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!
Walkin' Beat
Sandy Nelson
A&R Coordinator: Ed Barsky
Art Directions: Woody Woodward
Cover Photo: Ivan Nagy
Sunset - A Product Of Liberty Records
SUM-1114
1966
I'm Walkin'
Party Time
Drum Stuff
Tijuana Jail
Jump Time
House Party Rock
Soul Drums
Teen Beach
Beat From Another World
Here We Go Again
I'll Sing For You
Vic Damone
Mercury Wing
WING MGW 12113
1963
The Girl Next Door
There's No You
And This Is My Beloved
Why Was I Born
This Love Of Mine
Time On My Hands
Walkin' My Baby Back Home
Until You Came Back To Me
Nina Never Knew
Alone At Last
Afraid
A Village In Peru
Something To Remember You By
She's Crying For Me (3 Oct. 1934): Wingy Mannone (tp); George Brunies (tb); Sidney Arodin (cl); Terry Stand (p); Unknown (g); Bonnie Pottle (b); Bob White (dm).
West Wind; Shoe Shine Boy (10 March 1936): Mannoe (tp); Brunies (tb) Matty Matlock (cl); Eddie Miller (ts); Gil Bowers (p); Carmen Mastren (g); Artie Shapiro (b); Ray Bauduc (dm).
Red Allen And His Orchestra
Believe It Beloved (23 Jan. 1935); Henry Allen (tp and vo); Pee Wee Erwin (tp); George Washington (tb); Buster Bailey (cl); Luis Russell (p); Danny Barker (g); Pops Foster (b); Paul Barbarin (dm).
Body And Soul; Rosetta (29 April 1935): Allen (tp); Dicky Wells(tb); Cecil Scott (cl); Chu Berry (ts); Horace Henderson (p and arr.); Bernard Addison (g); John Kirby (b); George Stafford (b).
Roy Eldridge And His Orchestra
Wabash Stomp; Heckler's Hop; After You've Gone (23-28 Jan. 1937): Roy Eldridge (tp); Scoops Carey (as); Joe Eldridge (as & arr.); Dave Young (ts); Teddy Cole (p); Johnny Collins (g); Truck Parham (b); Zutty Singleton (dm).
Frankie Newton And His Cafe Society Orchestra
Jitters; Frankie's Jump; Tab's Blues (12 April 1930); Frankie Newton (tp); Tab Smith, Stanley Payne (as); Kenneth Hollan (ts); Kenneth Kersey (p); Ulysses Livingston (g); John Williams (b); Eddie Dougherty (dm).
From the back cover:
Joe "Wingy" Mannone is a New Orleans trumpet player, uptown New Orleans, that is. In personality and career, he was very much a figure of the 1930's trumpeter. He is a tasteful, melodic, Dixieland player of marked comic talent. "She's Crying For Me" is decidedly melodic, "West Wind" decidedly Dixie and "Shoe Shine Boy" decidedly comic (in dialogue and vocal). The personnel of his band is drawn from the formerly Gil Rodin Band, later Bob Crosby Band, and his personal style is a happy combination of high-jive Louis, a taste of Big, a dash of Bing. Henry "Red" Allen comes from New Orleans, downtown. He is both more jazz player and more evolved in Swing style than Wingy, but there is an oblique kinship in their playing and singing, derived from their source – Louis – through "Red" carries the mark more definitely, as in "Body And Soul", which was his biggest record. He and most of his band personnel came from one of the first great, big bands, Fletch Henderson. "Red" led some of the consistently jumpingest bands in the thirties and early forties, always playing exciting Swing horn – Rosetta. "Little Jazz" Roy Eldridge, more evolved than "Red" Allen, led equally swinging, jumping bands, Roy was the next important trumpet influence after Louis. Just as, up to a certain time, all trumpet players learned to first play like Louis, those who followed learned first to play like Roy. And Roy's "After You've Gone" is derived from Louis's first big band recordings. Roy is surely the most exciting trumpet player in the history of Jazz. His playing is indisputably hot, yet there already appears a certain coolness, in that Swing as a music of special technique and ideas anticipates the Contemporary era of Jazz. "Heckler's Hop," Roy's great record, is sheer jazz music. Roy is commonly referred to as the "bridge". After him came Dizzy Gillespie and The Deluge of new ideas: the attitudes and formal change of Bop. Franke Newton, who died in 1954 at the age of 48, was a modern trumpet player. Quietly underplaying excitement, always swinging, he was a most sophisticated and yet blues player, and completely, openly individual. His entrance on "Frankie's Jump" is thoughtful, humorous, melodic, very modern. His style and personnel were completely New York, and suck a style certainly existed during the Ellington-influenced era of Cafe Society Downtown, and urbanization of Kansas City jump – "Jitters." And happily, for all our talk of trumpet players, up jumps Tab Smith, swinging on alto saxophone, on all three records. – Albert Avakian
