Harry Arnold + Big Band + Quincy Jones = Jazz!

 

Count 'Em

Harry Arnold + Big Band + Quincy Jones = Jazz!

Recorded in Stockholm, Sweden in March and April, 1958

Mercury Records SR80006

Personnel on tracks 1, 2, 4, 6, 8 and 9:

Trumpets - Sixten Eriksson, Weine Renliden, Bengt-Arne Wallin and Arnold Johanson

Trombones - Ake Persson, Andreas Skjold, George Vernon and Gordon Ohlsson

Saxophones - Arne Domnerus, Rolf Backman, Bjarne Nerem, Rolf Blomquist and Rune Falk

Rhythm - Bengt Hallberg (piano), Lars Pettersson (bass) and Egil Johansen (drums)

Trumpeter Benny Bailey added on tracks 8 and 9

Personnel on remaining tracks:

Carl Henrik Noren replaces Blomquist; Johnny Eke replaces Rune Falk; Simon Brehm replaces Lars Pettersson; Rolf Berg, guitar, added.

From the back cover: When a Harry Arnold album was issued in this country in 1957 titled simply "The Mystery Band" it received uniformly good critical reviews, with guesses as to the band's identity ranging from Elliot Lawrence to Harry James to Nelson Riddle to Woody Herman.

Surprise was great when the writers were told this actually was a swinging group of Swedish musicians.

If you never did hear that one, be prepared for an even greater shock upon listening to this album.

One vital ingredient has been added to the band – the superb writing talents of Quincy Jones, the  young American composer-arranger who moved to Paris in 1957 and has made it his home.

The first man to admit that Quincy did much to fan the flames of this orchestra is Harry Arnold himself, who says that "as soon as Quincy gave the downbeat on the first number, astonishing things began to happen. The band played with more fire than it had ever showed before and it was indeed obvious that the temporary marriage between the tiny arranger and the roaring Swedish band was a happy one from the start."

Although some of the musicians were a bit uncertain at first as to how Jones wanted some of the passages phrased, they listened and learned fast.

The spirit, feel, and profound respect for the tradition in jazz is always deeply felt in everything Quincy does – in his composing, his arranging, and his general musical thinking. Although he is just 25 he has a full background in writing jazz, having contributed a good deal to the Lionel Hampton band during the two years he played in its trumpet section, then following that with writing innumerable scores for such recording groups as Dizzy Gillespie, Oscar Pettiford, Art Farmer, Paul Quinichette, and his own big band. – Jack Tracy, Director EmArcy Jazz

Quincy's Home Again

The Midnight Sun Never Sets

Cherokee

Count' Em

Brief Encounter 

Room 608

Kinda Blue

Meet Benny Bailey

Doodlin'

The Frank Clarke Kids - Trinidad's Steelband Prodigies

 

