Wayne King In Hi-Fi

 

Sweet And Lovely

Wayne King In Hi-Fi

Wayne King and His Orchestra

Cover Photo by Jeanne & Hobart Baker

Decca Records DL 78

1958

Sweet And Lovely

L'amour Toujours L'amour

I'm A Dreamer, Aren't We All

To Each His Own

Silver Moon

Sleepy Lagoon

They Say It's Wonderful

Harbor Lights

Laugh! Clown! Laugh!

Ah! Sweet Mystery Of Life

Prisoner Of Love

The One Rose (That's Left In My Heart)

I'm Movin On - Bobby Lowe

 

The Darkest Corner

"I'm Movin On"

And Other Country And Western Favorites

Bobby Lowe

Crown Records CST 560 STEREO

1968

I'm Movin' On
Cry Like A Baby
Seven C's Of Tears
Anniversary Of Goodbye
The Best Part Of Me
Ol' Black Engine
Queen Of Broken Hearts
Big Wheels Rollin' On
The Darkest Corner
My Hopes Are Getting Dim

Scheherazade, Op. 35 - Leopold Stokowski

 

Scheherazade, Op. 35

Rimsky-Korsakoff

Scheherazade, Op. 35

Leopold Stokowski conducting the Philharmonia Orchestra of London

Manoug Parisian, Violin Solo

RCA Victor LM 1732 Tone Poem

Red Seal Records

Recorded in England

1951

From the back cover: In one sense Russian music was born, and died, with Nicolas Andreievitch Rimsky-Korsakoff. Before his ascendancy there had been no national heritage for Savic composers. Rimsky hoisted high a new standard. After his passing it went down with the way of life it had graced. The proud nationalism Rimsky had implanted in the musical firmament shone brightly buy briefly, meteor that it was, and passed into history.

Ironically, Rimsky is today billed in the Soviet Union as a hero of communist culture. He must have turned over in his grave on the 18th of March, 1944, when the Kremlin keepers of "the people's music" took time out from World War II to install him in their Pantheon. The calendar-conscious commissariat pointed up the centennial of Rimsky's birth with the unveiling of a huge statue in Leningrad, a handsome edition of his complete works, and a "scientific but popular" film depicting hi dedication to Marxism. This in the memory of a man who had copiously set down his admiration for the United States, her people and her political philosophy, and whose personal hero was Abraham Lincoln.

Moreover, it is a further irony that the spirit and substance of Rimsky's resplendent nationalism was essentially a by-product of the Czarist's government service. On the 8th of June, 1861, when the composer was seventeen and himself a cadet in the Imperial Navy, he was introduced to the twenty-five-year-pld Balakireff, who was to prove a decisive force in his musical life. The same Balakireff at one point sustained his career by working as a clerk in the imperial railway system. In or about to be in the Balakireef group, to which Rimsky became heir apparent while still in uniform, were Moussorgsky, an employee of the department of forestry; Borodin, a faculty member of the imperial academy of medicine; and Cui, an army engineer. In years past Dargomysky had been with the department of justice. And if Glinka had not been wealthy and Tchaikovsky provided for, they would likely have been public servants.

Rimsky, as the scion of an aristocratic family with a distinguished ancestry of high brass, donned his uniform as a matter of course. As with his later French counterpart, Albert Roussel, it was the song of the sirens, not the muse's smile; that beckoned most compellingly. Rimsky was drawn to the sea; the salon could wait. And wait it did, although the burgeoning composer never once lost touch with his amateur coterie at home.

But it was not until he was fully twenty-seven that Rimsky began to study the syntax of the musical language systematically and in earnest. And even then, in circumstances without parallel in the career of any other master, he had to teach himself in secrecy. Back in St. Petersburg, where he had been spending an hour or two a day at his naval duties and playing the dilettante full-time, he suddenly found himself, through the accession of a friend's friend, offered a professorship in composition at the Conservatory. It was all a misunderstanding; the new director had no idea Rimsky was ignorant of technical facilities. No matter, Rimsky took the job. Whereupon, without letting on, he plunged at once into the deepest mysteries of his chosen craft, somehow managed to keep himself abreast of his students. The hoax was indefensible, but Rimsky carried it off brilliantly. He not only justified he self-confidence; he later earned, strictly on merit, the directorship of the same institution. He also achieved an eminence as a pedagogue which stands to this day.

