Howdy Folks! Check out my Atomic Age Vinyl Finds! If there are copyright issues or a problem with any post, just contact me and I will make corrections. I'm here to have fun and hope you will share in my process of discovery!
Khachaturian Masquerade Suite Kabalevsky The Comedians Kiril Kondrashin RCA Victor Symphony Orchestra Produced by Richard Mohr Recording Engineer: Lewis Layton RCA Victor Red Seal LM-2398 1960
From Billboard - June 20, 1960: Two of the gayest and most broadly "popular" compositions from the orchestral repertoire are bracketed on a release which provides great musical fun. Kiril Kondrashin conducts these light-hearted compositions of his countrymen with zest and high spirits. The disk can be sold for it has an appeal to every musical taste, even to those who don't normally care for classical music. As such, it can be recommended by dealers to gift-buyers.
Orchestra Conducted By Marty Gold
Produced by Marty Gold
Recorded in Webster Hall, New York City
Recording Engineer: Bob Simpson
RCA Victor LSP-2383
Slow Boat To China
Bless, You Is My Woman
On The Street Where You Live
Three Coins In The Fountain
Just One Of Those Things
Long Ago And Far Away
Tea For Two
Body And Soul
Clyde & Phyllis
A Musical Fantasy About The World's First Guitar Playing Elephant
Created by Roger Flax
Music and Arrangements by Roger Flax
Lyrics by Roger Flax and Davina Judis
Produced by Howard Scott
Illustration: Joe Oriolo
Hello My Name Is Clyde
There Was A Zoo
The Sad Love Affair Of Clyde & Phyllis
Poor Old Clyde
I'm Off To Cape Kennedy
A Tune About The Moon
Wake Up Clyde! I've Got Good News
We'll Float In Space Together
I Hate Men
With Sid Bass and His Orchestra
Arranged and Conducted by Sid Bass
Produced by Chick Crumpacker
Recored in RCA Victor's Studio A, New York City
Recording Engineer: Ernest Oelrich
RCA Camden CAL-561
From the back cover: Nancy has had a very long career in the theater, mainly because she crawled out on the stage once at the pre-Equity age of ten months. Her parents were vaudeville stars and Nancy is of the true born-in-a-trunk tradition. As a youngster she tagged along with her father, Dewey Barto, on vaudeville tours throughout the United States and Europe.
In her first New York roles, Nancy amassed reviews and a reputation as a triple-threat musical performer – this appellative meaning that in addition to acting and singing, she was also one terrifically funny young lady. Her first performance in "Best Foot Forward" led to parts in "On The Town," "Look Me, I'm Dancin'," "Along Fifth Avenue" and "Pal Joey."
Amid all this Nancy found time to sign a Hollywood contract which culminated with her creation of riotous roles in "Broadway Rhythm" and the screen versions of "Girl Crazy" and "Best Foot Forward." Recent stage successes have included "Copper and Brass" and a revival of "Wonderful Town," both in 1958.
A year earlier Nancy had journeyed from musical to straight comedy in the Noel Coward play "Fallen Angels." In the eyes of many critics, Nancy's performance overshadowed all else, and it was not an indisputable fact that Nancy Walker was a comedienne of the first order.
Nancy has had one bad break, which, however, promptly turned into a good one. While singing during a performance in 1951, she suddenly discovered that she had lost her voice. Unable to sing a note, she took her troubles to vocal coach David Craig. Within a few months, Nancy found she could sing again... and also found that she was Mrs. David Craig.
Her latest success in the revue "The Girls Against The Boys," with Bert Lahr, Shelly Berman and Dick Van Dyke. She is the darling of comedy writers, who realize that few can sell a song, a skit, or a show as well as Nancy Walker. – Notes by Frank Jacobs
Everything I've Got
I'm Gonna Wash That Man Right Out Of My Hair
To Keep My Love Alive
You Irritate Me So
Boy! What Love Has Done To Me!
Most Gentlemen Don't Like Love
I Hate Men
What Is A Man?
How To Play Guitar
The Easy Way To Learn All The Chords & Rhythms
Folk, Country & Western
Rhythm & Blues
Guitar Demonstration and Text by George Barnes
Spoken Commentary by Bob Mersey
Music Minus One Music Book
Complete Music Enclosed
Music Minus One MMO 130
From the back cover: Bob Mersey is a foremost authority on today's popular music. Top-flight vocalists call upon his talents for arranging and conducting countless recording sessions. With an intuitive ear for new sounds, Bob Mersey has originated many instrumental effects which now have become standard in the recording studio. Some of his greatest hits include: Volare (Bobby Rydell), Good Timin' (Jimmy Jones), Traceys Theme (Spencer Ross), Go Jimmy Go (Jimmy Clanton), Corinna Corinna (Ray Peterson), Lonely Teenager (Dion), Your Other Love (Flamingos).
George Barnes and Bob Mersey have joined forces to create this course for the casual strummer and beginning student. Nevertheless, the teacher and working professional will benefit from the logical sequence of studies and the living approach to the sound of today's music.
