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!
Hawaiian Moods
Billy Mure And His Orchestra
Luke Leilani And His Hawaiians
Spinorama S-157
Budget split LP between Mure and Leilani. Mure's side is a very good space age/exotica flavored set. Leilani's side features a pleasant, although more "traditional", set along with the rocking swing tune added as the last track (sample above).
Mure:
Hawaiian War Chant
Hawaiian Parade
In A Persian Market
Spain
By The Waters Of The Minnetonka
Leilani:
Sunset
Lovely Guitars
South Sea Island
Serenade
Swinging Palm Trees
Lana!
Arranged and Conducted by Chuck Sagle
Produced by Danny Davis
RCA LSP-4026
1968
The Sound Of Silence
How Can I Be Sure
Baby, Now That I've Found You
Honey
The Fool On The Hill
Can't Take My Eyes Off You
Gentle On My Mind
For Me
Workin' On A Groovy Thing
Mine
The Music Played
Symphony Of The Birds
Recorded by Johan Dalgas Frisch
MGM Records E/SE-4442
From the back cover: These birds have a special interest: they are among the world's most exotic. Their home is the lush jungle-land of Brazil. Much of their music was recorded for the first time by Johan Dalgas Frisch, the Brazilian engineer and ornithologist who is probably the most prolific natural sound disk maker in the world. Some of the most beautiful of bird calls have been collected by Mr. Frisch for this album, and deftly combined with specially made arrangements. – liner notes by Faith Crumpacker.
The producers got lucky when they mixed the sample above, however the rest of the set features an annoying blend of bland stock music and environmental recordings.
Emperor Waltz
Sukiyaki
Medley
Santa Lucia
Medley
Tico Tico
Waves Of The Danube
The Song From Moulin Rouge
Luar do Sertao
Loch Lomond
Vira do Minho
Bossa Nova Goes To The Movies
Harry Betts with The Bill Brown Singers
Produced by Jackie Mills and Tommy Wolf
AVA Records A14
Choreo Records - Distributed by MGM Records
1962 - United Recording Studios
This release came with a printed "dance step" instructional insert titled "Bossa Con Betts - Bossa Nova Dance - By Rocky Mari & John Monte"
Although a line of type identifying Choreo Records as the record company and MGM Records as the distributor appears on the jacket, some other identifying information is covered over in 5 places with AVA stickers including the disc labels.
Nice smooth Bossa Nova featuring jazz composer and trombonist Harry Betts.
You'll Never Get Away From Me
Our Language Of Love
The Most Beautiful Girl In The World
Love Song From Mutiny On The Bounty
Tonight
A Lot Of Livin' To Do
Song From "Two For The Seesaw"
Theme From Carnival
Love Theme From Period Of Adjustment
On The Street Where You Live
From the back cover: Color can mean opportunity or disappointment, but whether you like pink, blue, red, green, or any combination, the secret of life is deeply woven in the colors that surround us. Life itself is a painting of sorts. When we are born we are given a large canvass and a brush, and we are able to paint a picture of our life using the colors we choose, as we go along. Our actions and the influence of other people are sure to appear on this canvas. There are only a few basic colors that we can use; it's the blending that actually makes the picture.
My Coloring Book
Blue Velvet
Blue On Blue
18 Yellow Roses
Little Band Of Gold
Green Onions
Roses Are Red
Rambling Rose
Ruby Baby
Take A Letter Miss Gray
Dance & Dream
Marc Powers Society Orchestra
MVM 135
From the back cover: For many years the name Marc Powers has been synonymous with fine society music in the New York area.
Obscure album from the super budget label, Mount Vernon Music. It is hard to tell what the story is behind the music, if the selections were recorded by a single "group" or (more likely) compiled from a variety of sources. Marc Powers may be a real person or a made up name for a band leader.
Nonetheless, for a budget offering, there are a number of nice tunes to be found on the LP.
Soliloquoy is a typo as it appears on the jacket.
Nannette
Fancy Lovin' You
Prof's Blues
Adelita
Soliloquoy
Chopin's Polonaise
Monaco
Lonely Hour Blue
Blues Of The Levee
Wistfully Yours
Puff The Magic Dragon
Springboard International HT 706
This set features, more or less, the standard vocal approaches you might expect to hear on a children's record of this sort. However, Side 2 features one fantastic lounge inspired tune that I've shared above. Enjoy!