Clearly the most popular and enduring of Rimsky's many musical excursions into the exotic is Scheherazade, a symphonic suite after the Arabian Nights catalogued as Opus 35. A product of the composer's maturity, the work was roughed out in St. Petersburg in the spring of 1888, and finished that summer in a retreat at Nezhgovitzi on Lake Cherementz. The entire score seems to have been polished to perfection in less than a month; the movements are dated July 4th, 11th, 16th and 26th, respectively. It is inscribed to Vladimir Stassov, the astute critic who is remembered for having coined the omnibus label of Koushka – The Mighty Five – to describe Rimsky and his like-minded contemporaries. the premiére was given on the ensuing December 15th.

A prefatory note in the original score of Scheherazade reads simply thus: "The Sultan Schahriar, persuaded of the falseness and faithlessness of women, has sworn to put to death each one of his wives after the first night.

But the Sultana Scheherazade saved her life by inserting him in tales which she told him during one thousand and one nights. Pricked by curiosity, the Sultan put off his wife's execution from day to day, and at last gave up entirely his bloody plan. Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from poets their verses, from folk songs their words; and she strung together tales and adventures."

Rimsky has written that he had in mind such "unconnected episodes" as "the fantastic narrative of Prince Kalender, the Prince and the Princess, the Bagdad festival and the ship dashing against the rock with the bronze rider upon it." He also spoke of the solo violin as "delineating Scheherazade herself telling her wondrous tales to the stern Sultan." But in later years Rimsky was impelled to forswear any intentions of a specific program, and even to do away with those hints of one which had lain in the movement designations: "In composing Scheherazade I meant these hints to direct buy slightly the hearer's fancy on the path which my own fancy had traveled, and to leave more minute and particular conceptions to the will and mood of each listener. All I had desired was that the hearer, if he liked my piece as symphonic music, should carry away the impression that it is beyond doubt an Oriental narrative of some numerous and varied fairy-tale wonders..." If the composer's lament was belated, and unavailing, yet there has been no shortage of listeners who "like his piece" whether because of, or despite, its altogether unlikely plot. – James Lyons.

Band 1 First Movement: The Sea and the Vessel of Sinbad.

Band 2 Second Movement: The Tale of the Prince Kalender.

Band 3 Third Movement: The Young Prince and the Young Princess

Band 4 Fourth Movement: Festival at Bagdad. The Sea. The Vessel Is Wrecked

The Golden Waltzes Of Broadway - Claus Ogerman

 

Out Of My Dreams

The Golden Waltzes Of Broadway

The Broadway Strings Orchestra

Arranged and Conducted by Claus Ogerman

United Artist Records UAL 3253

1962

By Strauss 

Hello Young Lovers

Embassy Waltz

Out Of My Dreams

My Favorite Things

Wunderbar

Premiere

The Most Beautiful Girl In The World

Falling In Love With Love

I Feel Pretty

Is He The Only Man In The World

A Wonderful Guy

Quiet Music Volume 7 - Al Goodman (various)

 

My Little Grey Home In The West

Quiet Music

Volume 7

Al Goodman and His Orchestra, Columbia Orchestra

Meyer Davis and His Orchestra

Oscar Straus conducting The Columbia Concert Orchestra

Columbia Records GL 517

1953

When I Grow Too Old To Dream

Serenade 

A Perfect Day

Missouri Day

Missouri Waltz

La Seduction

My Little Grey Home In The West

The Desert Song

Tea For Two

I Know What I Want

Count Of Luxembourg – Medley

Procession Of The Sadar

That Naughty Waltz

Romance In Rhythm - Johnny Douglas

 

I Won't Dance

Romance In Rhythm

Designed For Dancing

Johnny Douglas

Gown on cover by Filcol

London Records LL 1378

1955

I Won't Dance

Yesterdays

A Fine Romance

The Carioca

They Can't Take That Away From Me

The Way You Look Tonight

I'm Putting All My Eggs In One Basket

Smoke Gets In Your Eyes

Pick Yourself Up

Night And Day

Isn't It A Lovely Day

Cheek To Cheek

An Ode On The Death Of Mr. Henry Purcell - The New York Pro Musica Antiqua

 

