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!
I Remember Tahiti
Eddie Lund and His Tahitians
With Mila
Cover Photo: Leonard Clairmont
Recorded in Tahiti
Tahiti Records - Papeete, Tahiti
EL 1005
From the back cover: For those who are still strangers to the South Pacific and its music, we hope that the fascinating off-beat guitars, coconut ukuleles and native drums, the striking tone colors of nose flutes and bamboo woodblocks, and especially the exciting voice of Mila, Tahiti's favorite singer, will be inducement enough for them to break away and join the ever-increasing group of aficionados who murmur with a sigh and a faraway look in their eye: "I remember Tahiti..." – Eddie Lund
Vocals by Mila
To Reo Iti Maru
Tiare
Tahiti Nui
Farara Matai
Tau Tiare Iti
Te Moe Nei
Tahitian Instrumentals
Upaupa Umeume
Tahiti Nui
Pahu Moorea
Manu Rere
E Nia Te Marama
Fayaway
Mambo
Xavier Cugat And His Orchestra
And His World Famous Orchestra
A Selection Of Eight Favorites
Mercury Records MG 25168
1957
10 inch LP.
From the back cover: It is no accident that Xavier Cugat is acclaimed the foremost exponent of Latin-American music today, for he comes from a family which prided itself on its patronage of the arts and which traces its ancestry back several generations in Spanish history. He was born in Barcelona, Spain, studied music at the finest conservatories in Europe and groomed for the concert stage.
It was during a concert in Rome that the Great Enrico Caruso heard the brilliant young violinist, Cugat, perform and persuaded him to accompany him on a tour of the United States. After remaining with Caruso for five years, Cugat realized that he could not become the greatest concert violinist in the world, and if he could not be the greatest, he would seek a new vocation. Thereupon, he decided to do cartooning, which had been a hobby of his since he was a young man. He achieved great success as a cartoonist for the Los Angeles Times newspaper, but finally became bored with the routine of having to meet deadlines and once more returned to his first love – music.
He formed an orchestra in California featuring Latin-American music. This type of music was partially unheard of at that time, but his unique treatment of it soon "educated" the public and was widely accepted. Credit, in considerable part, is due Xavier Cugat for the popularity of the Rhumba, Tango, Conga and Mambo today, for his music not only popularized but actually influence these dance rhythms.
Oooh!
Sun! Sun!
Park Avenue Mambo
Mambolette
China Boy Mambo
Mambo Mania
Mi Prieta
Riviera Mambo
Great Themes From James Bond
Thunderball / Goldfinger
The Cheltenham Orchestra & Chorus
Wyncote W9134
Whoa... This is a totally insane budget set from Wyncote. Even the tunes (see Goldfinger and The James Bond sample above), that are not completely "badtastical"... are crazy as well. Additional material (6 out of the 10 tunes on the set), are songs that relate to the album theme in title only and were provided by one or more unnamed small jazz combos rather than "The Cheltenham Orchestra.
Thunderball
Goldfinger
The Capture
Laser Shot
Sea Chase
The James Bond Theme
From Russia With Love
Midnight
Night Love
Sids Mark
Opportunity Unlimited
Cologate - Palmolive Household Products Division
Souvenir Record
Produced by Gordon Crowe Productions, Inc.
Lyrics and Original Music by Robert Haymes
1965
Opportunity Unlimited
Wouldn't It Be Lovely
Coffee Break
Suds And Bubbles
When Opportunity Comes A-Knocking
Lunch
Do You Remember?
