My Fair Lady Loves Jazz - Billy Taylor Trio

The Rain In Spain

My Fair Lady Loves Jazz
Billy Taylor Trio
With Quincy Jones
Featuring Gerry Mulligan, Jimmy Cleveland & Ed Thigpen
Produced by Creed Taylor
Engineer: Irv Greenbaum
Recording and Masters: Bob Thiele and Rudy Van Gelder
Cover Design: Robert Flynn/Viceroy
Cover Photography: Jules Maidoff
Liner Notes: Joe Lebow
A Product of ABC-Paramount Records, Inc.

Impluse!
Formerly released on ABC Paramount Records
Technically Augmented Mono A-72
Recorded February, 1957
1965

Personnel:

Billy Taylor, piano
Earl May, bass
Ed Thigpen, drums
Don Elliott, vibes, bongo, mellophone and trumpet
Gerry Mulligan, baritone sax
Charlie Fowlkes, baritone sax and bass clarinet (on "Accustomed," "Street," and "Loverly")
Anthony Ortega, tenor and alto sax
Ernie Royal, trumpet
Jimmy Cleveland, trombone
Jay McAllister, tuba
Don Butterfield, tuba (on "Accustomed")

From the inside cover: This set, My Fair Lady Love Jazz, was recorded in February 1957, and was introduced at an all-cast party celebrating the show's first year on Broadway. Everyone liked it and praised both Taylor and Jone for their conceptions.

It is well to point out at this time that the Billy Taylor Trio of 1957, made up of bassist Earl May and drummer Ed Thigpen, was one of the finest small groups in jazz – each member was a consummate artist on his instrument and they worked wonderfully together as a cohesive unit. Pianist Taylor wrote some years later, "There was never a night with them (May and Thigpen) that I didn't feel like playing. Not all good musicians feel like giving fine performances, you know. But with Thigpen and May there was always some spark. If one of us didn't have it, another did, and we could always feel each other. They are part of the most memorable years of my career."

Quincy Jones selected a medium-size ensemble of top instrumentalists to achieve a variety of tonal colors and unexpected voicings in his arrangements. There are short solos by the members of the ensemble, sensitive and dynamically phrased ensembles; but most of the emphasis is on Taylor's piano.

The arranger's intention was to retain the character of the score while making use of various elements of the jazz language. With the fine musicianship available, collectively and individually, and intelligent writing, Jones has succeeded in presenting an imaginative album that should please all the numerous fans of My Fair Lady.

Original Billboard ABC 177 review - April 13, 1957: This compelling score lends itself very well to a second styling of jazz harmonies and tempos. This interpretation combines Taylor's clean precise, but sensitive piano with tasteful, modern ork support from Jones. With the show continuing to play to capacity houses and the music as popular as ever, there's a good possibility that this excellent package will be able to make it – even tho it arrives well after a previous hit jazz version by Shelly Manne with Audre Previn. Taylors many fans will find this one of his finest efforts. – George Hoefer - Associate Editor, Jazz Magazine

Show Me
I've Grown Accustomed To Her Face
With A Little Bit Of Luck
The Rain In Spain
Get Me To The Church On Time
Wouldn't It Be Lovely?
I Could Have Dance All Night
On The Street Where You Live

Portrait Of Shorty - Shorty Rogers

Portrait Of Shorty
Shorty Rogers And His Giants
RCA Victor LPm-1561
1958

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket notes.

Cover: The painting of Shorty Rogers is the work of Sergei Bongart, who, in his own words, did the portrait "as an artist inspired by an artist." The picture was loaned to RCA Victor through the courtesy of Anne Kendall.

Personnel and Solo (in bars)

Shorty Rogers, leader, arranger, trumpet and flugelhorn

Saxophones: Herb Geller, alto and tenor; Bill Holman, tenor; Richie Kamuca, tenor; Jack Montrose, tenor; Pepper Adams, baritone

Trombones: Frank Rosolino, Bob Eneoldsen, Harry Betts, George Roberts

Trumpets: Al Porchino, Conrad Gozzo, Don Fagerquist, Conte Candoli, Pete Candoli

Rhythm Section: Lou Levy, piano; Monte Budwig, bass; Stan Levey, drums

Saturnian Sleigh Ride
Rogers (16)
Rogers (8)
Montrose (8)
Enevoldsen (4)
Rosolino (4)
Levy (16)
Budwig (8)

Play! Boy
Montrose (20)
Roger (12)
Geller (12)
Rosolino (12)
Levy (16 & 8)
Budwig (8)

A Geophysical Ear
Rogers (12)
Adams (12)
Kamuca (3)
Holman (3)
Kamuca (3)
Holman (3)
Rosolino (12)
Levy (6)

The Line Backer
Rogers (16)
Geller (12)
Kamuca (16)
Enevioldsen (8)
Budwig (8)

Martian's Lullaby
Rogers (24)
Rosoline (24)
Adams (24)
Kamuca (24)
Levy (24)

Bluezies
Rogers (24)
Enevoldsen (24)
Holman (24)
Adams (4)
Geller (4)
Adams (4)
Geller (4)
Levy (24)

Grand Slam
Rogers (16)
Geller (8)
Holman (8)
Enevoldsen (8)
Conte Candoli (8)
Budwig (8)

Red Dog Play
Rogers (16)
Montrose (8)
Geller (8)
Adams (8)
Rosolino (8)
Levy (8)
Budwig (8)

From the back cover: After more than ten years as a major jazz trumpeter, Shorty Rogers would still rather create charts for large groups to navigate by than do almost anything else. No matter how busy he is in fulfilling his endless commitments, he is never imposed upon if asked to arrange – especially if it involves a big band. In connection with the project that produced this album, Rogers said: "I wanted to create a musical portrait of myself." This would seem to present a rather presumptuous attitude – unless you have spoken to him, or perhaps been fortunate enough to have known him. For all the idolatry that has been heaped upon him, he is shy; for all the important business ventures he has been a party to, he is naive. Shorty Rogers is one of the most successful men ever to have been associated with jazz, yet possesses the demeanor of a small town Mr. Fixit. When he stated that he wanted to create a musical portrait of himself it was in the tone and manner of a man excusing himself from the table – no pronouncements, no dramatics. He simply expressed a sincere desire to produce an album that would, as much as possible, reflect his own musical visage. – Woody Woodward, Author of Jazz Americans
From Billboard - March 10, 1958: Excellent big band of West Coast jazz. All of the themes were written by Shorty Rodgers Several of the top Coast musicians are included in the band. Fluent solos are sparked and complemented by Rogers' distinctive contrapuntal moving chords. Rogers is heard on both trumpet and flugelhorn. Choice for those and flugelhorn. Choice for those who like the West Coast Sound. A "Save on Records" selection for March.