An Ode On The Death Of Mr. Henry Purcell

Ode To The Death Of Mr. Henry Purcell

Music by John Blow

Words by John Dryden

For 2 Counter-Tenors, 2 Recorders and Continuo

And Selected Vocal and Instrumental Works Of Henry Purcell

The New York Pro Musica Antiqua

Re-recorded to Simulate Stereo

Counterpoint/Esoteric Records 5519

An Everest Records Production

1957

Valarie Lamoree - Soprano 

Russell Oberlin - Counter-Tenor I

Charles Bressler - Counter-Tenor II

Arthur Squires - Tenor

Bernard Krainis & John Leonard - Recorders

George Koutzen - Violoncello

Herman Chessid - Harpsichord

From the back cover: The New York Pro Musica Antqua was organized in 1952 and has appeared frequently in radio and concert performances in metropolitan New York and has to date made four recordings for Esoteric Records. The group is a unique addition to the American musical scene, having as its purpose the faithful presentation by professional performers of the instrument and vocal literature of the medieval, renaissance and baroque periods. The singers on this recording are: Russell Oberlin – Awarded scholarship to the Juilliard School of Music; graduated in 1951. Has appeared as soloist with the Robert Shaw Chorale and the Hufstader Singers, and at The Library of Congress. The Folger Shakespearian Library, Town Hall and Times Hall. He is presently tenor soloist at the Church of the Ascension in New York City. Charles Bressler – born in Kingston, Pa., graduated from Juilliard. Has appeared as soloist with the Hufstader Singers. The Vinaver Chorus and the Robert Shaw Singers and has sung as soloist with the Cantata Singers. Valarie Lamoree was born in Kansas and received her earliest musical training as a violinist, on which instrument she concertized extensively throughout the mid-west. As a singer she has appeared with Toscanini in the NBC performance of Otello, and has sung frequently as soloist with the Seattle Symphony Orchestra. – Notes by Max Stern

Why Should Men Quarrel

Two In One Upon A Ground

Who Pleasant Is This Flowery Plain

What Can We Poor Females Do

Whilst I With Grief

When The Clock Begins To Crow

What A Sad Fate

Strike The Viol

Caesar Plays - Caesar Giovannini

 

Ritual Fire Dance

Caesar Plays

Caesar Giovannini, Pianist

At two Steinways, through the magic of Sound-On-Sound recording

Concert-Disc CS-40

1959

From the back cover: It is an unusual picture, at that. Our cover picture.

How else could we get the point across? The point being that nobody can stand a piano on its ear like Caesar Giovannini. Nobody can hold the listener – including our beauteous Miss Concert-Disc – in the palm of his Steinway. None but our Maestro Cesare.

By the way, that's two Steinways you hear. Through the magic of sound-on-sound recording, Caesar is heard playing duets with himself. and it true stereo, too. Each of the "two" pianos has been recorded stereophonically, in its proper spatial placement: first piano on the left, second piano on the right, as you face your speaker system. And the stereo is truly Concert-Disc's Balanced Acoustic Stereo, the real, full sound of the live performance, resounding with life and depth, free of any exaggerated, distortion separation. The recording was made, incidentally, in an actual concert hall; this accounts for the live, warm acoustics.

Giovannini earned his Bachelor of Music and his Master's degree (in composition) at the Chicago Conservatory of Music. In World War II he was pianist for the official U. S. Navy Band in Washington, D.C. He was the first to broadcast live music via FM in Chicago. In 1949, Giovannini joined NBC in Chicago, and, until 1956, was the delight of millions via appearance on the Dave Garroway and Ransom Sherman shows, and many others.

Not for nought did Oliver Dragon (of Kukla, Fran and Ollie fame) respond in such lusty song to the pianism of his music director – for it was indeed Giovannini! Caesar, Kukla, et al. worked together until the Kukla show left the networks recently. Giovinaaini is now busy freelancing on radio and TV, arranging and performing. And he records exclusively for Concertapes/Concert-Disc.

Caesar's playing is forceful, yet delicate; imaginative, urbane, polite. Good listening. You'll be playing this record often, and for many varied occasions.

For the technically-minded: this recording was made with Telefunken U-47 microphones, Ampex 350-2 recorders, and Western-process disc-cutting equipment. No echo or other coloration of any kind has been added. Nothing but the true concert-hall sound is heard in this recording.