Wingy Mannone And His Orchestra
She's Crying For Me
West Wind
Shoe Shine Boy
Henry "Red" Allen And His Orchestra
Body And Soul
Believe It, Beloved
Rosetta
Roy Eldridge And His Orchestra
Wabash Stomp
Heckler's Hop
After You've Gone
Frankie Newton And His Orchestra
Jitters
Frankie's Jump
Tab's Blues
Dick Katz: Piano & Pen Supervision: John Lewis Cover Photo: Lee Friedlander Cover Design: Marvin Israel Recording Engineer: Tom Dowd Atlantic SE 1314 1959
Available from online vendors so I will not be posting a sample. Presented here to share the cover and back cover information.
Personnels
On Timonium Duologue No. 1, Glad To Be Unhappy & Scrapple From The Apple, the personnel is: Dick Katz, piano; Chuck Wayne, guitar; Joe Benjamin, bass; Connie Kay, drums.
On Aurora, Round Trip, Afternoon In Paris & Ain't Misbehavin', the personnel is: Dick Katz, piano; Jimmy Raney, guitar; Joe Benjamin, bass; Connie Kay, drums.
From the back cover: Dick Katz was born in 1924 in Baltimore where he began to study piano when he was about eight, and became involved with jazz at twelve, partly through the extensive and readily available record collection of his brother Leslie, partly because of the jazz he heard in Baltimore, and, particularly because of the encouragement he received from trumpeter Stanford East.
Dick pursued advanced musical studies at the Peabody Institute, the University of North Carolina, and the Navy School of Music during World War II. In 1950, he graduated from The Manhattan School of Music and then did further work with Teddy Wilson at the Juilliard School – all this while doubling as an active jazzman in Greenwich Village and Fifty-Second Street clubs. A further effort at doubling, working during the day in his father's advertising agency, was eventually abandoned for jazz piano.
Katz chose his associates here with care; first, a jazz guitarist as a contrast and foil to his own piano. He approached Jimmy Raney, "a good maker of lines and musical ideas, one of the very best jazz guitarists". Meanwhile, Katz and Chuck Wayne were both working (separately) at the same club and often found themselves playing together for the fun of it. Connie Kay, the thoroughly musical drummer of The Modern Jazz Quartet, was an obvious choice. "Less obviously", Katz says, "I realized only after we began to play them that several of the scores fit Connie's own conception of time perfectly". Joe Benjamin has played with many great musicians, including Dave Brubeck, Duke Ellington, Sy Oliver and Billy Taylor.
Also from the back cover: This is the first LP to be devoted in its entirety to the several talents of Dick Katz; his compositions, his arrangements and his extended piano solos.
In an era when jazz often is seemingly dominated by musical Angry Young Men, it is refreshing to come across a personality who exhibits selective musical intelligence. This album reflects Dick Katz's concern with unity, taste, selectivity, and the integration of group performance.
He is concerned as are Duke Ellington, Jimmy Giuffre and The Modern Jazz Quartet (among others) with form. "The kind of form I mean", says Katz, "is not confined to groups. Individual players like Miles Davis, Ben Webster and Stan Getz all have it. They select, they know how to edit themselves. The same applies to group players need to talk to each other and communicate musically.
Dick Katz first came before the jazz public playing with Tony Scott and made his first records with that poll-winning clarinetist. There are many who consider these records Tony's finest because in them he achieved the ideals Dick outlined above. Of Tony Scott, Katz says, "The six months that I spent with Tony at Minton's Playhouse were like a school to me, because just about every important jazzman used to come by to sit in from time to time. The experience I got was invaluable."
