab, Willie Dennis, Dick Hilton or Rodney Levitt; reeds; Phil Bonder; piano or vibes: Eddie Costa; bass: George Duvivier, and drums: Ed Shaughnessy.

From Billboard - November 14, 1960: Guitarist Lowe, with his all-stars, follows up his strong-selling TV Action Jazz" with another set bearing the same name but with a new set of television themes getting the jazz treatment. Strong play and swinging solos mark his set which takes in eight new themes among them "Tightrope," "Mr. Lucky," "The Untouchable," "Markham" and "Bourbon Street Beat."

Theme from "Tightrope"
Hawaiian Eye
Theme from "Mr. Lucky"
Theme from "The Untouchables"
Bourbon Street Beat
Detectives Theme
Markham Theme
Johnny Staccato's Theme

Dancing At The Habana Hilton - Mark Monte

 

Dancing At The Habana Hilton

Dancing At The Habana Hilton
With Mark Monte and The Continentals
Produced by Morty Palitz
Cover Design: Si Leichman
Jubilee Records JUBILEE 1072

From the back cover: The city of Havana is a harmonious blend of the old and new, of Spain and America. The capital of Cuba and also of the Province of Havana, Havana stands out on the North coast of the island, facing the Atlantic Ocean and the Gulf of Mexico, at the entrance of a magnificent harbor which is the main part of entry to the island. Two strongholds guard the entrance – famous Morro Castle to the left, and La Punta to the right.

Colonial Havana which is known to the local residents as "Habana Viejo" (Old Havana) is the section of the city originally founded by the Spanish colonizers four centuries ago, and it retains all of the charm and flavor of that age. In this part of the city are the old bastions, convents, fortresses, churches, the famed cathedral, squares, and sumptuous mansions of days gone by. Narrow, winging streets and quaint shops add to the atmosphere and charm of this fascinating section of the city.

Greater Havana is as cosmopolitan as any great city – the modern section with its wide avenues and thoroughfares has grown beside the old. Progress, which so often sacrifices beauty to expediency has here respected style and customs starting from the famous "Prado Boulevard" now "Pasco de Marti" and extending to the magnificent residential suburbs.

The city is a haven for the sports enthusiast with its famed Oriental Park for horse racing, Havana Greyhound Kennel Club renowned as a racing plant, popular Sports Palace boxing stadium on the Malecon in the Vedado section. Havana Country Club golf course, Ballas Havana and Vallas Nacional arenas for cockfighting, and Fronton Jai Alai and Fronton Habana Madrid jai alai courts. The coral reefs around Havana are favored among skin divers, and the annual St. Petersburg-Habana yacht race is one of the classics of the sailing world.

Towering above Havana and overlooking its famous harbor and historic Morro Castle is the exciting new Habana Hilton, a magnificent 30 story hotel and the largest and tallest building in Latin America. Although the Habana Hilton is ideally located in the center of Havana's most fashionable business area, it offers a luxurious resort setting to vacationers and businessmen alike including a large swimming pol and extensive landscaped outdoor areas for sunbathing and relaxing. The atmosphere of the old and the new Havana is reflected in the charming lobby fashioned after a Cuban courtyard with its fountains, plants and statuary. Luxurious and modern in architectural design, with its extensive open terraces, balconies, glass paneled walls, gay murals by Cuban artists, and typical landscaping, the Habana Hilton is one of the world's truly outstanding hotels. The fabulous Sugar Bar cocktail lounge on the roof provides the most spectacular panoramic view in Havana and the exotic Trader Vic's Restaurant, El Caribe Supper Club, Las Antilles Dining Room and the many other restaurants within the hotel offer a variety of the finest Cuban, American, and international cuisine and entertainment. Havana's nightclubs are varied and colorful as are its sidewalk cafes, and provide exciting and exotic entertainment.

The beautiful island of Cuba was discovered by Christopher Columbus on October 28, 1492, sixteen days after his famous landing in the "New World" at San Salvado. Amazed at its tropical beauty, he wrote in his diary: "This island is the most beautiful that human eyes have ever seen." The colonization of Cuba did not begin, however, until early 1510 when Diego de Velasquez proceeded to establish its towns. Baracoa was the first to be completed in 1512, and two year5s later Havana was founded by Panfilo Narvaez and Friar Bartolome de Casas, a few miles south of its present site. The town was moved to the coast and permanently settled in 1519. The first official Capital was Santiago de Cuba, but on March 8, 1556, Governor Diego de Mazariegos took up his residence in Havana where it has remained since. In 1589 Morro Castle was constructed at the entrance to Havana harbor to protect the city from English, French and Dutch pirates.