Puff The Magic Dragon
Aiken Drum
Little Tin Soldier
Listen To The Mocking Bird
Lloyd George Knew My Father
The Lemon Tree
Aura Lee
My Bonnie
Poor Little Buttercup
Little Lisa Jane
Shenandoah
Continental Gems
Jacques Darieux And His Orchestra
Palace 623
This is a gem of a cover on this budget LP, photo credited to Victor Mikus.
From the back cover: Jacques Darieux started his musical education at the age of seven. By the time he reached his twelfth birthday, he undertook the study of composition. This however, was done against the wishes of his parents as never desired to have their son become a musician. However, the outbreak of World War II postponed the decision, but in a strange way confirmed his desire to become a musician.
Spending some time in a Russian prison camp, he organized his own orchestra among the talented internees which by the end of 1948 consisted of twenty musicians.
Upon his discharge and return to Berlin, he continued his musical education and re-organized his orchestra for performances as well as recording sessions.
Solveyo's Song
Mattinata
Traumerei
Pavane
Poeme
Monti Csardas
Schbert's Serenade
Have Pity With Me
Humoresque
The Music Box
The Magic Beat!
The Unique Rhythms Of Richard Marino And His Orchestra
Producer: Felix Slatking
Engineer: Bill Putnam
Liberty Premier
LSS-14003
1961
From the inside cover: Richard Marino, the man whose baton becomes the wand for conjuring up the Magic Beat, brings to this album a rich background in classical and popular music.
Beginning his career as a violinist, Marino later traded his bow for a baton and has turned his attentions mainly to conducting. He has conducted the Glendale, California and El Paso, Texas symphony orchestras; has been associated with radio and television as a musical director and has still found time to build a fine reputation as an arranger and orchestrator.
From Billboard - February 13, 1961: This is one of the first albums in Liberty's new Premier "sound" series and a might exciting one it is, too. Smart, exciting arrangements played by the large ork make this album for stereo fans and hi-fi bugs.
Fever
High Noon
Ziganette
Lover
Rots-A-Ruck
The Trolley Song
Bagdad Express
Lisbon Antigua
Seventy Six Trombones
Hot Sombrero
Poor People Of Paris
The Living Strings Play The Very Lively Music Of The Monkees
Arranged and Conducted by Johnny Douglas
Produced by Ethel Gabriel
RCA Camden CAS-2148
1967
I have to hand it to the arranger, Johnny Douglas, for he somehow managed to blend Monkees tunes and strings together to form a decent easy/light pop album with a fun late 60s groove.
The project is helped along by strong studio guitar work that could be attributed to Mottola or Caiola… Just a guess on my part, but the work sounds familiar to me.
The Monkees
Steppin' Stone
When Love Comes Knockin'
Last Train To Clarksville
I Wanna Be Free
The Kind Of Girl I Could Love
Take A Giant Step
Mary, Mary
She
I'm A Believer
One Has My Name
Barry Young
Arranger - Ernie Freeman
Vocal Group - The Rex Dennis Singers
Dot DLP 3672
1965
Barry Young died of a brain abscess on December 2, 1966. He was 35 years old.
You'll Never Know
I Gotta Have My Baby Back
I Miss You So
I Still Need You
One Has My Name
Yesterday
Why
Chapel In The Moonlight
I'll Never Smile Again
Since You Have Gone From Me
Show Me The Way
Laughing On The Outside
The Lush String Sounds of Dean Franconi & His Orchestra
Design Records DLP-261
Painful budget set… Fun cover.
Love Theme From Is Paris Burning
Theme From Hawaii
Danube Waves
Santa Lucia
El Choclo
Somewhere My Love
Fascination
Estrellita
La Cumparsita
Espana Waltz
Guitaration Gap
Joe & Jody Maphis
Chart CHS-1042
1971
A few tracks presented in this set (shared above) were obviously arranged for the "younger guitaration". Those fine tracks are mixed in with more traditional approaches.
The cover features Joe's double-neck Mosrite guitar, specially built for him by Semie Moseley (giving a boost to Moseley's fledgling career as a guitar builder).
From the back cover: Several years ago, I had the privilege of recording a song written by Joe and Rose Lee entitled, "Dim Lights, Thick Smoke and Loud, Loud Music." They also recorded one of my instrumentals entitled "Randy Lynn Rag." In observing the changes in music styles though out the years, I think the young ideas and talent of Jody Lee, combined with that of his famous father, has provided for an excellent and exciting album. There is never any question of Joe And Rose Lee's performances, and on this album, I heard a sound that you hear in the young generation's sound of music. – Earl Scruggs.
