I Love Paris
Jerry King And His Orchestra
Diplomat 2225
Love Walked In
Wish You Were Here
You, You, You
Young At Heart
Walking My Baby Back Home
I'm Yours
No Other Love
I Love Paris
P.S. I Love You
How Do You Speak To An Angel
Saturday, December 8, 2012
Gold Record - Jerry King
Jerry King And His Orchestra
Diplomat 2225
Love Walked In
Wish You Were Here
You, You, You
Young At Heart
Walking My Baby Back Home
I'm Yours
No Other Love
I Love Paris
P.S. I Love You
How Do You Speak To An Angel
Famous Film Favorites - Musical Comedy Songs - Bettie Page Cover
Famous Film Favorites
Russ Case And His Orchestra
Cover Model: Bettie Page
Rondo-lette Record Corporation
Rondo-lette Record Corporation
Longplay 874
The two scans on this post have not been altered from the original jacket images, the Rondo Record jacket image is as dark as it appears above as is the Halo jacket image (below) is "light".
Slaughter On Tenth Avenue
Slaughter On Tenth Avenue
The Dream Of Olwen
A Tale Of Two Cities
Hungarian Freedom Fighters
Spellbound
Stradivarius (Theme)
Gypsy (Theme)
Life Of Stephen Foster
You're The Top
The Broadway Singers And Orchestra
Halo
Longplay 50245
I Could Have Danced All Night
Standing On The Corner
Summertime
June Is Busting Out All Over
Some Enchanted Evening
A Wandering Minstrel
Donkey Serenade
People Will Say We're In Love
Make Believe
Deep In The Heart, Dear
They Say It's Wonderful
You're The Top
Friday, December 7, 2012
The Magic Islands Revisited - Axel Stordahl
Return To The Magic Islands
Axel Stordahl
Decca Records DL 79096
This is an industrial strength effort by Decca to cash in on period exotic music trends. The book-fold jacket was expensive to produce. It features a die-cut cover (the window through which you see the model's face). Inside is found a lushly printed 10 page full color insert that is bound to the cover.
The music plays through as a mixed bag of various period styles. The presentation is pleasant for the most part, but some elements at moments, may seem out of place.
Return To Paradise
E Naughty Mai Nei
Paradise
The Hukilau Song
My Tani
Forevermore
Return To The Magic Islands
Frangipani Blossom
I Will Always Love You
Song Of Old Tahiti
The Bamboo Is Bending
Farewell
Lush, Latin & Lovely - Tony Mottola
Sunny
The Gorgeous Guitar of Tony Mottola
Enoch Light Presents Mottola Espagnol!
Originated and Produced by Enoch Light
Associate Producer: Julie Klages
Cover Art: Hilary Knight
Total Sound Stereo Project 3
PR5020SD
1967
Cover Art: Hilary Knight
Total Sound Stereo Project 3
PR5020SD
1967
From the inside cover: Something new has happened to Latin music. It is still lush and it is still lovely, just as it always has been.
But it is now much more than that.
It has also become a very pertinent part of the sound of today's popu- lar music. In the beat of today's music, you hear implications that sug- gest "Latin" without coming right out and saying it. There is a feeling in today's melodies that draws on the long, beautiful, languorous lines that have always been typical of the most memorable Latin songs.
Even the construction of today's songs has a parallel in the Latin composers' fondness for contrasting moods-the use of a soft, ethereal melody that suddenly erupts into a strongly passionate statement. This is a pattern that turns up again and again in today's most provocative songs (you hear it in such pace-setting hits as Bob Crewe's Can't Take My Eyes Off of You).
So when Tony Mottola picks up his gut-string guitar and goes lush, Latin and lovely, you'll find that, more often than not, the tunes that he plays are the great current tunes of today. Sometimes they are actually Latin in origin-Antonio Carlos Jobim's How Insensitive, for example, or the Sandpipers' hit, Guantanamera. But then again they may be French -Michel LeGrand's I Will Wait for You, Francis Lai's A Man and a Woman, Or as American as Sunny, Somethin' Stupid and The Flower Road.