Romance

The Frank Clarke Kids

Trinidad's Steelband Prodigies

Producer: Frank Clarke & Cipriani Boulevard

Cover Design: Kishore Raghoobar - Key Caribbean Productions

Photography: Roy Boyle

Recording Studio: K&H Studios - Port of Spain

Recording Engineer: Gerhard Neckar

Recording Technician: Eric Michaud

Mc1 Records STEREO 179

From the back cover: Even in a land where children begin visiting panyards about the same time as they enter school, the Frank Clarke Kids are an extraordinary group. With an average age of 12, they are not only the youngest steel band in the country but they include Frank's three sons, three stepsons and a girl, sister to all six. In today's liberated world little Lisa might have to be called a "pan-person" and one suspects that her brothers would have no objection to being somewhat "misnomered" as "pan-men". Nor, indeed, would the other four boys from the Cipriani Boulevard neighborhood who comprise this super-extended family. Together they play a scintillating brand of steelband music that has won them coast-to-coast television exposure in Miami, double-billing with the famous Merrymen at Barbado's Caribbean Pepper-Pot, and continued appearances at Trinidad's Penthouse and Holiday Inn Hotel. If explanations are needed for their rapid rise (the band is little more than a year old) then put it down to the spirit of  youth, attempting and surmounting incredible heights, and a precociousness made attractive, balanced as it is by delightful innocence. Adults have helped, of course, notably Frank, himself, who manages the band and has transmitted to his brood a zest for music acquired from years of playing the piano, cuatro, guitar, violin, ukulele and drums, thereby earning for himself the title of "the one man parang band." In addition the kids draw on the talents of Rudolph Charles, leader of the internationally acclaimed WITCO Gay Desperadoes. Incidentally, the mother of Frank's three sons is a member of St. Vincent's famous musical family, the McIntoshes, eight of whom now have their own band appearing across Canada. Come Carnival – as has been happening over these seasons – Frank Clarke's Kids will merge with the WITCO Gay Desperadoes and other competing steel bands will envy "Despers" this edge. You will immediately understand why when you hear this album ranging as it does from Shadow's pulsating "Road March," "Bassman" and Irving Burgie's immortal "Yellow Bird," to George Gershwin's standard "Rhapsody In Blue," Beethoven's "Romance," and Franz Von Supper's challenging overture "Poet And Peasant." Listening to it you'll agree that the album is well-titled. – Keith Smith

Bassman

Yellow Bird

Amalia Rose

Rhapsody In Blue

Romance 

Medley Of Tunes: My Favorite Things/I Love Thee/Strange Music/Sound Of Music/Climb Every Mountain

Poet And Peasant

Great Balls Of Fire - Mae West

Light My Fire

Great Ball Of Fire

Mae West

Produced by Ian Whitcomb

String and Horn arrangements by Jerry Styner

The Orchestra "The Hot Rockers"

Vocal Accompaniment: The Mike Curb Congregation

MGM Records SE-4869

1972

Great Balls Of Fire

Men

The Naked Ape

The Grizzly Bear

Whole Lotta Shakin' Goin' On

Happy Birthday Sweet Sixteen

After The Lights Go Down Low

Light My Fire

How Miss West Won World Peace

Rock Around The Clock

Song Of India - Arthur Fiedler

 

Song Of India

Song Of India

Boston Pops Orchestra

Arthur Fiedler - Conductor

Musical Director: Richard Mohr

Recording Engineer: Lewis Layton

RCA Victor LM-2320

1959

Dancing Through The Years - Arranged by Richard Hayman

Song Of India - Rimsky-Korsakoff

The Typewriter - Leroy Anderson

Hora Staccato - Dinicu-Heifetz

Bahn Frei Polka - Eduard Strauss

Thunder And Lighting Polka - Johann Strauss, Jr.

Lullaby - Khachaturian

Pizzicato Polka - Johann Strauss, Jr.

Syncopated Clock - Leroy Anderson

Jolly Fellows Waltzes - Vollstedt

The Velvet Touch Of Dennis Awe At The Lowrey Organ

 

Temptation

The Velvet Touch Of Dennis Awe

At The Lowrey Organ

Intercontinental Records IC-102

From the back cover: Intercontinental Records is proud to bring you another record featuring "The Velvet Touch of Dennis Awe."

Dennis has been Musical Director with the Paris Touring Company and King And I, Carousel, Call Me Madam, Paint Your Wagon and The Sound Of Music, are just a few of his Musical Credits. He has toured the United States giving concerts from New York to California. Besides traveling Coast to Coast performing, he has over twenty TV Commercial to his credit including one that was awarded "Best Musical Commercial Of The Year". Included in his classical background are 11 years as a Church Organist and Choirmaster.

Watching Dennis perform, you can't help but to notice his great love of "Music and People". His personality generates exuberance and the audience is totally captivated each time he performs.