Guitaration Gap
Fire And Rain
If I Kiss You
Sippin', Pickin' and Flippin'
Celito Lindo
Scruggin' It
Lookin' Out My Back Door
Ride, Ride, Ride
The Letter
Billy In The Low Ground
Homer Louis Randolph, III
Boots Randolph
Arranged and Conducted By Bill Justis
Monument Records
Z 30678
1971
My Sweet Lord
Rose Garden
Help Me Make It Through The Night
Sweet Caroline
Me And Bobby McGee
Amazing Grace
Theme From "Love Story"
It's Impossible
You Don't Have To Say
You Love Me
For The Good Time
Arranged and Conducted by Pat Williams
Produced by Pete Spargo
Verve V6-5052
Manufactured by MGM Records Division
1968
My purchased was influenced by the outstanding cover art (front and back) that features a living room full of bored looking models.
From the back cover: Cover Fashion Designed by Mathew for Noel Jrs., Noel Turner for Noel Petites. Fashions Available at Macy's New York City, J.W. Robinson, Los Angeles, Rich's Atlanta, Higbee Co., Cleveland.
Groovy late 60s brass set that features, to my ear, the Creed Taylor/Verve vibe even though Taylor left the company in 1967.
Shades
Li'l Darlin'
Laia Ladaia
King Porter Stomp
Cinnamon And Glove
The Look Of Love
Eleanor Rigby
Can't Live In A World Without You
For Me!
Bubbles Was A Cheerleader
Golden Age Of The Dancebands On Broadway
Poll Winners Of 1940
Recorded under the direction of D. L. Miller
Cover art by G. L. Phillps
Someset P-16900
Modest arrangements, but nonetheless an engaging big band set of tunes from Somerset.
Ba Li Hai
Indian Love Call
Oh What A Beautiful Morning
Old Man River
Accustomed To Her Face
Why Do I Love You
Get Me To The Church On Time
Hello Young Lovers
Everything's There
We'll Remember
We Kiss In The Shadows
Tes des Plantes' Swedish-American Hot Jazz Collaboration
Featuring Bent Persson & Tomas Ornberg
Stomp Off Records - S.O.S. 1136
Lausche Sound Recording - Cincinnati, Ohio
December 6-9, 1986
Ted des Plantes - piano, vocal, leader
Bent Persson - cornet, trumpet
Tomas Ornberg - clarinet, soprano sax
Frank Powers - Clarinet, alto and tenor saxes
Jim Snyder - trombone
Jack Meilhn - banjo, guitar
Mike Walbridge - tuba
Hal Smith - drums
Roy Tale - 2n trumpet on Can I Tell You? and Each Day
Words
Chicago Breakdown
Don 't Forget To Mess Around
Lost
Can I Tell You
Hot Tamale Man
Put'em Down Blues
Each Day
Who'll Chop Your Suey When I'm Gone
I'm Gonna Gitcha
Theme From "Mental Strain At Dawn"
I Can't Help Lovin' Dat Man
I Ain't Gonna Tell Nobody
New Music For Horns
The Horn Club Of Los Angeles
Producer: George Sponhaltz
Sound Engineer: Carson Taylor
Angel S-36036
From the back cover: Gunther Schuller was born November 22, 1925, in New York City, Where his father was a violinist with the New York Philharmonic Symphony Orchestra. At 19 he joined the Metropolitan Opera orchestra as horn player, a position he occupied for 15 years. The prolific and distinguished composer and author has since 1967 been President of The New England Conservatory, in Boston, and a very substantial indication of both his prolificacy and distinction is the fact that he currently has 17 commissions for world to be completed in the next few years. His Lines and Contrasts was begun in the 1950s and completed in 1960 in New York. Of it, the composer writes:
Lines and Contrasts for 16 horns is in two movements. The first, Lines, is a twelve-part "fugue" whose theme is exposed initially by the seventh horn. As each new voice enters (third horn, twelfth, first, etc.), variants and embellishments of the theme are developed as accompanimental material in the "consequent" part. Inevitably, by this procedure, the texture thickens into a twelve-part polyphony. Thus at the height of this development several horns are simultaneously engaged in playing various various segments of the theme, while others supply supporting harmonic material and melodic ornamentations. At the greatest point of density, the 13th through 16th horns enter almost unnoticeably with a four-part chord, which gradually expands into other pitches (and horns), and eventually swallows up the fugal material. Other interjections, particularly boy the hand-stopped horns, tend to underline the gradual disintegration of the fugue. Thus what started as a linear polyphonic twelve-tone structure has been turned by the conclusion of the movement "on end," so to speak, into a chordal homophonic (twelve-tone) structure.