The point is that they are all part of the contemporary sound. They walk a common ground which is composed of many elements, including the beat and the construction and the feeling of Latin music.
And when Tony Mottola plays them, that Latin quality emerges, takes fire and gives them a whole new coloration. For there's no doubt that Tony Mottola's guitar brings a special loveliness to any tune, adds a touch of lushness to it and makes the whole world of music move with a Latin beat.
He showed that special touch in A Latin Love-In (Project 3-5010), and now he's spreading his lovely sound even farther. On most of these pieces, he leads a group focused on a guitar trio in which Al Casamenti and Bucky Pizzarelli add their guitars in support of Tony's. For con- trasting colors, there are Dick Hyman on organ (Courtesy, Command Records), Dom Cortese's accordion and Phil Bodner on flute and tenor saxophone, with a rhythm team made up of Bob Haggart on Fender bass or string bass, Bob Rosengarden, drums, and Phil Kraus, percussion.
The ensemble is broadened on four selections-Can't Take My Eyes Off of You, Somethin' Stupid, The Flower Road and Guantanamera-with the addition of Mel Davis and Bernie Glow on flugelhorn and trumpet while Stanley Webb joins Phil Bodner in the reed department.
From Billboard - January 27, 1968: Enoch Light's mastery of sound recording is showcased in this package. Subject material is a dozen favorite tunes of yesterday and today in the skillful hands of the day's top guitarists, some of the foremost musicians (Dick Hyman, Bob Haggart, Bob Rosengarden, Al Casamenti, Bucky Pizzarelli, etc).
Can't Take My Eyes Off Of You
Free Again
The Girl Next Door
A Man And A Woman
Sunny
The Flower Road
Somethin' Stupid
I Will Wait For You
Lush And Lovely
How Insensitive
I Cover The Waterfront
Guantanamera
But it is now much more than that.
It has also become a very pertinent part of the sound of today's popu- lar music. In the beat of today's music, you hear implications that sug- gest "Latin" without coming right out and saying it. There is a feeling in today's melodies that draws on the long, beautiful, languorous lines that have always been typical of the most memorable Latin songs.
Even the construction of today's songs has a parallel in the Latin composers' fondness for contrasting moods-the use of a soft, ethereal melody that suddenly erupts into a strongly passionate statement. This is a pattern that turns up again and again in today's most provocative songs (you hear it in such pace-setting hits as Bob Crewe's Can't Take My Eyes Off of You).
So when Tony Mottola picks up his gut-string guitar and goes lush, Latin and lovely, you'll find that, more often than not, the tunes that he plays are the great current tunes of today. Sometimes they are actually Latin in origin-Antonio Carlos Jobim's How Insensitive, for example, or the Sandpipers' hit, Guantanamera. But then again they may be French -Michel LeGrand's I Will Wait for You, Francis Lai's A Man and a Woman, Or as American as Sunny, Somethin' Stupid and The Flower Road.
The point is that they are all part of the contemporary sound. They walk a common ground which is composed of many elements, including the beat and the construction and the feeling of Latin music.
And when Tony Mottola plays them, that Latin quality emerges, takes fire and gives them a whole new coloration. For there's no doubt that Tony Mottola's guitar brings a special loveliness to any tune, adds a touch of lushness to it and makes the whole world of music move with a Latin beat.
He showed that special touch in A Latin Love-In (Project 3-5010), and now he's spreading his lovely sound even farther. On most of these pieces, he leads a group focused on a guitar trio in which Al Casamenti and Bucky Pizzarelli add their guitars in support of Tony's. For con- trasting colors, there are Dick Hyman on organ (Courtesy, Command Records), Dom Cortese's accordion and Phil Bodner on flute and tenor saxophone, with a rhythm team made up of Bob Haggart on Fender bass or string bass, Bob Rosengarden, drums, and Phil Kraus, percussion.
