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Saturday, November 17, 2018

The Stereophonic Sound Of Charlie Barnet

Lonely Street
The Stereophonic Sound Of Charlie Barnet
By The Members Of The Charlie Barnet Orchestra
A Limited Edition Series
Bight Orange X-BO-706


Play Johnson, Tenor
Teddy Lee, Tenor and Alto
Fred Falensby, Tenor
Skeets Herfurt, Alto and Soprano
Bob Jung, Alto
Bob Davis, Baritone
Ray Linn, Trumpet
Don Fagerquist, Trumpet
Zeke Zarchy, Trumpet
Dick Nash, Trombone
Murray McEachern, Trombone
Dick Taylor, Trombone
Tommy Peterson, Trombone
Mill Bernhart, Trombone
Dick Noll, Trombone
Chuck Williamson, Guitar
Al Hendrickson, Guitar
Dick Shanahan, Drums
Jack Spurling, Drums
Bunny Biggs, Vocal

Redskin Rhumba
East Side, West Side
Lonely Street
Claude Reigns
Pompton Turnpike Charleston Alley
Charley's Other Aunt

The Cosmic Scene - Duke Ellington's Spacemen

The Cosmic Scene
Duke Ellington's Spacemen
Columbia CL 1198

From the back cover: Choosing a small group out of the Ellington Orchestra is difficult only because there are at least a half dozen to choose from. This time Duke picked eight of his all-stars to join him in a swinging session of standard jazz tunes and, as always, a few new things he just happened to have with him. After the rhythm section, Same Woodyard, drums, Jimmy Wood, bass and Edward K. Ellington, piano, he chose what is known around the bandstand as the "pep section," the three trombonists John Sanders, Britt Woodman and Quentin "Butter" Jackson. And finally, as a trio of soloists all more or less matched in style and jazz conception, he included Jimmy Hamilton, clarinet, Paul Gonzales, tenor and Clark Terry, trumpet.

As for why these nine should be called "Spacemen," historians of jazz will have to make up their own reasons. Duke used the word as the first American satellite settled in orbit, and, perhaps with plans to supply the jazz on trips to the moon, he is merely being practical about the size of the band that will fit into a rocket ship. Himself excluded, of course. For, unless his travel habits change, Duke Ellington will go to the moon by train.

From Billboard - October 13, 1958: A swinging performance of standard jazz pieces and some new songs by Ellington and eight of his all-stars. Included are "Avalon," "Body And Soul," "Period," "St. Louis Blues," "Bass-ment," etc. Package will be relished by the artist's admires, for it really swings and contains creative arrangements. There are urban notes by Irving Townsend about the personnel and each of the tunes.

Body And Soul
Early Autumn
St. Louis Blues
Midnight Sun
Take The "A" Train

The Art Of Art - Art Tatum

The Art Of Art
Art Tatum
A&R Research and Coordination: Jack Maher
Originally recorded under the personal supervision of Norman Granz
Cover Art: Jon Henry
Remix Engineer: Don Young
Director of Engineering: Val Valentin
All selections recorded in Los Angeles
VSP Verve VSP-33

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

From the back cover: In four sessions between December, 1953, and January, 1955, Art Tatum recorded well over a hundred standard tunes from his repertoire. An undertaking on a scale appropriate to the scope and talent of the artist, nothing like this was ever attempted in jazz before or since. The realization of such a definitive collection was singularly fortunate, because of the pianist's untimely death in 1956.

"The only true phenomenon jazz has produced," was how Teddy Wilson once described him, and certainly there have been few musicians in that field who have been granted such unanimous respect and admiration from their confreres. Tatum was a virtuoso with an unparalleled technique, an elegant touch, and an imagination to match. He had, as the solos in this album clearly show, a unique ability to give familiar material new and fantastic dimensions, often contrasting wholly different conceptions from chorus to chorus. Take, for example, the big-band classic, Stompin' At The Savoy. In the course of less than three minutes, alone at the piano, he presents theme and variations in a diversity seldom achieved by an arranger with fifteen able jazz musicians at his command.

