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 Don't Want To Cry Chuck Jackson Photo & Design: Maidoff Ward Records LP-650
Available from online vendors so I will not be posting a sample. Presented here to share the fantastic original cover art and jacket note excerpt.
From the back cover: It's no coincidence that Chuck Jackson's first two single hits and every additional song in this album is concerned with crying. The young man has a natural emotional inflection in his voice and, coupled with a dramatically intense delivery, just seems to lend himself ideally to this type of material.
From Billboard - November 6, 1961: This is Chuck Jackson first album and it includes two of his pervious hit singles, "I Don't Want To Cry" and "I Wake Up Crying." The chanter also gives out in his vigorous style with such other tear-stained titles as "Tears On My Pillow" and "Lonely Teardrops." In view of Jackson's recent success on the singles scene, there should be many requests to purchase his first LP from his growing number of fans.
I Don't Want To Cry Tears On My Pillow Willow Tree In Between Tears Tear Of The Year I Cried For You Lonely Teardrops Don't Let The Sun Catch You Crying Salty Tears I Wake Up Crying A Tear A Man Ain't Supposed To Cry
Feelin' Good
Lou Rawls
Arranged and Conducted by H. B. Barnum
Produced by David Axelrod
Capitol Records ST 2864
1968
The Letter
My Ancestors
For What It's Worth
Even When You Cry (From TV Series "Ironsides")
Hang-Ups
Evil Woman
My Son
Feelin' Good
Encore
I'm Gonna Use What I Got (To Get What I Need)
Gotta Find A Way
Staring Lou Rawls
With Special Guest Stars Joe Tex & Brook Benton
A Monty Craft Production
Distributed by Premier Albums, Inc.
PS-9022
Walking For Miles - Lou Rawls
Wicked Woman - Joe Tex
Won't You Love - Brook Benton
I Just Can't Take It - Joe Tex
Love's That Way - Brook Benton
Kiddo - Lou Rawls
Could This Be Love - Joe Tex
Just Tell Me When - Brook Benton
Switchin' In The Kitchen - Joe Tex
Dreaming - Brook Benton
Richard Hayman
Conducts Pop Concert In Sound!
Mercury Recording Director: Hal Mooney
Recording Engineer: Bob Fine
Mercury Records PPS 2010
1961
Front and back of the book-fold jacket feature the same design.
From the inside cover: Richard Hayman's career includes many facets: he is a composer, an arranger, a harmonica virtuoso, and a conductor. He has applied his wide-ranging talents to a broad scope of musical activities and he feels equally at home in a recording studio, on a Hollywood movie set, before the television cameras, or on the concert podium. In this Mercury Perfect Presence release, Hayman the conductor-arranger offers us a program of concert-hall evergreens. These arrangements reflect years of experience in the "pops" concert field. Since 1954, Richard Hayman has been a guest conductor of the Boston Pops Orchestra and has orchestrated a large number of light classical selections for Arthur Fiedler and his renowned organization. His scoring of Victor Herbert melodies in another Mercury Perfect Presence release (PPS 2007) received critical acclaim; "Richard Hayman's arrangements are perfect to bring out the last bit of excitement without sacrificing musicality." (Billboard Music Week).
Born in Cambridge, Massachusetts, Richard Hayman grew up in Winthrop in the same state. Despite his present accomplishments, he is largely a self-taught musician. While still in high school, he was writing for his own harmonica group. He joined the Borrah Minevitch Harmonica Rascals after graduation and eventually arranged all the music for the nationally celebrated group. Later, he turned to the large orchestra, producing arrangements characterized by refreshing individuality. After a stay in Hollywood, where he appeared with Vaughan Monroe as arranger and harmonica soloist. He has been musical director of a number of television programs. Finally, as a successful Mercury recording artist, Richard Hayman has gained additional prestige for his skyrocketing career.