The ensemble is broadened on four selections-Can't Take My Eyes Off of You, Somethin' Stupid, The Flower Road and Guantanamera-with the addition of Mel Davis and Bernie Glow on flugelhorn and trumpet while Stanley Webb joins Phil Bodner in the reed department.
From Billboard - January 27, 1968: Enoch Light's mastery of sound recording is showcased in this package. Subject material is a dozen favorite tunes of yesterday and today in the skillful hands of the day's top guitarists, some of the foremost musicians (Dick Hyman, Bob Haggart, Bob Rosengarden, Al Casamenti, Bucky Pizzarelli, etc).
Can't Take My Eyes Off Of You
Free Again
The Girl Next Door
A Man And A Woman
Sunny
The Flower Road
Somethin' Stupid
I Will Wait For You
Lush And Lovely
How Insensitive
I Cover The Waterfront
Guantanamera
Thursday, December 6, 2012
Tony Mottola Joins The Guitar Underground
Enoch Light Presents
Producer: Enoch Light
Arrangements: Tony Mottola
Project 3 Total Sound Stereo
PR/50353SD
1969
This one is available online for purchase/download so I will not be posting a sample. Sorry!
From the back cover: It's all here. The sounds, the styles, the songs that mean Today. Wrapped in one gorgeous package. The new, different instrumental sound that identifies the fabulous "Guitar Underground." The world-famous artistry of Tony Mottola. And the songs that make that excitement in today's music.
I can't say that Tony explored the "guitar underground" before he recorded this album. This is one of those albums a teen might have bought in the hopes that he/she was going to experience something more... well... more "today". However, the vibe is a nice extension of the Command Record/Enoch Light's 60s light pop sound. And there are a number of groovy tracks on album to enjoy including the last track found on the B side titled Guitar Underground.
For a wild Mottla track, check out Guitar U.S.A.
Explorer - A Totally New Electronic Musical Instrument In Recording
Mr. Bach Meets Batman
A Totally New Electronic Musical Instrument In Recording
Tom Hazleton and Gene Ciszek
1967
From the back cover: EXPLORER II was used in making this recording. EXPLORER II differs from EXPLORER I in that two separate tonal sources or generators are employed instead of one. While this enhances the stereo effect which can be produced, EXPLORER I actually is capable of producing most of the basic sounds of EXPLORER II. Neither EXPLORER I nor EXPLORER II includes an audio system. Their sounds are normally projected through the usual type of am- plifier-speaker unit, which is used with electric guitars. In this recording two Martin SS 140 guitar amplifiers were utilized.
Tom Hazleton
Tom Hazleton, well known West Coast recital and recording artist, was staff organist for the Paramount Theatre in San Francisco. Although Mr. Hazleton has a tremendous technique for pop- ular music, the skill in this field is backed by a solid musical foundation of classical and church music. He studied classical organ with Richard Purvis, the famous composer-organist. He was a recitalist at the 1963 convention of the American Guild of Organists. He has played many recitals on the coast, in Chicago, Denver, Phoenix, and Los Angeles.
Gene Ciszek
Gene Ciszek studied with percussionist Roy Knapp. He is presently teaching in Edgebrook, Illinois, and playing in Chicago.
Parisian Medley
Granada
Yesterday
Never On Sunday
Moonlight On The Ganges
Midnight In Moscow
Explorer Theme
Spanish Flea
Take Five
Caravan
Mr. Bach Meets Batman
Banjo Medley
Wednesday, December 5, 2012
Hawaiian Holiday - Dick Contino
Quite Village
Dick Contino
Mercury Records MG 20753
1963
This is a very good light space age pop album released to take advantage of period exotic music trends. Apparently David Carroll, Mercury Recording Director, arranged the songs. Carroll was an excellent arranger who recorded a number of excellent space age albums. Check out Percussion In Hi-Fi.
