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Saturday, February 17, 2018
Stanley Black And His Orchestra
Featuring Stanley Black at the piano
London Records LL 1592
Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and cover notes.
A beautiful piano driven mood set for the period.
From the back cover: London born, Stanley developed his musical ability at an early age and studied piano at the Matthay School Of Music
As the piano lessons went by, his aptitude for music developed and it soon became apparent that Stanley Black was destined to do big things in the music world. However the days of big headlines in the show columns were still a far way off during his youth. First had to come the basic grounding so essential to the successful musician.
Stanley was only twenty-three when he wrote a contribution to the score of the 1936 film "Rhythm Racketeers" and started off on a screen association which has lasted right up to the present day. Nearly thirty-five important British films have received the "Black Magic" touch and the outstanding ones that come immediately to mind are "Top Secret," "Laughter In Paradise" and "An Alligator Named Daisy."
His film work was temporarily interrupted at the outbreak of the Second World War in 1939 when he spent the early years of conflict in R.A.F. blue. Here too he helped to entertain his fellow servicemen through the Entertainment Branch.
It didn't take Stanley long to find his civilian feet after leaving the service and in 1944, after some freelance work, he was appointed conductor of the B.B.B. Dance Orchestra – a post he held until 1952.
It was during this spell with the B.B.C. that Stanley became as well known as the stars on such shows as "Hi Gang," "Much Binding in the Marsh," " Forces All Star Bill," etc. and his now "Black Magic," "Top Score" and "Tropical Magic" programs ran up a huge following.
The B.B.C. also made full use of Stanley's facility in composing original music. He wrote many scores for documentary broadcasts and signature tunes for programs like "Double Top" and "The Goon Show," in addition to the attractive familiar Light Program interval music.
Considered an authority on Latin American style music, Stanley is a member of the advisory board for the publication "Who's Who In Music." Naturally, all his talent is not concentrated on that particular brand of music as you read this will undoubtedly know.
His work with the B.B.C. was recognized officially and publicly in 1951 when it was announced that Stanley would front his orchestra at the Royal Command Variety Show. This followed close on the heels of Stanley receiving another honor – he was elected a member of that famous theatrical organization, the Grand Order Of Water Rats.
Despite his numerous commitments, Stanley still finds time to write may popular ballads and dance tunes. Two examples of his flair from the Latin American idiom, both as composer and executant, are to be found on his recent London album, "Cuban Moonlight: (LL 1166) their titles are Nostalgia and Hold Me Close Tonight, and both demonstrate his melodic gifts in a typical authentic setting.
Commercial television was quick to appreciate his talents. The short ear-catching jingles which we hear whilst looking at the advertisements on the screen must make a lasting impression on our minds if we are to remember the particular commodity, and Stanley has produced several little tunes which do just that.
In the comparatively new television medium Stanley was and is a prominent performing artist. He featured a 35-piece orchestra in the first of the highly successful "Off The Record" shows and conducted an orchestra for the equally popular "Hit Parade" series which ended its run recently. Jimmy Watson
Isn't It Romantic
I Can't Believe That You're In Love With Me
Kiss Me Again
Lovely To Look At
You Leave Me Breathless
I'm Falling In Love With Someone
They Say It's Wonderful
Isn't It Heavenly
I'm Getting Sentimental Over You
The "Moulin Rouge" Theme
Get On Board
The Cinema Sound Stage Orchestra
Super budget set that features tracks that sound as though they may have been borrowed from a conservative "101 Strings" orchestral set. Then Somerset filled out this LP with three funky organ tracks that they robbed from some other project. What a bizarre mix...
The Impossible Dream
Get On Board
I Want To Be Ready
The Quiet Hours
Nobody Knows The Trouble I See
Slow With Soul
Swing Low, Sweet Truth
And The Meek
Produced and Directed by John Schroeder
Album Coordination: Dorothy Schwartz
Production Coordinator: Bob Scerbo
Album Cover Design: The Graffiteria
Engineer: Ray Prickett
Janus Records JLS 3014
Johnny Pearson - Piano
Kenny Clare - Drums
Frank Clark - Bass
Dennis Lopez - L.A. Percussion
Tony Carr - L.A. Percussion
Good Morning Starshine
I'll Never Fall In Love Again
Je T'aime Moi Non Plus
Half As Nice
Love In The Shadows
Love And The World Loves With You
So Long My Love
Isle Of Adventure
Featuring Alfred Apaka
Terorotua And His Tahitians
Producer: Sid Feller
Cover Design: Frank Gauna
Photo: Juliana Wang
Liner Notes: Joe Lebow
This set is preceded by Volume 1 and 2 (ABC-329 and ABC-358)
From Billboard - August 28, 1962: The combination that worked so well on two pervious packages is again blended in a mixture that has the aroma of sales about it. The late tenor Alfred Apaka, guitarist Roy Smeck, the instrumental group called the Islanders, and the colorful Tahitian combo headed by Terrorotus all get solo turns in the spotlight, and each fares very well in turn. It all totals up to one of the more attractive packages of island music.