While interviewing Dennis, I asked what gave him his love for music and his desire to perform, he replied, "When I was 15 years old, I heard an organist performing at a New York State Fair, and from that moment on I decided to become a Professional Organist. I was quite fortunate that my parents bought an organ in order for me to have a musical education. I studied with a very talented Organist from Radio City Music Hall, Mildred Alexander, who is the same organist that I heard at the State Fair. Through her teaching she made my dream of becoming a professional entertainer and organist come true. – L. W. Sebastian

Love Is Blue

Alley Cat

Embraceable You

Sugar Blues

Temptation

Somewhere My Love

Ja-Va

Twilight Time

Robert E. Lee

The Original Boogie Woogie

Jose Jimenez In Orbit - Bill Dana On Earth

 

Jose Jimenez In Orbit

Jose Jimenez In Orbit

Bill Dana On Earth

All material written by Bill Dana and Don Hinkley

Recorded at The Crescendo on the Sunset Strip in Hollywood

Kapp Records Stereo KS-3257

1962

Everything's A OK

Sing Along With Jose / Shine On Harvest Moon

The Rancher

The Skin Diver

The U.S. Senator

The Lion Tamer

My Funny Valentine

Christmas Sing Along With Jose / Jingle Bells

Can't Stop Twistin' - The Adventurers

 

You're A Teenager Now

Can't Stop Twistin'

The Adventurers

Produced by Robert Mersey

Cover Photo: George Szeberenyl

Capitol Records CL 1747

1961

The Twist

Shame, Shame, Shame

Peppermint Stick

Another Bachelor

Can't Stop Twistin'

You're A Teenager Now

Rock And Rock Uprising

My Mama Done Tole Me

The Slide

Do It

Bill's Place

Wallflower

New Lips - Roy Drusky

 

Such A Fool

New Lips

Roy Drusky

Pickwick JS-6176

By Arrangement with Mercury Records

New Lips

Where The Blue And Lonely Go

Such A Fool

Woman, Woman

My Grass Is Green

My Way

Jody And The Kid

Ribbon Of Darkness

These Were The Days

A Dance Party With Jose Melis

 

Dance Party with Jose Melis / Latin Dance Party

Dance Party with Jose Melis of The Jack Paar Show

And Other Popular Orchestras (A Latin Dance Party)

Palace PST 690

A Dance Party With Jose Melis (ST 33-2172)

Ebb Tide

Love Me Or Leave Me

Girl Of My Dreams

Theme Of The Jack Paar Show

My Funny Valentine

A Latin Dance Party (ST-33-3158)

Glow Worm Cha Cha

Hippodrome Cha Cha

Good-Bye, Fellows, Tango

Caribbean Cha Cha

Ballroom Cha Cha

Merenguito

La Vie En Rose - Edith Piaf

 

Autumn Leaves

La Vie En Rose

Édith Piaf Sings In English

Columbia Records CL 898

1956

From the back cover: Édith Piaf first came to the United States in 1947; she has been back almost annually ever since, and occupies a position in music that is altogether unique. Popular musicians rate her as one of the foremost exponents of the popular style, while classical musicians acclaim her for her remarkable artistry and the general public at the same time revels in the magic that is hers alone. French singers have come since, droves of them, and most of those same singers have gone, by Piaf, in her stark little black dress, with her mournful songs, still weaves the same compelling spell.

In this collection, Piaf presents ten characteristic chansons, perhaps a little happier in mood than most of her work, in English, combining her own fascination with the added attraction of her accent. Whether in French or English her command of her art and her command of her audience are equally profound, and these songs, familiar to everyone, present a fresh approach to Piaf's work. Her singing of La Vie en Rose has already taken its place among the classic performances; this presentation is no less rewarding, and, being in English, has a slightly different atmosphere. Similarly, The Three Bells, which she made famous with Les Companions de la Chanson as Les trois cloches, loses no part of its dramatic atmosphere with the translation. Indeed, all of Piaf's performances in this collection brim over with the fervor that she brings to her singing, the controlled intensity that pervades her work.

So firmly has Piaf established herself as an artist that sometimes one forgets that not al French popular music is dramatic, or sad, or tragic, for many of her songs conceal disenchantment under their lilting waltz refrains. Even when she essays a merry song, one waits for the moment when she will revert to the wry facts of life. But whatever the mood of her songs, Piaf entertains, in the sense of providing her listeners with an experience that lifts them out of themselves or revealing a new emotional experience. So deftly does she carry her audience along that the most provincial member soon finds himself breathing the atmosphere of her Paris.