Jumping With Ventura

Lonely Woman

Jumping With Ventura
Charlie Ventura
EmArcy Records MG36015
1955

Featuring: Neal Hefti, Charlie Shavers, Buck Clayton, Bennie Green, Bill Harris, Kai Winding, Tony Scott, Jackie Cain and Buddy Stewart

From the back cover: The title Ventura's Ventures was not assigned to this LP simply for the sake of the play on words involved. The fact is that Charlie Ventura was indeed, during the late 1940s, one of the most venturesome figures in the field of modern jazz. He was a man who tried his hand at leading outfits of various shapes and sizes, and who in the course of these varied ventures helped to uncover a flock of new performers whose importance to jazz has been proved by their subsequent acceptance as stars in their own right.

Charlie's own biographical background was sketched in a previous EmArcy collation dedicated to him (F.Y.I., on EmArcy MG26028), so these notes will be dedicated to a specific discussion of the particular sides made available on this second release.

How High The Moon, Misirlou, Annie Annie Over and Moon Nocturne are all played by Neal Hefti (Annie is his own composition) and the last was scored by Stanely Baum. The soloists are Charlie on tenor saxophone, Tony Scott on clarinet, Neal Hefti on trumpet, Bob Ascher on trombone and Tony Aless at the piano. The rhythm section, in addition to Tony, included Billy Bauer on guitar, Clyde Lombardi on bass and Stan Levey on drums.

The orchestrations reflect several of the influences the big band jazz of that day was undergoing, from the boppish unison ensemble of How High The Moon to the Stravinsky-like impression of Misirlou.

Shortly after giving up his big band, Charlie began to record with the first of a series of remarkable small combos that were to earn him his greatest popularity. Already the winner of a Down Beat plaque for his victory in the tenor sax division of that publication's annual poll in 1945, he added to his laurels with a "Best Small Combo" nomination in 1948.

On Baby, Baby All The Time and Eleven Sixty (the first a slow vocal blues written by Bobby Group, the latter a jump instrumental blues by Charlie) the sextet comprises Ventura, Kai Winding on trombone, Lou Stein on piano, Shelly Manne on drums, Gus Cole on bass and the late Buddy Stewart on vocals.

Blue Champagne was recorded a little later, with trumpeter Charlie Shavers added to the line-up Charlie was fronting at that time (1947). With the exception of guitarist Bill DaArange, the remaining sidemen were all former Woody Herman stars: Bill Harris on trombone, Ralph Burns on piano, Chubby Jackson on bass and the late Dave Tough on drums.

Lady Be Good, Sweet Georgia Brown and Lonely Woman are all previously unreleased sides. They were recorded in 1949, after three important new personalities had joined the Ventura ensemble: trombonist Benny Green, pianist-arranger Roy Kral, and singer Jackie Cain. Jackie and Roy, who were married shortly after leaving Charlie and have risen to stardom as a unique vocal and instrumental night club and recording team, were among the most important of the many Ventura talent discoveries. Lady be Good and Sweet Georgia Brown both have fine solo work by Charlie, Roy and Benny.

Lonely Woman, written almost twenty years ago by Benny Carter while he was in England, has lyrics by a British music magazine editor, Ray Sonin. This great composition, all too seldom performed, makes a wonderful vehicle for Jackie's voice.

Let's Jump For Rita dates back to an earlier period in Charlie's history, when he was still working as a sideman in Gene Krupa's band and recording with specially assembled groups in his spare time. Heard with him on this number, recorded October 17, 1945, are Buck Clayton, trumpet; Bill Rowland, piano; Eddie Dance, guitar; Al Hall, bass; Specs Powell, drums.

How High The Moon
Misirlou
Annie Annie Over
Moon Nocturne
Baby, Baby All The Time
Eleven Sixty
Blue Champagne
Oh Lady Be Good
Sweet Georgia Brown
Lonely Woman
Let's Jump For Rita

Night Life - The Mary Kaye Trio

Night Life

Night Life
The Mary Kaye Trio
Co-ordinator: Dave Pell
Produced by Bernie Silverman
Arrangements and Orchestra conducted by Bob Smale
*Arrangements and Orchestra conducted by Bob Florence
Cover Photo: John Engstead
Engineer: Lanky
20th Century Fox Records
TFM 3117
1964

What's Yours?
Charade
Stay
Man's Favorite Sport
Dancing
How Does The Wine Taste?
Night Life*
Spring Is Here
More
The Feeling Of Paree
Sleeves Of Green
Where Did Nellie Go?

Double Barrel Marching Dixie - The Bourbon Street Barons

The Gladiator

Double Barrel Marching Dixie
The Bourbon Street Barons
Cover by Maurer Studios
Top Rank Records RM 300
1959

From Billboard - November 9, 1959: Good looking cover marks this exuberant Dixieland package. An augmented band provides a bright, happy, full sound with a strong beat on such familiar march themes as "Stars and Stripes Forever," "Washington Post March," and "Semper Fidelis."