Alfred Apaka - Sunset In Hawaii
Roy Smeck - Moonlight Bay
The Islanders - Hawaiian Wedding Song
Terorotua And His Tahitians- To To To E
Alfred Apaka - The Palm Trees Sings Aloha
The Islanders - Isle Of Adventure
The Islanders - Love Island
Roy Smeck - Drifting And Dreaming
Alfred Apaka - Song Of Old Hawaii
The Islanders - Francesca
Roy Smeck - Honolulu Shuffle
Terorotua And His Tahitians - Tehaupoo
Friday, February 16, 2018
Don Ralke And His Orchestra
Cover Photo by George Jerman/Photography 2
Warner Bros. WS 1360
Available from online vendors so I will not be posting a sample. Presented here to share the cover art.
Gershwin never sounded better! Super Space Age set!
How Long Has This Been Going On
Clap Yo Hands
Love Is Here To Stay
My One And Only
They All Laughed
Love Is Here To Stay
They Can't Take That Away From Me
A Foggy Day
I Got Rhythm
RCA Victory LPM 1154
Available from online vendors so I will not be posting a sample. Presented here to share the original cover art.
From the back cover: Dinah Shore graduated from Vanderbilt University with a degree in sociology, a branch of science she has practiced ever since. Here is a very personal voice, one that on records or on radio or on television seems to be directed at you exclusively.
From Billboard - January 28, 1956: Tho Miss Shore has had troubles getting single record hits, this album should have its own healthy share of attention. First, the cover pictures the gal at her best. Then the disk follows thru with a fine selection of well-paced material. "Nice Work If You Can Get It," "Easy To Love," " Had To Be You" and "I Concentrate On You" are a good cross section.
Nice Work If You Can Get It
Easy To Love
Come Rain Or Come Shine
Once In A While
It Had To Be You
You're Driving Me Crazy!
That Great Come-And-Get-It Day
Moanin' In The Morning
Under A Blanket Of Blue
Taking A Chance On Love
I Concentrate On You
Favorite Songs About Your Favorite
Les Brown And His Band Of Renown
Coral (10-inch) CRL 56046
Available from online vendors so I will not be posting a sample. Presented here to share the cover and bio information.
From the back cover: Born in Reinerton, Pennsylvania, March 14, 1912, Les Brown was nurtured on music from the start. His father, a baker, was a music-lover and saw to it that Les began taking piano lessons when the boy was eight. Unfortunately, not much progress was made on the keyboard. Then one day Les watched his father and three uncles play an amateur sax quartet. Les got hold of his Dad's curved soprano sax and suddenly showed real interest in music. That interest never cooled. Through his high school years Les studies and practiced and, by the time he entered the Conservatory of Music in Ithaca, New York, in 1926, he was way ahead of the other students who played sax. Here Les got his first real taste of harmony, arranging, composing, and other technical subjects which proved so valuable to him. From Ithaca he went to Cornwall, New York, as a student at the New York Military Academy. Then came Duke University.
While a student at Duke, Les and an enthusiastic group of collegians determined to make their mark in the music world by forming a band, Les played sax and started arranging for the newly formed group. It was this combination which he took North in 1936 to play at Budd Lake in New Jersey, for the summer. The band was tagged the "Blue Devils" and under the moniker made some records. Things didn't go too well for the group, and the "Blue Devils" broke up in September 1937.
Les became a much sought-after arranger. He did some outstanding arrangements for many of the top bands of the day and for music publishers. Although he was doing well financially, he still yearned to wave the baton again. So, in the summer of 1938, he formed a new band. The boys had a tough time for a while, but the turning point came when they were booked into Mike Todd's Theatre-Cafe in Chicago for four weeks. The band did so well that they were held over for four months. Then came the Log Cabin in Armonk, New York, and the Blackhawk in Chicago, the Palladium in Los Angeles, the Astor Roof in New York, and the Meadowbrook in Cedar Grove, New Jersey. Each stay extended for beyond an accepted name in the music business – a name that was synonymous with fine music.