A native Parisienne, Piaf was the daughter of a circus acrobat and endured a childhood of unusual hardship. While still very young, she was blinded by illness, and remained so until at twelve her sight suddenly returned. Her father removed her from the care of her grandmother, and had her accompany him through the streets of Paris where he sometimes performed. The lilting tunes of the city caught in her head and frequently she sang in the streets, but few paid any attention to her. An attempt she made at fifteen to become a chanteuse was a failure until one day a gentleman stopped to hear her and, in fairy-tale fashion, offered her a job singing in one of his theatrical presentations. Her songs and personality were an immediate success, and her career has gone forward steadily ever since. During the war she worked tirelessly with the Underground, returning to the cafes only after the Liberation. Then, in 1947, she came to the United States and, singing only in French, won enormous acclaim. Little by little she has added translations and English songs to her repertoire, and her return visits are eagerly awaited by the faithful public. A truly international star, Édith Piaf here presents some of her most popular numbers – in English – in tribute to her American admires.

La Vie En Rose

My Lost Melody

Don't Cry

Chante Moi

Hymn To Love

Autumn Leaves

'Cause I Love You

I Shouldn't Care

Simply A Waltz

The Three Bells

Golden Melodies From Japan - Paul Marks

 

Mujo No Yume

Golden Melodies From Japan

Paul Mark

His Orchestra and Voices

Produced by George Chun

Photograph by Bud Thuener/Pacific Camera

Recorded in Hawaii by Sounds of Hawaii, Inc.

IR Imperial STEREO LP 12075

1962

From the back cover: The Queen Bees

Japanese music has been heavily subjected to Western influence in recent years. Progressive jazz and rock 'n' roll have made a deep impression upon and won many musical converts among Japan's younger set.

Yet the Ryokoka, the Japanese version of the modern popular ballad, while strongly western in melodic, rhythmic and harmonic patterns, is unmistakably flavored with the basic features of the Nagauta and the Kota, traditional forms of Japanese musical expressions.

Though primitive and simple in harmonic structure, these traditional forms, as well as the Gagaku and Kiyomoto which represent the classical music of old Japan, are deeply imbued with the philosophical thoughts of the Japanese people.

This profound philosophical significance is one of the two basic characteristics of all the fine arts of Japan. The other is simplicity of expression, noticeable particularly in the Minyo, or the prefectural folk songs. Whether in music, Kabuki Drama, Noh Play, architecture, the Ukiyoe painting or in a typical Japanese rock garden – these two characteristics are always present to reflect the Japanese love for a simple, unaffected way of life.

Golden Melodies From Japan is a selection by the noted arranger-conductor Paul Mark of a variety of the most representative Ryokoka of today's modern Japan, along with some of the better known Minyo, most of which have been handed down for generations in the original forms you will hear here.

His imaginative orchestra, effectively utilizing interpretive percussion and woodwinds, has translated for the Western ear the serene beauty of these Oriental melodies without losing the deep meaning expressed within them.

Vocalists heard are May Murakami, soloist, and The Queen Bees (as illustrated on this liner) –  May Murakami, Nancy Moritomo and Darlene Yoshimoto), courtesy of Dick Aoyagi Voice and Piano Studio.

Grateful acknowledgement must also be made to Masa Kamisato, who provided historical background information; Shirokiya of Japan, for the magnificent Japanese kimono; Coral Reef Restaurant for the background scenery.