For another Contino sample (and great cover art) check out: An Accordion In Paris.
Love Song From Mutiny On The Bounty
Sweet Leilani
Diamond Head
Hawaiian War Chant
Blue Hawaii
Farewell
The Hukilau Song
Hawaiian Wedding Song
Tropical
My Little Grass Shack
Quiet Village
Aloha Oe
Sunday, December 2, 2012
Just Some Of Those Songs Mrs. Robinson - King Richard's Fluegel Knights
Scarborough Fair
Young Girl
King Richard's Fluegel Kights
Music Director Dick Behrke
Produced By Bob Tompson
MTA Records MTS 5011
1968
Here's another King Richard (Dick Behrke) album issued the year after his MTA release - Something Super!
This is another fine brass based light pop effort featuring unique arrangements and very good engineering.
The jacket is an elaborate book-fold featuring an obscure visual play on, what looks to me, period soundtrack album design which strikes me as not such great marketing for this terrific collection of tunes.
Like To Get To Know You
By The Time I Get To Phoenix
San Jose
Scarborough Fair
Turnabout
Something Classic
Young Girl
Trains, Boats And Planes
Gentle On My Mind
I Will
Mrs. Robinson
Jivin' The Vibes - Lionel Hampton
Muskrat Ramble
Lionel Hampton And His Orchestra
RCA Camden CAL-402
1957
Personnel:
Jivin' the Vibres, February 8, 1937: Ziggy Elman, trumpet; Hymie Schertzer, George Koenig, Arthur Rollini, Vido Musso, saxophones; Jess Stacy, piano; Allen Reuss, guitar; Harry Goodman, bass; Gene Krupa, drums; Lionel Hampton, vibraphone.
Buzzin' 'Round with the Bee, April 14, 1937: Cootie Williams, trumpet; Lawrence Brown, trombone; Mezz Mezzrow, clarinet; Johnny Hodges, alto saxophone; Stacy; Reuss; John Kirby, bass; Cozy Cole, drums; Hampton, vibraphone.
I Know That You Know, April 26, 1937: Buster Bailey, clarinet; Hodges; Stacy; Reuss; Kirby; Cole; Hampton, drums.
Drum Stomp, Piano Stomp, July 16, 1937: Jonah Jones, trumpet; Eddie Barefield, clarinet; Clyde Hart, piano; Bobby Bennett, guitar; Mack Walker, bass; Cole; Hampton, piano, drums.
Baby, Won't You Please Come Home, The Object of My Affections, September 5, 1937: Elman; Vido Musso, clarinet; Rollini; Stacy; Johnny Miller, bass; Cole; Hampton, vibraphone, vocal.
Muskrat Ramble, Shoe Shiners Drag, I'm in the Mood for Swing, July 21, 1938: Harry James, trumpet; Benny Carter, Dave Matthews, alto saxophones; Herschal Evans, Babe Russin, tenor saxophones; Billy Kyle, piano; Kirby; Jo Jones, drums; Hampton, vibra- phone.
High Society, It Don't Mean a Thing, April 3, 1939: Irving Randolph, trumpet; Jerry Jerome, Chu Berry, Russell Procope, Schertzer, saxophones; Hart; Reuss; Milt Hinton, bass; Cole; Hampton, vibraphone.
Jivin' the Vibres, February 8, 1937: Ziggy Elman, trumpet; Hymie Schertzer, George Koenig, Arthur Rollini, Vido Musso, saxophones; Jess Stacy, piano; Allen Reuss, guitar; Harry Goodman, bass; Gene Krupa, drums; Lionel Hampton, vibraphone.
Buzzin' 'Round with the Bee, April 14, 1937: Cootie Williams, trumpet; Lawrence Brown, trombone; Mezz Mezzrow, clarinet; Johnny Hodges, alto saxophone; Stacy; Reuss; John Kirby, bass; Cozy Cole, drums; Hampton, vibraphone.