Art was an abbreviation of his given name, and Tatum was a synonym for Art. – Stanley Dance

Recorded April 22, 1954 (from the deleted Verve album V-8347)

Moon Song
Recorded April 22, 1954 (from the deleted Verve album V-8347)

Stompin' At The Savoy
Recorded December 29, 1953 (from the deleted Verve album V-8127

Boulevard Of Broken Dreams
Recorded April 22, 1954 (From the deleted Verve album V-8347)

Recorded live at Jazz At The Hollywood Bowl, 1956 (from the deleted Verve album V-8231-2)

Willow Weep For Me
Recorded live at Jazz At The Hollywood Bowl, 1956 (from the deleted Verve album V-8231-2)

Moonlight On The Ganges
Recorded April 22, 1954 (from the deleted Verve album V-8347)

The Man I Love
Recorded December 29, 1953 (from the deleted Verve album V-8127

End Of The World - Julie London

The End Of The World
Julie London
Producer: "Snuff" Garrett
Arranger: Ernie Freeman
Cover Design: Studio Five
Cover Photo by Virgil Apger (Through the courtesy of Metro-Goldwyn-Mayer Television, producers of "The Eleventh Hour" series
Engineer: Dave Hassinger
Liberty Records, Inc. LST-7300

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 18, 1963: Julie London gives her usual sensuous vocal treatment to such receptive ballads as "Call Me Irresponsible," "I Left My Heart In San Francisco" and "My Coloring Book." Julie is backed by a bossa-beat on "Desafinado" and "Fly Me To The Moon." Top-notch material coupled with Julie's warmth adds up to impressive sales potential.

The End Of The World
I Wanna Be Around
Call Me Irresponsible
Our Day Will Come
I Left My Heart In San Francisco
Days Of Wine And Roses
I Remember You
My Coloring Book
Chances Are
The Good Life

Flamenco Fire - Carlos Montoya

Flamenco Fire
Carlos Montoya - Guitarist
Assisted by Here Maya, Spanish Gypsy Vocalist and Dancer
Produced by Sid Feller
Cover Design: Fran Scott
Cover Photography: Roy DeCarava
ABC Paramount ABC-191

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

From the back cover: Carlos Montoya is a true Spanish gypsy of Madrid. He began to play Flamenco guitar at the age of 8, and, at 14, was already beginning to receive widespread recognition for his remarkably pure technique and interpretations of the "folklore" of his people. To this day, Montoya applies a passionate curiosity to the seeking of new variations and musical forms to enhance this profoundly mysterious type of melody.

Ask Sally Montoya, the beauteous and erudite wife of the artist, what the underlying reason might be for Carlos' unusual gift, and she is wont to say: "The Spaniards think with their hearts instead of their heads. This is particularly true of the gypsies, whose whole approach to life is intuitive. Carlos and his music are inseparable, and he has remained purer in style than many guitarists in Spain. – Natt Hale

Temas En Farruca
Melodias De Jerez
Compas Flamenco
Ecos De Sierra Nevada
Tientos Gitanos
Bolera Y Corralera

Two Beat Mozart - Claude Bolling

Andante And Variations - 1, 2, 3, 6 from Sonata No. 11
Two Beat Mozart
The Claude Bolling Sextext
Arranged by Claude Bolling
Philips PHS 600-204

From the back cover: The Claude Bolling Sextext has been part of the jazz life in France longer than he likes to remember. Bolling, a pianist whom veteran critic Hugues Panassie has compared favorably to Earl Hines, organized his own band in 1946, when he was 16 years old! He toured France with Mezz Mezzow in the early 1950s. He has played with most of the American musicians who have passed through Paris. His training, at Nice and in Paris, was sound and rooted in the classics.

He alone arranged all of the pieces in the album, except Eline Kleine Nachtmusik, of which Vladimir Cosma was co-arranger.