Peronnel:
This album was recorded in three recording sessions. On October 25, 1960, the following personnel was used. Violins - Mac Ceppos, Sylvan Shullman, Jack Zayde, Tosha Samaroff, Harry Urbont, Harry Melnikoff, Sam Rand, Max Hollander, Maurice Will, Earle Hummel, Ralph Silverman, Alvin Rudnitsky; violas - Richard Dickler, Howard Kay, Sidney Brecher, Watler Trampler; cellos - Maurice Brown, Seymour Barab, Alan Shulman; reeds - Leon Cohen, Bernard Kaufman, Stanley Webb, Sidney Cooper, Ted Compere; trumpets - Ray Cresara, Bernard Glow; tomboys - Charles Small, Richard Hixon; french horns - John Barrows, Ray Along; bass - Homer Mensch; drums - Bradley Spinney; percussion - Arthur Marotti; harp - Laura Newell
On October 26, 1960, personnel were; violins - Mac Ceppos, Sylvan Shulman, Jack Zayde, Tosha Samaroff, Leo Kruczek, Julius Schacter, Maurice Wilk, Earle Hummel, George Ockner, Max Pollikoff, Ralph Silverman; violas - Richard Dickler, Howard Kay, Seymour Berman, Isidore Zit; cellos - Maurice Brown, Edgardo Sodero, Alan Shulman; reeds - Bernard Kaufman, Stanley Webb, Philio Bodner, Sidney Cooper, Ted Gompers; trumpets - Ray Cresara, Bernard Glow; trombone - Charles Small, Richard Hixon; french horns - John Barrows, Albert Richman; bass - Homer Mensch; drums - Philip Kraus; percussion - Arthur Marotti; harp - Laura Newell
Personnel on October 31, 1960, included; violins - Maw Ceppos, Sylvan Shulman, Jack Zayde, Harry Katzman, Tosha Samaroff, Harry Melnikoff, Sam Rand, Earle Hummel, Ralph Silverman, Julius Schacter, Paul Gershman, Leo Kruczek; violas - Richard Dickler, Isidore Sir, David Mankovitz, Howard Kay; cellos - Maurice Brown, Symour Barab, Alan Shulman; reeds - Bernard Kaufman, Stanley Webb, Sidney Cooper, Philip Bodner, Ted Gompers; trumpets - Ray Cresara, Bernard Glow; tomboys - Charles Small, Richard Hixon; french horn - John Barrows, Ray Alongs; bass - Homer Mensch; drums - Philip Kraus; percussion - Arthur Marotti; harp - Laura Newell
Toreador Song
Ritual Fire Dance
Hungarian Rhapsody No. 2
Sabre Dance
Prelude In C# Minor
Can-Can
March Militaire
William Tell Overture
Anitra's Dance
Danse Macabre
Prelude In G Minor
The Batman Theme
Played by The Marketts
Produced by Dick Glasser
Art Direction: Ed Thrasher
Warner Bros. Records
W 1642
1966
From Billboard - February 5, 1966: Labels Bat Out 'Batman' Disks
As of last week, 20 labels had released singles based on ABC-TV's "Batman" series and one label was rushing out an album. This could be a potent of things to come in the record industry, TV series about other comic book heroes are in the wind.
CBS has purchased the TV series rights for "The Shadow" and "The Phantom." "The Green Hornet" has been mentioned. There's a new "Superman" being readied.
So far, "Batman Theme" by the Marketts on Warner Bros. Records is the only one on the Hot 100 Chart – at No. 85 with a star. Bubbling under this week are "Batman" by Jan & Dean on Liberty Records and "Batman Theme" by Neal Hefti, RCA Victor Records.
Others using "Batman Theme" – the music from the show published by Miller Music – include Nelson Riddle, 20th Century-Fox; the Riddlers, Mike; the Gallants, Capitol; Peter La Bert Ellis, A&M; Al Caiola & His Orchestra, United Artist; and Link Wray, Swan.
Different tunes have been also recorded by (Jumpin) Gene Simmons, Hi; the Campers, Cameo-Parkway; Billy LaMont, Atlantic; the Plunderers, Roulette; Scotty McKay, Claridge; and the Robins, Ardent; the Spotlights, Smash. Ambassador and Golden are reported to have a kiddie version out. Panorama Records has a record out featuring Rocky & the Riddlers.
Roulette Records is rushing out an LP of Batman music. Mainstream has an LP devoted to comic heroes. Besides the singles already out, one indie producer said six different people had approached him with tapes of Batman songs.
WABC, the Hot 100 radio station here, was playing 12 records – one each hour – last week and rotating them. Then it was learned that many of the versions hadn't been authorized by the Licensing Corporation of America, which had exclusive right from the owners of the Batman copyright. Jay Emmett, chairman of the board of LCA, was extremely busy last week signing licensing agreements with those labels who'd rushed out records without first clearing. So, WABC sharply reduced the number of Batman records it was playing. WABC in the American Broadcasting outlet in New York and thereby has close ties with the TV series.
WMCA here chose one disk – the version by the Marketts – and was spinning it.