I Know That You Know, April 26, 1937: Buster Bailey, clarinet; Hodges; Stacy; Reuss; Kirby; Cole; Hampton, drums.
Drum Stomp, Piano Stomp, July 16, 1937: Jonah Jones, trumpet; Eddie Barefield, clarinet; Clyde Hart, piano; Bobby Bennett, guitar; Mack Walker, bass; Cole; Hampton, piano, drums.
Baby, Won't You Please Come Home, The Object of My Affections, September 5, 1937: Elman; Vido Musso, clarinet; Rollini; Stacy; Johnny Miller, bass; Cole; Hampton, vibraphone, vocal.
Muskrat Ramble, Shoe Shiners Drag, I'm in the Mood for Swing, July 21, 1938: Harry James, trumpet; Benny Carter, Dave Matthews, alto saxophones; Herschal Evans, Babe Russin, tenor saxophones; Billy Kyle, piano; Kirby; Jo Jones, drums; Hampton, vibra- phone.
High Society, It Don't Mean a Thing, April 3, 1939: Irving Randolph, trumpet; Jerry Jerome, Chu Berry, Russell Procope, Schertzer, saxophones; Hart; Reuss; Milt Hinton, bass; Cole; Hampton, vibraphone.
From the back cover: All through his long and successful career, Lionel Hampton has courted rhythm with a furious devotion. He has sought "that certain beat" as though it were the Holy Grail.
"I'll tell you where that beat comes from," he told an interviewer several years ago. "Ever heard a revival meeting? Vibration goes around and gets into every- body. In Little Rock, Arkansas-I went to one. There was a trumpet, a tambourine and a piano. The pastor of the church, he danced all around the congregation. Started at 8:30 and at 10:30 everybody was going in unison and then-I was dancing with 'em.
"On the stage it's all spiritual, too. You feel that beat in your soul and the audience-just like a looking glass. The audience has to reflect that beat."
His search for that beat has taken him from the bass drum of a Chicago schoolboy band to the leader- ship of a frenetic big band which has enjoyed fabulous international success for more than fifteen years. His approach to every instrument he plays-whether it be drums, vibraphone or piano-stresses beat and rhythm. When he joined the Benny Goodman entourage in 1936, expanding the Goodman trio to a quartet, he imbued the group with a dedicated drive that it had not had before. During his Goodman days, a period when the selections in this set were made, Hampton's interpretation of the beat involved degrees of subtlety which have largely disappeared in the work of his present big band.
The Hampton we find here is the young, excited, reaching-out, adventurous musician, already a man whose knowledge of his field is not limited by myopic prejudices. Notice the breadth of these selections: New Orleans standards such as Muskrat Ramble and High Society; one by the iconoclastic Jelly Roll Morton, Shoe Shiners Drag; an Ellington piece, It Don't Mean a Thing; a rather ordinary pop tune of the day, The Ob- ject of My Affections; and a warm-blooded show tune, I Know That You Know, written by Vincent Youmans for "Oh, Please"; plus specially devised showcases for Hampton's varied instrumental talents. For the period when these recordings were made (1937-1939), this took in almost everything there was to cover.
Even more notable, however, is Hampton's perceptive selection of the men in his recording groups. These are all pick-up combos, brought together specifically for recording sessions, for Hampton had not yet launched his own band at this time. He was still with Goodman and it is significant that, when he put a group together, he consistently chose (and could get) the best men from the best bands of that day.
On these twelve numbers, he draws from the Good- man band (Harry James, Ziggy Elman, Hymie Schert- zer, George Koenig, Arthur Rollini, Vido Musso, Jerry Jerome, Babe Russin, Jess Stacy, Allen Reuss, Harry Goodman, Gene Krupa), from Duke Ellington (Johnny Hodges, Cootie Williams, Lawrence Brown), from Count Basie (Herschal Evans, Jo Jones), from Cab Calloway (Chu Berry, Milt Hinton, Irving Randolph) and from John Kirby's Sextet (Kirby, Buster Bailey, Russell Procope, Billy Kyle), as well as pulling in such unaffiliated stars as Benny Carter, Cozy Cole, Jonah Jones, Mezz Mezzrow and Clyde Hart.