Stars And Strips Forever
El Capitan
High School Cadets
Chicago Rockets
Emblem Of Glory
The Gladiator
King Cotton
Washington Post March
The Thunderer
(Hear That) Dixieland Band
Standard Of Freedom
Semper Fidelis

Twangy Guitar - Billy Boyd

Diggin' The Blues

Twangy Guitars
Billy Boyd
Photography: Joseph Tauber
Cover Design: Habco Arts
Recorded" Hollywood, Calif.
Crown Records
Stereodics CST 196
1960

From the back cover: As a tad, he used to sit and stare, fascinated at the Mississippi.

The mighty silver-grey ribbon that slashes through thousands of American Miles whispered then spoke, finally shouted... "Get on your walkin' shoes boy... the world's awaiting.

Billy Boyd got the message.

Took to the road.

Went places. Did things.

Saw the parched, dry loveliness in the South-western states.

Lingered by the cool, blue-green lakes of Wisconsin.

New York City's noise and confusion scared him. But he struck it out for awhile.

Something inside compelled him to see everything there was to see; do everything there was to do.

Along the way he picked up a guitar. Didn't study. Just took it up in his big hands and played it.

And all his knocks and good-times... all his misunderstanding of what make a man tick, from then on, came out of the gut-strings of that guitar.

Billy Boyd managed to make music pay. Became an entertainer, and he started writing songs.

Some people call the kind of stuff Billy plays hillbilly. Some – rock & roll. To others, it's rockabilly.

We call it "soul" or "this is what it means to me" music.

Because it's sincere.

And because the lusty, rollicking rhythms mirror, without distortion, the many faces of our great nations.

It's time.

Time to listen to a young and virile giant. A hardy man who loves his work.

Billy Boyd and TWANGY GUITARS. – John Marlo

Shuffle Boogie
Night Rock
When The Lights Are Low
Jivin' At The Savoy
Stompin At The Crossroads
Diggin' The Blues
Mambo Boogie
South Hampton
Bolero Boogie
Duck Walk
Oop Shank
Drifting

Este Es Mi Mundo - Tito Rodriquez

Tito Rodriquez

Este Es Mi Mundo

Produced by Leroy Holmes

* Arranged  by Rene Hernandez

** Arranged by Arthur Azenzer

UA Latino LS 61026

1968

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

Super nice Latin "lounge" vocal set from Rodriquez.

Llego El Soneto*

Lover Come Back To Me*

Boogaloo En Puerto Rico*

Nadie Me Ama**

Que Viva El Amor*

Ya Tu Lo Ves*

San Juan*

¿Llama! (Call Me)*

Todo El Amor Del Mundo**

Fiesta De Beso*

A Song For All Seasons - Robert Maxwell

A Song For All Seasons
Robert Maxwell - His Harp And Orchestra
Produced by Harry Meyerson
Cover Photos: Hal Buksbaum
4 Season Fashions Courtesy Of Stern's New York And New Jersey
Decca DL 74609
1965

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and Billboard review.

From Billboard - May 1, 1965: Mood music for soothing the human emotions of welcoming a new season. Maxwell's harp, supported by up-beat rhythm instrumentation or soulful, solo sax of flowing organ, soar through such lovely tunes as "I've Got My Love To Keep Me Warm," "Summertime," "September In The Rain," "Shine On Harvest Moon."

I've Got My Love To Keep Me Warm
My Funny Valentin
Spring Is Here
April In Portugal
Rosebud
Summertime
A Summer Song
The Green Leaves Of Summer
September In The Rain
Shine On Harvest Moon
Pumpkin Yellow
Our Winter Love

Girls Of My Dreams - Frank Barcley & Harry Arnold

Laura

Girls Of My Dreams
Frank Barcley & Harry Arnold
Frank Barcley, piano, is accompanied by the Harry Arnold Orchestra
Cover Design: Loring Eutemey
Color Cover Photo: Hugh Bell
Recorded by Metronome Records, Copenhagen, Denmark
ATCO Records 33-127
1961

From the back cover: Frank Barcley and the Harry Arnold Orchestra have created the perfect album for you the next time the girl of your dreams comes over for cocktails. The music is suave and irresistible invitation to dance and companionable conversation. It's relaxed and romantic, with a variety of rhythms and tempos. – Gary Kramer

Laura
Ramona
Dolores
Louise
Emaline
Charmaine
Mona Lisa
Maria Elena
Linda
Jeannine
Cecilla
Nancy

Featuring A Ray Eberle Serenade

Clair De Lune

Featuring A Ray Eberle Serenade
With A Tribute To Glenn Miller
Sutton SU 314

There are only a few Eberle tracks to be heard on this budget Sutton set. These tracks are available from online vendors. Presented above, as the sample, is one of the instrumental filler tracks.

Moonlight Serenade
Deep Purple
Little Brown Jug
I Dream Of Jeannie With The Light Brown Hair
Greensleeves
Clair De Lune
Anchors Aweigh
Londonderry Air
Habanera
Schubert's Serenade

Mambos - Grupo Comodines

Mambo En Sax

Mambos
Grupo Comodines
Produccion: Jose Luis Torres
Sono-Mex LPSM-636
1977

Que Rico Mambo
Lupita
Mambo Del Politecnico
Mambo Del Ruletero
La Nina Popof
Mambo No. 5
Pachuco Bailarin
Mambo En Sax
Mambo Del Taconazo

Bailando Blues

El Rififi

Bailando Blues
Dancing The Blues
Maya LY-70058

Mujer (Agustin Lara - Carlos Tirado)
Las Hojas Muertas (J. Prevert - Chico O'Farrill)
Me Acuerdo De Ti (Gonzalo Curiel - Orq. Willy Samperio)
Adio En El Puerto (Ernesto Dominquez - La Lira de San Cristobal)
Pobre Mariposa (J. L. Golden y R. Hubell - Pedro Morquecho)
Rayando El Sol (Manuel M. Ponce - Cuco Valtierra)
Tu Partida (Gonzalo Curiel)
El Rififi (Philppe Gerard la Rue - Jean Freber)
Sorpressa (Gonzalo Curiel - Carlos Triado)
Deseperranza (Gonzalo Curiel)

Hits! Bailables Con Ramon Marquez

El Tema De Los Monkees

Ella (Monkees)

