Super Hits 1974 - Volume 5

Honestly I Love You

Superhits 1974
Volume 5
Power Pak Records SA 265

One of a series of "hits" covers albums produced by Power Pak studio artists.

Check out Volume 1

The Sound Of Latin Brass - Tarragano

Baia

The Sound Of Latin Brass
Tarragano And His Orchestra
Arranged by David Terry
Medallion/Knapp Records ML-7511

Surprisingly good big band Latin produced to compete with the stuff Command was releasing in the early 60s. The recording also features very good engineering which delivers a full, rich sound.

El Cumbanchero
In A Little Spanish Town Cha Cha
Tabu
Rockambo Baby
Besame Mucho
Anna
Carioca
Fascination
Orchids In The Moonlight
Mama Inez
Baia
Mambo Jambo

Lullaby Of Broadway - Georgie Auld

Harlem Nocturne

Lullaby Of Broadway
Georgie Auld
Tenor Saxophone Solos
Coral CRL 57029
1956

From the back cover: The biggest, worldliest city of all has provided the title song, "Harlem Nocturne" and, of course, "Manhattan." The latter, in fact, has become most closely identified with this late modern mood approach of Georgie's, and it's a great personal favorite with the nation's disk jockeys.

But sometimes, hearing the way he sounds today, it's difficult for one to believe that this is the same tenor man the late Bunny Berigan sponsored back as far as 1937. In those days Bunny had a pretty fair big swing band, but he was no leader and somebody gave him a lot of terrible pop tunes to record. On most of these there were steel fibre tenor solos by the young Canadi n "find," Georgie Auld, in a sort of jagged, vintage Charlie Barnet style. Still, there was something here that made the jazz aficionados perk up their ears.

Gradually the sharp corners rounded off and he joined Artie Shaw during the peak years of '38 and '39.

Then came Shaw's dramatic exit (the first of several) and Georgie took over the band briefly while Artie looked for a new perspective in Acapulco. (It has been recalled by Artie that part of the provocation for his departure was the resentment expressed by the rest of the band when Georgie came to work for the then impressive sum of $125.)

In the middle of the '40, he joined Benny Goodman for a year, and it was here he blended into the mainstream of jazz and laid the foundation for a perpetually progressive style. This was Benny's "Basie Period" wherein the sturdy strain of Negro jazz out of Kansas City and thereabouts crowed with the Chicago New York strains to produce a freer, more sensuous and swinging music... especially in the smaller groups. Goodman's great Sextet included besides Auld, Cootie Williams on trumpet, the late Charlie Christian on guitar and sometimes Basie himself on piano.

Then, around this time, Ben Webster was making his singularly expressive style left as a member of Duke Ellington band ("Cottontail," "All Too Soon," etc.). Coleman Hawkins came back from Europe and recorded "Body And Soul," and Chu Berry did his "Ghost Of A Chance" with Cab Calloway. That same year too, Lester Young was doing all those tremendous romping things with Basie. The tenor era was on, and there was plenty to absorb. It's our guess that Georgie learned the most about jazz interpretation of ballads at the Webster school, which is timeless.

He went back with Shaw in '41 - '42, and after an army turn formed his own band which functions and recorded between '44 and ' 46. During that period he recorded for the now-defunct Guild and Musicraft companies, producing several sides that added impetus to the modern jazz movement as carried forward by Woody Herman and such. Among his sidemen on various dates were Dizzy Gillespie, Erroll Garner, Al Cohn, Serge Chaloff, etc. One memorable date was shared with Sarah Vaughan.

It was in 1951 that Georgie began recording for Coral and for it's jazz subsidiary label, Brunswick. In recent years, too, he has succumbed to the urge which hits many jazz men, to operate his own club. He had one in New York for a time, them moved to Hollywood, where he opened the Melody Room in '54.