In the second movements, Contrasts, the ensemble is divided into one solo horn and three quintets, each of which performs certain discrete harmonic, rhythmic, timbral and spatial functions and contrast. These will be obvious to even the most casual listener, although the spatial effects inherent in a live performance cannot be fully duplicated in a recording. It should be pointed out that considerable use of quarter tones is made, as well as the obvious forms of writing available on the horn.
In general, as in my Five Pieces for Five Horns and other works for brass instruments, I have shied away from the traditional stereotypes of horn writing. Lines and Contrasts is best heard not as a "composition for horns," but rather as a concert piece of absolute music which happens to be for horns, and which makes use of the magnificent range of colors and expression natural to this instrument.
William Kraft, composer and timpanist of the Los Angeles Philharmonic Orchestra, was born in Chicago in 1923. His Games: Collage No. 1 was composed in 1969. He write of it:
Games: Collage No. 1 is based on games of skill, opposition and chance. Some are known games such as chess and poker, others are invented musical games. The conductor two separate choirs, often in independent meters. He also decides when new players are added in various "collages."
The orchestra consists of 26 players in two equal antiphonal groups of 13 each: 3 trumpets, 4 horns, 2 Wagner tubas (another version exists for 3 trombones), 1 tuba and 2 percussionists (In Choir I they play metalophones, chimes, erotales, bell plate, glockenspiel and large tam-tam. In Choir II they play membranophones: timpani and graduated drums, with the addition of one of more gongs used to signal changes in attack and defense positions in the chess game).
Game I is a fanfare announcing the games. In itself, it is a game of coordination between the groups, wherein they balance themselves against each other and engage in a brief tug-of-war to determine their relative strengths.
Game II is two games in one, creating the first collage. The first i a game of chance through choice played by percussionists of Choir II. Each percussionist has a large variety of cells which he may play in any order. The second game is one of opposition played by the brass choirs The conductor chooses the time to begin. Choir I is a agile group trying to outmaneuver Choir II. Choir II relies on weight and strength, and eventually throws Choir II into a state of panic. Since Choir I is lighter (muted) and less monolithic, it seems destined to lose – but the conductor can fix the game to permit them to win.
Game III is a shadow game played by the two percussionists of Choir I, playing glockenspiel and crotales. They attempt to stay together (within each other's shadow) in a unison cadenza (which the conductor can again control by variances in tempo).
Game IV is played by two percussionists of Choir I, this time playing glockenspiel and chimes. It is a game of choices. Each player has an ostinato of which the beginning is fixed but the continuation is chosen at random from a group of cells. Cells may be performed singly or in combination, after which the player refers back to the fixed beginning.
Game V is a chess game superimposed on Game IV, played by the percussionists of Choir II. A list of attacks is given, related to actual chess moves, e.g., the knight moves two spaces up on the staff and then down one. The responses from the other player are either identical of, in most cases, variants of the attack in any rhythm and any speed. The bishop functions diagonally on the staff, and the queen, naturally, is the most active. The king is one strong note. Should either player wish to exchange roles, he does so by striking a gong which is place between the two players.
Game VI is the third layer of this collage (Games IV - V - VI) and is played by the opposing brass choirs. It is a game of skill for the players and for the conductor as one choir (I) is in duple meter and the other is in triple meter.
Game VII takes the duple-triple relationship a bit further into an even more demanding four-against-three relationship: the coincidence of downbeats occurs only every four measures. The music here of Choir I is based on the chorale "Laude Sion Salvatorum" used by Hindemith in Mathis der Mahler.
Game VIII is a game of poker played by Choir I over Choir II's augmented variations of the opening of the piece. Each player involved in the game has two notes (Some have another for "standing pat") that he formulates into various poker hands, e.g., full house equals one note twice, the other thrice. Again, any speed.
Games: Collage No. 1 was commissioned by the Encounters Committee to celebrate the opening o the new Pasadena Art Museum and thus was premiered on the cold, wintry night of November 21, 1969, with the choirs placed on opposite sides of the entrance courtyard.
Alec Wilder was born in Rochester, N.Y., February 16, 1907, and he makes his home in New York City. His many hundreds of compositions range from the popular songs "I'll Be Around," "It's So Peaceful In The Country," "Who Can I Turn To?" and "While We're Young" to chamber works and orchestral pieces, often composed with specific players or ensembles in mind. Most celebrated, perhaps, among the latter were his Octets, written at the urging of Mitch Miller, in 1939 and 1940, and his pieces for Woodwind Octet, String Orchestra and Harpsichord, recorded with Frank Sinatra conducting in 1945. Alec Wilder has been called "one of the most lyrical melodists of our time." His Nonet For Brass was composed in the spring, 1969. Direct and to the point, it readily invites listening of the most pleasurable kind. It has been described as a spectacular tour de force for the instruments, including to "descant" (high B-flat) horns, two normal French horns, four Wagner tubas and bass tuba.