Sometimes the influence of one of these great bands was so strong in a Hampton combo that the charac- teristic sound of the band dominates the combo's play- ing. On livin' the Vibres, Hampton brought in the entire, smooth-swinging Benny Goodman saxophone section, led by Hymie Schertzer, and the result is a decidedly Goodmanish sound. Buzzin' 'Round with the Bee is played by a group heavily salted with Elling- tonians and again this might have been the product of one of the Duke's small groups except for the magnifi- cently romping piano of Jess Stacy and, of course, Hampton's rhythmic vibes.
This collection is a full course display of Hampton's talents. On most of the selections he is heard on vibra- phone, the instrument which he introduced to and established in jazz. But on I Know That You Know and Drum Stomp, he shifts to drums, his starting point in music (Hampton was the drummer in Les Hite's band in California, a band which was fronted by Louis Arm- strong for a while, before he joined Benny Goodman). On Piano Stomp he plays piano in his very personal two-finger style, a style that derives directly from his vibraphone technique since he hits the keys with his fingers as though he were using mallets. And on Baby, Won't You Please Come Home and The Object of My Affections he sings-and even in this there is a percussive quality that shows him intent as ever on projecting that beat.
I Know That You Know
Drum Stomp
Muskrat Ramble
Baby, Won't You Please Come Home
Piano Stomp
Jivin' The Vibes
High Society
It Don't Mean A Thing
Shoe Shiners Drag
I'm In The Mood For Swing
The Object Of My Affections
Buzzin' 'Round With The Bee
"I'll tell you where that beat comes from," he told an interviewer several years ago. "Ever heard a revival meeting? Vibration goes around and gets into every- body. In Little Rock, Arkansas-I went to one. There was a trumpet, a tambourine and a piano. The pastor of the church, he danced all around the congregation. Started at 8:30 and at 10:30 everybody was going in unison and then-I was dancing with 'em.
"On the stage it's all spiritual, too. You feel that beat in your soul and the audience-just like a looking glass. The audience has to reflect that beat."
His search for that beat has taken him from the bass drum of a Chicago schoolboy band to the leader- ship of a frenetic big band which has enjoyed fabulous international success for more than fifteen years. His approach to every instrument he plays-whether it be drums, vibraphone or piano-stresses beat and rhythm. When he joined the Benny Goodman entourage in 1936, expanding the Goodman trio to a quartet, he imbued the group with a dedicated drive that it had not had before. During his Goodman days, a period when the selections in this set were made, Hampton's interpretation of the beat involved degrees of subtlety which have largely disappeared in the work of his present big band.
The Hampton we find here is the young, excited, reaching-out, adventurous musician, already a man whose knowledge of his field is not limited by myopic prejudices. Notice the breadth of these selections: New Orleans standards such as Muskrat Ramble and High Society; one by the iconoclastic Jelly Roll Morton, Shoe Shiners Drag; an Ellington piece, It Don't Mean a Thing; a rather ordinary pop tune of the day, The Ob- ject of My Affections; and a warm-blooded show tune, I Know That You Know, written by Vincent Youmans for "Oh, Please"; plus specially devised showcases for Hampton's varied instrumental talents. For the period when these recordings were made (1937-1939), this took in almost everything there was to cover.
Even more notable, however, is Hampton's perceptive selection of the men in his recording groups. These are all pick-up combos, brought together specifically for recording sessions, for Hampton had not yet launched his own band at this time. He was still with Goodman and it is significant that, when he put a group together, he consistently chose (and could get) the best men from the best bands of that day.
