Mambo In Havana

 

Mambo In Havana

Mambo In Havana

Riviera R0010

Also marked on the run-out (although crossed out) as a disc (LPH-24) as prepared for Hollywood Records. An issue that features the same cover art.

1956

Mambeat

Barapipi

Oriental Mambo

Mambo Lindo

Esy Petsy

Swinging With Humberto

Morales' Minuet

Blue Danube Mambo

Isla Verde
Papa Luccioni

Long Hair Mambo
Mambish
Minute Waltz Mambo

Guitar From Ipanema - Laurindo Almeida

 

Quiet Nights Of Quiet Stars

Guitar From Ipanema

Laurindo Almeida

Produced by Bill Miller

Cover Photo: Capitol Studio / George Jerman

Cover photography at the Bahia Motor Hotel, Mission Bay, California

Capitol Records ST 2197

1964

Other featured musicians include Justin Gordon on flute (except where Klee is credited). Al Hendrickson on second guitar. On all but the two vocal selections, Laurindo Almedia plays a new all-electric guitar, the recent invention of Jack Cookery and Bob Hall. The startling variety of tone colors displayed by this instrument is not the result of trick recording, but is produced directly from the guitar by Laurindo as he plays.

Girl From Ipanema by Jobim, of course. Brazil's current rage. Heard here with Laurindo's guitar is the whistling of Jack Marshall

Manha De Carnavel by Luiz Bonfa form his beautiful score for the famed "Black Orpheus" film, features the haunting distant voice of a harmonica played by George Fields.

Sarah's Samba by Laurindo Almeida, introduces the flute of Harry Klee.

Winter Moon also by Almeida, presents vocalist Irene Kral, who, in her cool sensitive way, incorporates a modern jazz feeling with this lilting Brazilian melody. This is one of the two selections in which Laurindo plays a standard classic guitar.

Izabella by Djalma Ferreira, who also composed "Recado Bossa Nova," brings this brilliant Brazilian organist-composer to the keyboard for his one performance in this album.

Choro For People In Love by Almeida, again features Harry Klee on flute.

Quiet Nights Of Quiet Stars (Corcovado) by Jobim, is one of the great composer's earlier hits. The flute is by Harry Klee.

Old Guitaron with music by Almeida and lyrics by Johnny Mercer, again features the voice of Irene Kral, with Laurindo playing standard guitar.

Um Abraco No Bonfa - Joao Gilberto's salute to his countryman and fellow composer, is whistled by Jack Marshall with flute by Justin Gordon.

Twilight In Rio by Almeida, returns the beautiful harmonica of George Fields.

The Fiddler's Wolf Whistle by Rafa Lemos, features the well-known Brazilian composer on violin, in this bright little tongue-in-cheek melody dedicated to the charms of friend Jobim's "Girl From Ipanema."

His And Hers - Paul Smith and Annette Warren

 

Blues For Theda

His And Hers

Grand Grand Piano Duets

The Twin Pianos of Paul Smith and Annette Warren

Produced by Bill Miller

Capitol Records T1356

1960

From the back cover: One of the most sought-after musicians (one leader will not record unless Paul is sitting at the piano), Paul Smith was born in San Diego and began his professional career in 1941 with the Johnny Richards band. While in the Army, he played with the Ziggy Elman service aggregation. After serving his hitch, he was a member of the famous Les Paul Trio during 1946-47, then worked with the Tommy Dorsey Orchestra as pianist-arranger through 1947-48.

In 1949, he moved to Hollywood, where he has recorded with the Paul Weston and Billy May Orchestras – to name just two of many – and also with many of the top vocalists. He is a staff musician at NBC and is a veteran of eight years with the Dinah Shore Show.

One of the biggest men in music from any point of view (he is 6 feet 5 inches tall), Paul is described by his wife as "the most gentle person I have ever known." The couple reside with their two youngsters, Laura and Gary, in the San Fernando Valley.

When Annette Warren married pianist Paul Smith, she was playing the role of "Mrs. Peachum" in Kurt Weill's "The Threepenny Opera." For, although she had begun her musical life with the piano, she had forsaken the instrument for a singing career.

Paul's wedding gift to his bride was a grand piano. And, since the pair enjoy spending much of their time at home, it was only natural that they should spend a lot of it at their pianos – both Steinway grands. What had started as pleasant pastime developed into these wonderful duets.