King Of The Road
Sweetheart Of Sigma Chi
Ivy Hall Glee Club Songs
Coronet Studio Orchestra and Vocalists
Coronet Records CX 62
Notre Dame Victory March
Hail Oh Hail, Cornell
For Boston
Sweetheart Of Sigma Chi
Little Brown Jug
Old Nassau
On Wisconsin
Fair Harvard
Rambling Wreck From Georgia Tech
Gadeamus Igitur
Landlord Fill The Flowering Bowl
Maine Stein Song
Just A Closer Walk With Thee (vocal Jeanne Carroll)
Jazz Of The Connecticut Traditional Jazz Club
666
Recording Engineer: Glenn Allen, Pete Campbell, Hank O'Neal and Franz Jackson
Album Design: Andrew Heminway
Mastering & Editing: Glenn Allen and Pete Campbell
Album Notes" Albert Vollmer
Conntrad Jazz CTJC SLP-6
I've Found A New Baby
Condon McPartland Chicagoans
Meriden, CT. 5 December, 1969
Eddie Condon, guitar; Jimmy McPartland, trumpet; Ed Hubble, trombone; Jonnie Mince, clarinet; Dill Jones, piano; Bill Pemberton, bass; Gene Krupa, drums
Burgundy Street Blues
Albert Burbank Of New Orleans
Newington, CT. 27 September, 1969
Albert Burbank, clarinet; Jack Fine, trumpet; George Edward Stevenson, trombone; Noel Kalet, saxophones; Bill Sinclair, piano; Dave Duquette, banjo; John Tourmine, bass; Mike Burgevin, drums
Jada
Franz Jackson's Original Jass All Stars
New York City, 8 December, 1968
Franz Jackson, clarinet; Leon Scott, trumpet; Preston Jackson, trombone; Lil Hardin Armstrong, piano; Bill Oldham, tuba; Ikey Robinson, banjo; Tommy Benford, drums
Coney Island Washboard / Melancholy Serenade
Smith Street Society Jazz Band
Meriden, CT. 20 March, 1970
Bruce McNichols, banjo, Sop. Sax *& co-leader; "Deacon" Jim Lawyer, guitar; banjo & co-leader; Benny Ventura, trumpet; Dick Rath, trombone; Herb Gardner, trombone & alton; Joe Hanchrow, tuba & el. bass; Herb Wasserman, drums
Panama / When The Saints Go Marchin' In (vocal Punch Miller, John Handy)
Cap'n John Handy's Louisiana Shakers
Newington, CT. 7 May, 1970
Cap'n John Handy, alto saxophone; Ernest "Punch" Miller, trumpet; Andrew Morgan, clarinet & tenor saxophone; Homer Eugene, trombone; Dick Wellstood, piano; Sylvester Handy, bass, Lester Alexis, drums
Super Hits
Played & Sung Like The Original Hits
Volume 3
A product of Pickwick International, Inc.
SPC-3904
From the back cover: Putting together this recored was a ball. It's great working with guys in the group who really dig doing some other guy's hit or (a gal, sorry about that you women's lib types, out there.) Our A&R man, "Bugs" Bower and myself put our heads together and rapped what goes in and who goes out. Then there's the front cover. We use the top models from the New York Agencies. Super girls who are tuned in. The photo session is a gas too. – Keith Wood
Maggie May
Go Away Little Girl
The Things We Care About
I Woke Up In Love This Morning
Do You Know What I Mean
The Night They Drive Old Dixie Down
You've Got A Friend
Is That The Way
Call My Name And I'll Be There
Folsom Prison Blues
In The Ghetto
Stand By Your Man
Melba Mongomery & Hank Locklin
Photo: Ken Beckles
Design Records SDLP-651
Mickey Barnett - Folsom Prison Blues
Sunny Mavis - Stand By Your Man
Melba Montgomery - Since I've Known You
Melba Montgomery - What Makes You Think I Still Miss Him
Melba Montgomery - Happy You, Lonely Me
Howard Miller - In The Ghetto
Hank Locklin - Queen Of Hearts
Hank Locklin - Mysteries Of Life
Hank Locklin - Midnight Tears
Hank Locklin - Shadows
Woody Herman Sextext At The Roundtable
Forum Records SF 9016
A Division Of Roulette Records Inc.
Woody Herman - Alto Sax & Clarinet
Nat Adderley - Trumpet (Courtesy of Riverside Records)
Charlie Byrd - Guitar
Eddy Costa - Piano & Vibes
Bill Betts - Bass
Jimmy Campbell - Drums
From the back cover: Herman was playing great jazz horn with small combos when the big, arranged bands were all the thing. And he was leading big, new, expensive bands in the days when anybody could tell you the big band business was dead. Now he comes back on this record, "Woody Herman Sextet At The Roundtable," with a small group. And, as might be expected, he has reached out for some of the youngest and most forward thinking musicians to be grabbed. With Herman alternating between clarinet and alto, this group features the brilliant Charlie Byrd on guitar, using a style which somehow makes the more familiar heavily amplified guitar sound like something out of a Hawaiian strolling group. Also present is Eddy Costa, well known to younger cats than myself as the most explorative of pianists, but who on this record will knock you out on vibes.