El Sargento Pimienta

Hits!
Bailables Con Ramon Marquez
Boogaloo
Coro Calidad CLP-924
1968

El Cable
Perdamonos
Casino Royal
Celoso
El Tema De Los Monkees
La Chispita
Ella (Montes)
Todo Lo Que Necestitas
Es Amor
Esta Tarde Vi Llover
El Sargento Pimienta

Cha Cha Cha - Con Los Aragon

Patolamdia

Cha Cha Cha
Con Los Aragon
Hecho En Mexico Por Discos Mexicano's S. A.
Maya LY-70061

Sacuchero De La Habana
Navidad Ritmica
Ave Sin Rumbo
Entre Las Verdes Palmeras
Neto Y Titino
El Bembon
Negra Consentida
Yo Se Bien
Mi Tio
Patolandia

Ensueno Latino

Tu Adios Inesperado

Grupo Ensueno Latino
De Monclova, Coah.
Ing. De Sonido: Mario Alanis
Grabado En: Disa Estiudios
Fotografia: Doris Chavez Moreno
Portadas: Alberto Sifuentes Sanchez
Prod. Gral.: Domingo Chavez Moreno
Distribuido Por "Discos Sabinas" - San Nicolas De, Los Garza N. L. Mexico
1987

Hermosas Virtudes
Ensename Corazon
¿Porque No Llamas?
Corazon Arrepentido
Dulce
Tu Adios Inesperado
Mi Heredero
Palomita
Excuchame
Chiquis, Chiquilla, Chiquitita

Los Duendes

Senor Locutor

Los Duendes
Producer Y Director Artistic: Angel Arensa
Discos FA
FA 1006
1977

Adios Mi Chaparrita
Solo Existes Tu
Voy A Morir
Ciegamente
Te Esperare
Tu Maldad
Por Despecho
Senor Locutor
Lagrimas De Amor
Cosita Linda

Corridos Famous Con La Tigresa - Irma Serrand

La Martina

Corridos Famosos Con La Tigresa
Irma Serrand
Headline Series
Harmony Esterio
HLS-8724

Simon Blanco
Valentin De La Sierra
La Martina
Elena Y El Frances
Jose Manuel "El Burrego"
Corrido De Lucio Vazquez (Los Pavos Reales)
Maria Pistolas
Gabino Barrera
Senor Carcelero
El Caballo Ensillado

Pepe Y Sus Colegialas

Ojos Negros

Pepe Y Sus Colegialas
El Disco Es Cultura
RCA Camden CAM-875
1977

Potpourri Fiesta De Cumbia
Amor Indio
La Pastora
Nunca En Domingo
El Tercer Hombre (The Third Man Theme)
Las Chicas Y Los Chicos
Las Altenitas "Vamos a Tepan"
Ojos Negros
Que Lindo Siento
Poema Triste

Joe Bravo - El Play Boy

Mi Ultimo Adios

Joe Bravo
El Play Boy
El Que Enamora Casadas
Flor Del Sol
Sound Of The 80s
Produced by Freddie Martinez
Recorded by Hector Gutierrez
Recorded at Freddie Recording Studio
Album Concept: Jesse Salcedo
Art Work/Color Separation: Astro Graphics
Discos Freddie Y Corpus Chrisit
Freddie LP-1239
1982

Flor Del Sol
Irma Linda
Mi Ultimo Adios
Quiero Decirte
Al Recuerdo De Tu Amor
El Que Enamora Casadas
Tu Mandas
Ahora Soy Feliz (Carlos Cardenas)
Las Llaves Perdidas (Margarita Estrada)
Cuando El Destino

Dinner Music - Kermit Leslie Orchestra

Enchanted Isle

Dinner Music
The Kermit Leslie Orchestra
Epic LN 1111
1958

Epic 10 inch LP.

Walking On Ice
Champagne
Gilbert The Goose
Sequoia
Enchanted Isle
Rainy Afternoon

I'm Pat Morrissey - I Sing

Exactly Like You

I'm Pat Morrissey
I Sing
Mercury Records MG 20197
1956

From the back cover: Pat waited a long time before she first came to public attention: She was all of five years old when she first debuted on a children's radio hour in Philadelphia. Soon after, Sophie Tucker hired her to speak one line in a Broadway show. That line was "Bless my Mommy and Daddy." But her real break as an adult professional performer came not long ago when she vacationed with friends in Florida. Dining at famed Mother Kelly's restaurant, her friends dared her to sing. Pat called the bluff–but she was nervous. As through it offered some protection, Pat snuggled into the curve of the baby grand. The reaction to her singing – and her appealing gesture – was tremendous. So – right – she was hired by Mother Kelly's and stayed ten weeks. Then La Vie En Rose in New York, the Crescendo in Hollywood, El Rancho in Las Vegas, the Black Orchid in Chicago, the Stark Room in London and so many others.

From Billboard - December 22, 1956: Miss Morrissey is a reasonably talented performer of the intimate night club variety. Unfortunately, the slightly little-girlish quality of the voice doesn't get over as well on the disk as it likely does when the visual impression is there too. Gal is an eye-catching platinum blonde and that no doubt helps keep the ringsiders deeply interested. Singing-wise she tried to effect certain trademarks of the Billie Holiday style without too much success. As soft cocktail hour, hand-holding fare, however, the album may get a fair response.

Shadow Woman
Makin' Whoopee
Don't Explain
He's Funny That Way
Get Happy
You Don't Know What Love Is
Why Don't You Do Right
I Cover The Waterfront
Crazy He Calls Me
Exactly Like You
No Tears For Me
Give Me The Simple Life

Gone With The Wind - Julie London

Remember

Gone With The Wind
Julie London
Sunset - A Product of Liberty Records
SUB-5207
1968

From the back cover: Julie is one of those much too rare performers who, one can sense, sings not for the fast buck but for aesthetic reward. Her musical taste is impeccable. Confronted with, say, a shaggy-dog vocal quartet from England, singing a song based on three wrong chords, Julie is apt to turn purple all over.