Cuba's Ten-Year War for liberty began on October 10, 1868, and after Spain failed to carry out the rights Cuba won, another full scale movement for independence stared on February 24, 1895. The struggle over, Spain gave up all its claims to Cuba on December 10, 1898, and on May 20, 1902, Cuba became an independent republic.

"The Pearl of the Antilles, Cuba is the largest island of the West Indies and has a population of 5,832,277. It is 730 miles long and its width averages 50 miles, ranging from a maximum of 160 miles to a minimum of about 22 miles. Since it independence Cuba has achieved great progress, especially in the economic field. It takes justifiable pride in it expanding cultural achievements, including five fine universities, three of them in Havana. In addition, the island's gay, colorful capital is the home of the Palace of Fine Arts and National Museum, Pro-Arte Musical Association, plus many theaters, monuments, beautiful gardens and center, where exhibitions, recitals and conferences take place. In addition to Havana, there is a rich heritage of the arts throughout the island.

Medley - Fast Rhumba
Cachita
Mi Bugbane

Medley - Cha-Cha-Cha
Adele
Wham! (There I Go In Love Again)

Mambo - Coco Seco

Mambo - Mondongo

Medley - Bolero
Quiereme Mucho
What A Diff'rence A Day Made

Medley - Cha-Cha-Cha
Chi Chi Cha Cha Cha
Tremendo Cha Cha Cha

Tuesday, August 6, 2024

Adventures In Blue - Stan Kenton

 

Dragonwyck

From The Creative World Of Stan Kenton
Adventures In Blue
Produced by Lee Gillette
Capitol ST 1985 STEREO
1963

Saxophones
Gabe Baltazar, alto (lead)
Buddy Arnold, tenor
Paul Renzi, tenor
Allan Beutler, baritone
Joel Kaye, bass
Gene Roland, soprano

Trombones
Bob Fitzpatrick (lead)
Dee Barton
Newell "Bud" Parker

Bass Trombones
Dave Wheeler
Jim Amlotte

Trumpets
Dalton Smith (lead)
Marv Stamm
Bob Behrendt
Bob Rolfe
Norman Baltazar

Mellophoniums
Dwight Carver (lead)
Keith La Motte
Ray Starling
Carl Saunders
Gene Roland, solo horn

Bass
Pat Senatore

Drums
Jerry McKenzie

From the back cover: When his orchestra made its debut on the big band scene in 1941 at the Rendezvous Ballroom in Balboa, California, Stan Kenton created with his library of thirty-five arrangements a fiercely-original and pervasive sound. Since then the creative resources of no less than twenty orchestrators, writing at various stages in the band's history, have helped Stan increase the library to well over 4500 scores (In 1962, because of its historical significance, Kenton's library was sent to North Texas State University in order that it could be made available for research and preserved for posterity. Every arrangement, excluding the material unavoidably lost during twenty-two years of concert and dance dates and the current material, is now safely stored in North Texas State's music library.)

Adventures In Blue dramatizes the excitement and assiduous originally Kenton has for the past two decades demanded be infused into the band's library. Each of Gene Roland's minor-keyed compositions, from the wailing Night At The Gold Nugget to the pensive Dragonwyck, not only runs the gamut of all the emotions synonymous with the blues, but also emphasizes Stan's comment that "the band's music must symbolize a civilization in motion, and help fulfill the creative challenges of the Twentieth Century."

Roland's long tenure with the Orchestra, since 1944, as a sideman and orchestrator has had an impressive influence in helping to construct the musical architecture of the band. In 1946 he suggested that the complement of trombones be increased from four to five. The addition of Bart Varsalona's bass trombone gave the section a resonant, more cohesive sound and had a marked effect on the writing done, not only for Kenton's trombones, but brass sections in general.

In Omaha, Nebraska, Roland urged Stan to add a fifth trumpet to the section so that the clean, stabbing sound of the trumpets could be orchestrated with new dimension against the dusky patterns of the trombones and reeds.

In 1960, seven months before Kenton added the mellophoniums to the Orchestra, Roland toured for five months with the eighteen-piece band playing solo horn, pre-testing the range and intonation of the mellophonium so that when the time came to write for a full section, most of the technical and orchestrational problems were ironed out. – Noel Welder

From Billboard - November 16, 1963: A Kenton jazz venture into the blues, featuring nine of orchestrator Gene Roland's compositions. Roland, a Kenton stalwart for 19 years, also sits in on this set with his soprano sax. The performances emphasize the interplay of stabbing trumpets with vibrant massed trombones. Package will be a must for Kenton fans and all jazz lovers.