Begin The Beguine

All The Things You Are

Vienna, City Of My Dreams

Malagueña

Somewhere Over The Rainbow

Dizzy Fingers

Canadian Capers

The Lamp Is Low

Reflections

Stardust

Poinciana

Yesterdays

Ritual Fire Dance

Swing College At Home - The Dutch Swing College Band

 

Swing College At Home

Swing College At "Home"

Dutch Swing College Band

Recorded at the Kurhaus Scheveningen Holland, September 1955

Philips Minigroove Records B 08001 L

From the back cover: There are few people who haven't heard the time-honored adage "All good things come to an end" – not to mention discovering the inevitable truth of this statement of themselves. And it's equally true of this great record, too, for although it is his third Minigroove and first live-concert record, it nevertheless marks the end of the professional career of Holland's all-time most popular jazz musician, the founder and leader, up to the date on which these recordings are made, of the Dutch Swing College Band: Peter Schilperoot.

The original idea for this "live" farewell concert came from Mr. Pieter Sweens of the Netherlands Phonogram organization, the music being recorded on the 13th and 19th September, 1955. Scheveningen is actually the seaside resort of The Hague – in fact they form one large city – and The Hague is home of the Dutch Swing College Band. Where then, could the band be more at home than in the Kurhaus?

This is a live-recording, we said, which means that it differs form all the other Minigroove records by the Dutch College Swing Band released to date, with one important exception, however... the high standard of their playing, which is an invariable as it's breathtaking! We refer, of course, to the fact that you'll find "combo's within the band" on this record, in addition to the well-known combination employing either two clarinets or two trumpets, and there is even one number in which yet another musician joins the band, but more about that later on. Now, let's turn our attention to the music. The record naturally opens with the band's signature tune, "Way Down Yonder In New Orleans". A trombone slur and then, slowly, the melody. Suddenly Wybe Buma comes in with his break, followed by a fast one as a prelude to the finish with its classical Dixieland close. First on the program is "Sensation Rag", an old number as is obvious from the word "Rag", and a firm favorite on the repertoire of the original Dixieland Jazz Band of 1917. Way back, this number was syncopation than swing. In the hands of these extremely capable musicians, however, every bar of it is jazz, swinging jazz. The clarinet solo is by leader Peter Schilperoot.

The first recording of "Riverside Blues" was made by Joe "King" Oliver's Creole Jazz Band in 1923, in which Louis Armstrong played second cornet, with Joe himself in the lead. In order to continue this tradition, Peter Schilperoot sat down in the Kurhaus behind the drums, while the regular drummer, André Westendorp, played cornet to Wybe Puma's trumpet. "Riverside", by the way, refers in this case to the bank of the Mississippi on which New Orleans lies.

At A Georgia Camp Meeting" is one of the numbers in which you can listen to a special instrumental combination. There's no trumpet this time, but a melody section consisting of Peter Schilperoot (soprano sax), Dim Kesber (clarinet) and Wim Kolstee (trombone). Something as funny as it was unexpected happened during the recording of this number, although it wasn't particularly funny as far as the "victim" himself was concerned. One of Arie Ligthart's banjo strings suddenly broke without warning. He turned with a "what-do-I-do-now?" look on his face towards recording engineer Jos Ditmars high in his control-room above the stage, but as everyone simply carried on playing as if nothing had happened, he picked up his guitar and followed suit. The next number, "Peter Swayin's" is a completely on the spot improvisation, the title of which gives Pieter Sweens' name written down phonetically. The first clarinet solo is by Peter Schilperoot, while the order in which the soloists appeared was only decided during the actual session. But the result is real jazz!

"South", from Benny Moten's Band in Kansas City, is played with two trumpeters Wybe Buma and André Westendorp with Peter on the drums again. Before the band started off with "Weary Blues", Peter Schilperoort introduced his clarinetist-successor to the thousands of jazz-fans present at this memorable concert. His name is Jan Marks and where Jan goes, his clarinet goes too! Next on the program, therefore, is a really remarkable version of that old Artie Matthews number, with no less than three clarinets in the melody section! The first solo is by Jan Marks, followed in turn by Dim Kesber and Peter Schilperoort. This latter order is also adhered to for the second chase.

Leader Schilperoort was the soprano-sax soloist in "Basin Street Blues", which is followed by a number invariably associated with the white Chicago jazzmen of the Twenties – "Copenhagen" in which there's some fine clarinet-playing by Dim Kesber. In "Lazy River", it was then Peter Schilperoort's turn for a special solo-spot on clarinet, which provides him with a wonderful opportunity to display his fine taste and virtuoso qualities. "Kitty's Dream", in which the personnel are Dim (soprano sax), trombonist Wim Kolstee at the ivories, Bob van Oven (bass) and André Westendorp behind the drums, is a composition by Dim Kesber.