Gone With The Wind
That's For Me
Say It Isn't So
Moments Like This
What'll I Do
All Alone
How Deep Is The Ocean (How High Is The Sky)
Remember
A Nightingale Can Sing The Blues
The Nearness Of You

Brazen Brass Features Saxes - Henry Jerome

Hawaiian War Chant

Brazen Brass Features Saxes
Henry Jerome and His Orchestra
Arrangements by Dick Jacobs
Decca DL 74127
1961

Personnel:

Trumpet
Bernard Glow
James Maxwell
Carl Jones

Trombone
Robert Alexander
Chauncey Welsch
Joseph Maranzino
Thomas Mitchell

Sax
Romeo Penque
Sol Schlinger
Henry "Hank" Freeman
Sidney Cooper
Abraham "Boonie" Richman
Philip Bodner
Jerome Richardson
Stanely Webb
George Berg
Joseph Grimaldi
Al Klink
Jerry Grosser

Drums
Edwin "Bunny" Shawker

Bass
Sandford Block
Milton Hinton

Piano
Andrew Ackers

Guitar
Arthur Ryerson

From the back cover: Brazen Brass Features Saxes, the fifth album in the extraordinary popular series, offers today's sound-conscious public still another first. In this exciting collection Henry Jerome's Brazen Brass orchestra adds two complete saxophone sections to the characteristically captivating sound – complemented and punctuated throughout the album by the now-famous Brazen Brass trumpets and trombones.

From Billboard - July 31, 1961: The sax section for the first time in the "brazen brass" series, gets the spotlight treatment here, and the big crew undertakes fancy stereo interpretations of a number of swing era war horses, like "Don't Be That Way," (Goodman); "Sunrise Serenade," (Miller), etc. The date was set up with five-man sax sections on both right and left. These chatter back and forth in an interesting question and answer technique, with brass and rhythm in the center. Stereo fans will dig this new approach, and the set can be expected to do solid business.

Star Dust
St. Louis Blues
Melody Of Love
Don't Be That Way
Medley: In Apple Blossom Time, Stars Fell On Alabama
Tiger Rag
Sunrise Serenade
Green Eyes
Medley: Body and Soul, Sophisticated Lady
Undecided
Don't Get Around Much Anymore
Hawaiian War Chant

The Powerful Stan Kenton Band & The Pretty June Christy Voice

I See Your Face Before Me

The Powerful Stan Kenton Band
The Pretty June Christy Voice with Stan Kenton
Pickwick by arrangement with Capitol Records
SPC-3075
1967

From the back cover:

Stan Kenton

Now in its third decade, the Kenton era has contributed not only to the progress of the modern sound but it has also given the music field one of its most controversial and outspoken personalities. Stan has been called everything from a "musical fraud" to "the greatest thing that ever happened to music." Critic and columnist Ralph Gleason summed it up when he wrote, "It's hard to remain neutral about him. You either love him madly or hate him just as madly."

Equally as controversial is Stan's music. When he introduced his Neophonic Orchestra in January, 1965 at the Los Angeles Music Center, there were a variety of reactions – some called it the best thing that had happened to contemporary music in years while others said it was just a gimmick, a new name for jazz. Kenton answered: "Neophonic is not literally new, like gimmicky electronic music, nor is it a so-called Third Stream fusion of classical and jazz idioms. We are going the jazz route, we are beyond jazz."

Stan was born in Wichita, Kansas, in 1912. The Kenton moved to Los Angeles when he was three and at 10 his mother bought him his first piano. Music became Stan's one great interest. By the time he entered high school he was an accomplished pianist. He sometimes wondered whether he was invited to parties because of his personality or his ability to play. His first professional engagement came with a group of other Bell High School musicians, the Belltones. An owner of a miniature golf course hired them in an effort to attract customers. When the promotion backfired (a golf course across the street hired a louder band and attracted all the customers) the owner refused to pay the boys. The Belltones retaliated by walking off with as many golf clubs as they could hide under their pants.

By the time graduation came, the 6'4" youngster knew he wanted to make music his career. He was offered a job with a band in San Diego but lasted only a few weeks until homesickness overcame him and he returned to Los Angeles. It took several days before Stan realized that if he was going to continue in his chosen profession he would have to get used to traveling and being away from home. When the opportunity came for him to play in Las Vegas he was ready.

June Christy

June Christy is a name immediately associated with jazz and worthwhile popular music all over the world. Year after year polls of jazz fans, musicians, and critics place her among the top three or four singers – to her own amazement, June insists.

When June Christy signed her first exclusive contract with Capitol Records on Dec. 13, 1945, one of the most successful recording associations in the industry began. The consistent increase and loyalty of June's fans has made hits of every one of her Capitol albums, a record which few female vocalists in the business can match.

June's combination of a husky, vaporous sound with a moody, sensitive interpretation of lyrics, has won her the descriptive accolade known to jazz buffs the world over: "The Misty Miss Christy."

June's talents are neutral ones. There is a complete absence of any musical or theatrical background in her family. Before she was five, her parents has separated and June's mother was more concerned with providing the bare necessities of life for June and her older brother than with cultivation of the arts.

June and her husband Bob Cooper live in a relaxed, modern home perched on a hillside overlooking Los Angeles' San Fernando Valley. June will tell anybody who'll listen that it's her favorite place in the world and taking care of her family is her favorite pastime. The Coopers have one daughter, Shay, born September 1, 1954.

Eager Beaver
Love Letters
I See You Face Before Me
Limelight
Stella By Starlight
You're Mine, You
Angel Eyes
Every Time We Say Goodbye
Just The Way I Am
We Kiss In the Shadow

Latin Pianos - Ferrante & Teicher

El Cumbanchero

Latin Pianos
Ferrante & Teicher
With Orchestra Conducted By Don Costa
United Artists UAL 3135
1960

From Billboard - February 27, 1961: The duo piano team is hot right now in both singles and LP fields, and their latest album should enjoy similar success. The duo's tasteful piano work is spotlighted on a group of lushly arranged Latin tunes – "Amor," "La Cucachacha," "Tico Zico," etc.