The regulars of Bolling's Sextet – Pierre Dutour, trumpet; Gerard Badini, clarinet and tenor sax; Claude Gousset, trombone; Charlie Blareay, bass; and Peter Tiger, drums – had some assistance for the record. On Eline Kleine Nachtmusik, Banjoist Fernand Garbasi was added for all four-movements, although he plays guitar on the second. Trumpeter Pierre Selling was added for the final three movements. Gaby Vilain played bass trombone on the final movement. Tenor man Michel Portal also was added for the Rondo. A string section under the direction of Jean Gitton augmented the players for the first three movements.

Garbasi and his banjo, plus soprano saxist Pierre Gossez, joined the sextet for Mon Coeur Soupire which, like the final selection on side two, is from Mozart's opera, The Marriage of Figaro

Banjoist Garbasi and trumpeter Selling joined the sextet, along with Portal on clarinet and Charles Verstrate on trombone for Rondo Ala Turque.

Trumpeter Sellin alone was added to the sextet for the Andante and Variations 1, 2, 3, 6 from Sonata No. 11.

Gossez adds both his soprano sax and clarinet to the sextet's sound for the Overtunr to The Marriage of Figaro.

The album was recorded in Paris in October, 1965, – Dom Cerulli

Mon Coeur Soupire
Rondo Ala Turque
Andante And Variations - 1, 2, 3, 6 from Sonata No. 11
Overture - From the Marriage of Figaro

Music From Out Of Space - Pete Rugolo

Stereo Space Man
Music From Out Of Space
Pete Rugolo
Recorded in Hollywood, California
Engineer: Allan Emig
Mercury Recording Director: Bob Shad
Mercury Records SR 60118

From Billboard - November 16, 1959: Rugolo serves up an exciting sound experience for stereo fans with his dramatic, big band jazz interpretations of a group of standards. "Once In A While," "These Foolish Things," "Smoke Gets In Your Eyes," etc. Effective wax for jazz jocks.

Stereo Space Man
Once In A While
In A Modal Tone
These Foolish Things (Remind Me Of You)
The Boy Next Door
Smoke Gets In Your Eyes
Dream Of You
Ballade For Drums

Strings On Fire! - Werner Muller

Besame Mucho
Strings On Fire!
Werner Muller and His Orchestra
Recorded by Deutsche Grammophon / Polydor Series
DL 8723

From the back cover: Just such a man is Werner Muller, one of Europe's most popular conductors-arrangers today. A resident of Berlin, he was introduced to an ever-widening American public through his recordings for Decca's celebrated Musical Holiday series. Now, with several outstanding albums to his credit, he is a favorite here as well as there for orchestral arrangements of popular music featuring a lush, full string section that blends the voices of many violins, violas, cellos and basses.

C'est Magnifique
Take Me To Your Heart
Besame Mucho
Perdido (Last)
Gypsy Strings
Some Of These Days
Tango Caballero
Night And Day
Baia (Na Baixa De Sapaterio)
Buona Sera

Friday, November 16, 2018

All You Need Is Love - Anita Kerr

All You Need Is Love
The Anita Kerr Singers
Arranged, Orchestrated and Conducted by Anita Kerr
Produced by Dick Glasser
Recording Engineer: Lee Herschberg
Art Direction: Ed Thrasher
Warner Bros. Records 1724
WS 1724

The Anita Kerr Singers:
Anita Kerr: Soprano and solo
B. J. Baker: Alto
Gene Merlino: Tenor
Bob Tedow: Bass

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

From the back cover: She (Kerr) has handled such a wide range of modern sounds that eclecticism has become a thing with her. You've heard the stories about Box Beiderbecke crawling up to the piano before he could walk and rattling out a few fast licks that Willie The Lion Smith couldn't duplicate? Well, so did Anita's mother. At the age of four in Memphis, Tennessee, or heroine was pounding the ivories with child-like hostilities. But Willie didn't even come to listen. Hardly dismayed, Anita's mother discovered that her daughter had perfect pitch. Alas, this joyous news was quickly dampened by another set-back – the local baseball team only needed a second baseman and wasn't interested in girls anyway.