Lullaby Of Broadway
Manhattan
A Room With A View
Early Autumn
On The Alamo
Harlem Nocturne
The High And The Mighty
Dark Green
The Man With The Horn
Crazy She Calls Me
Just You, Just Me
Cherry Time

Do The Hustle

Walk

The Hustle Factory Presents
Do The Hustle
With Instructions by the New York Hustle, Incorporated
Realm Records
1976

At The Roundtable - Tyree Glenn

Limehouse Blues

Tyree Glenn At The Round Table

Produced by Rudy Traylor
Roulette SR-25050

Session members includes: Hank Jones - piano, Jo Jones - Drums, Tommy Potter - bass and Mary Osborne - guitar.

From the back cover: Tyree, of course, is ever present on his golden trombone or on the vibes.

Also fron the back cover: One of the first jazz musicians to appear at New York City's newest and most "plush supper clubs, The Roundtable, was Tyree Glenn.

Teach Me Tonight
Sunday
Just A Wearyin' For You
All Of Me
Royal Garden Blues
Wonder Why
Dear Old Southland
Them There Eyes
Sweet And Lonely
Marcheta
Limehouse Blues

The Pop Machine

Close To You

The Pop Machine
Design Records SDLP 324

Collection of studio tracks roughly cobbled together.

Schlagerrallye

I Love You

Schlagerrallye
Ariola Eurodisc
Fiesta Record Company
FLP-1400

Renate und Werner Liebmann, Carmela Corren, Antia Traversi, Jan und Kjeld, Peter Hinne, Fredy Brock and Gunnar Wiklund

Gaucho Mexicano
Rosen Haben Dornen
I Love You
Geh Nicht Zu Den Indios
Piccolina
Im Tal Der Blauen Berge
Rosemarie
Siebentausend Rinder
Im Kleinen Dorg Am Rio Grande
Pepino
1999
Ob In Bombay, Ob In Rio
Schenk Mir Einen Talisman
Wilhelm Tell Twist

Love Sequence - Morris Stoloff

Rosetta and It Was A Beautiful Dream

Love Sequence
Themes And Counter-Themes
Morris Stoloff And His Orchestra
Decca Records DL 8407

From the back cover: His musicianship has won praise from many sources. He was nominated for the best scoring for a dozen different films, including "From Here To Eternity," and "5,000 Fingers of Dr. T." Moreover, he has been the recipient of two coveted Academy Awards: "Cover Girl" in 1944 and "The Jolson Story" in 1946.

I bought this album, drawn in by the curious title and pulp art styled cover. The record plays through differently than most mood music projects of the period.  The approach is small combo lounge with an unexpected orchestrated mood music overlay. At times tracks sounded somewhat like I was playing two records simultaneously.  The sample track above foregoes the layer of "mood" until about halfway through the piece.

Moonglow And Theme From "Picnic"
These Foolish Things
Love Come But Once In A While
Wrap Your Troubles In Dreams and There Was A Time
Sentimental Journey To You, Sweetheart
You Can't Run Away From It
Save Your Sorrow and Last Night
Exactly Like You and Wanna Go Back To You
Our Theme And Counter Theme
Prisoner Of Love and Dream Awhile With Me, Dear
Manhattan Romance and Sweet Sue, Just You
Rosetta and It Was A Beautiful Dream
Walkin' Thru A Rainbow

David Rose And His Orchestra

Love For Sale

David Rose And His Orchestra
MGM Records GAS-129

The album concept seems to be "strip club" music as a number of the tracks (but not all) feature the tell tale drum beat behind the mood music.

The Stripper
Love For Sale
I Can't Stop Loving You
And I Love Her
Gigi
Autumn Leaves
What Is This Thing Called Love
A Pretty Girl Is Like A Melody
Thank Heaven For Little Girls
September In The Rain

Patterns In Sound

Tony's Tune

Enoch Light Presents
An Emotional Experience In Musical Communication
Patterns In Sound
Project 3 Total Sound PR 101SD-S
1966

The LP packaging hints at an "conceptual" audio experience, however this is a compilation album with no focus. The tunes are enjoyable if you are into the early 60s Light sound, including several well executed Mottola tracks.