Kompira Fune

Mizuiro No Waltz

Yagi Bushi

Sado Okesa

Mujo No Yume

Shina No Yoru

Tokyo DoDon'Pa Musume

Shojoji

Gion Kouta

Dare Yori Mo Kimi Wo Aisu

Koi San No Love Call

Suzu Kake No Michi

Oshima Bushi

Sumire No Hana

Moshi-Moshi - Bob Kojima

 

Moshi - Moshi

Moshi - Moshi

Bob Kojima and His Orchestra

Cover Photo: Werner Stoy

Cover Design: Amiel & Murata

Produced by Ariel & Murata

ABC-Paramount ABCS 328

1960

From the back cover: In this album, Bob Kojima deftly combines the typically Japanese sounds of the shamisen and the bamboo flute with the modern musical instruments of the Western world to capture the essence of the music of modern Japan. A professional musician for more than twenty years, Bob has a wealth of musical experience on the stage and in night clubs and television. Equally adept at the vibes, guitar and drums, his talents are in constant demand. – Masa Kamisata and Rick Ward.

Tie Lai Shan

Sendo Kawaiya

Nozaki Kouta

Nangoku Tosa

Nankai Elergy

Chambara Parade

Kago De Yuku No Wa

Kirroi Sakurambo

Genroku Hanami Odori

Jusan-Ya

Hanagasa Dochu

On-Na Samurai

Do-Yo Medley

Travelin' Band - Lionel Hampton

 

Shalom-Shalom

Travelin' Band

The Lionel Hampton Big Orchestra

Supervised by Norman Granz

Cover Photo by Phil Stern

Verve Records Cliff Series MGV-8019

1957

Vibraharp - Lionel Hampton

Bass - Peter Badie

Saxophone - Jim Arak

Alto Saxophone and Clarinet - Bob Plater

Tenor Saxophone - Eddie Chamblee, Retney Braver

Bariton Saxophone - Joseph Evans

Trumpet - Edward Preston, Wallis Davenport, Julius Brooks, Edward Mullens

Tormbone - Alvin Hayes, Arnet Spanow, Harold Roberts

French Horn - Willie Ruff

Piano - Dwike Mitchell

Guitar - John Mackel

Drums - Rufus Jones

Conga Drum - Isavro Hernandez

From the back cover: Travelin' Band. Once there was a time when the word "travelin'," had a different meaning. When a band was travelin' – it was, well, in the current jazz jargon it was "wailing." And yet in terms of dated musical patois and in the bedrock dictionary definition of the word, the Lionel Hampton band is definitely a very, very travelin' band. ("Flyin' Home" is not only the title of a song associated with Hamp; it is a description of homeward transportation). Hampton is the Bob Hope of the bandleaders. Call out the name of a city in Europe or the Near East or in the North American hemisphere and Hamp has either been there, on his way there or has plans to leave very soon. In one year, 1953, Hampton's band played more than 200 one-night stands (Richard Gehman tells us) and this included a 44-day tour or Europe. Hamp is very big in Israel, they love him in Stockholm, he's the darling of Paris, the rage of London and just mention his name in Sheboygan!

None of this came about simply because Hampton himself had a yen for seeing the world; the converse is near the truth; after Hampton had achieved a reputation as "travelin'" steps in. and how did the reputation come Hampton's way. Once, when he was queried on how the source of his success, Hampton declared: "You swing the blues, man, and you can't miss." Swing the blues – in three words an entire musical philosophy put to action. Hampton, a native of Louisville who grew up in Chicago, was, of course, just about the first musician to use the vibraharp for jazz solos. He joined the Benny Goodman crew in 1936 and then, in 1940, formed his own band in which the hallmark has certainly been the unique Hampton excitement.

Pig Ears And Rice

Flying Home

Midnight Sun

The Blues Ain't News To Me (Vocal by Lionel Hampton)

Swingin' On C

It's A Blue World

Airmail Special 

Baby Don't Love Me No More (Vocal by Vickie Lee)

A Song Of The Vineyard

Shalom-Shalom

Jamal At The Penthouse

 

Ivy

Jamal At The Penthouse

Ahmad Jamal

Arranger and Conductor: Joseph Kennedy

Recorded at Nola Penthouse Studios, New York, Feb. 27 and 28, 1959

Cover: Don Bronstein

Recording Engineer: Tommy Nola

Engineering Supervisor: Malcolm Chisholm

Mastering Engineer: Douglas Brand

Producer: Dave Usher

Argo LP 646S

From the back cover: About The Artist

If you have been lost in the Amazonian jungles for several years or have endured a similar disassociation with civilization, it's just possible that you may be hearing of Ahmad Jamal for the first time. It's not likely, of course, what with the rapid strides in communications, the increased efficiency in the distribution of records, and the phenomenal world wide enthusiasm for jazz.