And there is Nat Adderley, finally doing with a trumpet so many of the things he was previously indicated he wants to do. And for bass there is Bill Betts and on drums we have Jimmy Campbell. With considerable shame I must admit this is my first meeting with theses lads. But just listen to the background rhythm they give to the Sidney Bechet masterpiece, "Petite Fleur" and you'll see what I mean. – Robert Sylvester
From Billboard - May 4, 1959 (Roulette R25067 review): The Herman name should prove a draw to this item. Herman gives ample solo room to his sidemen in the package. There's some fine work by Nat Adderly, Eddie Costa and Charlie Byrd and support by Jimmy Campbell on drums and Bill Betts on bass is also noteworthy. The tunes are interesting. Herman is heard on both alto sax and clarinet to good advantage. With exposure, this can sell. "Just a Child" is an excellent track.
Black Nightgown
Pea Soup
Just A Child
Petite Fleur
Lullaby Of Birdland
Inside Out
The Swingin' Shepherd Blues
The Deacon And The Elder
Princess "M"
Moten Swing
Early Autumn
The Late Late Show
From the back cover: Dixieland jazz, that magical music – spawned in the street bands of New Orleans in the late 1800's, weaned in the brawling south side of Chicago during the cold winter of 1916 an destined to mature as the first native American music style, is on the move again.
Now, it's Bourbon Street, Las Vegas, with the banners of the hot jump being borne by an aggregation of the finest Dixieland talent available today.
The "Royal Dixie Jazz Band" is the culmination of the lifetime dream of player-leader Charles "Chuck" Diamond, violinist, trombonist and graduate of the Cleveland Conservatory of Music, who turned down a job with the St. Louis Symphony to organize a Dixieland jazz band. That was several years and many bands ago.
In 1973 Diamond's break came with an extended gig at Michael Gaughan's Royal Inn Casino in Las Vegas. Diamond's band began to take shape with a solid rhythm section. For the past six months, in its final form, the band has consistently packed the lounge at the Royal Inn with Dixieland fans.
This album's 12 recordings are daily fare at the Royal Inn and a sampling of the versatility of these musicians.
Henry "Hot Lips" Levine, whose driving trumpet carries the melody line, at age 15 replaced Nick LaRocca with the world famous "Original Dixieland Jazz Band." He originated the highly rated NBC radio show, "The Chamber Music Society of Lower Basin Street," and is considered the finest Dixieland trumpet in the country, if not the world.
George Mosse, clarinetist, plays flawless counterpoint on the treble notes. His "take off" on breaks and solos is always in traditional Dixieland style. Mosse is a music major graduate of Southern Methodist University. It was during his college years that he first became interested in Dixieland music. His love of the traditions of Dixieland fits him to Levine's trumpet like a hand in a glove, and some of the best solo work in this album is by Mosse.
James Fitzgerald, trombonist, cut his musical teeth on Dixieland music in the basement of his Mason City, Iowa home. Fitzgerald's father, a Dixieland player, knew the music from its inception and began teaching his son trombone at age 7 when the youngster had to use his foot to play the bottom of the slide. His first Dixieland band was organized at age 12 and two years later the group was playing dates. Fitzgerald's ensemble work is outstanding and he plays in the traditional "gut-bucket" style of the original Dixieland groups.
Joe Mayer, banjoist, orphaned at nine, began playing banjo on street corners for pennies. He grew up with Dixieland music in speakeasies and barrooms and for many years led the top ranked vaudeville and television act, "The Novelites." Mayer's banjo and vocal work is the frosting on the cake of this band.
George "Fingers" Pollak, pianist, plays with the free-swinging style of the best ragtime piano players and his work on "The Old Piano Roll Blues" is a bare taste of his keyboard abilities. Pollak, one of the most in demand pianists in Las Vegas, has backed some of the top entertainers that have appeared on "The Strip." His preference, however, is at the "88" with the Royal Dixie Jazz Band."