This was enough to drive practically anybody to Nashville, where Anita began her career as an arranger and choral director in 1948. Her trail through the years that follow includes excursions onto the Arthur Godfrey Show, four million-seller albums backing Al Hirt, European tours, the popularization of the Nashville Sound, Grammy Awards, and her happy arrival in Hollywood. That doesn't really say it right about Anita and her terrific reputation with fans and recording industry people alike (many are, in fact, one in the same). But it's the music that is important.

From Billboard - December 16, 1967: The Anita Kerr Singers maintain their smooth, easy listening swinging style that's been their trademark for success, in this LP. The title song, a breezy rocker, is typical of their groovy output. Arrangements are fresh and delightful.
All You Need Is Love
(You Make Me Feel Like) A Natural Woman
Never My Love
How Can I Be Sure
Autumn Leaves
No Salt On Her Tail
The Look Of Love
In The Morning
I Make A Fool Of Myself
The Last Waltz

Wednesday, November 14, 2018

At The Opera - The Modern Jazz Quartet & The Oscar Peterson Trio

At The Opera House
The Modern Jazz Quartet
The Oscar Peterson Trio
Verve V-8482

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

From the back cover: In 1957, making the eighteenth annual Jazz At The Philharmonic concert tour in America, I recorded, as I have in previous years, various concerts of the group. They were recorded at Carnegie Hall in New York City, at the Chicago Civic Opera House and at the Los Angeles Shrine Auditorium. In spite of the experience in the past, it still remains a matter of luck as to the technical recording quality of what the artists put to wax. It's also a problem of the artist being at his best, because they obviously play better at one sitting than another, depending on the circumstances surrounding their particular day. We are very lucky with what happened in Chicago at the Opera House, because technically the reproduction was almost perfect (perfect in terms of what you could normally accomplish in a studio) and the musicians reached an artistic peak with what they played that night. Logically, therefore, this album is called "Jazz At The Opera House."

There isn't too much that can be said about the Modern Jazz Quartet or the Oscar Peterson Trio that isn't known to jazz fans all over the world; all I can give you are certain statistics which might factually be of interest.

The Modern Jazz Quartet consists of John Lewis on piano, Milt Jackson on vibes, Percy Heath on bass and Connie Kay on drums. Jackson is the perennial poll winner on vibes, and Lewis too has won several polls as an arranger. The group is probably the most accepted and one of the best known small groups throughout the jazz world.

The Oscar Peterson Trio, with Ray Brown on bass and Herb Ellis on guitar, through their records and several international tours with JATP is, if anything, possibly even better known.

The interesting thing about this album is the contrast between the measured, calm playing of the Modern Jazz Quartet and the exciting, stimulating, driving Peterson Trio. – Norman Grans

From Billboard - January 5, 1963: This is a re-release of a recording made in 1957 during a tour of the Jazz At The Philharmonic. Both The Modern Jazz Quartet and The Oscar Peterson Trio showed off some of their best work the night these recordings were made, and the set makes a welcome re-release for jazz fans. Attractively re-packaged, and with the recorded sound clean and updated, the set should garner new sales.

Now's The Time
'Round Midnight
Should I
Big Fat Mama
Indiana (Back Home Again In Indiana)
Joy Spring

