Top Of The Ladder - Byron Lee And The Dragonaires

A & T Party

Storybook Children

Top Of The Ladder
Byron Lee And The Dragonaires
Soul BLP-011

Had to buy this one for the fun cover. Byron Lee made a ton of records. This one isn't necessarily obscure, but this I don't see it listed in his wiki discography. The best I can tell (from a few dates found in the cover notes) is that the record was released in 1967 or 68.

Miss Tourist
Pipe Organ
Windows Of The World
Mr. Walker
Sock It To Me
Honeymoon Couple
A & T Party
Cielito Lindo
Storybook Children
Wood In The Fire
Old Beirut
You Sweeten Me

Discotheque Dance Party

Discotheque

Discotheque
Dipolmat Records DS 2397

Discotheque Dance Party

Diplomat Records DS-2334

Hello Dolly

From Russia With Love

Holly Gully Baby

Moniwop

Beatles Move

ABC Boogie

Limbo Like Me

My Bonnie

Summer Sweetheart

I've Got New For Hugh

Hip Glow Worm

Happy Happy Boy

Sweet Sugar

Every Day Is Ladies Day

Panic

The Soft Touch - Ellis Larkins

Golden Earrings

The Soft Touch

Ellis Larkins

Cover Photo by Ylla from Rapho-Guillumette
Mood Jazz In Hi-Fi

Series J9200
Decca DL 9205

1958

From the back cover: The understanding of the emotional elements in a piece of music is the first step toward bringing it alive. In truth, the capacity to feel, then translate, and finally project emotion in its various hues, separates the men from the boys in any form of musical expression.

Pianist Ellis Larkins would be the first to subscribe to this premise, for he has always felt that a musician must, of necessity, "get close to his material." "Each piece of music carries with it the challenge to capture what the composer suggests, while lending something of your own. If the material is generally substantial, has interesting harmonies, beauty of line, one is certain to become more involved with it.

"The music of Victor Young has always been exceedingly appealing to me. Structurally interesting, and of a genuine beauty, it is the work of a man who felt the world around him."

Young had much of the impressionist in him. Primarily a creator of original scores for motion pictures, his job was to establish the mood for a film as a whole and each scene as an entity-a contributing vignette to the cogency of the whole. Consequently, it is no accident that his themes and songs have immediacy, emotional power; a rare completeness unto themselves.

"In interpreting this assemblage of repertoire by Mr. Young," said Larkins, "I felt simplicity, a starkness, the general lack of unnecessary pianistic adorn- ment in performance, would best underline the pristine beauty of the material. "I went to the length of learning the lyrics of all the songs, something I generally do anyway, and played with all the elements of each song in mind. Though simultaneously trying to flavor the material with touches of my own, I wanted, more than anything else, to capture the dominantly romantic, nostalgic Young quality; the basic sentiments, gradations thereof, within each selection."

Larkins, a soft-spoken, scholarly looking musician, inclined to be quite serious about his work, began his piano studies at the age of four. First studying with his father, then with teachers around his native Baltimore, he went on to study on the conservatory level at the Peabody Conservatory of music in Baltimore and the Juilliard School of Music in New York.

In 1940, just seventeen and still very much concerned with his studies at Juilliard, Larkins got his first job in New York at Cafe Society Uptown with the Billy Moore trio. Shortly thereafter, he formed his own unit and proceeded to work around town.

The latter months of 1943 brought an engagement at New York's Blue Angel, a club that has been his base of operations ever since.

A man of reputation both as a solo pianist and accompanist for vocalists, Ellis has spent the majority of his time in the latter capacity, for he feels "great joy" working with singers, drawing from his variety of experience in this area – Ella Fitzgerald, the late Mildred Bailey, etc. – what he considers a fuller understanding of pop and jazz repertoire.

Very much concerned with expressing his feelings in his own way, Larkins has fashioned a style that is identifiably his. However, like all musicians, he has been influenced by others.

"For me, it has always been Art (Tatum); he had all the technical equipment, a genius for using it in the most provocative manner, and classical discipline... Fats Waller and Teddy Wilson influenced and impressed me, but Art had everything."

Unlike many musicians who have an idol, a fountain of inspiration, Larkins has had the good sense to develop his own playing personality. Rather than taking on trappings natural to another, he has pursued a musical course compatible to his needs, paralleling his own sensitivities and gentility, and, in doing so, has evolved a meaningful, personal piano voice.

Of course, no player is an island unto himself, and bits and pieces of those admired have infiltrated Larkins' expression. However, these ideas and techniques have not been grafted upon, but assimilated into the parent style. In the "mainstream," categorically, this pianist finds identification in a quiet, almost prim symmetry, a subdued swing. Essentially a chordal stylist, Ellis uses his right hand to enhance, further delineate feeling established chordally. Rarely, if ever, does he veer to fleet embellishment in the right hand as did his idol, Art Tatum.

In opposition to the brittle aridity of many of the more percussively inclined jazz pianists, Ellis probes the natural potential of the piano, for his is a legato, orchestral form of expression that is filled with the colors, values inherent to his instrument.