April In Portugal
Someone To Light Up My Life
Tony's Tune
Georgia On My Mind
Hold Me
A Tower Of Strength
Theme From The Sand Pebbles
Born Free
Blowin' In The Wind
Pussyfoot
Summer Samba
Workin' In The Coal Mine

The Big Ten - The Harmony Flames

Bulldog

Lonely Blue Boy

The Big Ten
The Harmony Flames
Volume II
Harmony/Columbia HS 11033
1959(?)

The Harmony Flames with soloist vocal credits printed on the disc label to include Sal Mayo on Lonely Blue Boy. The LP also includes instrumental filler tracks.

Big River
Why
Let It Be Me
Tell Her For ME
Beyond The Sea
Tracy's Theme
Lonely Blue Boy
Where Or When
What In The World's Come Over You
Bulldog

Process 35 Percussion

Mambo Ravioli

Process 35 Percussion
Spinorama Records S-94

Budget looking cover featuring no real title. Process 35 refers to a recording method Command Records was using (and others copied) at the time with excellent results.

Tony Calioli And His Band (probably a made up name for a session collection) are credited for the music on the disc label.

With all the indicators going against this album I didn't have much hope for the audio content. But whoever worked on the arrangements did a fine job. There appears to be some filler amongst the gems... but not enough to slow the record down.

O Sole Mio
Sorrento
La Rosa
Mambo Ravioli
Bill Bailey
Finiculi Finicula
Vita
Cielo Napoli
El Choclo

Cocktail Swing - Jack Sterling

Speak Low

Cocktail Swing
Jack Sterling And His Quintet
Harmony Columbia HS 11-15
1959

Terrific small combo lounge that features excellent engineering. I enjoyed the jazzy arrangements, clean instrument separation and full shimmering tone.

From the back cover: Jack Sterling, star of WCBS Radio's Jack Sterling Show, has the easy-going manner, humor and warm personality that make him a favorite of early morning radio listeners in the New York metropolitan area. The three-hour broadcast (there are 30 minutes of news) offers music, news and weather reports and Sterling at the helm. He is assisted by a musical quintet, consisting of Mary Osborne on the guitar; Andy Fitz on the clarinet; Tyree Glenn (courtesy of Roulette Records), vibes; Buddy Jones, bass; and Tony Aless, piano.

Sterling apparently played the drums.

This is a short set with content on each side of the record filling little more than half the disc.

Love Is Here To Stay
Speak Low
Goody Goody
I'm Gonna Sit Right Down And Write Myself A Letter
Carioca
Comes Love Dearly Beloved
Nice Work If You Can Get It
You'd Be So Nice To Come Home To
How High The Moon

Fascinating Rhythms - Van Lion

My Funny Valentine

Sunny Boy

Fascinating Rhythms
Van Lion And His Big Band
Harmony/Columbia HS 11017
1959

Jazzy big band set from obscure artist with a vibe that reflects the look of the cover art. Good stuff.

Fascinatin' Rhythm
My Man
Heat Wave
My Funny Valentine
I Want To Be Happy
Shine
Pop Corn
Sunny Boy
Autumn In New York
C Jam Blues

Love Theme From Romeo And Juliet - Living Trio

Love Theme From "Romeo And Juliet"

These Eyes

Love Theme From Romeo And Juliet
Living Trio
Produced by Ethel Gabriel
CAS-2340
1969

Tight small combo lounge featuring a late 60s groove. Fun set.

Love Theme From Romeo And Juliet
Sincerely
Rhythm Of The Rain
No, Not Much
Good Morning Starshine
Love Me Tonight
Heather Honey
The Many Loves Of Minette
Spinning Wheel
These Eyes

Love Is Blue - Living Marimbas

Mission Impossible Theme

The Good And The Bad And The Ugly

Love Is Blue
Living Marimbas
Arranged And Conducted By Leo Addeo
Produced By Ethel Gabriel
RCA Camden
CAS-2253
1968

Another creative installment in the "Living" series of records.