Reuben's Blues
Dragonwyck
Blue Ghost
Exit Stage Left
Night At The Gold Nugget
Formula SK-32
Aphrodisia
Fitz
The Blues Story

Hank Williams Favorites - Johnny Williams

 

Your Cheatin' Heart 

Your Cheatin' Heart 
And Other Hank Williams Favorites
As Sung by Johnny Williams
Custom Records CS 1023 STEREO

Jambalaya
Cold Cold Heart
Half As Much
Cheatin' Heart
Kawliga
Down In The Valley
I Won't Be Home Anymore
Old Rugged Cross
Red River Valley
I Can't Help It

Monday, August 5, 2024

The Four Freshmen And Five Guitars

 

Invitation

The Four Freshmen And Five Guitars
Produced by Voyle Gilmore
Cover Photo: Herman Miller chair by George Nelson. Guitars by Gibson, Inc.
Capitol Records T1255
1959

From the back cover: Very little has been left unsaid about the Four Freshmen. although their name suggests a group of students, these imaginative four no longer attend an institution: they have become one. This famous yet ever-fresh young quartet constantly strives for imaginative vocal and musical ideas, and this album is certainly no exception. Here thy've augmented their tasteful vocal blending with striking backgrounds by five amplified guitars, one of them a bass guitar. And the exploits of these skilled accompanists from an exciting array of interesting and different settings that range from beautiful blended guitar tones in ballads such as Don't Worry 'Bout Me and Invitation, to excellent swinging solos and rhythmic effects in such uptempo numbers as Rain, and Come Rain Or Come Shine, which is done in a samba. Additional instrumental support is supplied by drums, bass, occasional bongos, plus vibes and glockenspiel which sometimes lapse into beautiful unison figures with the guitars.

One of the most interesting attractions of this award-winning quartet is that their talent doesn't stop at singing. Each member of the quartet plays a least one instrument, and plays it well. Fine examples of tenor Bob Flannigan's trombone, or bass Ken Albers' trumpet are heard sprinkled through most of the selections. Ross Barbour, who sings third voice, and brother Dan Barbour, who handles many of the vocal solos, don't play instruments on this set – though Ross often plays drums and trumpet, and Don played guitar. One of the five guitarists helps out with additional solo work, however, as he plays a beautiful unamplified introduction to The More I See You, and a brief but excellent solo in Nancy.

The outstanding arrangements for this novel instrumentation are the combined efforts of Jack Marshall – himself a top guitarist – and Dick Reynolds. To further divide the honors, Reynolds created all the wonderful vocal arrangements for the Freshmen, and Jack Marshall conducts. And listening to the album shows that their work is tailored perfectly to the talents of the Four Freshmen as well as the instrumentalists, For each tune is delivered as a fine blending of imagination and unusual styling tempered with the good musical taste that by now has become a tradition with Four Freshmen.

Rain
The More I See You
This October
Don't Worry About Me
It's A Pity To Say Goodnight
Oh Lonely Winter
It All Depends On You
Nancy
I Never Knew
Invitation 
I Understand
Come Rain Or Come Shine

The Gateway Singers At The hungry i

 

The Ballad Of Sigmund Freud

The Gateway Singer At The hungry i
Decca Records DL 8671

From the back cover: The blend which the Singers display, and which had them appearing for two years at the hungry i theatre-restaurant in San Francisco, is not solely a vocal one. It is a mixture of four competent soloists, with varied backgrounds, fitting together as an entity.

Elmerlee Thomas, the group's gifted Negro contralto, was a laboratory technician at the University of California at Berkeley before joining the group, as well as singing lieder in concert.

Jerry Walker, the group's five-string banjoist, was a popular singer, truck driver, radio announcer, railroad worker, and actor.

Ernie Sheldon, one of the group's guitarists, was a professional singer for 13 years, having played from New York to Los Angeles.

Travis Edmonson, the group's youngest member and other guitarist, was a truck driver, anthropologist, soldier, and professional singer.

Coming from Oakland, California, Chicago, Brooklyn, and Nogales, Arizona, respectively, the group represents an amalgamation which is in every respect truly American. 