Dim' really got something to say in this number, especially in the second chorus!

"The World Is Waiting For The Sunrise" features both Peter Schilperoort and Dim  Kesber on clarinet. In this number, which certainly set the whole hall rocking, Dim takes the first solo. He's followed by pianist Joop Schrier and then it's Peter's turn, after which Peter and Dim really get going. As you'll certainly need to relax for a moment after all that excitement, the Band follows up with "Savoy Blues", that beautiful Louis Armstrong classic, in which trumpeter Wybe Buma blows a fine solo.

And finally, there's another great number by one of New Orlean's most famous pianist and bandleader, Jelly Roll Morton. So off we set again along the old Mississippi in "Steamboat Stomp", heading as our final destination, for the place where it all began... "Way Down Yonder In New Orleans". 

It's all over then, both the first live-recording by the Dutch College Swing Band and the leadership of the man who made this orchestra what it is today, the "top", to say the least, in Dixieland music in Holland. The Band will now carry on with Joop Schrier in the leader's chair and Jan Marks instead of Peter Schilperoort. And if There ever was a grand farewell concert, then it was this one. Truly unforgettable!

'Way Down Yonder In New Orleans

Sensation Rag

Riverside Blues

At A Georgia Camp Meeting

Peter's Swayin's

Weary Blues

Basin Street Blues

Copenhagen

Lazy River

Kitty's Dream

The World Is Waiting For The Sunrise

Savoy Blues

Steamboat Stomp

'Way Down Yonder In New Orleans

Rene Paulo Plays In Person

 

Moon River

Rene Paulo 

Plays In Person

Recorded Live at The Famed Shell Bar of The Hilton Hawaiian Village at Waikiki Beach, HonoluluRecording Engineer: Bob Lang

Cover Design: Victor Amiel

Mahalo Records M-3004

1962

From the back cover: An enthusiastic and excited audience crowded the Hawaiian Village's Shell Bar in Waikiki the evening of May 7, 1962.

For it was the opening night of Rene Paulo, the gifted pianist whose refreshing and highly original style had captured the musical fancy of the islands. Rene's first album for Mahalo Records, Here Is Happiness, had become the best-seller local LP throughout Hawaii in the two short months following its release, the young artist was at the peak of fame on the island musical scene, and the evening promised to be a high mark in the fabulous Paulo career.

It was all of that. The rare and electric stimulation between a thrilled and receptive audience and a sensitive artist was evident from start to finish, and certainly some of Paulo's greatest performances were heard that evening.

The producers of Malalo Records have captured the excitement of that evening in this album, recorded during the performance; it is an album which will be a treasured entry in the collection of all connoisseurs of popular music.

Introduced by Tom Moffatt, popular Honolulu radio personality of Station K-POI, Rene first caresses the melody with which he has become so closely associated, Here Is Happiness. The crowd's responsive applause and recognition of the theme keynotes the program to follow.

The night's performance includes many memorable renditions, but none more carefully constructed nor warmly executed than the lovely Moon River, the Henry Mancini-Johnny Mercer Academy Award winner. The Paulo style embraces the haunting tune, and the young pianist develops the melody through hushed, bell-like tones, harmonic changes and chord progressions of unsurpassed beauty.

Notice, also, the audience's delight and acceptance when Rene swings into Mack The Knife, one of his most requested numbers. He ambles through the piece in a jocular mood, bouncing the melody about in a series of swinging variations.

A great admirer of Leonard Bernstein's music, Rene, to the complete satisfaction of the audience, delivers a stunning concert version of Maria, the hit tune from West Side Story. It is doubtful whether the song has ever been performed with more affection.

No Paulo performance would be complete without his unique arrangement of the nursery rhyme, Three Blind Mice. Rene's training at the famed Juilliard School Of Music manifests itself as the melody appears again and again, each time in the style of a different composer. Listen carefully and you will hear how this familiar melody would have sounded had it been the work of Bach, Beethoven, Rachmaninoff, Chopin or Mozart.

With the pianist on this recording are the three island musicians who have become members of the Rene Paulo Quartet: Ed Shonk, bass; Bruce Hamada, drums; and Tomo Fukui, guitar. Their expert accompaniment contributes to an unforgettable evening with Rene Paulo at the Hawaiian Village. – Dick Howard

Here Is Happiness

Hiilawe

Moon River

Three Blind Mice

Mack The Knife

Sakura

Maria

Midnight In Moscow