Love Is Blue
In The Heat Of The Night
Scarborough Fair
Theme From The Fox
The Ballad Of Bonnie And Clyde
Mission Impossible Theme
Theme From Valley Of The Dolls
The Good, The Bad And The Ugly
Fascination
Greensleeves

Twin Pianos & Percussion - Stradivari Strings

Blue Skies

None But The Lonely Heart

Twin Pianos & Percussion
Stradivari Strings And The Montigo Choir
Pirouette Records RFM 73

Twin Pianos & Percussion

Metropolitan Strings And The Montigo Choir

Promenade 2241

I bought this LP (finding the Promenade version at a later date) because I'm a record hoarder and can't pass up the word "percussion" in the album title... In other words... I expected nothing in return for my $1. But, hey... this is a crazy record on which the percussion segment just isn't tacked on at the beginning of some canned studio orchestral piece. The arrangements are interesting. Add in bongos and the vocals and I could hardly believe my ears.

You're Just In Love
Blue Skies
Soft Lights And Sweet Music
Say It With Music
They Say It's Wonderful
It's A Lovely Day Today
Love Me Forever
One Lonely Night
Tell Me You Love Me
'Til Your Heart Is Mine
None But The Lonely Heart

The World We Know - Stan Kenton

Gloomy Sunday

The World We Know
Stan Kenton And His Orchestra
Capitol Records ST 2810
1968

This is a great Kenton album. The LP kicks off with an inventive and subdued cover of Sunny, but the mood quickly grows a bit more "somber". The vibe becomes more moody, slow and smoky. The "spy/secret agent" flavored track titled Interchange interjects energy at the end of side one, but side two jumps right back into bluesy covers of Invitation, Girl Talk and This Hotel. Kenton's Changing Times presents a more upbeat tune that features cool tempo changes. The LP closes out with yet one more moody track and one of my favorite songs, Gloomy Sunday.

Good stuff!

Sunny
Imagine
A Man And A Women
Theme For Jo
Interchange
Invitation
The World We Knew
This Hotel
Changing Times
Gloomy Sunday

Cha Cha Cha - Pedro Garcia And His Del Prado Orchestra

Abrete Sesamo

Cha Cha Cha
Pedro Garcia And His Del Prado Orchestra
Audio Fidelity AFSD 5810

One of a series of peppy Gracia Cha Cha records produced by AF around 1957.

Cha Cha Paganini
Luna De Miel En Puerto Rico
Las Classes De Cha Cha Cha
Cha Cha Chavela
Rico Vacilon
Nicolasa
Abreto Seasmo
Senorita Catalina
Pedro Y Pablo
Mi Lo Dijo Adela
Pimpolio
Baila

After Dark - Marian McPartland

Sand In My Shoes

After Dark
Marian McPartland
Cover Photo by Burt Goldblatt
Capitol Records T699
Recorded in New York City in October, 1955

Personnel:
Piano: Marian McPartland
Bass: Bill Crow
Drums: Joe Morello
Cello: Lucien Schmit
Harp: Betty Glamann (Chelsea Bridge - Sand In My Shoes Easy Come, Easy Go - For All We Know) & Margaret Ross (If I Love Again - I'll Be Around - Pour Little Rich Girl)

From the back cover: One night at the table nearest the kitchen in New York's vast Hickory House a few friends lingered over the dinner hour, talking to lean, elegant Marian McPartland. The waiters served the group with a joshingly put-on air and frequently bantering remarks about Marian: her respectable red dress, her piano playing. From the doting tone of their remarks, though, and the constant attention paid to her it was obvious that she was the idol of everyone alike. Marian's charm – at once as basic and warm-hearted as laughter – sustained itself miraculously throughout questions from her dinner companions, and a lot of intense talk about her craft.

Someone in the group asked her the typical, but unfailingly interesting question. "What kind of music do you like to play best?"

Without any hesitation at all, Marian replied, "Ballads. I seem to like to indulge in feeling slightly nostalgic and sad, and people tell me that they really feel what's being said, and I guess that' some sort of artistic achievement."