Les also stepped out as a major songwriter with "Sentimental Journey." Featured on the Bob Hope radio program, Les achieved national fame – a position which he continues to hold.
From Billboard - March 1, 1952: Like his first "Over The Rainbow" album for Coral, this package is built on a central theme – the anonymous "you". Tunes are all of a tried and true type and they are played wonderfully well by the crack Brown crew. Excellent dance music for those who prefer their terping set to a swinging beat. Wherever the "Rainbow" set had meaning, this one is bound to accumulate sales. The "you" theme allows for all types of merchandising gimmicks, too.
You're My Everything
You Are My Sunshine
You're Driving Me Crazy
You're The Cream In My Coffee
You're A Sweetheart
You're The Top
You're An Old Smoothie
Thursday, February 15, 2018
Art Ferrante and Lou Teicher Duo-Pianists
Camerage by Strimban... Willig
Columbia Records CL 573
From the back cover: Although it might be felt that Ferrante and Teicher harbor some dark grudge against the piano for not being able to sound like a full orchestra, they are in fact devoted to the instrument and both are virtuosi at the keyboard. Although this collection is devoted to their knock-about approach, they have also recorded works in a charming and lyrical vein, notably their meddles of music from Can Can and Me and Juliet and a musical salute to Europe in Continental Holiday, and are well-known as serious concert artists. They met when both were students at New York's Juilliard School of Music, when they were six years old. Both were prodigies and were two of the youngest students ever accepted by that august institution. Almost from the beginning, they began playing together and eventually combined their efforts to work together under ensemble teachers.
After graduation, they made a brief concert tour together, and then returned to Juilliard as members of the faculty, where they combined teaching with a modified concert schedule. In 1947, they began a series of cross-country tours presenting programs that ranged from pre-Bach composers up to and including present-day popular masters. So successful were these programs that the following year they were booked for 139 concerts, and since that time they have become one of the most popular piano duos in the country. Appearances with the Philharmonic-Symphony, the Detroit Symphony and many others followed, and they have been heard on many radio programs, including Piano Playhouse and Percy Faith's program.
Falling In Love With You
Susanna's Last Stand
The Old Black Magic
I've Got You Under My Skin
Flight Of The Bumble Bee
Original Motion Picture Sound Track
Music Composed and Conducted by John Barry
Except Side 1, Band 1 which is written by (Bricusse - Newley - Barry)
Published by Unart Music Corporation
United Artist Records UAS 5117
Available from online vendors so I will not be posting a sample. Presented here to share the original cover art.
Perhaps one of the best "secret agent/spy" music sets one can collect.
Main Title - Goldfinger (Sung by Shirley Bassey) Into Miami
Oddjob's Pressing Engagement
Bond Back In Action Again
Teasing The Korean
Gassing The Gangsters
Goldfinger (instrumental Version)
Dawn Raid On Fort Knox
The Arrival Of The Bomb And Count Down
The Death Of Goldfinger - End Titles
Hal Mooney and His Orchestra
Mercury Records PPS 6013
Don Hammond (woodwinds)
Bob Rosengarden (percussion)
Walt Levinsky (woodwinds)
Phil Kraus (percussion)
Don Lamond (drums)
George Duvivier (bass)
Barry Galbraith (guitar)
Moe Weshsler (Piano and Harpsichord - both channels)
From the inside cover: As a youngster, Hal studied classical piano for over ten years. It took only two years at St. John's Law School in Brooklyn to convince him that he wanted a musical career. Songwriting came first. Swampfire, an exciting instrumental included in the present album, came out of these early efforts. Study with theorist Joseph Schillinger, to whose studio arrangers and bandleaders of the swing era flocked for guidance, led Hal to turn to arranging as his calling. His first assignment was with one of the big name bands of the day. After Hal Kemp came Jimmy Dorsey, which involved working with Bob Eberle and Helen O'Connell (recently come out of retirement) at the peak of their fabulous singing careers.