Tuesday, November 13, 2018

Now! - Les Paul

Les Paul
Phase 4 Stereo
London Records SP 44101

From the back cover: Now that the subject of sound, another of Les' pet peeves was inferior recording procedures. One day, while rehearsing the Bing Crosby show, Les mentioned to Bing his dissatisfaction of the sound that was being heard on phonograph records. Bing told him that if he thought he could do better why didn't he build his own recording studio. California weather being what it was, a garage wasn't really necessary for the car, so the location problem was taken care of. Now partitioned into studio and control room the equipment problem arose. As was normal for him, existing commercial equipment wasn't up to his exacting standards so the construction crew (Les and a couple of friends) was called into service. The first recording lathe (magnetic tape was to come several years later) was constructed of parts salvaged from everywhere. There were several reasons for this – one being the fact that no such parts were available as such for the function to be performed and hard to be either hand made or converted for its particular purpose. So, various aircraft parts, plumbing, etc. were used. As an example, a Cadillac flywheel was chosen for the turntable because of its perfect balance, connecting to the motor turning it by a cable normally used by dentists for their drills. An echo, or delay effect was created by using a playback head behind the recording head and feeding the signal back to the record head while recording, thus recording more than one of the same signal simultaneously, or rather with a slight delay. This process was later adapted to tape recording. A side-note on the quality Les was getting out of this garage studio is the fact that in the late 1940's Consumer Research was recommending to their readers the use of Les' records to check the quality of their equipment.

From Billboard - January 13, 1968: Les Paul is returning to the disk sweepstakes with a recording deal on London's Phase 4 Stereo series. Paul, who clicked on Capitol Records in the 1950s in tandem with Mary Ford, will debut as a solo guitarist on Phase 4 this month in an album titled "Les Paul, Now!" which includes many of the million-sellers recorded for Capitol.

Among Paul's pervious clicks which are now recorded for the first time by him in stereo are "Lover," "How High The Moon," "Tennessee Waltz," "Whispering," "Caravan" and "Bye, Bye Blues." The album marks the first time a Phase 4 release was recorded in the United States.

Paul's deal with London calls for three singles a year in addition to two or three LP's. Paul will be attending London's sale conference at the Concord Hotel, New York, Saturday - Monday (6-8) to assist in the launching of the album.

At the same time, Paul has made a new deal with Gibson Guitar to design five guitar models and amplifiers. Paul has been tied in with the Gibson firm for the past 17 years.

How High The Moon
Bye Bye Blues
The System
I Really Don't Want To Know
Tennessee Waltz
Little Rock Getaway
Los Angeles
Lady Of Spain
Golden Earrings

The MGM Singing Strings Play The Hits Of '66

The MGM Singing Strings
Play The Hits Of '66
A Sonny Lester Production
Director of Engineering: Val Valentin
MGM Records SE-4357

From Billboard - October 22, 1966: This album will prove very popular on good music and Easy Listening radio stations, who are begging for "hit" type material that fits their softer programming sound. This fact will lead to greater sales for dealers. Tunes include "Hand On Sloopy," "Ebb Tide," and "We Can Work It Out." A winner.

Don't Think Twice
She's Just My Style
Hang On Sloopy
I Can Never Go Home Anymore
Ebb Tide
Sunday And Me
Jealous Heart
We Can Work It Out
The Little Girl I Once Knew
Let's Get Together

Go Ahead & Rock Rock Rock - Buddy Johnson

Go Ahead & Rock Rock Rock
Buddy Johnson Orchestra
Featuring Ella Johnson
Produced by Teddy Reig
Roulette SR 25085

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

From the back cover: Buddy Johnson has come a long way since his first big break in 1941 when he was playing piano in a Greenwich Village nightclub. He has played to standing room only in such famous dance emporiums as the Savoy Ballroom in New York City. In an annual poll conducted by the Pittsburgh Courier, Buddy was, because of his continuous bookings, dubbed "King Of The One-Nighters."

From Billboard - October 12, 1959: Lee Thomas and Ella Johnson share the vocal spotlight in this set. The Johnson band backs them all the way on a flock of blues and rhythm tunes. Buddy Johnson is also heard on some of the selections. Most of the tunes were cleffed by Johnson. Danceable set can find a market.