This Little Light Of Mine
Poor Boy
Oleanna
Hold On
The Sinking Of The Ruben James
The Fox
The Ballad Of Sigmund Freud
Roving Gambler
The Erie Canal
Deep Blue Sea
Roll Down The Line
Fare Thee Well
Three Israeli Folk Dances

Phyllis McGuire Sings

 

St. Louis Blues

Phyllis McGuire Sings
Orchestra Conducted by Marty Manning, Sy Oliver and Ralph Burns
Vocal Arrangements by Murray Kane
Produced by Bob Theile
Cover Design: ARW Productions, Inc.
Liner Design: Joe Lebow
ABC-Paramount ABCS 552 STEREO
1966

From the back cover: This is Phyllis McGuire's first solo album, and it's long overdue! Nicknamed "the one in the middle" by her sisters Christine and Dorothy, Phyllis is the lead singer of the famed McGuire Sisters. Her "middle" position was established long ago when the girl's mother decided that Chris and Dottie should keep an eye on baby Phyllis between them in the back seat of the family car, and she has remained in the middle of the performing trio ever since. Today, the whole world keeps its eyes on Phyllis and her sisters as they continue to attain new heights as the most talented, beautiful and professional sister team in show business. Now, the spotlight fades to the center of the trio as Phyllis McGuire takes the solo:

Singing a program of familiar songs, Phyllis now occupies her own well-deserved place in the charmed circle of singers who talents shine brightly and permanently. There isn't a song here you haven't heard before, but backed with arrangements by the music industry's finest (Marty Manning, Sy Oliver and Ralph Burns), Phyllis' individual style lets you hear them with new insight and appreciation. Her extraordinary choices of Drink To Me Only With Thine Eyes and I Loves You Porgy give an indication of the extraordinary girl who chose them and performs them here.

Recording is one of the last fields of entertainment to which Phyllis has turned her solo talent. She has starred in summer stock productions of Annie Get Your Gun, The Unsinkable Molly Brown and Little Me. She will long be remembered for her comedy role in Frank Sinatra's movie, Come Blow Your Horn. She has been a guest on television with Ed Sullivan, Johnny Carson, Perry Como, Mike Douglas and on the Password show. Rounding out her show business career, Phyllis won raves notices for her nightclub act. Now, at long last, she is, as the song says, "right back where she started from – on records – but singing even better than those years when she and her sisters won fame from hits like Sugartime, May You Always, Sincerely, He and Just For Old Times Sake.

You've heard all about the McGuires winning performance on Arthur Godfrey's Talent Scouts show at the beginning of their career, and their subsequent six-year stay on the Godfrey morning show; and you've seem them perform on every top television variety show. Phyllis' appeared as a solo artist definitely does not herald the end of the sister team. As lead singer and acknowledged "talker" of the three, Phyllis is following the logical path to her own spotlight, but she plans to enjoy its glow only when it doesn't interfere with her role as one of The McGuire Sisters.

From Billboard - June 11,1966: Phyllis McGuire has selected wisely in her first solo album. She is off to  a strong start with a lusty "Careless Love" and follows with a torch "My Happiness." She also does more than all right with "I Can't Give You Anything But Love" and "All The Things You are." It's strictly nostalgia, tastefully down.

Careless Love
My Happiness
Drink To Me Only With Thine Eyes
Who Can I Turn To (When Nobody Needs Me)
Like Someone In Love
St. Louis Blues
I'll Always Be In Love With You
One Kiss
Vaya Con Dios
All The Things You Are
I Can't Give You Anything But Love
I Loves You Porgy

German Evergreens - Caterina Valente & Silvio Francesco

 

German Evergreens

German Evergreens
Caterina Valente & Silvio Francesco
London Records SW 99025
1962

From the back cover: Record friends here it is! Exciting news, something to celebrate, something to rave about! But let's read the text later. Now, take the disk out of its cover, on with the needle... and here we are, right in the studio! Quiet please... stand by... rolling... Sing With Me!

While you Are getting acquainted with this newest LP of hers, Caterina Valente celebrates her 25th anniversary as a performer. For 25 years this truly musical, dainty little lady has graced the world's most widely known stages. Caterina doesn't have to keep her age a secret – she was born in 1931. For her 25th-year jubilee her husband, manager and current record producer Eric van Art, has prepared this production as a special present for his and our Caterina Valente, together with her brother Silvio.

The 20's and 30's  are rightly called the great Age of Melody, and our rushed and harried days since 1945 the fast paced Age of Rhythm. Therefore we find today many families with very distinctly separated record cabinets. What mother and father like to listen to hurts the ears of the teenagers and "twens" – and vice versa! Caterina Valente now opens the way to a big musical reconciliation. Born under the sign of melody, so to speak, raised and grown famous in the hot, stimulating days of rhythm, she brings these two basic elements of all music together to a shining climax. 25 Years of gay music, heard as never before, unites older and younger generations.