To the left of the little group a man was explaining loudly to his blonde girl friend why he could not stand barbecue sauce. But even in the face of such noisy competition the conversation went on, unabashed.

"And I like knowing the words of the ballads I play," Marian said. "Because when I do I can sort of 'think' them to myself as I play, and can play their moods into my performance.

Somebody murmured about how keenly she does indeed appear to be thinking as she plays, and then Marian continued, intently picking up part of an earlier conversations.

"I like to have someone to play for, and if I know that someone in the room is really listening – it need only be one, really! – I think I can project my mood to that person and perhaps others, too

"But to project this kind of mood in the best possible way the whole trio has to feel it, not just me, and I must say that my two boys, Bill Crow and Joe Morello, are tremendously sensitive people. That reminds me. Did you know that Joe was named New Star in Drums in Down Beat's 1955 Jazz Critics' Poll? Anyway, sometimes just a delicate touch on the cymbals with the brushes, or a low note feeling played on the bass can give me such a warm feeling, knowing we are all of one mind. When it happens, it's a wonderful thing, and it happens quite often.

"Every time we play a tune, though we may have a set idea of how parts of it are to be played, there are always certain passages that come out differently each time, with each person adding his or her little suggestion."

She paused, and someone said, "I understand you're using more instruments than just the bass and drums in your new album. How come?" The questioner indicated Bill Crow and Joe Morello, who had joined the friends for coffee.

"They were only added for the ballads," Marian said. "A cello and harp. They're so nice for gentle, lyrical things. I really love the quality that they give to a song."

And with that there was a general dispersal of the group. Marian and the other two musicians prepared for the first set; the man with the blonde girl friend and the antipathy to barbecue sauce left; and Marian's friends moved up to the bar, the better to hear her.

From Billboard - April 14, 1956: There's something very magic about the McPartland gal, and that great feeling gets over in big gobs on this classy and tasteful disking. In the ballads "Chelsea Bridge," "Sand In My Shoes," "Easy Come, Easy Go," etc., she uses cello and harp to augment her regular group and the added sound contributes much warmth and luster. But no matter who the back-up people may be (and Bill Crow on bass and Joe Morello on drums are tops in this set) the British artist makes elegant sounds and she's at her best here. Should Be a sickout counter item.

Poor Little Rich Girl
Chelsea Bridge
I Could Write You A Book
For All We Know
Sand In My Shoes
Struttin' With Some Barbecue
Easy Come, Easy Go
Falling In Love With Love
If I Love Again
Royal Garden
I'll Be Around
Everything But You

The Beat Goes On - Living Percussion

Jungle Fantasy

The Beat Goes On
Living Percussion
Camden RCA CAS-2255
1969

Why is this... sort of "budget" record... so amazing? Well, the "Living" series album producer, Ethel Gabriel teamed up some of the 60s best mood music/session artists to produce a number of excellent easy listening pop concepts. On closer inspection, if you read the jacket notes, you'll find that Dick Hyman (on loan from Command) arranged the pieces and Phil Kraus, one of the most creative studio percussionists of the period conducted the set.

Good stuff.

Quiet Village
Green Tambourine
White Silver Sands
Me. The Peaceful Heart
The Beat Goes On
Jungle Fantasy
Air Mail Special
Soul Coaxing
Humoresque
Step To The Rear

Sixteen Great Performances - Tony Mottola

Yesterday

Sixteen Great Performances
Tony Mottola
ABC Records

ABC's reissue of Command/Mottola tracks as a part of their series of "Sixteen Great Performance" albums. The album covers in this series had a similar look, printed on matt stock.

Satisfaction
Vaya Con Dios
Brasilia
Skip To My Lou
Arrividerci Roma
Twelfth Street Rag
Quando Vuelva A Tu Lado
Poor People Of Paris
Carnival Time
Yesterday
Am I Blue
Mexican Hat Dance
Tenderly
Tijuana Taxi
You Make Me Feel So Young
Volare