On these twelve numbers, he draws from the Good- man band (Harry James, Ziggy Elman, Hymie Schert- zer, George Koenig, Arthur Rollini, Vido Musso, Jerry Jerome, Babe Russin, Jess Stacy, Allen Reuss, Harry Goodman, Gene Krupa), from Duke Ellington (Johnny Hodges, Cootie Williams, Lawrence Brown), from Count Basie (Herschal Evans, Jo Jones), from Cab Calloway (Chu Berry, Milt Hinton, Irving Randolph) and from John Kirby's Sextet (Kirby, Buster Bailey, Russell Procope, Billy Kyle), as well as pulling in such unaffiliated stars as Benny Carter, Cozy Cole, Jonah Jones, Mezz Mezzrow and Clyde Hart.
Sometimes the influence of one of these great bands was so strong in a Hampton combo that the charac- teristic sound of the band dominates the combo's play- ing. On livin' the Vibres, Hampton brought in the entire, smooth-swinging Benny Goodman saxophone section, led by Hymie Schertzer, and the result is a decidedly Goodmanish sound. Buzzin' 'Round with the Bee is played by a group heavily salted with Elling- tonians and again this might have been the product of one of the Duke's small groups except for the magnifi- cently romping piano of Jess Stacy and, of course, Hampton's rhythmic vibes.
This collection is a full course display of Hampton's talents. On most of the selections he is heard on vibra- phone, the instrument which he introduced to and established in jazz. But on I Know That You Know and Drum Stomp, he shifts to drums, his starting point in music (Hampton was the drummer in Les Hite's band in California, a band which was fronted by Louis Arm- strong for a while, before he joined Benny Goodman). On Piano Stomp he plays piano in his very personal two-finger style, a style that derives directly from his vibraphone technique since he hits the keys with his fingers as though he were using mallets. And on Baby, Won't You Please Come Home and The Object of My Affections he sings-and even in this there is a percussive quality that shows him intent as ever on projecting that beat.
I Know That You Know
Drum Stomp
Muskrat Ramble
Baby, Won't You Please Come Home
Piano Stomp
Jivin' The Vibes
High Society
It Don't Mean A Thing
Shoe Shiners Drag
I'm In The Mood For Swing
The Object Of My Affections
Buzzin' 'Round With The Bee
Dance Tempo Cha Cha Cha - Manuel Rivera
Woke Up This Morning
Manuel Rivera And His Orchestra
Photography: Joe Tauber
Cover Design: Charles Meggs
Recorded: Hollywood, California
Crown Records CLP 5138
1959
Esperanza
Marcheta
Shine On Harvest Moon
Ida
Chop Sticks
You Know I Love You
The Girl In My Dreams
Woke Up This Morning
Cherry Pie
Eddie My Love
Crown Records CLP 5138
1959
Esperanza
Marcheta
Shine On Harvest Moon
Ida
Chop Sticks
You Know I Love You
The Girl In My Dreams
Woke Up This Morning
Cherry Pie
Eddie My Love
Charly - Ravi Shankar
Charly Theme
Music By Ravi Shankar
World Pacific/Liberty
WPS-21454
1968
From the jacket notes: There are many creative, imaginative and experienced composers in Hollywood. I (Ralph Nelson - Director and Producer) was determined that "Charly" needed a unique sound for this unique motion picture. Before the surge of publicity which made the musician Ravi Shankar the idol of the avant-garde, I played his "Variations On A Theme From Pather Panchali," film I had admired. The sounds were melodic, but more, they were haunting; they had the quality and inspiration which I believe essential to the scoring of my picture. Ravi Shankar was my man.
Nice listen which plays through, not so much like an avant grade work, but not like your standard sound track. The listen is more like an engaging concept album.
Main Title
Charly Theme
Scenic Tour
Improvisation On Charly Theme – The Man – Triumph In The Bakery
Termoil
Reprise
Love Montage
Variations On Love Theme
Self Pursuit
Love Theme Transformation
Charly Theme And Resolution
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