In 1943, while he was in Hollywood with the Dorsey band, Hal's number came up in the draft. It was three years before he got out of army fatigues and back to the arranger's score pad. Settling in Hollywood in '46, Hal became one of the movie capitol's most active and widely-used free-lance arrangers. It would be impossible to mention all the vocalists with whom he worked. A representative list would include Mel Torme, Billy Eckstine, Peggy Lee, Kay Starr, Bing Crosby, Judy Garland, Dinah Washington, Dick Haymes, Sarah Vaughan and Frank Sinatra. After fourteen years, Hal accepted an offer from Mercury Records, moved his family to New York, and has since functioned, first, as musical director, and more recently, as A&R executive. Also, he has moved out of the quiet recesses where arrangers burn the midnight oil up into the glare of the conductor's podium. Now, when he burns the midnight oil, a record bears the inscription: Arranged and conducted by Hal Mooney. – Arnold Shaw
From Billboard - March 13, 1961: Here's another of the new Perfect Presence sound line for the label, with three most attractive lassies on the cover setting the gay mood. Mooney has done some sharp arrangements for a sizable complement of woodwinds, effectively showcased in front of tasteful but never overwhelming percussion effects. The rhythm emphasis is Latin applied to mostly standards and one fine show tune of the more modern ear. "Tonight," from "West Side Story." Set can appeal to dancers, mood buyers or sound buffs.
The Sounds And The Songs
Baby, It's Cold Outside
Old Devil Moon
Bye Bye Blues
Ragging The Scale
I've Got My Love To Keep My Warm
Holiday For Strings
The Pete King Chorale
KAPP Records KL-1179
All The Way
The Three Bells
Mack The Knife
The Hawaiian Wedding Song
The Village Of St. Bernadette
What A Difference A Day Made
Ciao, Ciao, Bambina
Rene Bloch & His Big Latin Band
Featuring Willie Bobo Correa, Bongs & Mongo Santa Maria, Congas
Stereo Sounds Productions SA-6
A Subsidiary Of Phono-Record Management, Inc., Los Angeles, Calif.
From the back cover: You'll recognize the greatest names in this rundown of Rene's band: Rene Bloch, sax and flute; Nash Maez, sax; Herbie Harper, trombone; Marvin Brown, trumpet; Ronald Ossa, trumpet; Jack Navarra, percussion; Bob Gill, piano; Frank De La Rosa, bass; Jaun Cheda, percussion; Hector Rivera, percussion; Willie Bobo Correa, bongos and Mongo Santa Maria, congas.
This set seems to be a reissue of "Everybody Likes To Cha Cha (Hi-Fi Records SR 819 / Vogue Records VA 160165 - 1959 or Hi-Fi Records 592 - 1960. ). Judging by the cover art, this release must date, possibly to about 1963 - 65?
Gema Luis Cisneros
I'm Forever Blowing Bubbles
Always In My Heart
E' Cha Cha
Corrazon De Melon
Gillette Cha Cha
Rose Room and In A Mellow Tone
Twenty Tunes – Two At A Time
Manny Albam And His Orchestra
Produced by Marty Gold
Recorded in Webster Hall, New York City
Recording Engineer: Ernie Oclrich
Mastering: Dick Gardner
Cover Photo: David B. Hecht
RCA Victor LSA-2432
From Billboard - December 4, 1961: An inventive program for the super stereo buff. Arranger Manny Albam has selected a flock of tunes with more of less the same basic chord construction and arranged them in pairs. For instance "Stompin' At The Savoy," goes together with "Johnson Rag," and "Rio Rita" is coupled with "I Got A Feelin' You're Fooling'." The tunes complement each other handsomely and Albam's scoring for horns, strings and winds is the dressing on the tasty salad. A fine addition to the Stereo Action series
The jacket features a circular die-cut which reveals Albam's head as printed on the glossy sleeve.
Stompin' At The Savoy and Johnson Rag
Stairway To The Stars and Do Nothin' Till You Hear From Me
Rio Rita and I Got A Feelin' You're Foolin'
Rose Room and In A Mellow Tone
Should I? and Chattanooga Choo-Choo
C Jam Blues and One O'Clock Jump
Say It and You're A Sweetheart
My Blue Heaven and 720 In The Books
I Saw Stars and Breakin' In A Pair Of Shoes
At Last and I Married An Angel
Wednesday, February 14, 2018
After You've Gone
Recorded May 1st, 1956
London Records LL 1566
Bobby Pratt: Born in Aberdeen, 1927. A professional at 16. Led his own Army band. Was with Ken Mackintosh before joining Ted Heath.
Duncan Campbell: Hails from Glasgow, born 1927. Worked with Cyril Stapleton, Tito Burns and Teddy Foster before joining Heath in 1950
Eddy Blair: Aged 27, another Scot, hails from Johnstone in Renfrewshire, Scotland. Studied at Glasgow University. Worked with the Johnny Dankworth Seven for three years. Joined Health's line-up 1954.
Bert Ezzard: Born in Manchester 1922. At 11 played with brass bands. Before joining Heath, Bert toured with Cyril Stapleton, George Evans and Phil Tate.