Go Ahead And Rock
Real Fine Frame (Vocal by Buddy Johnson)
Down Yonder
Get On Down The Road (Vocal by Ella Johnson)
Sliding Horns
Don't Fail Me Baby (Vocal by Ella Johnson)
Walk'Em (Vocal by Buddy Johnson)
You Better Change Your Ways (Vocal by Lee Thomas)
Small Taste
I'm Tired Crying Over You (Vocal by Ella Johnson)
Going To New York
My Humble Plea (Vocal by Lee Thomas)

Love Is Blue - The Johnny Mann Singers

Neon Rainbow
Love Is Blue
The Johnny Mann Singers
Producer: Jack Tracy
Arrangers: Johnny Mann, Ian Freebairn-Smith, Allan Davies and John Bahler
Engineer: Bob Doherty
Art Direction: Woody Woodward
Design: Gabor Halmos
Cover Photography: Gerald J. Trafficanda
Liberty Records LST-7553

From Billboard - March 9, 1968: The Johnny Mann Singers stay right on top of the current melodic vogues. Not only does the group have here an expert and delightful version of that much-recorded "Love Is Blue," but also included here are some swingier clicks as "Neon Rainbow," "The Other Man's Grass Is Always Greener," and "Stop! In The Name Of Love." All are top notch.

Love Is Blue (L'Amour Set Bleu)
Neon Rainbow
The Other Man's Grass Is Always Greener
My Coloring Book
The Importance Of The Rose (C'est La Rose)
Stop! In The Name Of Love
Hello Yellow Bug
Yellow Days (La Mentira) ( Se Te Olvida)
Make Me Rainbows (From the United Artist motion picture "Fitzwilly")
White On White
Green Grass

Best Beat Forward - Diahann Carroll

Best Beat Forward
Diahann Carroll
Produced and Directed by Herman Diaz, Jr.
Vik LX-1131
A Product Of Radio Corporation Of America

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

From the back cover: We've been lucky to count Diahann as a "part-time regular" on NBC-TV's "Tonight." For all her youth, she's proved herself to be every inch a professional. She resorts to no trick vocal gimmicks, which, I confess, are personal pet peeves of mine. Her voice has purity and sureness. She sets an undeniable mood of excitement. She possesses a rare feeling for a lyric – mean gin she understands what she's singing. And her beauty goes almost without saying – she's the picture of fragile loveliness. Offstage, she's warm, simple and unpretentious.

As I say, the girl has class. And class never goes out of style. – Jack Parr

I May Be Wrong
Easy To Love
This Can't Be Love
A Fine Romance
Cheek To Cheek
Old Devil Moon
Love (Your Magic Spell Is Everywhere)
You're An Old Smoothie
Falling In Love With Love
If I Love Again
The Song Is Ended

Holiday For Percussion - Dick Schory

Bolero Diablo
Holiday For Percussion
Presents Dick Schory's Percussion Pops Orchestra
Produced by Marty Gold
Recorded in Orchestra Hall, Chicago.
Recording Engineer & Mastering: Ron Steele
RCA Victor Stereo Action
The Sound Your Eyes Can Follow

From the inside jacket: Engineer Ron Steele used thirteen microphones to achieve the startling musical reproduction in this album. The trumpets and tuba played into an RCA MI 10001, while the trombones and French horns used a Neumann U47. The solo guitar and solo banjo had an RCA BK5A, and the harp was set up beside a Neumann KM56. Another Neumann KM56 covered the piano. The string bass and rhythm guitar shared a Telefunken 251. The percussion department was split three ways. For the snare drum and its accoutrements there was a Neumann KM56. The remainder of the percussion was split into a left group and a right group. The left side crew had no less than three microphones – a Neumann KM56, a Neumann KM54 and an RCA MI 10001. Steele added a Neumann U47 to get stereo depth.

From Billboard - February 24, 1962: Dick Schory's sound sets have done mighty well in the stereo field and this bright percussion set should do as well. It features remarkable stereo arrangements, crossing over from speaker to speaker, etc. Tunes are mainly standards such as "Tiger Rag," "Chinatown My Chinatown," "Ruby," and "Twelfth Street Rag." Solid wax for sound buffs.

El Cumbanchero
Tiger Rag
Bolero Diablo
Chinatown My Chinatown
Holiday For Percussion
Stop Time Cha Cha
Twelfth Street Rag
Ain't Misbehavin'
Parade Of The Wooden Soldiers