The arrangements are all Paul's and they bear out his reputation as a top interpreter of popular songs. Three of the tunes were composed by him, too. He wrote the bubbling Jewelry Box as a dance exercise for his son, Gary, who named it after its sparkling melody. The Blues For Theda was inspired by the comic nickname Annette used in letters to Paul before they were married. And a family parakeet, Charlie, is the model for the descriptive Charlie's Song.

The versatile talents of both Smiths are well illustrated in all the performances. There is imaginative skill combined with humor, for example, in Lover, where Paul and Annette sweep through diverse musical patterns. Playing first in classic waltz time, then in a style like that of Les Paul and Mary Ford, they move through a Scottish rhythm, a cha cha tempo, a bright "Merrily We Roll Along" chorus, coming full circle to end in waltz time. Their playing captures moody beauty in such standards as My Funny Valentine, and the sensitive I Want To Stay Here from "Porgy and Bess." Their techniques display fiery precision in the Latin tunes, Carioca and Cumana. In fact, there are outstanding things to be heard in each tune, for both he and she employ a fine variety of styles, and play them all superbly.

Vivacious Annette Warren was born in Cleveland, Ohio. She was taught the piano as a child by her mother – and taught well, for she was a professional pianist by the time she reached the age of 16. She played several successful engagements in New York, then was awarded a scholarship at Juilliard, but turned it down when musical coach Phil Moore advised her to turn to a singing career.

Her songs have been heard in many of the smartest clubs in the world, including the Blue Angel and St. Regis Maisonette in New York, the Cocoanut Grove in Los Angeles, and the Colony Club in London. In addition, she was the singing voice for Ava Gardner in the motion picture "Showboat," and has dubbed voices in UPA cartoons.

Annette is passing her musical knowledge on to her daughters, Laura, through piano lessons, and continues her own classical studies with famed teacher, Florence Russell.

Pick Yourself Up

Wait Till You See Her

Carioca

My Funny Valentine

Lover

Blues For Theda

I've Got You Under My Skin

Jewelry Box

All The Things You Are

Cumana

I Want To Stay Here

Charlie's Song

African Tribal Music And Dances - Sonar Senghot

 

African Tribal Music And Dances

African Tribal Music And Dances

Sonar Senghot Ak Sicco Yi

Counterpoint/Esoteric Records/Everest Records CPT-5513 (S-2461 re-recored to simulate stereo)

From the back cover: Sonar Senghor is the son of an aristocratic family in Senegal. His uncle, Sadi Senghor is Africa's best known poet. Another uncle, Feral-Benga, who has performed at the Follies Bergeres and the French Casino in New York, now owns the Paris cabaret Rose Rouge in the Latin Quarter. Senghor's father is descendant of one of the former district kings in Senegal. Still another uncle, Jean Ndiouga Senghor is a deputy from Dakar to the French Assembly. Following a family tradition, Sonar Senghor came to France in 1946, and enrolled at Lycée Buffon, Paris, where he received his baccalaureate. Family plans called for him to continue studying for a law degree and return to Africa and practice. Senghor had different ideas – his heard was in the Theatre. He wrote his father saying he was giving up the idea of studying law in order to study all phases of acting and then return to establish the first Theatre in Africa. His father disowned and disinherited him. Nothing daunted, although deeply pained, Senghor enrolled in drama courses at René Simon, the training school for such famous French actors as Jean-Pierre Aumont, Michelle Morgan, Jean Gablin, etc.

A friend, Melo Kane, who had come from Africa at the same time to study anthology, was enthused when Senghor suggested that they form a troupe to present the native dances and songs of Africa in Paris. With another emigre, Moka Bock, they formed a trio, and in 1948 opened at the Rose Rouge with a repertoire consisting of African songs, two or three dances, and recitations of African poetry. An immediate success, they were soon joined by two other African students in Paris, Farra Diagne and Tio Tio Basse, who were studying engineering and music. In 1952 they opened at the Folies Bergeres in "One Vraie Folie".

Still using the Rose Rouge as sort of a home-base headquarters, the troupe has played in all sections of France, Belgium, Holland, Switzerland and Germany, as well as before many audiences of the American Army in Europe.