Henry Mackenzie (Tenor, Clarinet): Born in Edinburgh, 1923. Played with Tommy Sampson and Paul Fenoulhet. Best known for his agile clarinet solos.
Ronnie Chamberlain (Alto, Tenor, Sax): Born in London 1924. Played 10 years for Vic Lewis. Admired for his technique and stylish brilliance, not only on alto but also soprano sax and clarinet.
Red Price (Tenor Sax): Born in 1928 in Mansfield. Switched early in life from piano to saxophone. Also a former member of the Squadronaires. Has accompanied Ted Heath on both Australian and American tours.
Don Lusher: Come to Ted from Squadronaires and Geraldo Band. Born in Peterborough, 1923. He was with Tommy Sampson and Cyril Stapleton before joining Ted.
Ric Kennedy: Aged 35. Played with George Elrick before the war and was featured with the Squadronaires, and Fenoulhet before joining Heath in 1952.
Jimmy Coombes: Another founder-member of Heath's Band. Comes from Manchester. Has been playing professionally since 1927. Played with Geraldo.
Frank Horror (Piano): Born in 1924. Served in the Army, then passed through the Vic Lewis, Kirchins' and Paul Fenoulhet personnels before joining Ted.
Johnny Hawksworth (Bass): A Londoner, born in 1924. Previous big band experience included Buddy Feathertonhaugh group with Tommy Sampson, Ronnie Pleydell and Tito Burns. A poll winner on his instrument Johnny is also one of the band's best comedians.
Ronnie Verrell (Drums): Born 30 years ago in Rochester, Kent. Played with Cyril Stapleton before joining Ted. Ronnie is another pollwinner in the Heath ranks and a great popular asset to the band by virtue of his flashy solos and comedy routine with Johnny Hawksworth.
Ted Heath's First American Tour
Ted Heath climaxed his 7,000 mile tour of America playing 43 concerts in 30 cities in 31 days with an overwhelming successful sell-out Carnegie Hall Concert.
On his return to England, Ted Heath was asked about the tremendous finale to his tour... the farewell Concert at Carnegie Hall. Ted's answered, "It's the biggest reception we have ever had in the whole history of the band." "The cheering and the applause lasted for 10 minutes after we had finished, and the only way we could get rid of the crowd was to blink the lights." The audience stamped and cheered for "more Heath" at the wings to deliver a tribute to Heath and his men. The intensity and volume of the response exceeded any band concert at Carnegie Hall in recent years.
In 11 years, during which time he has graced the British musical scene, Ted Heath has risen to the summit, not only did he get to the top, but even more important, he has stayed there.
Since the band was formed in 1945, it has won every British press poll. It has appeared in three films and has been honored by appearing at the Royal Variety Performance in 1949 and 1951. He launched this fabulous series of over 100 London Palladium Swing Sessions, which is unique in the history of popular music anywhere in the world.
He has pioneered British style in popular music in Australia and now in America and his records are played wherever there is a radio station.
From Billboard - February 2, 1957: This Heath package is a disappointment mainly because the American recording, made at his Carnegie Hall concert, is not up to the hi-fi standards of his London Palladium concert tapings. As a result, much of the brilliance and excitement of this great band is dulled. Good trumpeting in modern style by Eddy Blair on "Lullaby In Rhythm" and great band work on up-tempo "Just One Of Those Things" make these good demo bands. Good sales likely in towns where Heath played.
Listen To My Music
Kings Cross Climax
Memories Of You
R. J. Boogie
Autumn In New York
Just One Of Those Things
Lullaby In Rhythm
I Remember You
I've Grown Accustomed To Her Face
Orchestra And Chorus Conducted By Lew Raymond
Featuring Top Hollywood Vocalists
10th Anniversary Gold Label Issue
Cover Kodachrome Courtesy Of The International Silk Association, USA
Gown by Philip Hulitar
Photograph by Henri Janson
From the back cover: Miss Evelyn Sharpe, a lovely English lass, and a newcomer to our shores, sings the Eliza role. Just twenty-two, but with an impressive background of experience of the English musical comedy stage. Miss Sharpe is destined to do important things in the American theater.
Robert Back sings "I'm An Ordinary Man," "On The Street Where You Live" and "I've Grown Accustomed To Her Face." Charles so joyously carouses with "Get Me To The Church On Time" and "With A Little Bit Of Luck." Both of these outstanding artists have achieved great acclaim in their various appearances on television, stage and screen.