Orchestra leader and arranger Heinz Kiessling tells what he concocted for you before and during the recording session. "When the idea for such a platter with German evergreens was born, we agreed to use a different orchestra for each title – from big band down to combo. Each number should have its proper setting. We chose the most beautiful selections, decided upon tempi, keys and style – and then I went to work. It was work that gave me great pleasure, especially since I knew that in Caterina and Silvio I had the most versatile talents in Europe to interpret my arrangements, and fulfill my musical demands so perfectly. Above all the idea of having all song solos, chorus solos and back ground choruses sung in synchronized dubbing by Caterina and Silvio alone was a very appealing one. This very tricky task was not only performed easily by the two but resulted in a most interesting sound effect. The secret is the unbelievable precision that they achieved in synchronizing "with themselves" – singing twice and three times over onto the same tape. On the whole record, therefore, you hear the voice of only Caterina and Silvio. There are no other chorus groups or singers.

So much for Heinz Kiessling. And Caterina and Silvio say: "This LP is in every way our most successful recording to date, and the one we've enjoyed making the most."

Listen to it. What do you think?

Sing Mit Mir
Kuss Mich, Bitte, Bitte, Kuss Mich
Es War Einmal Eine Liebe
Fur Eine Nacht Voller Seligkeit
Die Kleine Stadt Will Schlafen Geh'n
Wer Ist Heir Jung, Wer Hat Hier Schwung?

Ich Weiss, Es Wird Einmal Ein Wunder Geschen'n
Ganz Leise Kommst Die Nacht
Haben Die Schon Mal Im Dunkeln Geküsst?
Kauf Dir Einen Bunten Luftballon
Musik! Musik! Musik!
Sag' Beim Abschied Leise "Servus"

Play Bach Jazz - Volume 2 - Jacques Loussier

 

Allemdnde

Play Bach Jazz
Volume 2
The Jacques Loussier Trio
London Records PS 288
1962

From the back cover: Of all classical music, the works of Johann Sebastian Bach are, without doubt, the most adaptable to jazz. Long before the war, Django Rheinhart, the great gypsy jazz guitarist, attempted an experiment comparable to what Jacques Loussier presents here: A suite of improvisations and a jazz interpretation of the first movement of the Concerto In D Minor by Bach. Rheinhart's experiment was completely successful.

Once again the experiment has been tried and we hope that all jazz enthusiasts, as well as the devotees of Bach, cleary appreciate what Jacques Loussier, Christian Garros and Pierre Michelot have accomplished: a remarkable jazz LP that does not betray the spirit of the greatest musical genius of all time.

Jacques Loussier is a young musician who dreamed of becoming a classical pianist but the exigencies of modern life led him into a completely different path. Born October 26, 1943, at Anger, in one of the most beautiful provinces of France, Jacques Loussier pursued his musical studies at the Conservatoire Nationale de Paris under the direction of Mr. Yves Nat who encouraged him to become a virtuoso. But, for lack of money he was forced to abandon his studies prematurely and, at the age of 18, he joined the gypsy orchestra of the Cabaret Monseigneur and left for Cuba. Financially secure as a result of this first professional experience, Jacques Loussier returned to Paris where numerous ballets sought him as accompanist and this marked the beginning of a life of travel which was to take him as far as Palestine and Turkey. Soon his name became linked with the great French singing stars: Catherine Sauvage and George Brassens, as their accompanist. He returned to Cuba in 1956 with Jacqueline Francois. After that, as traveling accompanist to Suzy Delair, another singing star, he got to know such places as the Cameroons, Sweden and Denmark.

Following an eight month period of military service in Algeria, Loussier was assigned to the Algerian Radiodiffusion-Television as a civilian. There he made many appearances on radio, one in particular as the piano soloist for Gershwin's Rhapsody In Blue with an orchestra under the directions of Richard Blareau. Here also, he was called upon to arrange many orchestrations. This experience inspired Loussier to create an original formula which was realized when he returned to Paris through the birth of Jacques Loussier Trio. Although very new, this combination was most promising because the two men that joined him: Pierre Michelot, one of the best jazz basemen in Paris and the incomparable drummer, Christian Garros.

After the success of his first record, Loussier decided to exploit this new jazz formula more fully. This and his many other creative ideas will undoubtedly be revealed through his future recordings.

Partita No. 1
   Allemande
   Courante
   Sarabande
   Menuet 1 - Menuet 2
   Gigue

Choral 
Prelude No. 6
Aria
Prelude No. 16
Fugue No. 16
Prelude No. 21