Sicco

Toffi

Ibonga

Gnoubi Gnibi

Dianka Bi

Sibi Saba

Sindhio

Didrenouo

Bonomiollo

Sammsamounn

Sougnou Mbtaye

Ndolo

Sabar

Badunde Ndonga

Changoo

Sammsamounn

Mbatilaya

Miva

Invitation To Romance - Queen's Hall Light Orchestra

 

Cloudland

Invitation To Romance

Played by the Queen's Hall Light Orchestra

Recorded In England

Music For Your Mood

Decca Records DL 8069

1954

My Waltz For You

Picture Parade

Radio Romantic

Cloudland

Joanne

Theme For Romance

A Star Is Born

How Beautiful Is Night

Journey Into Melody

Lake Of The Woods

Romantic Rhapsody

String Time

April In Paris - Victor Young

 

April In Paris

April In Paris

Victor Young and His Singing Strings

"Ver Tois" courtesy Worth, Paris

Decca Records DL 8243

1956

From the back cover: Victor Young has triumphed in both fields of music – he is equally proficient as a composer and as a conductor. He has furnished notable scores for famous films and, as evidenced by this album, has directed concert arrangements as well as popular songs.

In his teens Victor Young went to Poland, where his grandfather enrolled him in the Imperial Conservatory. Shortly thereafter, he made his professional debut as concert violinist with the Warsaw Philharmonic Orchestra under the baton of Julius Vertheim. It was in appreciation of his talents and as a tangible evidence of his success that Joseph Goldfeder presented the youthful artist with a rare Guarnerius Violin – an instrument he cherishes to this very day.

In 1920, Young returned to the United States and at the age of 21 made his American debut as concert violinist in Orchestra Hall, Chicago. Immediately afterwards, he was offered $500 a week for a vaudeville tour; but when he discovered that he would not be permitted to play classical music on the tour he tore up the contract. This, despite the fact that he and his sister were penniless. But giving occasional concerts he managed to eke out a living.

Two years later, on a ticket sent him by his fiancée, Young went to Hollywood where Sid Grauman heard him play and engaged him for the Million Dollar Symphony Orchestra. His playing at Grauman's aroused national attention and, before the year was over, he and his newly acquired bride were back in Chicago. Ever since, he has consistently pioneered symphonic jazz – the blending of the jazz idiom with classical structures, interpolating jazz rhythms and harmonies into long-accepted forms.

Victor Young is actually the creator of what amounts to a comparatively new art form: that of writing original scores for motion pictures. The importance of film background may not be readily apparent. That is the intent. The music must set the mood of the film as a whole and each scene as an entity; it must suggest and describe the locale; it must point up the content of the story. Victor Young has made many important contributions to the cinematic field, including the memorable scores for "For Whom The Bell Tolls," "Love Lettere," "Golden Earrings," and the dramatically satisfying music for "Samson And Delilah."

In this group Victor Young appears in another of his many roles. With his aggregation of "Singing Strings" he makes the violin actually sing straight to the heart. The mood is indicated by the title "April In Paris," and, though the accent may be French, the appeal is universal. Here are romantic, rose-colored memories of Parisian streets, the mists rising from the river Seine, a fleeting glimpse of the Place Pigalle, the haunting melodies of "Parlez-Moi D'Amour," "Danse Avec Moi," "Comme Ci, Comme Ca," "La Mer," and other tantalizing tunes. Here, singing its way across two continents, is the language of love.

April In Paris

Dancing With You

Speak To Me Of Love

Pigalle

Beyond The Sea

Comme Ci, Comme Ca

The River Seine

La Vie En Rose

Autumn Leaves (Piano solo by Ray Turner)

If You Love Me (Really Love Me) (Hymne a L'Amour)

Under Paris Skies (Sous le Ciel de Paris)

(Ah, the Apple Trees) When The World Was Young

Something To Remember You By - Robert Farnon

 

Dancing In The Dark

Something To Remember You By

Robert Farnon and His Orchestra

London LL 1231

Made In England

From the back cover: In recent years Robert Farnon has been an inspiring figure in British light music, at a time when the light concert orchestra has become as popular as the dance band. A good deal of the credit for this must go to Robert Farnon whose orchestral ideas blazed the way, not only for his own development but for other orchestras of this kind, such as Mantovani's and Frank Chacksfield's. He has also enlivened the musical scene with some most attractive compositions such as Portrait Of A Flirt and Jumping Bean, as well as with the orchestral arrangements that have more than amply proved his taste and genius in this field.

Born in Toronto, Canada, Farnon came to England in 1944 as musical director of the Canadian Band of the A.E.F., and through his many broadcasts became known to millions of listeners in the British Isles. After his release from the Army he decided to stay in Britain, and immediately his masterly scores began to appear in the libraries of such band-leaders as Ambrose, Ted Heath and Geraldo.