Wouldn't It Be Lovely - Evelyn Sharpe
With A Little Bit Of Luck - Charles Peck
I'm An Ordinary Man - Robert Back
The Rain In Spain
I Could Have Danced All Night - Evelyn Sharpe
On The Street Where You Live - Robert Back
Show Me - Evelyn Sharpe
Get Me To The Church On Time - Charles Peck
I've Grown Accustomed To Her Face - Robert Back
Wayne King And His Orchestra
Narrations By Franklyn MacCormack
RCA Victor LPM 1117
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and bio info from the back cover.
From the back cover: Born in Savanna, Ill., Wayne King started his career in music as a clarinetist, playing dance engagements in and around Savanna in his high school years.
King came to Chicago in 1921, playing with various orchestra. He later played with and became assistant conductor of the Tivoli Theatre Orchestra. In 1927 he became leader of his own orchestra, and played at the Aragon Ballroom in Chicago until 1935.
Leaving the Aragon, some of his outstanding engagements were at the Waldorf-Astoria Hotel, N.Y., Roosevelt Hotel, N.Y., Palmer House, Chicago, Drake Hotel, Chicago, Edgewater Beach Hotel, Chicago, Mark Hopkins Hotel, San Francisco and Cocoanut Grove, Los Angeles.
He entered the Army in 1942 and was discharged in 1944, with the rank of Major. Among the many hits he has written are "The Waltz You Saved For Me," "Josephine," "Goofus," Waltz Night In Heaven" and "Lullaby For Latins."
From Billboard - June 4, 1955: Billy Vaughn sparked a revival for Wayne King-type waxing this year with his "Melody Of Love" disk, so what could be more natural sales wise, than for RCA Victor to reissue this collector's package of old King sides, including the title tune? The dreamy romantic quality is strongly in evidence, but the mood may be marred for some by the fact that most of the selections are accompanied by sentimental narrations by Franklin MacCormack, and vocals by King himself and Linda Barrie. In addition to the title tune, songs include "Because You Love Me," "Amour," "The Dany Is Done," and "None But The Lonely Heart." A strikingly beautiful girl adorns the cover.
Because You Love Me
I'm Getting Might Lonesome For You
Melody Of Love
I Love You Truly
Lonesome That's All
None But The Lonely Heart
Just A Dream Of You, Dear
The Lamp Of Memory
Don't Tell A Lie About Me, Dear
The Day Is Done
Recorded "Live" At An After Hours Concert At The Esquire Theater, Los Angeles, Calif.
Producer: Richard Bock
Art Direction & Cover Photo: Woody Woodward
Backliner Notes: Eddie Rio
Audio: Richard Bock
Pacific Jazz PJ-10097
Les McCann - Piano
Victor Gaskin - Bass
Paul Humphrey - Drums
Git Them Grits
I Am In Love
Al Stephano And His Trio
Shoes by Sydney
TOPS Mayfair 9721 S
This is a decent Latin set featuring well-crafted arrangements for a small combo. A number of tracks feature just a piano and bongos combination.
Historia De Um Amor
Un Minuto De Amor
Adios Mariquita Linda
Echame A Mi La Culpa
Mercury Records MG 20113
From Billboard - March 3, 1956: Another well-produced package of mood music. Dick Hayman's harmonica, coupled with the lush effect of the strings, makes for a pleasant musical melange. "Flamingo," (I think the reviewer meant to type Flirtango?) "Celeste," "Off Shore," "Summertime," "Blue Tango" and others are included. Healthy sales prospects.
Tuesday, February 13, 2018
The Shearing TouchThe George Shearing Quintet
The World Record Club Limited
Parkbridge House - Little Green - Richmond - Surrey
Personnel: Shearing, piano; Emil Richards, vibes; Jean "Toot" Thielmans, guitar; Al McKibbon, bass; Percy Brice, drums; Armando Peraza, bongos and conga drums
From the back cover: I first heard George Shearing at a Melody Maker concert in 1938 when, as a member of Claude Hampton's blind band, he took a number of solos. It would be nice to say that I at once recognized his worth but honesty compels me to admit that his playing made no impression upon me on that occasion, probably because I had come to listen to the star attraction the Quintet of the Hot Club of France featuring the now legendary Django Reinhardt. A year later I became aware of Shearing as the result of four titles he recorded for English Decca, and of which featured Feather on piano. During the next few years Shearing continued to record quite regularly, playing in a style that was widely eclectic and showing influences as diverse as Earl Hines, Fats Waller, Teddy Wilson and the boogie pianists. He seemed a very competent and pleasant performer but not one of any marked individuality and it was not until the mid-forties, under the influence of the emerging bop idiom, that he developed the style for which he has since become famous.
