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!
Arrangements by Don Ellis, Sam Falzone, Hank Levy, Fred Selden
Engineering: Roy Segal
Cover Art: Maria Eckstein
Back Cover Photos: Fred Selden, Earle Carry
Strings and piano amplified and recorded by direct line-feed with Barcus-Berry Transducer Systems
Quarter-tone trumpet and four-valve fluegelhorn by Halton
Ring Modulator by Oberheim Electronics.
Planet and clarinet by Hohner
Musical sound system by Altec Lansing
Fender-Rhodes piano and amplifiers by Fender
Columbia Records G 30927
Don Ellis - Quarter-Tone Trumpet, Four-Valve Fluegelhorn, Drums
Lee Pastore - Conga
Ralph Humphrey, Don Dunn - Drums
Milcho Leviev - Piano
Christine Ermacoff - Cello
Kenny Sawhill - Bass Trombone
Jim Sawyer - Trombone
Earle Corry - Violin
Fred Selden - Alto Sax
Lonnie Shetter, Paul Bogosian - Trumpet
Sam Falzone - Tenor Sax
Doug Bixby - Tuba
Jon Clarke - Baritone
Ellen Smith - Viola
Alfredo Ebat - Violin
Jack Caudill - Trumpet
Dennis Parker - Bass
Lonnie Parker - Bass
Lonnie Shetter - Alto Sax
Kenneth Nelson - French Horn
Bruce MacKay - Trumpet
From the back cover: Don Elliot Is An Adventure
Ellis is the only jazz big band leader to both emerge and endure in the last twenty years.
"The newest version (of his band) played Basin Street West last weekend, recorded an album for Columbia and demonstrated once again that it is the most exciting big band performing today. The main goodies this time were a brand new string section – cello, viola, two violins, all electrified – and a cappella, free-improvising wind quartet and Ellis himself on drums (and a new four-valve flugelhorn). In addition to the able mentioned, the band carries electric piano and bass, eight brass (including an extremely rare contrabass trombone) and three drummers." – John L. Wasserman, San Francisco Chronicle
From the back cover: Since the age of sixteen, Troy Shondell has been one of the most prolific songwriters in the Rock 'n' Roll field. He effortlessly produces an average of 400 popular songs in that idiom per year! That's better than one per day! His publisher is one of the busiest guys on Tin Pan Alley, but no one has ever heard him complain yet. Many of Troy's numbers have been recorded by several different artists and labels at a time – solid tribute to this young man's ability to recognized the desires of today's audience.
After having peened hit-after-het for other artists; Troy elected to use another composers' material for his own initial release. It was a good choice, because Troy's recording of "The Time" catapulted him to overnight success! He had that certain feeling about this one; and record counters, jukeboxes, and radio disc jockeys proved him right, as the recored sold over one million copies. – Bernie Solomon
From Billboard - April 27, 1959: This special sampler, containing tracks from the label's current 10-album jazz release, will be available on a tie-in sale with any of the label's new jazz sets, for 98 cents monaurally or $1.49 in stereo. Since it contains tracks by Benny Goodman, Miles Davis, Duke Ellington, Gerry Mulligan, Dave Brubeck and J.J. Johnson, it should be a solid seller at the price. It is well packaged and well recorded.
El Gato - Duke Ellington and His Orchestra from "Newport 1959" CL 1245 or CS 8072
Festive Minor - The Gerry Mulligan Quartet from "What Is There To Say?" CL 1307 or CS 8116
Satin Doll - Lionel Hampton with Reeds and Rhythm from "Golden Vibes" CL 1304 or CS 8120
Fallout - The Joe Wilder Quartet from "Jazz From Peter Gunn" CL 1319 or CS 8121
Happy Session Blues - Benny Goodman and His Orchestra from "Happy Session" CL 1324 or CS 8129
It Ain't Necessarily So - Miles Davis with Orchestra under the direction of Gil Evans from "Porgy And Bess" CL 1274 or CS 8085
Things Aren't What They Used To Be - The Dave Brubeck Quartet from "Newport 1958" CL 1249 or CS 8082
Swinging At The Copper Rail - Buck Clayton with His All-Stars from "Songs For Swingers" CL 1320 or CS 8123
Hello, Young Lovers - J. J. Johnson with various artists from "Blue Trombone" Cl 1303 or CS 8109
From the back covers: Portrait - Jacques Loussier is a powerful-looking man: stiff, chestnut hair growing into a thin edge of a beard, a tormented nose, a flu, virile mouth, dark eyes which grow round as if surprised when he tells a story.
While he is very much of his time, Jacques Loussier just as equally rejects certain aspects of modern life. What makes him a contemporary is first of all his music, his loving way of handling it, his desire to have it always new, his intense need for constant activity – "to live each moment two hundred percent," as he says. Yet, he is full of an aggressive regret, a painful nostalgia for open spaces, for the calm of unspoiled countryside. "Have you ever seen a stag" Impossible, hm?" However, it's one of the most beautiful things one can see, a stag in the woods," says Loussier, making that round-eyed, astonished expression. It is then that something "medieval" in him emerges (no doubt accentuated by his beard), A Rabelaisian quality of gruff gaiety, truculence, and an ever-present poetry, immediate, almost torrential. Material success? He pokes fun at it a bit, for at present his biggest dream is to be able to fly down to Toulon at the drop of a hat whenever he wants to sail his boat. More than likely, the calmness of nature will always draw him, but it is certain that he will never stop making the music he loves. Also certain: we will hear his name more and more.