El Cumbanchero (Hernandez)
Quien Sera (Ruiz)
Ariba (Ferrante & Teicher)
Quizás, Quizás, Quizás (Farres)
Amor (Ruis - Lopez)
Oye Negra (Morales)
Brazil (Barroso)
Adios (Madriquera)
La Cucachacha (Ferrante & Teicher)
Anna (Vatro)
La Cucaracha (arranged by Ferrante & Teicher)
Tico Tico (Abreu)

Teen Beat '65 - Sandy Nelson

Beat From Another World

Teen Beat '65
Sandy Nelson
Producer: Nick De Caro
Arrangers: Rene Hall, Sandy Nelson and Nick De Caro
Cover Design and Photography: Studio Five
Imperial LP-9278
1965

From the back cover: High spot of the album is Sandy's production number called "Beat From Another World." Sandy spent over three weeks recording this original composition, and the results are wild, weird – and fun.

Sandy works out most of his ideas and arrangements in his own sound laboratory, located in his garage, a place which looks absolutely nothing like a garage, because it's stocked to the rafters with the finest recording equipment available.

He also does a nightly FM disc jockey show (for KYYM in Los Angeles) right from home. His show is called "Oldies But Goodies By Remote Control From Magic Mountain Laboratory" and is otherwise known as music with the monster touch.

This album takes its title from a special new version of Sandy's giant hit of 1959. And, inside you'll find a wide variety of songs. Songs just right for dancing all the latest dances. Songs just right for listening. Something for everyone. – Shelly Heilman, Editor & Publisher Teen Scene Magazine

From Billboard - February 13, 1965: Unbeatable beat grooved strictly for the young dance set. The Nelson drums whip up a frenzy with aid of guitar, sax, brass and chorus. Good successor to current hefty selling LP. Sets including "The Jerk," "Raunchy '65," "Bongo Rock."

Teen Beat '65
Raunchy '65
20-75
Come On, Do The Jerk
Scratchy
Bongo Rock
Honk Tonk '65
Wipe-Out
The Jerk
Beat From Another World

Just For A Thrill - Earl Grant

Blue Velvet

Just For A Thrill
And Other Instrumental Favorites
Earl Grant
Cover Photo: Hal Buksbaum
Decca DL 4506
1964

From Billboard - May 2, 1964: Earl Grant takes the organ route for this wrap-up of instrumental favorites and he turns it into a highly enjoyable trip. The songs are all knockouts and Grant gives them an added fillip via his expert musicianship.

Satin Doll (Duke Ellington)
Without A Song (Vincent Youmans - William Rose - Edward Eliscu
I'll Never Smile Again (Ruth Lowe)
Star Dust (Hoagy Carmichael - Mitchell Parish)
You Stepped Out Of A Dream (Nacio Herb Brown-Gus Kahn)
Just For A Thrill (Don Raye - Lil Armstrong)
Blue Velvet (Bernie Wayne - Lee Morris)
The Sweetest Sounds (Richard Rodgers)
Willow Weep Over Me (Ann Ronell)
Someone To Watch Over Me (George Gershwin - Ira Gershwin)
Where You Are (Jimmy McHugh - Harold Adamson)
Days Of Wine And Roses (Henry Mancini - Johnny Mercer

Hammond A GoGo 3 - James Last

Samba

James Last
und seine Hammond-Bar-Combo
Hammond A GoGo 3
Printed in Germany by Gerhart Kaiser GmbH, Essen
Manufactured by Deutsche Grammophon, Hamburg
Polydor 249-304

Foxtrott
Volare (Modugno/Feltz)
You Do Something To Me (Porter)
Calcutta (Gaze)

Cha-Cha-Cha
Dance Ballerina Dance (Sigmann/Russel/Feltz)
Strawberry Cha-Cha-Cha (James Last)
If I Were A Rich Man (Bock)

Foxtrott
Ich hatte getanzt heut nacht (Loewe/Lerner)
When You're Smiling (Fischer/Goodwin/Shay)
Isabell (James Last)

Langsamer Walzer
The Impossible Dream (Mitch/Leigh/Darion/Gilbert)
Autumn (Trad./Arr. James Last)

Foxtrott
Salome (Stolz)
Sweet Sue (Young)
The Way You Look Tonight(Kern/Fields/Buschor)

Latin-Fox
Tequila (Rio/Salvet)
Papa Love Mambo (Hoffman/Manning/Reichner/Rotter)
Oh, Lonesome Me (Don Gibson/R.M. Siegel)

Medium Fox
It Had To Be You (Jones/Kahn/Dehmel)
Roses From Picardy (Wood/Weatherly/Nicolas)
Half As Much (Williams/Feltz)

Samba
The Wedding Samba (Ellstein/Small/Liebowitz/Siegel)
El Cumbanchero (Hernandez/Siegel/Marbot)
La Pachanga (Davidson/Bartels)

Slow-Fox
September Song (Weill/Anderson/Cyprys)
Serenata (Anderson)

Foxtrott
Mame (Herman)
's Wonderful (Gershwin)
Cherokee (Ray Noble)

Cuban Fire! - Stan Kenton

La Suerte de los Tontos

Cuban Fire!
Stan Kenton
Recorded May, 1956, in New York City
Stan Kenton plays piano and conducts on all selections
Capitol Records T731

Personel:

Saxophones: Lennie Niehaus, Bill Perkins, Bill Root and Lucky Thompson
Trumpets: Phil Gilbert, Lee Katzman, Ed Leddy, Al Mattaliano, Vinnie Tonno and Sam Noto
Trombones: Bob Fitzpatrick, Carl Fontana, Don Kelly and Kent Larson
French Horns: Irving Rosenthal and Julius Watkins
Tuba: Jim McAllister
Guitar: Ralph Blaze
Bass: Curtis Counce
Drums: Mel Lewis
Tympani: Saul Gubin
Bongo Drums: Willie Rodriquez
Maracas: Mario Alvarez
Claves: Roger Mozian
Congo Drums: Tommy Lopez
Timbales: George Laguna
(George Gaber replaces Gubin on La Suerte de los Tontos and La Guerra Baila. Vinnie Tanto plays fluegelhorn on Quien Sabe)