Batman Theme
Bat Cave
Robin The Boy Wonder
Bat Signal
Batmobile
The Joker
The Penguin
The Bat (Dance)
Dr. Death
The Riddler
Bat Cape
The Cat Woman
Lady In Cement
Original Motion Picture Soundtrack Album
Composed and Conducted by Hugo Montenegro
20th Century Fox Records
Distributed by ABC Records
S4204
1968
Lady In Cement
Jilly's Joint
Kit
Love Is A Many-Splendored Thing
Yale's Pool Room
The Shark
Tony's Theme
Give Me The Simple Life
Ruby's Burlesque
Again
Sugar Seymour
Dancing Alone Together
Torch Songs For Lovers
Ray Anthony and His Orchestra
Produced by Lee Gillette
Capitol Records T1420
1960
From Billboard - September 5, 1960: These arrangements are lush, really have fine texture. The tunes are of the torch variety, "My Funny Valentin." "The Party's Over," "I'm Through With Love," etc. Very romantic package, with sounds of cellos, viola blending with Ray's trumpet and the violins.
My Funny Valentin
Guess I'll Hang My Tear Out To Dray
To Love And Be Loved
I Should Care
The Party's Over
Here's That Rainy Day
What's New
Misty
Like Someone In Love
Alone Together
I'm Through With Love
All The Way
The Best Of George Shearing
Capitol Records
The Star Line ST 2104
1964
Roses Of Picardy
Early Autumn
East Of The Sun
September Song
Little White Lies
Honeysuckle Rose
Lullaby Of Birdland
September In The Rain
You Don't Know What Love Is
Jumpin' With Symphony Sid
Dream
You Stepped Out Of A Dream
Love Is A Many Splendored Thing
The Fascinating Strings
Crown Records CST 587
1968
Love Is A Many Splendored Thing
Dancing In Castile
Chianti Love Songs
Tales From The Vienna Woods
La Calinda
Estrellita
Lover's Moonlight
To You My Love
In My Heart
Let Me Love You
Music To Move Families By
Allied Van Lines
Conducted by Dick Boyell
From the back cover: Allied Van Lines, a year and a half ago, commissioned Dick Boyell, a gifted Chicago composer, to draft a musical theme which would add color and emotion to a series of television commercials that were then in production.
With Deceptive simplicity, Boyell distilled the theme into five notes, which by now are well on the way to being the Allied logotype in sound.
Allied Moves The Hollywood Bowl
Allied Moves Down A Country Lane
Allied Goes Go-Go
Allied Moves In On A Spy Ring
Allied Moves Bourbon Street
Allied Moves To Tijuana
Back To Hollywood Bowl
Allied Moves Brasilla
Allied Moves Around The World
Allied Moves It's Hips
And Back To Hollywood Bowl
Let's Dance To America's Waltz Favorites
David Carroll & His Orchestra
Mercury Records SR 60739
1962
From Billboard - October 6, 1962: Very attractive instrumental readings of a lovely group of waltzes by the David Carroll ork that should appeal to the country's many waltz fans. The waltzes range from older items like "Silver Moon," "Stars In My Eyes" and "Perfect Day," to "Tenderly" and "Put Your Dreams Away."
Shadow Waltz
The Girl That I Marry
The Melody Of You
Silver Moon
Stars In My Eyes
Put Your Dreams Away
Tenderly
Lonesome, That's All
Wabash Moon
The Inn By The Sea
The Touch Of Your Hand
A Perfect Day
Pretty Country
The Billy Vaughn Singers
Produced by Snuff Garrett
Cover Design & Photo: Studio Five, Inc.
Dot Records DLP-25837
1968
From Billboard - March 16, 1968: Beautiful choral versions of country music hits such as "All The Time," "Release Me," "My Elusive Dreams" and "Gentle On My Mind." The motif is relaxing, pleasant. Should get wide airplay on radio.
Turn The World Around
Release Me
Tear Time
It's Such A Pretty World Today
Still
Misty Blue
All The Time
My Elusive Dreams
Moon Guitar
My Special Angel
Gentle On My Mind
What Locks The Door
Gitarren Am Meer
Enrico Und Seine Gitarren
Cornet Special CS 16009
Spanish Eyes
Zwei Gitarren Am Meer
Spiel Noch Einmal Für Mich, Habanero
Ich Wär So Gern Bei Dir
La Paloma
Komm' Ein Bisschen Mit Nach Italien
Cielito Lindo
O Sole Mio
Quereme Mucho
Barcarole
Poinciana
Hor' Mein Lied, Violetta
Santa Lucia
The Breeze And I
The Lennon Sisters
Sing Twelve Great Hits
Arranged and Conducted by Harry Geller
Produced by Tom Mack
Vol. II
Dot Records DLP 25622
1962
You Made Me Love You
Vaya Con Dios
On The Sunny Side Of The Street
Sentimental Journey
Tammy
Bye Bye Blues
Twilight Time
Fascination
Moonglow
Pretend
Anniversary Song
Goodnight Sweetheart
Lloyd Price
Produced by Sid Feller
Cover and Liner Photos by Peter Oliver
ABC - Paramount ABC-342
A Product Of Am-Par Record Corp.