Larkins improvisations are formidable in their economy. Giving the listener the essence of a song, he intimates so much more by his restraint, and capable handling of the material. Essaying rare control in utilization of overtones (loud pedal), and with full flowing lyricism, the predominantly impressionistic-ballad repertoire comes alive.

On the faster tunes, the beat is an underlying presence, the central value. But, again, the individuality of Larkins becomes apparent. The beat does not rudely break into your consciousness. It is lightly yet definitely felt: unobtrusive yet insistent.

Like most pianists who have been exposed to the convolutions of jazz, been part of the jazz scene for a length of time, Ellis is well-schooled in jazz's prime form, and the unique 'feel' associative with blues is constantly sneaking into his work . . . i.e. "Ghost Of A Chance," "Can't We Talk It Over."

Gossamer light and of definitive clarity, the Larkins touch has long lent a touch of 'class' to his playing. However, it is the combination of elements – understanding and transmission of emotional values of material, individuality of conception and projection, plus his tidy, pleasant touch and sound-that make this pianist's excursion into mood jazz an important event. – Burt Korall

I Don't Stand A ChanceWhen I Fall In Love Where Can I Go
Golden Earrings
A Love Like This
Sweet Sue, Just You
Blue Star
Love Me
My Foolish Heart
Love Letters
Stella By Starlight
Can't We Talk It Over

Ecstasy - Otto Cesana

Ecstasy

Ecstasy
Otto Cesana And His Orchestra

Photography by Dirone
Columbia CL 631

1955

From the back cover: Otto Cesana is one of those unusual people – a classical musician with a deep respect and appreciation for popular music. His early musical studies included piano, organ, music theory and composition. Later he added a working knowledge of all the orchestral instruments. His teachers were many and from each he garnered valuable data. During his long and varied career Cesana has worked as an arranger and composer for the various Hollywood motion picture studios and on many radio programs. In 1941 he gave a jazz concert in New York's Town Hall with his own band playing a program of original music. Among Cessna's repertory of original works are six symphonies, four overtures, numerous suites, concertos for various instrument including piano, clarinet, trumpet and trombone, as well as many short pieces, sonatas, trios and many songs.

To Cesana's technological interest in music may be ascribed his four books on "Modern Harmony," "Dancing Arranging," "Modern Counterpoint" and "Voicing the Modern Dance Orchestra," His penthouse studio is always the scene of impetuous creative activity during the morning hours, while in the afternoon there is a continuous procession of young arrangers and composition students planning their contribution to the growth of American Music.

Cesana describes his music thus: "From jazz, and by that I mean jazz as it is played by small groups, I derive sincere sentiment: in fact it is this naive but deep and honest feeling that is the life-blood of all real jazz. To the great harmonists such as Debussy and Wagner I owe a great deal of my harmonic dexterity; from Beethoven comes my knowledge of thematic development and some sound principles of musical form and to Rimsky-Korsakov, that meticulous master of orchestration, I owe most of my knowledge of orchestration. Of course for over-all sincerity and emotional intensity, I offer a very low how to that monument of integrity – Peter Ilyitch Tchaikovsky.

From Billboard - June 30, 1955: Cesana, who has campaigned long and well for the principle of originality in composition, has recorded 15 of his selections on this disk. They are quite beguiling and reflect the composer's wide range of musical knowledge – from jazz to the classics. There are Latin touches, bits of whimsy, nostalgia, mood pieces, and novel rhythmic patterns. They are interesting to the students and a pleasure to the casual listener.

Ecstasy

Let's Beguine

Enchantment

Yester-Thoughts

Starlight

Autumn Song

Symphony In Jazz (First Movement)

Mine At Last

Hey, Professor!

Devotion

Night Train

My Beloved

Marionette

Reflection

Whirlwind

Holiday For Lovers

Haunting Melody

Holiday For Lovers
FDR Waldorf Music Records MH 33

This is a nice 6 track 10 inch 33 featuring, what I call, at "bad habits" cover (smoking and drinking). The that track on the B side is the stand-out lounge tune from session musicians Rod Gregory - piano, Frank Carrol - bass and Bob Rosten, drums.

A Bright New World - The New Hope

Medley: The Path Of Love and Love Can Make You Happy

A Bright New World
The New Hope
Light Records LS-5523-LP
1968

I wasn't sure which blog to post this treasure in. Appearing In The Motel Lounge, The Good, Bad & Ugly Gospel Record Barn or up here in The Atomic Attic.

The release is on Light, which, I believe is better know as a Christian/gospel label. There are a few popular "lounge" tunes on the record and the remaining tunes are more-or-less "sunshine pop". I've seen the producer's name, Ralph Carmichael attached to more than one "sunshine pop" project.

From the back cover: Note that the music on this album has a positive feeling about it. That's our NEW HOPE... not ignoring the problems we face in our world today, but know as youth, we can conquer them.

Frankly... the album is out-of-control... just the way we like it up here in The Attic. It's hard to beat the sample tune above for featuring something a little fast... a little slow... a little something fantastic!