Lou Lalli, drummer, is the heartbeat of the band. Lalli was one of Diamond's first choices in selecting his rhythm section. Dixieland drumming, more than any other musical style, requires playing as well as maintaining a strong beat. In each of these areas Lalli proves his mastery of the instrument, maintaining a strong backbone beat for each song, than adding the extra Dixieland flavor which can only be described as melody. – Boyd Hagen
Mostaccioli Rag
San Francisco By The Bay
Clarinet Marmalade
Yakitty Sax
At The Jazz Band Ball
Dollar Bill
Piano Roll Blues
Sensations Rag
Bourbon Street Parade
Just One Of Those Songs
Country Road
Jazz Me Blues
Tonight Clark Terry & Bob Brookmeyer Quintet Artist & Repertorie: Bob Shad Original Recording Engineer: Bob Arnold Mastering: Hal Diepold Liner Notes: Peter Spargo Production Coordinator: Harry Ringler Album Coordination: Elena Festa Cover Art and Design: Jack Lonshein Typography: The Composing Room, Inc. Printing and Fabrication: Globe Albums, Inc. Liner Photographs: Burt Andrews Mainstream Records S/6043
Personnel and Instrumentation
Clark Terry - Flugelhorn & Trumpet
Bob Brookmeyer - Trombone
Piano - Roger Kellaway
Bass - Bill Crow
Drums - Dave Bailey
From the back cover: "Sorry to keep you waiting." In Clark Terry's words this phrase sums up this entire album. The Clark Terry - Bob Brookmeyer Quintet was formed back in 1961 and this is the first recording released by the group. Originally for another label they recorded a live session at the Half Note but due to the horrible intonation of the piano, the whole session was junked.
It all started back in 1961 when the owner of the Half Note asked Bob Brookmeyer to form a group in order to perform at the club. Bob called Clark Terry to play with the group but Clark who is on staff at one of the networks was not allowed to do outside engagements unless as a leader-hence the title Clark Terry - Bob Brookmeyer. In the original group besides Clark and Bob were Joe Benjamin, bass; Osie Johnson, drums and the late Eddie Costa on piano. The present aggregation which has been together for well over a year features Bill Crow, bass; Dave Bailey, drums and Roger Kellaway, piano.
This is one group that must be seen to be fully appreciated. It's a visual group that entertains while playing some of the finest modern jazz that is being performed today. Each member has an acute sense of humor and a crisp wit, to go along with their consummate musicianship. Many times Clark would be singing a blues chorus and Dave Bailey would be throwing lines trying to break him up. Another bit which always went over at the Half Note was the band would play "Battle Hymn Of The Republic" and Frank Cantarina, the owner, would come out of the kitchen and as Clark said they called it "Getting Frank Out Of The Kitchen."
From Billboard - February 13, 1965: Exciting, smooth, drivingly rhythmic! More than a year of performing on TV and in clubs has produced a great organized sound – Brookmeyer's valve trombone, Terry's flugelhorn (trumpet on two cuts), a compelling rhythm section and a rare stride piano interlude. A real swinger.
Tete A Tete
Pretty Girl
Blue China
Hum
Blindman, Blindman
Step Right Up
Weep
Straight No Chaser
Sometime Ago
Hymn
Tonal Expressions
Donald Shirley - Pianist
Richard Davis - Bassist
Cover Design: Don Shirley
Cadence CLP 1001
1955
From the back cover: In considering his (Shirley) background, you should know that his first teacher was his mother, that he was born in Kingston, Jamaica on January 23, 1927, that at the age of nine he was extended an invitation to study theory with Mittolovski at the Leningrad Conservatory of Music, that he later studied with the famous organist Conrad Bernier, and that he studied advanced composition with both Bernier and Dr. Thaddeus Jones at the Catholic University of America in Washington, D. C.
Shirley made his concert debut with the Boston "Pops" Symphony Orchestra in Boston June 25, 1945, with Dean Dixon as guest conductor. In 1949 he received an invitation from the Haitian government to play at the Exposition Internationale du Bi-Centenaire De Port-au-Prince followed by a request from Archbishop Le Goise and President Estime for a repeat performance the following week. Upon Arthur Fiedler's recent trip to Chicago, Shirley was again extended an invitation to appear with the orchestra in June 1954.
With such a background, it is evident that Shirley is a highly respected legitimate musician possessing great technical skill and an innate musical ability. He displays also great tenderness and emotional depth which render his performances inspiring.