Shearing, who has been blind from birth, studied music at a school for the sightless in London and turned to jazz after listening to records by the late Fats Waller. In 1937 he was heard by Leonard Feather and Feather was to have an important role to play in his life, particularly as he made the arrangements of Shearing to emigrate to the U.S.A. late in 1947. Prior to his final departure from Britain Shearing had worked with Claude Bampton's band, with the Ambrose Orchestra for two years, as an accordionist with Frank Weir and as a soloist. He achieved the rather unique distinction of being voted top British pianist in Melody Maker polls for seven years in succession. In December 1946 he made an initial trip to the U.S.A. which lasted for three months and while there made on record date. After he emigrated he first played as a soloist, then with a small group, but in February 1949 he recorded with a quintet for the American Discovery label that had been selected for him by Leonard Feather and decided to maintain this on a permanent basis. The original members, apart from Shearing, were Marjorie Hyams (vibraharp), Chuck Wayne (guitar), John Levy (string bass) and Denzil Best (drums) and this has been the basic instrumentation that Shearing has retained down to the present day. A further recording session, this time for MGM, took place nine days after the Discovery date, and one title, "September In The Rain", became a great hit. From that time later for Capitol, and has achieved a popular success very rare for a jazz musician.
Whether by accident or design Shearing hit upon a unique formula with his quintet recordings, the immediate recognizable trademarks being the blending of vibes and guitar and Shearing's own locked-hands style.
In 1954 Shearing added a conga drummer to his group and from time to time he has worked with a larger band, even appearing as a guest soloist with symphony orchestras, but inevitable he has been forced to retain the original quintet formula. – Albert McCarthy
From Rags To Richards
It Might As Well Be Spring
A Tune For Humming
The Late, Late Show
Sigh No More
Ruben Leon And His Orchestra
Recommended For Dancing / By Dale Dance Studios
TOPS Mayfair 963S & Hi Fi Tops L1693
For a budget label product this is a fine small combo Latin set featuring four well crafted extended play medleys, two per side.
The reverse jacket on my copy features a black overprint at the bottom meant to obscure a bit of original copy. TOPS was going to press the entire issue on yellow vinyl but decided, at some point, to do part of the pressing on a black disc, but continue to use up the remaining stock of original jackets.
Here is the original copy: TOPS "GOLDEN SOUND" pure gold vinyl stereophonic records are the finest recordings and the greatest value available in the record world today. All original TOPS STEREOPHONIC recordings are recorded on dual track magnetic Ampex tape recorders operating at fifteen inches per second. The tapes are then carefully mastered by a Westrex 45 x 45 feedback cutter and heated stylus on a Scully variable pitch lathe to insure the very finest high quality reproduction in transfering the ultimate in sound from the tape to the vinyl. A frequency response is produced of 20 to 20,000 cycles per second. This system is universally acclaimed by recording engineers as the best in stereophonic record production. TOPS has selected pure golden vinyl for its record production as this is the purest recording material and offers vibrant sound in its truest form.
Division of Precision Radiation Instruments, Inc.
Made and Printed in U.S.A.
A1 Canto Karabali Cha Cha, Lunita Nueva Cha Cha, Candice Cha Cha, Ombo Cha Cha, Salud, Dinero Y Amor Cha Cha, Piel Canela Cha Cha
A2 Mama Inez Cha Cha, Negra Consentida Cha Cha, En Vano Te Espero Cha Cha, Cuando Yo Bailo Asi Cha Cha, Tru-Cu-Tu Cha Cha, Amor Y Mas Amor Cha Cha, El Suenito Cha Cha, Batiri Cha Cha
B1 Manhattan Cha Cha, Yo Te Lo Dije Cha Cha, Rico Rica Cha Cha, Amapola Cha Cha, Senor Juan Cha Cha, Cha Cha No. 5, Pan Con Queso Cha Cha, Teresa Cha Cha
B2 Take Your Time Cha Cha, Cha Cha Chando, El Limpiabotas Cha Cha, TV Cha Cha, Ella, Ella Cha Cha, Cuba Cha Cha, La Santiaguera Cha Cha, Acere Cha Cha
The House Of The Rising Sun
Arrangements: J. Dufourny
A Product Of Intercontinental Records N. V. - Baarn, Holland
Little Brown Jug
John Brown's Body
Good Night Ladies
The House Of The Rising Sun
Mexican Hat Dance
Cover by Viceroy
Opera Glasses and Roses by Lesser – Camera Clix
From the back cover: Long famed for the ultimate in unusual piano sounds, the two pianists have gained a wide reputation via records, television and personal appearances for their individualized piano stylings. Using the basic 88-key piano as a starting point, Arthur Ferrante and Louis Teicher have become masters at producing unexpected sounds by adding devices of their own inventions, such as rubber wedges, wads of paper, bits of wood, metal bars and various other gadgets. Their three previous albums for ABC-Paramount ("Heavenly Sounds In Hi-Fi", ABC-221; "Ferrante And Teicher With Percussion", ABC-248; "Blast Off!", ABC-285) have each presented these extraordinary musical interpretations. At the insistence of friends, critics and fans, Ferrante and Teicher have here recorded an album of beautiful music, standing strictly on its own melodic merit without gimmicks and without gadgets. – Rick Ward
From Billboard - February 1, 1960: Eschewing their usual gadgets and sound gimmicks, the duo piano team here exhibits their ability to interpret some lovely semi-classic themes in a tasteful, listenable manner. Tunes include "Malaguena," "Pavanne," "Ave Maria," "Polonaise," etc. Find mood music for adult programming.