Roger Johnson was born November 12, 1941, in San Mateo, California and now lives in East Orange, N.J. Now a doctoral candidate at Columbia University, he obtained his Master's from Yale School of Music. He is presently working in a free, atonal style with some use of aleatoric techniques. He is also interested in electronic music and is working in the Columbia-Princeton Electronic Music Center. He writes of his work:
Suite For Six Horns was written in 1960 which I was a first year under-graduate student at the University of Washington in Seattle and was first performed by an ensemble from the School Of Music. It was then placed in the Library of the Los Angeles Horn Club and has since been performed many times by them and other groups. As a horn player myself, I have often written for this instrument, and my Suite represents the first of a number of works exploring its many tonal and compositional possibilities.
Lines And Contrasts For 16 Horns / Composed By – Gunther Schuller 10:22
Madrigal / Composed By – Roland de Lassus 1:22
O Che Splendor / Composed By – Giovanni Pierluigi da Palestrina 2:15
Nonet For Brass Composed By – Alec Wilder 8:39
Games: Collage No. 1 Composed By – William Kraft 8:12
Suite For Horns / Composed By – Roger Johnson (4) 6:57
Ave Maria / Composed By – Tomás Luis de Victoria 2:17
Fanfare De Chasse / Composed By – Gioacchino Rossini 2:36
Horns: Dan Ashe, Arthur Briegleb, Huntington Burdick, James Decker, Vincent DeRosa, Leon Donfray, David Duket, Arthur Frantz, Thomas Greer, William Hinshaw, George Hyde, Waldemar Linder, Sinclair Lott, James McGee, Richard Mackey, Hyman Markowitz, Todd Miller, Caswell Neal, Richard Perissi, George Price, Ralph Pyle, Alan Robinson, Gale Robinson, Irving Rosenthal, Harry Schmidt, Eugene Sherry & Victory Vener
Trumpets: Irving Bush, Robert DiVall, Donald Green, Malcolm McNab, Mario Guarneri & Thomas Stephens
Bass Tuba: Roger Bobo, Roger Culbertson & John Johnson
Percussion: Charles DeLancey, Mitchell Peters, Walter Goodwin & Barry Silverman
Bass Tuba – Roger Bobo, Roger Culbertson, John Johnson*
Horn – , (2), (3), Victor Vener, Waldemar Linder,
Horn [Descant Horn] –
Horn [Natural Horn] – (2)
Horn, Tuba [Wagner Tuba] –
Percussion –
Timpani – Barry Silverman
Trumpet – (3), *
Gunther Schuller / Lines and Contrasts for 16 horns conducted by the composer
William Kraft / Games: Collage No. 1 for 22 brass and 4 percussion soloist conducted by the composer
Alex Wilder / Nonet for Brass conducted by Gunther Schuller
Songs Of The Seventies
Sounds Of The 70s Orchestra
Arranged And Conducted By William Loose
Produced by Ernest K. Dominy
Specialty Markets/Capitol Records SL-6774
Realistic QL-6774
Custom Manufactured for Radio Shack
1972
I Don't Know How To Love Him
For All We Know
You've Got A Friend
One Less Bell To Answer
Rose Garden
Variations On A Theme Of Erik Satie
It's Impossible
Theme From "Love Story"
Here Comes That Rainy Day Feeling Again
It's Too Late
Love Is Blue
Great Songs Of The 60s
Pleasure Programmed
Reader's Digest Record
1970
This 4 LP boxed set features a great 70s mood vibe created by such artists as Frank de Vol, Frank Comstock and Billy May.