As a composer, Don Shirley has to his credit four organ symphonies, a group of small pieces for piano, two string quartets and a piano concerto. He has written a full variation concerto against Ravel's "Bolero" much the same as Rachmaninoff did with the "Paganini Variations". It is his ambition to record this with full symphony orchestra. A nation-wide concert tour is his next venture and you will, we are sure, want to hear this fine artist in person. – Al "Jazzbo" Collins
Promotional quotes from the back cover include:
The coordination and rapprochement between the classical and modern literature went beyond mere metrical accuracy. – George Shearing
The most glorious sense of shading, phrasing and balance I've ever heard. – Sarah Vaughan
I Cover The Waterfront
No Two People
Secret Love
The Man I Love
Love Is Here To Stay
Dancing On The Ceiling
They Can't Take That Away From Me
Answer Me My Love
Medley for "New Faces
My Funny Valentine
Is It True What They Say About Dixie?
The Dixie Double-Cats
Cover: Walter Chandoha
Courtesy, Ohrbach's N. Y.
20th Fox
Fox 3027
1959
Personnel:
Trumpets: Mel Davis and Bernie Privin
Soprano, Sax and Clarinet: Phil Bodner
Sax and Bass Clarinet: Deane Kincaide
Trombone: Harry DiVito and Rod Levitt
Piano: Marty Napoleon
Guitar: John Quara
Bass: Sandy Block
Drums: Cliff Leeman
From the back cover: These Double-Cats are unusual in several ways. For one thing, the group is actually a double Dixieland team – instead of the usual front line of trumpet, trombone and clarinet, there are two or each. That's why they're The Dixie Double-Cats. The additional instrumentation gives them opportunity for all kinds of solo and ensemble variations that would not be possible for a standard Dixieland group.
They "double" in other ways, too. The clarinetists also play saxophone (tenor, soprano and baritone) and even bass clarinet, adding even more variety to the tonal palette. On top of this, it's the sort of cooperative group in which each man has an opportunity to act as leader, to present his ideas to the rest of the group and to have a piece played the way he thinks it should be done. It's such a happy, friendly, democratic system that they might have called themselves The Dixie Demo-Cats.
A set-up such as this can produce new ideas and fresh approaches but it doesn't mean that these ideas will have a true association with the Dixieland tradition. But that doesn't happen here because the men who make up The Dixie Double-Cats know that tradition from A to Z, from Canal Street to The Village. Some of them have even helped to create that tradition.
Take one of the two saxophonists, for instance – Deane Kincaide (the other saxophonist is Phil Bodner). To those of you whose memories go back to the great Bob Crosby band of the 1930s, Kincaide's will be a meaningful name. He was one of the charter members of that band and, along with Matty Matlock and Bob Haggart, he wrote the arrangements which set the tremendously successful pattern of big band Dixie which carried the Crosby band to fame. Before that he had played in Ben Pollack's band (which had also nurtured Benny Goodman, Glenn Miller and Jack Teagarden), wrote the arrangement of Bugle Call Rag which became Benny Goodman's first big hit, and later played for Woody Herman when he was on a Dixie kick for Tommy Dorsey and Ray McKinley.
More than any other arranger, Kincaide has been able to extend the essential Dixieland tenets by using devices developed during the Swing Era. To do this he needs men who understand both styles – and that is precisely what he has in The Dixie Double-Cats. Trumpeters Bernie Privin and Mel Davis have had long careers with the major single great band – he has been with Bunny Berigan, Tommy Dorsey, Benny Goodman, Artie Shaw, Charlie Barnet and Glenn Miller). The trombonists, Harry Divito and Rod Levitt, come from similar backgrounds. Pianist Mary Napoleon's credentials, aside from his relationship to Phil Napoleon (nephew), includes spells with Louis Armstrong, Gene Krupa and Charlie Ventura and frequent appearances at the Metorpole in New York. The bass and drum team of Jack Lesburg and Cliff Leeman have played everything from Dixie to Beethoven and back under batons as different as those of Leonard Bernstein and Eddie Condon.
When men with all this experience, with a known urge to breathe fresh air into the Dixieland atmosphere, come together in as unique a unit as The Dixie Double-Cats, the program they pick is bound to be provocative. And the way they play that program should be even more exciting.