1960
Tracks available from online vendors so I will not be posting a sample. Presented her to share the cover art and jacket notes excerpt.
From the back cover: Coming from New Orleans, the musical city of the deep South, Lloyd Price first performed for the public on radio-station WBOK. By the time he entered the armed forces, his reputation for musicianship had preceded him, and he was assigned to the Special Services Division. Organizing a band, he toured Korea, Japan and Okinawa, singing and providing accompaniment for visiting stars such as Jimmy Durante, Terry Moore and Debbie Reynolds. Since his Army career, the friendly, good-natured singer with the biggest smile in town has become a favorite recording star. Lloyd's present professional engagements include night club work, a hectic schedule of one-night stands, and numerous television appearance such as The Ed Sullivan Show and The Dick Clark Show. – Rick Ward
From Billboard - June 20, 1960: ABC-Paramount recording artist, is performing selections from his album, Mr. Personality's 15 Hits, during his current one-night tour of the East. He opens at the Beachcomber Club, Wildwood, N. J., July 15, for one week. Lloyd's new single is Question b-w If I Look A Little Blue – a double side Billboard Pick.
Personality
Three Little Pigs
Where Were You (On Our Wedding Day)?
Come Into My Heart
Never Let Me Go
Have You Ever Had The Blues?
Is It Really Love?
I'm Gonna Get Married
You Need Love
Wont'Cha Come Home
Just Because
Lady Miss Clawdy
Why
Stagger Lee
My Heart Beats For You
Lovingly Performed By David MacDowell And His Orchestra
Audition AUD 33-6909
So Beats My Heart For You
The Night Was Made For Love
I Can Dream, Can't I
I'm In Love Again
Speak Low
Harbor Lights
I Apologize
I'm Happy When You're Happy
My Sin
Hey Good Lookin'
Shall We Dance
Why Do I Love You
Jackie Gleason Presents Love Embers And Flame Arrangements by George Williams Produced by Dick Jones Cover Photo/Capitol Studio/Ken Veeder Capitol Records SW 1689 & W 1689 1962
From Billboard - April 7, 1962: All the familiar components of a Jackie Gleason mood album are here in abundance – soft, warm, moody arrangements (this time by George Williams) featuring strings and tastily used horns, romantic, slow tempo ballads and a cover highlighting a romance-minded duo. Tunes includes "Always And Always," "How About Me," "Where Are You," etc. Strong deejay wax.
Love Embers And Flame What Can I Say After I Say I'm Sorry? Lady Of The Evening How About Me The Lovers' Waltz Would You Now That You've Gone For All We Know Always And Always It's A Blue World Where Are You? Dark Is The Night
Jazz Suite On The Mass Texts Paul Horn Composed and Conducted by Lalo Schifrin Produced by Al Schmitt Recorded in RCA Victor's Music Center of the World, Hollywood, California Recording Engineer: Jim Malloy Cover: Stained-Glass Window Designed by Roger Darricarrere Photo by Ken Whitmore RCA Victor LSP-3414 & LPM-3414 1965
Personnel:
Paul Horn - Flute, Alto and Bass Flute, Alto Sax Lynn Blessing - Vibes Bill Plummer - Bass Mike Lang - Piano Larry Bunker - Drums
Orchestra:
Lalo Schifrin - Conductor Vincent De Roas - French Horn Frank Rosolino - Trombone Dick Leith - Bass Trombone Al Porcino and Conte Candoli - Trumpet Red Callender - Tuba Dorothy Remsen and Ann Stockton - Harp Ken Watson, Emil Richards, Frank Flynn and Milt Holland - Percussion
Chorus:
Loulie Jean Norman Marilyn Powell Sara Jane Tailman Evangeline Carmichael Betty Allen William Cole Vern Rowe Marie Vernon
From Billboard - November 25, 1965:
The Soul Of Religion
By Eliot Tiegel
This is the year that a starling, abject development occurred; Jazz and the Mass met in uncompromising terms. With bridled trepidation, RCA Victor released an album created by jazz musicians Paul Horn and Lalo Schifirn titled "Jazz Suite on the Mass Texts." The project was the first combining jazz techniques with centuries old Mass form.