Record 1
Love Is Blue / Johnny Gibbs and His Orchestra
Wonderful World / Perry Botkin, Jr. and His Orchestra
The Glory Of Love / Frank de Vol, His Orchestra and Chorus
Call Me / Norman Percival and His Orchestra
Groovin' / The New Classic Singers - Hank Levine and His Orchestra
The Happy Ending / Perry Botkin, Jr. and His Orchestra
There's A King Of Hush / Perry Botkin, Jr. and His Orchestra
You Only Live Twice / Johnny Gibbs and His Orchestra
Somebody To Love / Arranged and Conducted by Les Reed
A World Of Our Own / Norman Percival and His Orchestra
Feelin' Groovy / The New Classic Singers - Hank Levine and His Orchestra
Baby, I Need Your Lovin' / Billy May and His Orchestra
Born Free / Johnny Gibbs and His Orchestra
Record 2
To Sir With Love / Norman Percival and His Orchestra
Release Me / The Nashville Singers
Elanor Rigby /Perry Botkin, Jr. and His Orchestra
I Wish You Love / Nelson Riddle and His Orchestra
The Beat Goes On / The Nashville Singers - Bill Walker and His Orchestra
His Eyes, Her Eyes / Pete King and His Orchestra
Mr. Tambourine Man / Johnny Harris and His Orchestra
The Happy Trumpeter / Perry Botkin, Jr. and His Orchestra
Cast Your Fate To The Wind / Pete King and His Orchestra
Don't Sleep In The Subway / Norman Precival and His Orchestra
You've Lost That Lovin' Feeling / Frank Comstock and His Orchestra
La Bamba / Norman Precival and His Orchestra
Free Again / Pete King and His Orchestra
Slick / Arthur Greenslade and His Orchestra
Record 3
Ode To Billie Joe / Perry Botkin, Jr. and His Orchestra
Tom Dooley / Arthur Greenslade and His Orchestra
This Guy's In Love With You / Arranged and Conducted by Les Reed
By The Time I Get To Phoenix / The Nashville Singers - Bill Walker and His Orchestra
Walk On By / Billy May and His Orchestra
Honey / The Nashville Singers - Bill Walker and His Orchestra
Those Were The Days / Arthur Greenslade and His Orchestra
Puppet On A String / Frank Comstock and His Orchestra
In The Arms Of Love / Nelson Riddle and His Orchestra
Walk Right In / Hank Levine and His Orchestra
Sunny / Pete King and His Orchestra
Classical Gas / Johnny Harris and His Orchestra
Since I Fell For You / The New Classic Singers - Hank Levine and His Orchestra
A Whiter Shade Of Pale / Perry Botkin, Jr. and His Orchestra
Record 4
Cherry, Cherry / Billy May and His Orchestra
It Must Be Him / Perry Botkin, Jr. and His Orchestra
Elusive Butterfly / The New Classic Singers - Hank Levine and His Orchestra
Waterloo Sunset / Norman Precival and His Orchestra
For What It's Worth / Perry Botkin, Jr. and His Orchestra
Green, Green Grass Of Home / The Nashville Singers - Bill Walker and His Orchestra
I've Been Here / Johnny Gibbs and His Orchestra
Here Come's My BabyPerry Botkin, Jr. and His Orchestra
This Is My Song / Frank de Vol, His Orchestra and Chorus
Spanish Harlem / Billy May and His Orchestra
Nice 'N' Easy / Frank Comstock and His Orchestra
California Dreamin' / The New Classic Singers - Hank Levine and His Orchestra
Alfie / Norman Percival and His Orchestra
Land Of 1000 Danices / Norman Percival and His Orchestra
Perfume De Gardenias
Con Los Millonarios
Vol. III
Miami Records
Discos Fuentes MFS-3072
Enjoy a few samples from this obscure Latin space age lounge set.
Prisonero Del Mar
Cuando Vuelva A Tu Lado
Hojas Muertas
Nuestras Vidas
Incertidumbre
Perfidia
Perfume De Gardenias
Campanitas De Cristal
Niebla Del Riachuelo
Traicionera
Palida Azucena
Despecho
Quine Tiene Tu Amore?
Wilfredo Mendi
TECA Records LIS-571
Quien Tiene Tu Amor
La Hiedra
Que Te Cuesta
Te Voy A Besar
Cancion Prohibida
Siempre Te Amare
De
De Rodillas
Inevitable
Tu Ventana
Regalame Un Recuerdo
Como Un Carnaval
Nathalie
Sombras
El Tema Del Verdugo
Jamas Te Olvidare
Moliendo Cafe
Jinetes En El Cielo
La Novia
Cascada
La Flor De La Canela
Ajedrez
Fantasia Gaucha
Tabu
'Lectric Woods
Sound and Production by: Don Gallese and Don McGinnis
Arranged by Don McGinnis/ Ray Pohlman*
APT ABC Records 2601
This set features a number of quirky arrangements that attempt to blend some degree of 60s light groove pop, pop marimba brass and psych.
I can't decide whether the tunes are complete disasters or conceptual masterpieces!
Aquarius
The Dippers*
The Boxer
Time Of The Season
Bruce Bond
You've Made Me So Very Happy*
Spinning Wheel
Proud Mary
A.L.L.