The B.B.C. offered Robert Farnon a great opportunity of earning wider fame in a series entitled "Melody Hour". At the same time he was signed by London as the conductor responsible for directing the accompaniments to such well-known artists as Vera Lynn and Gracie Fields. The film industry has also made good use of Robert Farnon's talents both as an arranger and a conductor. Films such as "Paper Orchids" and "Spring In Park Lane" have allowed cinema audiences to appreciate further his artistry as a musical director. 

This selection of Robert Farnon's arrangements played by his orchestra is a typical example of his capabilities, some very good musical reasons why this arranger-composer has earned his popularity and esteem. and, in his turn, Robert Farnon presents soloists and sections of his orchestra in their interpretations of well-chosen tunes.

No recording could be more fully representative of Robert Farnon talents as orchestrator and director. – Pete Hammond

Louisiana Hay Ride

Something To Remember You By

Alone Together

Maria

If There Is Someone Lovelier Than You

Got A Bran' New Suit

I Guess I'll Have To Change My Plan

Then I'll Be Tired Of You

Dancing In The Dark

I See Your Face Before Me

You And The Night And The Music

A Shine On Your Shoes

Message Of Hope - Maceo Woods

 

He Knows It All

Message Of Hope

The Reverend Maceo Woods

Trip Gospel Records TLP-7028

I Promise Him

He Knows It All

On The Battlefield 

When He Calls Me

I Just Rose To Tell You

He Is All I Need

Christ Is All

I Need Jesus

I Heard A Voice

Come Up To Bright Glory

Yes I Want To See Jesus

Do You Know Him

Mulligans Music - Vic Lewis and His Orchestra

 

Mulligans Music

Mulligans Music

Vic Lewis and His Orchestra

London LB 980 (10-inch disc)

Made in England

1954

From the back cover: Gerry Mulligan - Twenty-six year old Philadelphia-born Gerry Mulligan began to attract attention as baritone sax and especially, arranger, soon after the end of World War II.

In 1946 he composed the popular Disc Jocky Jump for Gene Krupa's orchestra, but it was two years later, with the formation of Miles Davis's short-lived band, that Gerry really made his presence felt in the jazz world.

To the Davis library he contributed such scores as Godchild, Jeru and Venus de milo (all recorded for Capitol by the outfit), and it is generally acknowledged that these little masterpieces sketched the patterns upon which almost all modern jazz writing has been based.

Gerry extended his influence still further in 1952, when he formed a quartet of his own, working at The Haig, a small night club just a few miles from Hollywood in California. The foursome at first comprised Mulligan (baritone sax), Chet Baker (trumpet), Bob Whitlock (bass) and Chico Hamilton (drums) – no pianist, you will note – and immediately this was hailed as the most distinctive, musicianly unit to come out of jazz in many a moon!

Some months ago, Gerry augmented his four-piecer specially to make the Mulligan Ten-tet LP for Capitol, a set which collectors all over the world have been quick to secure.

Apart from appearing with his own group, Gerry recently composed and arranged extensively for Stan Kenton's orchestra, and three of the items heard on this Vic Lewis LP, Walkin' Shoes, Bweebida Bodida and Limelight (not to be confused with the Charles Chaplin theme, of course), are played from the authentic Mulligan manuscripts, specially presented to Vic by Stan.

The remaining title, first conceived for smaller combinations, have been re-orchestrated in the Mulligan manner by British arranger Johnny Keating.

Vic Lewis - Born in London on July 29th, 1919, Vic Lewis has long been a man with a mission. Whenever and wherever possible he propagates the creed of Progressive Jazz, as laid down and practiced in America by Stan Kenton and his associates. And despite early opposition from conservative-minded folk, both in and outside the profession, Vic's orchestra has now built up a formidable following, both at home and in many countries throughout the world.

Before the war, Vic was an ardent Dixieland fan, and during a trip to America in 1938 he played guitar and recorded with such Transatlantic two-beat luminaries as cornettist Bobby Hackett and drummer Zutty Singleton.

He served with the RAF during hostilities, and while still in uniform he teamed up with drummer Jack Parnell to form the Vic Lewis-Jack Parnell Jazzmen, a New Orleans-inclined group which reached name-band status.

By 1947, however, Vic was a confirmed avant garde specialist, and his recently-assembled group of the period strongly featured such Stan Kenton products as Intermission Riff and Artistry In Boogie

Three years after this, Lewis embarked upon his most ambitious venture to date. With a twenty-piece orchestra he toured the concert halls of Great Britain, featuring some of the most advanced works ever conceived in the name of jazz, as a direct parallel to Kenton's concurrent "Innovations" concerts in the States.

Vic has subsequently been forced by economic necessity to plough a more commercial furrow most of the time, but plans are afoot for him to stage a long series of "Tribute to Kenton" presentations in 1954.