Paraphrase On Vienna Life
Stars And Stripes
Waltz In A Flat
Prelude In C Sharp
A Hard Day's Night
The Nutty Squirrels
Arranged and Conducted by Billy Mure
Produced by Creed Taylor
Engineered by Brooks Arthur and Dave Lukas
I Should Have Known Better
Do Wah Diddy Diddy
Needles & Pins
Can't Buy My Love
Wishin' & Hopin'
A Hard Day's Night
A World Without Love
Bread & Butter
Oh, Pretty Woman
A Product Of Columbia Records
Pagan Love Song
Just For Old Times
It's Easy To Remember
If I Should Lose You
The Four Winds And The Seven Seas
Dancing With You
There Goes My Heart
Love Me Long – Hold Me Close – Kiss Me Warm And Tender
Our Love Story
Near To You
A Collection Of Her Most Famous Songs
Mercury Records MG 20101
From the back cover: Such a girl, of course, is Patti Page, who stands out among the turbulence like a beacon light. Patti, just s so many others have, won immediate fame with one recording. Her "Tennessee Waltz" on Mercury in 1951 was, perhaps, the biggest song hit since the war. Unlike so many others, however, Patti's record was neither the pinnacle of her career nor the end. It was a beginning.
From Billboard - September 2, 1957: The fourth LP in Patti Page's "Page" series should be another steady seller for the thrush and, as always, a big favorite with deejays. The photogenic lark gives the cover considerable display value, while her creamy vocal talents are heard to fine advantage on such nostalgic standards as "Happiness Is A Thing Called Joe," "There Will Never Be Another You" and her old hit single "I Went To Your Wedding."
I Went To Your Wedding
My Restless Lover
You Too Can Be A Dreamer
Near To You
Let Me Go, Lover
You Belong To Me
Mister And Mississippi
There Will Never Be Another You
I Walked Alone Last Night
You're The Answer To My Prayer
Happiness Is A Thing Called Joe
Featuring Wheels Cha Cha
Joe Loss And His Orchestra
Produced by Walter J. Riddley
Recording Engineer: Peter R. Vince
Columbia/EMI SX 6339
Made and Printed in Great Britain
Wheels (Cha Cha)
Can't Take My Eyes Off You (Cha Cha)
Tango 68 (Tango)
A Man Without Love (Samba)
Swingin' Samba (Samba)
The March Of The Matadors (Past Doble)
A Banda (Cuban Beat)
My Star (Rumba)
Do You Know The Way To San Jose
Panama Poppa (Cuban Beat)
Children Of The Revolution
How Can I Be Sure
Photography: Peter Meech
Sleeve Design: Geoff Hocking
Photography by kind permission of Motor Racing Stables International Racing Schools, Brands Hatch Silverstone
Music For Pleasure
Amsterdam - Brussels - Johannesburg - Köln - London - Paris - Stockholm
Manufactured by EMI
A SWD Production
Children Of The Revolution
Mouldy Old Dough
Goodbye To Love
You're A Lady
I Didn't Know I Loved You (Till I Saw You Rock-N-Roll)
How Can I Be Sure
Monday, February 12, 2018
Al Lombardy And His Orchestra
Dot DLP 3007
Available from online vendors so I will not be posting a sample. Presented here to share the original DOT cover art.
From the back cover: Al, today, is one of the country's finest clarinet players. And the band, well, it's a far cry from the old "Dukes". Today's Lombardy band consists of three trumpets, three trombones, four saxes and three rhythm.
Creole Love Song
In A Little Spanish Town
Cross Your Heart
New Summit Ridge Drive