I Wanne Be Free
Soul Satalite*
Atlantis
Fantasy Of Japan
Ricardo Santos and his Orchestra
Polydor LPPM-100
1964
An article published in Billboard - February 25, 1964 suggests that Santo visited Japan five years before he "etched" this LP in Germany.
The album featured here includes an English language insert that features covers illustrations from the Santos "Holiday Series".
From the insert: This is the third of the collection of Japanese melodies arranged by Ricardo Santos, who formerly handled Japanese Folk songs and children's songs in Holiday in Japan and Holiday in Nippon. Here he takes up Japanese classic music and completes a series of his recordings of Japanese music.
Handling such difficult materials for a foreigner as purely Japanese music, Santos has done a very fine job even more than his previous arrangements of Japanese folksongs and children's songs.
In these arrangements of Japanese music, his idea is so original, fantastic and fresh that we can say he composed fantasies of Japanese classic music rather than he made arrangements for a modern orchestra.
Also found on the insert is a credit for Werner Muller. Muller's name is found in parentheses directly above Ricardo Santos and his Orchestra. When I googled Muller, I found and compared the image return of Muller to the man in the insert photograph. The man featured in the insert is Muller.
The package, including the cover art, seems dated for a mid-60s release. The set is uneven and features some very "conservative" sounding tracks that are barely "pop" as well as at least three great space age flavored tunes including the standout sample above.
Echigojishi
Shinnal-Nagashi
Genroku Hanamiodorl
Azuma Hakkel
Chidori No Kyoku
Rokudan
Sanjusangendo
Etenraku
Aki No Irokusa
Musume Dojoji
Kappore
Kanjincho
Enjoy a sample from an obscure, but excellent contemporary set.
Beast Songs
Texts by Michael McClure
Susan Beiling, soprano; members of the Brooklyn Philharmonic (Paul Dunkel, flutist; John Moses, clarinetist; Kenneth Bowen, pianist; Robert Chausow, violinist; Jerry Grossman, cellist); Conrad Cummings, conductor
Tall Wind (Tall Wind, Sunset, Sonnet)
Poems by e. e. cummings
Joan Heller, soprano; Keith Underwood, flutist; Robert Atherholt, oboist; David Starobin, guitarist; Chris Finckel, cellist; Arthur Wiesberg, conductor
Khse Buon
Marc Johnson, cellist.
Summer Air
The New Music Cosort (Susan Deaver, flutist; Robert Atherholt, oboist; Virgil Blackwell, soprano saxophonist; Curtis Macomber, violinist; Louis Martin, violist; Clarie Heldrich and William A Trigg, percussionists; Barbara Allen, harpist); Conrad Cummings, conductor
Jean
Ray Conniff And Singers
Arranged and Conducted by Ray Conniff
Columbia CS 9920
1969
Love Me Tonight
A Time For Us
Love
The Windmills Of Your Mind
Aquarius/Let The Sunshine In
Jean
A Man Without Love
I'll Never Fall In Love Again
Spinning Wheel
The Power Of Love
Shadow Of The Night
Tony Mottola
Close To You
A Guitar For Lovers
Project 3 Total Sound
PR 5050SD
1970
From Billboard February 20, 1971: The subtile of this LP is music for lovers… and it's precisely that. Lush instrumentals range from Moon River and Autumn Leaves to We've Only Just Begun. Consider this another steady LP sales item in the Mottola fashion.
The jacket notes suggest that Mottola was also the arranger on this project.
Close To You
Always
Medley
What Are You Doing The Rest Of Your Life?
Autumn Leaves
Here's That Rainy Day
A Time For Love
We've Only Just Begun
Yesterday When I Was Young
Wave
The Christmas Song
Didn't We
Jennifer Ann
Dynamite!!
Supersax
P.A.U.S.A.
7082
MPS International
All arrangements except II/2 by Med Flory
Produced by Hans George Brunner-Schwer
Recorded 1978 - Published 1980
Supersax… and super tight. Enjoy the terrific cover of Gloomy Sunday!
From the back cover: Supersax plays "orchestrated Charlie Parker." That's how the group has become known all over the (jazz) world. This is their trade mark. Nevertheless, one of the more prominent American record companies wanted them to play Beatles songs with strings. Imagine, this was their condition to keep Supersax under contract! Med Flory and his musicians, of course, declined – which does not necessarily mean that they are not willing to expand their music. But they are expanding from musical, not commercial viewpoints.