From the back cover: Johnny Richards is perhaps best identified to the jazz fan as the chief arranger for the Boyd Raeburn band during 1946, when that band's performance were mostly confined to recording sessions. He'll be remembered too as a contributor to the Kenton, Barnet and Gillespie bands. Born in 1911 of musical parents and almost immediately started on a musical education, he was playing several instruments in vaudeville by the time he was ten, went from there into professional dance bands until, in 1932, he spent a year in England writing motion-picture scores. From England he went to Hollywood, where he worked in the Paramount Studios as Victor Young's assistant for the rest of the thirties. For the next five years, he led his own dance band, employing such future Kenton arrangers as Pete Rugolo and Bob Graettinger. Since 1946 he's free-lanced in and around New York, working, as mentioned above, for such as Barnet and Gillespie and Kenton as well as spreading the impressionistic web though the Raeburn band. Future writing about Richards will certainly list this album with the Kenton Orchestra as representative of his best: relating personal concept to traditional folk rhythms.

From Billboard - September 1, 1956: Johnny Richards was composer-arranger of the six selections that make up this LP and deserves unstinting praise for this fascination wedding of Afro-Cuban sounds and poly-rhythms in progressive jazz. The Kenton aggregation has seldom sounded more dynamic or more purposefully virtuosic. Each composition brings out different talents of the work: "Congo Valiente" is a study in sonorities, with choir building on choir to a magnificent climax; "Recuerdos" is graceful, sinuous, a bit exotic; "La Suerte de los Tontos" sustains to the last the mood of dancing and celebration. The variety and vitality of this LP ought to make it one of this fall's best-sellers.

Fuefo Cubano
El Congo Valiente
Recuerdos
Quien Sabe
La Guera Balla
La Suerte de los Tontos

Cheryl Poole

Kansas City

Cheryl Poole
Produced by *Buddy Killen & **Don Logan
Art Director: Jerry Griffith
Celestial Photograph thur the courtesy of Spar Palnitarium
Paula Records LPS 2205
A Division of Jewel Records - Shreveport, LA
1969

From the back cover: Her (Poole) first stage experience came at the tender age of 13. Then came road shows, the Louisiana Hayride, a Paula Records recording contract, TV shows (Panther Hall, Buck Owens, Ralph Emery and Melody Ranch), The Grand Ole Opry and has a tour of England to her credit.

A seasoned performer, Miss Poole emerged victoriously into national prominence with her recording of "Three Playing Love."

*Three Playing Love
**Daddy's Little Girl
Ruby's Stool
**I'm Not Your Woman
**Kansas City
**If You're Gonna Be My Man
*The Skin's Gettin' Closer To The Bone
*You Ain't No Friend Of Mine
Swinging Blue
**I'm So Lonesome I Could Cry
**Walk Among The People
**You Haven't Read The Book

Music From Hollywood - Percy Faith

Music From Hollywood
Percy Faith and His Orchestra
Columbia CL 577
1954

Available from online vendors so I will not be posting a sample. Presented here to share the cover art and Billboard Review.

From Billboard - September 11, 1954: Continuing its program of adding selections and making 12-inch items out of previous 10-inch LP packages, Columbia offers this collection of motion picture themes done in a lush and lovely manner by the Percy Faith orchestra. And tho current theme hits like "High and the Mighty" might have added much to the package if they had been included, the disk packs enough fine material to make it a natural for retailer business.

The Song From Moulin Rouge
Genevieve
Theme From "The Bad And The Beautiful"
Caribbean Night
Return To Paradise
Invitation
Ruby
The Loveliest Night Of The Year

Bread, Butter & Jam In Hi-Fi

Let Me Miss You, Baby

Bread, Butter & Jam In Hi-Fi
Produced by Fred Reynolds
Cover Photo by Carl Fischer
RCA Victor LPM-1644
1958

From Billboard - November 24, 1958: RCA Victor has put together a group of sides by top Dixieland and mainstream jazzmen that should appeal to the older set in the States. Artists include the Bud Freeman ork, Red Allen's All Stars, and Ruby Braff's group. Tunes are standards, such as "Do You Know What It Means To Miss New Orleans," "Sunday," "Stars Fell On Alabama," and "Did I Remember."

Sunday
Bud Freeman's Summa Cum Laude Orchestra
Bud Freeman - Tenor Sax
Billy Butterfield - Trumpet
Tyree Glenn - Trombone
Pee Wee Russel - Clarinet
Dick Cary - Piano
Al Hall - Bass
Al Casamenti - Guitar
George Wettling - Drums

Do You Know What It Mean To Miss New Orleans
Lee Wiley - Vocal
Billy Butterfield - Trumpet
Cutty Cutshall - Trombone
Peanuts Hucko - Clarinet
Deane Kincaide Baritone Sax
Lou Stein - Piano
Bobby Haggart - Bass
Barry Galbraith - Guitar
Cliff Leeman - Drums

Let Me Miss You, Baby
Henry "Red" Allen's All Stars
Henry "Red" Allen - Trumpet and Vocal
J. C. Higginbotham - Trombone
Buster Bailey - Clarinet
Coleman Hawkins - Tenor Sax
Marty Napoleon - Piano
Lloyd Trotman - Bass
Everett Barksdale - Guitar
Cozy Cole - Drums

You Took Advantage Of Me
Bud Freeman's Summa Cum Laude Orchestra
Bud Freeman - Tenor Sax
Jack Teagarden - Trombone (Courtesy of Capitol Records)
Peanuts Hucko - Clarinet
Gene Schroeder - Piano
Leonard Gaskin - Bass
George Wettling - Drums