The first time I heard a Jamal recording must have been, roughly, eight years ago. I was having a bite to eat before starting my nightly shift, when suddenly I was intrigued by some exciting sounds emanating from the restaurant's sound system, hooked to a juke box in the manager's office. It was a fervid, Latin treatment of a well-known standard and I lost no time in finding someone who was familiar with the juke box so that I could learn who was playing and thereby acquire a copy of the record for my show.

There began, then, a period of frustration, as Ahmad Jamal was on a comparatively new label with undeveloped distribution, and I experienced considerable difficulty in obtaining any of his records. Since that time, I'm happy to say, Ahmad's records are more readily available and Ahmad is not – which is a back handed way of saying that his rapid growth in popularity has resulted in steady bookings in the better jazz rooms, colleges, concerts, and the like.

Although he was born and educated in Pittsburg, Pa., Chicago was actually the springboard that launched his career. Such discerning entrepreneurs as Frank Holzfiend and Miller Brown several years ago first presented the Ahmad Jamal trio in their respected rooms – The Blue Note and The Pershing Lounge.

Ahmad Jamal once was a member of a group known as the Four Strings, of which the director was Joseph J. Kennedy, Jr. Ever since the group disbanded in 1949 it has been Ahmad's hope that someday he might utilize the services of Joe Kennedy as arranger and conductor of a session for the trio with strings. This album is the culmination of that idea.

Kennedy comes from a musical family, having had ancestors who performed before the crowned heads of Europe. He and Ahmad literally grew up together, their families being closely associated, and Ahmad's faith in him as one of the foremost arrangers and composers of this era is unwavering.

The price Joe won in a high school music contest was the privilege of studying violin under the late Theodore Renz, former professor of violin at Carnegie Institute of Technology in Pittsburgh. It's not surprising, then, that Ahmad speaks of Joe Kennedy's knowledge of the violin as "extraordinary", and possessing "a wealth of musical talent." This is evident in the extraordinary "full" sound he obtains in his use of strings in this album, as well as his strategic use of them. Never intrusive, never overpowering, the becoming restraint in their use serves to point up the trio just as seasoned dressings do your favorite mixed green salad. – Dick Martin

Comme Ci, Comme Ca

Ivy

Never, Never Land

Tangerine

Ahmad's Blues

I Like To Recognize The Tune

I'm Alone With You

Sophisticated Gentleman

Adventures In Time - Stan Kenton

 

Quintile

From The Creative World Of

Stan Kenton

Adventures In Time

A Concerto For Orchestra

Arranged by Johnny Richards

Produced by Lee Gillette

Engineer: Carson Taylor

Capitol Records ST 1844

Playboy Magazine "Jazz Leader Of The Year" (orange cover violator) is an applied sticker.

Saxophones

Gabe Baltazar (lead)

Don Menza, tenor

Ray Florian, tenor

Allan Beutler, baritone

Joel Kaye, bass

Trumpets

Dalton Smith (lead)

Gary Slavo

Bob Behrendt

Marv Stamm

Kieth La Motte

Trombones

Bob Fitzpatrick (lead)

Neweel (Bud) Parker

Tom Ringo

Mellophoniums 

Ray Starling (lead)

Dwight Carver

Joe Burnett

Lou Gasca

Bass Trombone

Jim Amlotte

Bass

Bucky Calabrese

Tuba

Dave Wheeler

Drums

Dee Barton

Utility Percussion

Steve Dweck

From the back cover: Since long before Stan Kenton undertook his present "Adventures In" series of albums, from the earliest Kenton days in fact, Stan's music has always been characterized by trailblazing adventurousness and creativity. A Kenton history is a history of modern musical research, innovation and discovery, and it is studded with the names of brilliant creative talents who have joined him, learned from him, and made their own striking new contributions to music along the way.