Katz then went on to work with the highly successful trombone team, J.J. Johnson and Kai Winding. Stints with Stan Getz, Kenny Dorham, Oscar Pettiford, singers Carmen McRae, Helen Merrill and many others followed. Among the people with whom Katz has recorded are Jay and Kai, Sonny Rollins, Oscar Pettiford, Carmen McRae, Al Cohn, Jimmy Raney, Coleman Hawkins and Buck Clayton. He was presented by John Lewis in his first solo LP appearance in four trio performances in the album, "Jazz Piano International" (Atlantic 1287).
Recognition has come to Katz from many quarters, in particular from fellow musicians. Pianist Billy Taylor, writing in "The Saturday Review", paid him the following tribute: "His melodic lines are well though out and even his most swinging passages have a delicacy rarely found in modern jazz – his sensitive improvisations reflect a perceptive and inventive mind". Tupper Saussy, in his comments in the "Jazz Review" on Katz's solos in "Jazz Piano International" called Dick a thoughtful pianist... his predominant appeal is his immaculacy, both melodic and rhythmic'. In reviewing the same record, I said that one heard a basically individual melodic imagination and willingness and ability to reach the materials at hand, rather than impose merely fashionable phrases onto them. – Martin Williams
From Billboard - October 5, 1959: Dick Katz, a new pianist who is gaining notice in critical circles lately, reveals himself as an interesting new talent here. Altho Katz has played with lot of top groups this is his first starring album. On it he show off sensitivity, imagination, and a strong melodic line. And most important his style is sparse and thoughtful, not overblown. With Katz on this set are Chuck Wayne, Jimmy Raney, Joe Benjamin and Connie Kay. Selectons include "Timonium," "Glad To Be Unhappy" and "Afternoon In Paris."
Timonium Aurora Duologue No. 1 Glad To Be Unhappy Round Trip Afternoon In Paris Ain't Misbehavin' Scrapple From The Apple
The Jay Gordon Concert Orchestra
Tops Music Enterprises L1551
1957
Feldermaus Waltz
March Of The Toys
American Bolero
Jockey On The Carousel
Jazz Pizzicato
Fantasie Impromptu
American Salute
Dream Sonata
In An 18th Century Drawing Room
Loin Du Bal
Finiculi Finicula
Hejre Kati
The Syncopated Clock
Guitar Music Of Latin America
Laurindo Almeida
Capitol Records P8321
1956
From the back cover: Laurindo Almeida has achieved fame in a widely diversified fields of music by creating beautiful and serious compositions for guitar, by performing brilliantly as solo guitarist with some of the nation's most distinguished jazz bands, and by playing with equal brilliance on the classical concert stage. His appearances at such places as Carnegie Hall, Chicago's and San Francisco's Civic Opera Houses, and the Hollywood Bowl, have been marked by enthusiastic acclaim of his inspired artistry.
From Billboard - February 4, 1956: Artist and composer Almeida, already represented by an album of guitar music from Spain, delves into the works of closer neighbors here. In a recording of impeccable quality. 11 complete short works are presented, highlighting not only the artistry of the soloist but the imaginative guitar scorings of four Latin composers, Mexicans Jose Barroso and Manuel Ponce, Brazilian Veitor Villa-Lobos, and Pataguayan Agustin Barrios, in addition to Almeida himself. Certainly there is no mass market appeal but for those who fancy this versatile instrument, this package promises rewards.
Etude No. 11
Composed by – Villa-Lobos
A2 Etude No. 5
Composed by – Villa-Lobos
A3 Prelude No. 4
Composed by – Villa-Lobos
A4 Prelude No. 2
Composed By – Villa-Lobos
Bullerias Y Cancion
Composed by – Barroso
Tehuacan (Lamento Y Danza)
Composed by – Barroso
Preludio - Para Guitarra, Op. 5 No. 1
Composed by – Barrios
Choro Da Saudade (Song Of Longing)
Composed by – Barrios
Vals
Composed by – Ponce
Preludio Y Tremolo
Composed By – Almeida
Invention In Two Parts
Composed by – Almeida
Cajita De Musica (Music Box)
Composed by – Almeida