However, you might like to listen to More Today Than Yesterday, today... Appearing In The Motel Lounge.

Classical Current - Laurindo Almeida

The Breeze And I

Classical Current
Laurindo Almeida

Arranged and Conducted by Larry Cansler, Lex de Azevedo and Pete King
Produced by Sonny Burke

Recorded on July 14, 15 and 16, 1969, at Western Recorders, Hollywood, California

Cover Photo: Ken Biggs

Art Direction: Ed Thrasher
Warner Bros. - Seven Arts
1969

From the back cover: Since joining forces with the Stan Kenton Orchestra shortly after immigrating to this country in 1947 from his native Brazil, Laurindo Almeida has been frequently acclaimed as a brilliant guitarist in both the classical and jazz idioms and as a musical innovator. To mention but one of his innumerable contributions to the literature of jazz, he is generally credited with the fusion of American jazz elements with the samba form of his native country – coming up with what we know as the bossa nova. Which is actually another story from the one on Classical Current, in which the always-experi- menting virtuoso weds, through his use of an electronic classical guitar, familiar forms with some of the more amenable elements of musique concrete, interest in which has increased almost geometrically since rock musicians began studying the work of John Cage and attempting to duplicate some of his more rudimentary effects in their own work.

We are confident that Laurindo Almeida's Classical Current will prove one of the most enduring and influental corpuses of work to emerge in the broad area of electronically-influenced music.

The Breeze And I
My Reverie
Till The End Of Time
The Lamp Is Low
Baubles, Bangles And Beads
Full Moon And Empty Arms
Moon Love
My Prayer
My Moonlight Madonna
Our Love
When I Write My Song
Theme From The Warsaw Concerto

36 Today The Now Sound Of Young Music

Yellow Submarine

Have You Seen Your Mother

Baby, Standing In The Shadows

Psychotic Reaction

36 Today
The Now Sound Of Young Music

Columbia Record Club
P2S 5104

RECORD NO. 1

Winchester Cathedral 

I'm Ready for Love 

Over Under Sideways Down 

Black Is Black
Daydream
Double Shot of My Baby's Love 

Respectable
Summer in the City 

Beauty Is Only Skin Deep
96 Tears
Yellow Submarine 

The Pied Piper 

A Satisfied Mind
Ashes to Ashes Lady Jane
The Hair on My Chinny Chin Chin
Do You Believe in Magic
Mother's Little Helper

RECORD NO. 2: 

You Keep Me Hangin' On 

Rain on the Roof
A Hazy Shade of Winter 

Please Don't Ever Leave Me 

Cherish
It Tears Me Up
Walk Away Renee
The Great Airplane Strike 

Have You Seen Your Mother, Baby, Standing in the Shadows?
Last Train to Clarksville
Mellow Yellow
Stop Stop Stop 

Look Through My Window 

Psychotic Reaction 

Dandy 

Turn-Down Day 

Sunny Afternoon
What Becomes of
The Brokenhearted

Truck Stop

Truck Stop

Compatible NLP 2052

Featuring George Morgan, The Willis Brothers, Johnny Bond, Red Sovine, Joe Maphis, Benny Martin and Lonnie Irving

This is an above average "trucker" album featuring a terrific cover image. It would seem that all of the tunes are available for purchase download if you look hard enough.

Side one:

Sleeper Cab Blues
Truck Driving Buddy
Big Rig Gutiar
Big Footed Dan
Pinball Machine

Side two:

Wheels A Turning
Gears
Hitch Hiking Girl
Long Hall Weekend
Man Behind The Wheel

Bells On High-Fi

Malaguena

Bells On High-Fi
Memorable Music played on the World's Largest Carillon
Heard From The Space Needle At The 1962 World's Fair
The 538 Bell Schulmerich "Carillon Americana"
Bells Instrument by John Klein
American Records AR-8000

Malaguena
Musetta's Waltz-Song
The Swan
La Cinquantanie
Serenade
Solveig's Lied
Pavane Pour Line Infante Defunte
Songs My Mother Taught Me
Tune In D
My Heart At The Sweet Voice
Intermezzo
Kamennoi-Ostrow

Progressive Percussion - Percussion All Stars

Song Of India

Progressive Percussion
Percussion All Stars
Modern Records MST 817
1961

Adios Muchachos
Prelude For Lovers
Hawaiian War Chant
Song Of India
Glow Worm
Tympani Percussion
La Cumparsita
Annie Laurie
El Choclo
Aloha Oe

Georgy Girl And Other Music To Watch Girls By - Living Marimbas

Music To Watch Girls By

Georgy Girl And Other Music To Watch Girls By
Living Marimbas
Arranged by Leo Addeo
RCA Camden CAS-2149
1967

I'm assuming the cover image has some sort of tie-in to the film, Georgy Girl. But the theme of the record is more "music to watch girls by". Regardless, this is a curious downer cover if you ask me.

The music, however, is perky 60s light pop.

Music To Watch Girls By
Anna
Patricia
Sweet Maria
Never On A Sunday
Georgy Girl
Take It Easy
A Gay Ranchero
Juanita
Girls! Girls! Girls!