His Life In Brief - Jacques Loussier was born October 26th, 1934 in Angers, France, where he spent his first fifteen years, a healthy, vigorous child who took up any and all sports – "normally rowdy," Loussier adds. Around the age of thirteen, thanks to the harmonica, he was smitten with an intense love for music. Later he abandoned his secondary schooling to enter the Conservatory of Paris, where he studied piano with Yves Nat. But his temperament could not adapt itself easily to Conservatory methods of study, and at eighteen he left before finishing the course of study.
Thus begins a career which is on the move in every respect: he has visited thirty-two countries, among others, Cuba, Israel, Brazil, Iran, Canada, Lebanon, and the United States. He began by playing in a gypsy orchestra to earn the money. Next he played piano for many well-known French singers, Catherine Sauvage, Jacqueline Francois, Suzy Delair, Leo Ferre and finally Charles Aznavour, building a reputation as a remarkable pianist and accompanist. But evidently, this was not sufficient for him, and in 1960 he decided to go on his own, starting out by creating orchestrations for the young ye-ye (French term for "Beatles generation") singers. At the same time, he began to make a name for himself as composer, writing and playing each night the music for a play by Durenmatt, "Frank V."
His first "play-back," recorded with Pierre Michelot and Christian Garros, achieved considerable success around the world, and his "play-back" No. 4 won the award for Top French Disc of 1963. Nowadays he continues to give all his concerts with Michelot and Garros. He has written film scores for two movies, "La vie a l'enfers" and Pas perdus."And his television appearances are many.
From the inside cover (gatefold): Walter Wanderley was born in Recife, which sounds like a small, sleepy Brazilian village. Recife is in Brazil, but as a village it's about as small and sleepy as Washington, D.C.
Wanderley's music, like his background, is urban. At the same time Joao Gilberto and Antonio Carlos Jobim were living and writing on the outskirts of Rio de Janeiro, Walter Wanderley was creating another new Brazilian sound a few hundred miles away in Sao Paulo, where he had moved at the age of 15.
It's not surprising that their styles contain subtle differences. The softly swinging Gilberto-Jobim approach reflects the atmosphere of Rio, an enchanting city where sky, sea, mountains, and even the air become the ingredients of music. Sao Paulo, on the other hand, is a thriving industrial city (larger than Rio, even larger than Chicago). And Walter Wanderley's music, which grew out of Sao Paulo, is Sao Paulo – dynamic, sophisticated, but still shaded with the delicate beauties of Brazil.
When Rio and Sao Paulo got together (when Wanderley and Gilberto met and made an album together) the new music of Brazil began to catch the ears of the rest of the world. Almost everywhere except the United States, that is, where only a few copies of the historic Wanderley-Gilberto album were smuggled in.
Meanwhile in Brazil, Wanderley, on his own, recorded Desafinado, Quiet Nights, Meditation, Little Boat – all smash hits throughout Latin America, in France, and in other countries. But it was his recording of The Girl For Ipanema that really burst out of Brazil. Stan Getz and Joao Gilberto subsequently recorded it in New York, with Astrid Gilberto singing the delightful English lyrics. The rest is popular music history.
All that remained was to get Walter Wanderley himself to New York, where he could be recorded and his records made available to the world-wide audience already waiting for him. A few months ago, Verve Records did just that. The rewarding result was Walter Wanderley's first American album, Rain Forest, an instant success throughout the country with both record buyers and disc jockeys (who treated their listeners to Walter's Summer Samba all summer long).
Shortly thereafter, a new album reunited the names of Gilberto and Wanderley, with Astrid and Walter bringing us the beautiful, bittersweet A Certain Smile A Certain Sadness.
This is only the third Verve album for "Brazil's Number One Organist," as he was appropriately introduced to Americans. With this recording, that introduction requires a slight revision. For Walter Wanderley is now rapidly becoming everyone's number one organist." From anywhere. – Bob Lee - KRHM-FM, Los Angeles
From Billboard - February 18, 1967: Wanderley offers thrilling interpretations of a dozen pop bossa nova numbers perfect for listening or dancing in this package that is sure to be a hot sales item. His organ solos are accentuated by a strong rhythm backing making "Cheganca," "Take Care, My Heart" and "A Man And A Woman" gems. Strong follow-up to his hit LP "Rain Forest."
Cover Photo: Capitol Photo Studio - Ken Feeder & George Jerman
Capitol Records T 1918
From Billboard - July 6, 1963: The Beach Boys with "Shut Down," a current hit; the Cheers with "Black Denim Trousers," and the Super Stocks with "Street Machine," are among the artists in this LP devoted to the thrills of the road. The key name in the set is the Beach Boys and they should help to move many of these LP's.
Shut Down - The Beach Boys
Chicken - The Cheers
Wide Track - The Super Stocks
Brontosaurus Stomp - The Piltdown Men
Four On The Floor - The Super Stocks
Black Denim Trousers And Motorcycle Boots - The Cheers
From the back cover: Nancy Ames is known nationwide as the "TW3" girl, singing the theme song and special material for the NBC-TV show, "That Was The Week That Was," seen each week. She is also one of the finest folk singers in the land, and has performed in many top clubs and concerts nationally.
Also from the back cover: If there is a special feeling of authenticity in these performances, chalk it ups to two particular factors. First, Nancy herself is of Latin decent. (Her grandfather served as president of Panama.) She speaks fluent Spanish and knows intimately the various cultures of Latin America.
And second, her accompaniment in this album is by the Trio Los Chicos, an authentic Latin group which is prominent in its own right. This group, incidentally, features, besides fine guitar work, the unique Paraguayan harp, a native instrument with a sound and charm all its own.