From rock 'n roll to modern jazz, the name of George Barnes is synonymous with guitar. In an age of specialization, a musician like Barnes who excels in all the varied styles of America's popular music in indeed a rarity. Here is a guitarist who is equally at home with Paul Anka, Ella Fitzgerald, Rusty Draper, Red Foley, Connie Francis or Frank Sinatra; who has recorded with Mitch Miller, the McGuire Sisters, Perry Como, Bobby Rydell, Ray Peterson, Johnny Mathis and many other greats.
A recording artist in his own right for Mercury, Decca and Grand Awards labels, George Barnes spends most of his time in the recording studios ready to execute any conceivable guitar effects which the session may require. From this vast experience has come the formulation of an organized course in modern guitar rhythms.
The Best Of Bill Evans Original Recordings Produced by Creed Taylor A&R Coordination and Supervision by Helen Keane Re-Engineering: Dave Greens, Sandy Lehmann-Haupt Director of Engineering: Val Valentine Cover Design: Any R. Lehman Photos by Roberto Polillo Verve V6-8747
Beautiful Love and My Foolish Heart were recorded at Town Hall, New York, February 21, 1966. Engineer: Rudy Van Gelder. Personnel: Bill Evans, Chuck Israels (bass), Arnie Wise (drums). Previously unreleased.
Spartacus Love Theme and How About You were recorded at Webster Hall, New York, January and February, 1963. Engineer: Ray Hall. Personnel: Bill Evans (three pianos). Originally released on the Verve album Conversations With Myself (V6-8526).
Bemsha Swing was recorded at Webster Hall, January and February, 1963. Engineer: Ray Hall. Personnel: Bill Evans (three pianos) Previously unreleased.
I Believe In You and Danny Boy were recorded at Rudy Van Gelder Studios, Englewood Cliffs, New Jersey, August 14, 1962. Personnel: Bill Evans, Monty Budwig (bass), Shelly Manne (drums). Originally released on the Verve album Empathy (V6-8497)
I've Got You Under My Skin was recorded at Rudy Van Gelder Studios, April 7 and May 10, 1966. Personnel: Bill Evans, Jim Hall (guitar). Originally released on the Verve album Intermodulation (V6-8655).
Valse was recorded at Rudy Van Gelder Studios, October and December, 1965. Personnel: Bill Evans, Chuck Israels (bass), Grady Tate (drums), and symphony orchestra. Originally released on the Verve album Bill Evans Trio With Symphony Orchestra (V6-8640)
Available from online vendors so I will not be posting a sample. Presented here to share the original cover and jacket information.
From the inside cover (book-fold): In order to set in perspective the contribution of this sui generis artist to the music of our time, it is necessary to shift gears into reverse, to arrive at a point in the mid-1950 when, after paying several years of anonymous dues with the likes of Jerry Wald and Herbie Fields, Evans first gained a measure of recognition as a member of the Tony Scott Quartet. This was the first "name" jazz-group of any consequence with which he was heard extensively in New York
It was immediately apparent that Evans was bringing to the piano certain qualities that were new to jazz; or if not new, at least generally underdeveloped, perhaps consciously avoided. He played with a rare subtlety, a gentleness and finesse that seemed at that point in our evolution to have gone out of style.
One critic, some years ago, went so far as to assume that because these characteristics were endemic to the Evans style, he was faced with a problem in communicating emotionally with his audiences.
As it turned out, nothing could be further from the truth. As far back as 1958 (the year in which he spent some nine months as a member of the Miles Davis Quintet) it was apparent that the introspective nature of Evan's work was the very element that focused attention on him. He had, and has something in common with the gifted actor who, irritated by too much coughing in the house, begins to speak his lines so softly that the audience immediately subsides into respectful silence.
Of course, it is not any deliberate attempt to command concentration of a Burbeck, the overwhelming contagious swing of a Peterson, the beguiling eccentricities of a Monk, seem better designed to establish a rapport with the audience. With Bill Evans, fortunately, the process works in reverse, as I observed at Shelly's Manne-Hole in Hollywood.
A mood of peace and quiet suffused the club from the first chorus of the first song. The spun-glass delicacy of Bill's articulation, the respect he showed for every melodic line, the manner in which he embellished each, seemingly with more harmonic innuendos that the musical laws would allow – these were among the values that held his listeners. It was as though he were using the keyboard as a propaganda medium for the return to jazz of serenity and sanity.
Of course, there are musical explanations of his achievements, some of them too complex to be detailed without going into excessive technical minutiae. Any pianist will tell you that his use of the pedals has something significant to do with it; any musician will point to his oblique use of inner voices in the chords, and of the conversation of seeming dissonances into consonance. It was once said, too, that his use of grace notes was ingenious enough to give the impression that he was actually bending notes.
All these components, along with the hundred others that have elevated Evans to a position of universal respect among sensitive musicians and fans, can be found in the nine tracks that finally earned the honor of a position in this album. – Leonard Feather (Author, The Encyclopedia of Jazz In The Sixties)
I Believe In You Spartacus Love Theme Danny Boy My Foolish Heart I've Got You Under My Skin Beautiful Love Valse Bemsha Swing