Did I Remember?
Ruby Braff And His Men
Ruby Braff - Trumpet
Benny Morton - Trombone
Pee Wee Russell - Clarinet
Dick Hafer - Tenor Sax
Nat Pierce - Piano
Walter Page - Bass
Steve Jordan - Guitar
Buzzy Drootin - Drums

I Cover The Waterfront
Bud Freeman's Summa Cum Laude Orchestra
Same as "Sunday" except:
Dick Cary - Alto Horn

Stars Fell On Alabama
Lee Wiley
Same as "Do You Know What It Means To Miss New Orleans"

Love Me Or Leave Me
Henry "Red" Allen's All Stars
Same as "Let Me Miss You, Baby," but without vocal

Some Of My Favorites - Dave Garroway

Hi-Fi Baby

Some Of My Favorites
Dave Garroway presents Matt Dennis and Red Norvo
RCA Victor LPM-1449
1957

Personnel:

Matt Dennis Orchestra:

Howard Roberts - Guitar
Clifford Hils - Bass
Alvin Stoller - Piano
Jimmy Rowles - Piano
Ted Nash - Sax
Don Fagerquist - Trumpet

Red Norvo Sextext:

Red Norvo - Vibes and Xylophone
Ben Webster - Sax
Harry "Sweets" Edison - Trumpet
Jimmy Rowles - Piano
Bob Carter - Bass
Bill Douglass - Drums

From the back cover: These superb pieces for Matt's voice are coupled with a series of blues numbers by the Red Norvo group. Certainly Norvo needs no introduction to anyone. He is a traditional jazz musician of the highest caliber, and for these recordings, has surrounded himself with some of the most competent sidemen of our time. Ben Webster on tenor sax and Harry "Sweets" Edison (both appear through the courtesy of Norman Granz) complement each other all the way through, and are supported with superb behind-the-scenes piano by Jimmy Rowles. Webster's choruses are all marked by a tremendous mastery of the horn that has been his trademark for many years. There is only one Ben Webster, and he demonstrates why on these sides.

All these blues are reminiscent of the after-hours jam sessions that went on in the forties but have disappeared in this day and age. The lush, flowing, reflective style of these musicians shows a logical progression of jazz in the traditional manner. It's as though Red said, "Now this is so, and this is so, and another thing is that this is so, too; and therefore, logically, this is so. Of course, looking at it another way, you could say it this way, and this way, and come out with still the same logical conclusions – like this..." each "this" in the above being a riff or phrase of music. Norvo's playing is, as always, utterly discreet without losing that basis of all jazz – the beat. – Dave Garroway

There's A Small Hotel - Matt Dennis
The Night Is Blue - Red Norvo
Lush Life - Matt Dennis
Easy On The Eye - Red Norvo
Just A Mood - Red Norvo
The End Of A Love Affair - Matt Dennis
Sunrise Blues - Red Norvo
Hi-Fi Baby - Matt Dennis

Rodgers For Moderns - Ted Heath

Rodgers For Moderns
Ted Heath And His Music
London Records LL 1500
1956

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes excerpt.

From the back cover: This stylish tribute in modern mood is made by Ted Heath and his Music, acknowledged as one of the greatest of modern swing bands on both sides of the Atlantic. For a British band to invade the home of swing and to be accepted as one of the best is a very unusual triumph indeed. The Ted Heath story is all that a success story should be. He was born in Wandsworth, a not very exciting part of South-West London, full of large and shabby Victorian houses and little else, and here, at the age of twelve, he began to learn to play the trombone. At the end of the first World War he found himself, as so many young men did, amongst the numerous ranks of unemployed, so he took his trombone and ranks of unemployed, so he took his trombone and busked in the streets. In 1920 he got a job with Jack Hylton's orchestra, moving from there to play with many of the best British bands, including those of Ambrose and Sidney Lipton, until he joined Geraldo as first trombone in 1940. At this time he composed two songs which had quite a success, and the royalties from these allowed him to fulfill a lifelong ambition and to form his own band. This quickly became one of the most talked-of bands in the country, selling a fabulous number of records, introducing singers like Dickie Valentine and Lita Rosa, and starting the popular Sunday Swing Sessions which drew capacity crowds to the London Palladium for many years.

From Billboard - November 3, 1956: One of the crispest big bands in the business, with some of the sharpest and cleanest ensemble work to be heard, is at its classiest best on a brace of a dozen memorable Rodgers and Hart songs. The material is almost all styled for dancing but the interesting arrangements, plus great solo work, is likely to take the listening fancy as well. Tunes include "Have You Met Miss Jones," "Thou Swell," "The Lady Is A Tramp," and others equally appealing. A solid counter item.

Have You Met Miss Jones?
There's A Small Hotel
It's Easy To Remember
My Heart Stood Still
Down By The River
Thou Swell
The Lady Is A Tramp
Where Or When
This Can't Be Love
I Married An Angel
The Blue Room
Down By The River

The Ballad Style Of Stan Kenton

When Stars Looked Down

The Ballad Style Of Stan Kenton
Producer: Lee Gillette
Cover Photo / Ken Whitmore (Susan Oliver, a Warner Bros. Actress)
Capitol Records T1068
1958

From the back cover: All selections are well-known standards, with one exception, When Stars Looked Down by Dale Barnhart. This is Dale's first recorded work and Kenton feels it has the properties required to take its rightful place among the beautiful melodies heard in "The Ballad Style of Stan Kenton."

From Billboard - October 20, 1958: The Kenton crew turns to a program of ballads in their newest offering. It's a smooth, danceable set that should move well in both pop and jazz marts. Orchestrations are excellent. Kenton's piano is set against lush brass and reed choirs on such fare as "I'll Be Tired Of You," "The End Of A Love Affair" and "The Night We Called It A Day." Also fine jockey programming set.

Then I'll Be Tired Of You
More Than You Can Know
When Stars Looked Down
The End Of A Love Affair
A Sunday Kind Of Love
Moon Song
Early Autumn, How Am I To Know?
The Things We Did Last Summer
We'll Be Together Again
How Deep Is The Ocean (How High Is The Sky)
The Night We Called It A Day