Columbia, The Gem Of The Ocean
High Society; When The Saints Go Marching In
Georgia On My Mind
It It True What They Say About Dixie?
Shake It And Break It
Blues In The Night
Dreamer's Rag
Bugle Call Rag
Wabash Blues
Original Dixieland One-Step
I Heard
The Caissons Go Rolling Along; Dixie
All Time Kiddie Favorites
24 Nursery Rhymes and Games
Cover Design: Hobo Arts
Crown Records CLP 5075
Hickory Dickory Dock
London Bridge, Loopy Loo, Mulberry Bush
A Hunting We Will Go
Hey, Diddle, Diddle
Where Has My Little Dog Gone
3 Little Kittens
Humpty Dumpty
Old Woman Who Lived In A shoe
Old Mac Donald
Ding Dong Bell
Pop Goes The Weasel
Farmer In The Dell
Goosey Goosey Gander
Pussy Cat, Pussy Cat
Fiddle De Dee
Little Bo Peep, Little Miss Muffet, Little Jack Horner
Pat-A-Cake
Little Boy Blue
Calypso
As Played at Tower Isle, Jamaica, B. W. I.
By The Tower Islanders
Volume II
Fiesta Records Company, Inc.
FLP-1212
Mary Ann
Advice To Men
Linstead Street
The Pretty And The Ugly Girl
Lignum-Vatae
Slide Mongoose
Mango Walk
Advice To Woman
Solas Market
Old Lady
Mathie's Rag
Long Time Gal
Opus De Jazz Recording Supervised by Ozzie Cadena Recording Engineer: Rudy Van Gelder Notes by H. Alan Stein Savoy MG-12036 1956
Available from online vendors so I will not be posting a sample. Presented here to share this particular issue of the cover art and bio information from the back cover.
Personnel:
Frank Wess - Flute Also plays tenor sax and arranges. Born 1922 in Kansas City. Has played with Blanche Calloway, Bill Eckstine, Eddie Heywood, Lucky Millinder orks. Joined Count Basie 1953 to present. Great fame as tenor man and also as first jazz flute star on records. Won DOWN BEAT Critic's Poll "New Star" award 1954. Hear him on Savoy LPs Mg 12006, 12022
Vibes - Milt Jackson "Bags" also plays piano. Born 1923 in Detroit. Came to New York to play with Dizzy Gillespie in 1945. Has played with Howard McGhee, Tadd Dameron, Thelonius Monk combos. Joined Woody Herman 1949. Re-joined Gillespie since 1953. Changed concept of vibes playing from Hampton style into "cool" idiom. Won Esquire May New Star Award 1947. Hear him on Savoy LPs MG 12006, 12020, 12026, 12042, 12046
Piano - Hank Jones Born 1918 in Pontiac, Michigan. Came to N. Y. in 1944. Early influences Al Haig, Andy Kirk bands. Accompanist for Billy Eckstine and Ella Fitzgerald (Europe 1948). Gigged with John Kirby, Howard MeGhee, Coleman Hawkins. Toured with JATP, 1947. One of the most underrated and yet best representatives of modern school. Hear him on Savoy LPs Mg 12007, 12015, 12017, 12018, 12019, 12021, 12022, 12033, etc.
Bass - Eddie Jones Born in 1929 in Red Band, N. J. a neighbor and friend of Count Basie family. Studied bass at Howard University and left to teach at Beauford, S. C. 1951. Taught and played in trio, worked in post office. Joined Count Basie band August 1953 to present. An outstanding member of the world's greatest swinging rhythm section. Hear him on Savoy LPs MG 12006, 12022
Kenny Clarke - Drums "Klook" was born in Pittsburgh, 1914. Musical family, he studied piano, trb., drums, vibes, theory HS. Early jobs include Roy Eldridge 1935. Toured Finland Edgar Hayes 1937. Claude Hopkins, Teddy Hill to 1940. Played Minton's during formative bop days. Played Satchmo, Ella, Red Allen and Coleman Hawkins till '43. Army stint on trb. in Paris. Dizzy Gillespie '46, Tadd Dameron, Echstine. Organized Modern Jazz Quartet '52. A major figure in Modern Jazz. Opus De Funk Opus Pocus You Leave Me Breathless Opus And Interlude