The Fruit
Bamboo
Blues For Alice
Tempus Fugit
Parisian Thoroughfare
Gloomy Sunday
Wave
Dance Of The Road Dogs
Parker's Mood
New Music Ensemble
The San Francisco Conservatory
Wergo WER 60057
1971
From the back cover: Moran himself writes in connection with L'apres'-midi du Dracula: I first met the painter Robert Doxat in Vienna in 1963… I visited his flat in the 2nd District with friends. We walked up a stone stairway… while it rained outside. As I entered I knew that a magical event was talking place inside me. Robert showed me his wonderful drawings and pictures, scenes from the world of XamiXan. When I saw his drawing "The Afternoon of Dracula" I tried to reproduce the impression made by the drawing in musical terms.
Alan Hovhaness Koke No Niwa, Op. 181 "Moss Garden" 1960
Composed By, Conductor – Alan Hovhaness
English Horn – Melvin Kaplan
Harp – Ruth Negri
Percussion – Elden Bailey*, Walter Rosenberger
Ezra Sims Chamber Cantata On Chinese Poems 1954
Cello – Judith Davidoff
Clarinet, Bass Clarinet – Felix Viscuglia
Composed By – Ezra Sims
Conductor – Daniel PinkhamFlute – Elinor Preble
Harpsichord – Helen Keany
Tenor Vocals – Richard Conrad
Viola – William Hibbard
Lawrence Moss Four Scenes For Piano 1961
Composed By – Lawrence MossPiano – Seymour Fink
Lawrence Moss Sonata For Violin And PianoComposed By – Lawrence MossPiano – Yehudi WynerViolin – Matthew Raimondi
CRI SD 186
To my ears, here is the most entertaning piece from an obscure 1964 CRI contemporary music set.
From the back cover: The Chamber Cantata on Chinese Poems is a cycle of the year, beginning with New Year's Day (early Spring, in China) and continuing through to the end of Winter, with the first buds showing on the still snowy tree branches – which explains the somewhat anti-dramatic character of the music, this in line with the Chinese preoccupation with the youth-middle life-old age – and rebirth progression. The Cantata was to have been much larger, with a more rigorously patterned apportionment for the four tone-rows. Good sense won out of pretty planning, however.
This is a obscure album that I enjoyed. The musicians create, to my ear, a fluid "gamelan/fusion jazz" tonal journey on side one and the first half of side two, followed by an "old-school" avant grade piece, Stockhausen's Set Sail For The Sun, a track that plays "differently" comparatively speaking, but seems like just the right piece to finish to the set.
From the back cover: Zeitgeist was formed in April of 1977 to discover and realize in a musical language the concepts and perceptions of ourselves and our contemporaries. We work together to increase our vocabulary in order to express ideas in many varied forms.
James DeMars - piano
Joseph Holmqiist - marimba, cymbals, gongs and tam tam
Jay Johnson - vibes, piano (Stockhausen), cymbals, gongs, tabla and siren
Thomas Hubbard - electric bass
C Lee Humphries - piano (DeMars)
Homer Lambrecht - trombone
Patrick Moriarty - alto sax
Thomas Toscano - conductor (DeMars)
Pattern Study #2 - Stacey Bowers
Premonitions Of Christopher Columbus - James DeMar
Premiered by Zeitgeist at the Walker Art Center in Minneapolis in October of 1979.
Viva Kenton!
Exciting Latin Rhythms With The Kenton Touch
Produced by Lee Gillette
Capitol Records
SW 1305
1960
Piano: Stan Kenton
Saxes: Jone Bonnie, Marvin Hollady, Chuck Mariano, Jack Nimitz and Bill Trujilo
Trumpets: Bud Brisbois, Bill Chase, Rolf Ericson, Roger Middleton and Dalton Smith
Trombones: Jim Amlotte, Bob Knight, Kent Larsen, Archie LeCoque and Don Sebesky
Bass: Pete Chivily
Drums: Jimmy Campbell
Percussion: Tommy Lopez, Mike Pacheco and William Rodriguez
From the back cover: In this album, both standards and originals by Gene Roland are presented in the colorful Latin tempos that the band plays for dancers. The outstanding arrangements by Gene Roland offer a deft, tropical approach to the traditional Kenton sound.
From February 15, 1960 Billboard: Kenton serves up some exciting, swinging ork treatments of Latin standards and originals – all tasteful, stirring Latin tempos. Line-up includes "Adio" "Artistry In Rhythm," (Kenton's theme), "Mexican Jumping Bean," etc. Fine Sound.
Mexican Jumping Bean
Siesta
Cha Cha Sombrero
Chocolate Caliente
Aqua Marine
Opus In Chartreuse Cha Cha Cha
Cha Cha Chee Boom
Adio
Mission Trail
Artistry In Rhythm