In this album Stan introduces a sinewy new work for orchestra commissioned from a longtime associate, distinguished jazz composer-arranger Johnny Richards. "Adventures In Time, a Concerto For Orchestra" is a synthesis of eight original compositions by Richards that utilize the full resources of the Kenton musical organization. With this work Richards once again demonstrates his flair for creating exciting and ingeniously constructed rhythm patterns – the same great gift that helps make "Kenton's West Side Story" a sensational bestseller and winner of the National Academy Of Recording Arts And Sciences award in 1962. Here he employs unusual time signatures in a startling work that forcefully reaffirms the towering importance of the Kenton Orchestra as a seeker of new and challenging musical horizons.

Commencement 

Quintile

Artemis

3 x 3 x 2 x 2 x 2 = 72

March To Polaris

Septum From Antares

Artemis And Apollo

Apercu

Odetta At The Gate Of Horn

 

Sail Away Ladies, Sail Away

Odetta At The Gate Of Horn

Recorded by Esoteric Studios

Edited by Patrick Clancy

Cover Design by Raphael Boguslav

Cover Photo by Stan Levy

Tradition Records TLP 1025

1957

From the back cover: Odetta has already established herself as a recording artist and as a singer of folk songs on her first 12" long-playing album for Tradition Records (TLP 1010) Odetta Sings Ballads And Blues). Within a few months from issuing of her first record, it was evident we had another major artist recording for Tradition.

Now, for her second record, Odetta brings us a beautiful selection of songs of work, fun, and serious moods with her guitar and a bass accompaniment. Her voice is rich, full and contrasting. The changes in mood from the storytelling "Fox Went Out" to the soft lullaby "All The Little Horses", the hard, ringing work tones of "Take This Hammer" or the true spirit of the gospel songs "The Whole World In His Hand" and "Deep River" with their feeling of exaltation for singer and listener alike, gives us the scope of what a great folksinger can attain.

The reviews of her first album give her the praise seldom given to an artist on her first record and I leave the praising to the record reviewers across the country. New York Times "a striking contralto voice... one suspects she will be heard from increasingly in the future." Northwest Times "one of the most exciting introductions to a great new artist in the past few years." Seventeen "the thrilling intensity of the ballad and blues singer who call herself Odetta." Berwyn Life-Beacon, Illinois "She has primarily a magnetic, galvanizing personality and above all a subtlety of inflection to her lyrics together with a magnificent fervor and almost electrifying sincerity that grips the listener from the first bars."

Odetta was born in Alabama but has spent most of her life in California. She has had several years of operatic training and has appeared in the hit musical "Finian's Rainbow". For the past five years her night club appearances have included the 'Blue Angel' in New York City, the 'Hungry i' and 'The Tin Angel' in San Francisco. She appeared for two years at the 'Turnabout Theatre' in Los Angeles.

The inspiration for naming this new album of Odetta's came from her appearances at the 'Gate Of Horn' in Chicago where she has had several engagements in the past two years. The name Gate Of Horn, I am told, comes from the legend that "there are two gates of dreams, one of ivory and one of horn. Dreams which delude pass through the ivory gate. Those which pass through the gate of horn come true." According to the owners of the club Odetta is destined to pass through the 'Gate Of Horn' again in the near future.

After her arrival in New York City this year, Odetta gave concerts at Hunter College, The New School and Actors Playhouse to the delight of her ever increasing number of admirers.

In the past Odetta has been compared with great gospel and blues singers, but as her great voice and unique style unfold on this record, you will realize there is a variety here seldom heard before and a quality that is only Odetta's.

He's Got The Whole World In His Hands

Sail Away Ladies, Sail Away

The Gallows Pole

Lowlands

The Fox

Maybe She Go

The Lass From The Low Countree

Timber

Deep River

Chilly Winds

Green Sleeves

Devilish Mary

All The Pretty Little Horses

The Midnight Special

Take This Hammer