Johnny Keating - One of Britain's most talented jazz arrangers, Johnny Keating formerly rated as an equally distinguished trombonist. But late in 1953 he packed his instrument away for the last time, having decided to concentrate exclusively on his scoring activities.

During his career, Johnny has played with such eminent London maestri as Ted Heath, Geraldo, Ambrose – and, of course, Vic Lewis.

He is currently kept busy as staff arranger for the Lewis, Johnny Dankworth and Harry Bence orchestras. 

Keating transcriptions of Gerry Mulligan compositions heard on this LP are Sextet, Line for Lyons, Nights at the Turntable, Westwood Walk and Bark for Barksdale. – Mike Butcher

Bneebida Bobbida

Nights At The Turntable

Westwood Walk

Sextette

Bark For Barksdale

Limelight

Walkin' Shoes

Lines For Lines

Jose Melis Trio

 

Jose Melis Trio

Jose Melis Trio

Jose Melis At The Piano

MGM Records E262 (10-inch disc)

1957

From the back cover: Jose Melis, America's new piano sensation, began the study of music at the age of three under the tutelage of his mother. At six years he entered the Havana Conservatory where he graduated; four years later, while there, he gave his first public concert. The precocity of Joe Melis is further demonstrated by the fact that the Cuban Government gave him a scholarship to study in Paris where he subsequently won a competition that gave him the advantage of studying with the eminent French pianist, Alfred Cortot.

Following his sojourn in Paris, Jose returned to Havana to do concert work which included performances with the Havana Symphony Orchestra. Shortly thereafter he went to Boston to study with the famed harpsichordist and concert pianist, Erwin Bodky, pupil of the famous Bussoni. After three years in Boston, another scholarship was awarded to him which took Jose to New York to study music further at the Julliard Graduate School of Music under Joseph and Rosa Lhevinne.

Besides being a true musician in the classical field, Jose is a finished interpreter and performer of current American and Latin-American music. He is a master of technique, but his technical ability does not displace the emotional interpretation of his performance and he is noted for his sensitive renditions of modern and classical works alike.

Melis' compositions are like his playing – artistic and individual; in which he blends the classical with the modern idiom for delightful results. One of his most unique and ingenious accomplishments is to offer a familiar tune as it would have been composed by the various masters. One of the cleverest of all his tricks is Jose's ability to translate any telephone number into a fine graceful melody which fascinates his audience.

After serving in the United States Army, Jose toured the states as a musical director of a U.S.O. Camp Show. He then moved directly into the popular field with appearances in New York and other leading entertainment centers. His versatility has brought him engagements from hotels and night clubs all over the country ranging from the sophisticated Le Ruban Bleu in New York to the distinguished Carleton Hotel in Washington. He has performed as soloist with the Boston Pop Orchestra.

Such superlative praise as "The Unusual Find of the Year", "Brilliant Pianist", "The Melis Touch of the Keyboard has Magic and Fasciation" has ben heaped on Jose Meilis by the press to the point of where he has even been compared to the great Iturbi.

M-G-M Records takes pride in presenting Jose Melis and His Piano

September Song

The Terry Theme from "Limelight"

The Dream Of Olwen

Intermezzo from "Cavalleria Rusticana"

Moon Of Manakoora

Once In A Lifetime 

Serenata

Granada

Alakazam The Great! - Les Baxter

 

Alakazam The Great!

Wham! Bam! Here come the 13 fabulous, hilarious miracles of...

Alakazam The Great!

Full-Length Cartoon Feature in Color

An American-International Picture

A Toei Production

Music by Les Baxter

Original Movie Soundtrack Music featuring Albert Harris and Ian Freebairn-Smith conducting the "100" Men

Vocals by Bobby Adano

Vee Jay LP-6000

1960

This album for Vee Jay Records by arrangement with William G. Hunt Production in associations with Michaels-Palmer Enterprises

Starring the voices of Fannie Avalon, Dodie Stevens, Jonathan Winters, Arnold Stang, Sterling Holloway

Introduction (Les Baxter)

Aliki Aliko Alakazam (Les Baxter)

Ali's Song (Les Baxter)

Magic Man (Instrumental - Les Baxter)

Hey, I'm In Love Again (Les Baxter)

Magic Man (Les Baxter)

Blue Bird In The Cheery Tree (Les Baxter)

Under The Roaring Waterfall (Les Baxter)

Alakazam Ballet Fantasy (Les Baxter)

Finale (Les Baxter)