Several weeks after the album's release, Horn sat in the quiet of his Horseshoe Canyon Drive home in the hills of Los Angeles and reflected that the LP had not caused as much controversy as he had anticipated.
However, he admitted, when he appeared on a radio show to discuss the project, he was barraged with calls from irate listeners. A good many were shocked at the union of jazz with the liturgy, Paul related. "One man, a Baptist minister, called jazz the music of the devil. The album shocked these people's basic concepts. The fact that jazz was associated with religious music was offensive to them, primarily because of their poor association with jazz. Perhaps the album can broaden their thoughts. Jazz certainly has become more sophisticated over the past 20 years."
An interesting sidelight about the project is that Horn and Schifrin, an Argentinian, are both Jewish. Of their eight selections, three are instrumental. Half the music is written; half is improvised. A large vocal chorus sings sections of the new English text, which was cleared by Rome authorities in October. The chorus sings Gregorian chant style since Horn and Schifrin sought to retain a historic flavor in the music.
The creators were originally going to call the music Jazz Mass, but this idea was overruled. The album was given to Catholic Church officials in New York for scrutinization and suggestion. A monsignor in charge of music vetoed the Jazz Mass name, stating it was a jazz suite on the Mass; which proved a more workable title.
In Horn's opinion of the package's eight tracks, the "Credo" is the most compelling and controversial. It is unique because of the frenetic building of the voices until they explode with uncomfortable starkness. Horn explained this movement is representing "should in anguish." "Over the years a feeling of reverence has been associated with religious music," he said. "But who is to say that people can't cry out in anguish and still love God? The holy rollers have been doing this for years.
"Our vision is that this interpretation of religious music is more meaningful. This section moves people. It has a strong emotional content simply because this is the way we imagine the situation."
Composer Schifrin took three weeks to write the eight pieces. When it came time to record the music, the musicians decided to create a reverent feeling in the studio. Lights were eliminated except on the music stands and this darkness affected the 26 persons working on the project. "They realized the seriousness of the project and the challenge." Horn recalled.
The first public airing for the Mass took place Sunday, Nov. 14, at the University of Southern California Methodist Church. Students were used in the chorus and in the brass section along with Horn's group. In analyzing the current interest in liturgical music by Horn, Vince Guaraldi, Fred Katz, Lou Williams and Duke Ellington, Horn says it's a natural development for jazz which is breaking out of its regimented environments.
Kyrie Interludium Gloria Credo Sanctus Prayer Offertory Agnus Dei
Latino
Don Swan and His Orchestra
Producer: Si Waronker
Photography: Garrett-Howard
Cover Design: Pate/Francis & Assoc.
Liberty Records, Inc.
LST 7123
1959
From the back cover: Although the tunes are all rooted in the traditional Latin Rhythms of cha cha, guaracha, tango, mambo, rumba, merengue and even a paso doble, Maestro Swan has managed to make them sound new and fresh and somehow different with his modernistic touch.
Don Swan is no newcomer either to Latin music or Liberty Records. This is the noted composer-conductor-arranger's fourth album for Liberty, but his first that is not devoted solely to cha cha tempo.
Don Swan is Latin only by musical osmosis. He is of German descent, hails from Wisconsin, achieved early fame as a jazz arranger and now spends most of his time in Miami. But his absorption with and interest in Latin music has left its mark on musical history via many arrangements for Xavier Cugat, Perez Prado, Desi Arnaz, Miguelito Valdez and Lina Roman.
From Billboard - September 14, 1959: Sharp, crisp big band treatments of many favorite Latin melodies. Maestro Swan has mixed up the rhythms nicely and includes the cha chas, tango, rhumba, mambo, paso doble, and even a fast rumba. Unusually good recorded sound here with a program that can please practically any dancer's fancy. The lady on the cover will have strong merchandising appeal.
El Cumbanchero (Guaracha-Fast Rumba)
Chatita (Cha Cha)
La Paloma (Tango)
Miami Beach Rumba
Once Ocheta Y Uno (Paso Doble)
Razz-Berry Mambo
Linda Mujer (Rumba)
Betita (Cha Cha)
Hokey Joe (Rumba)
Gracias (Cha Cha)
A San Antonio Me Voy (Mambo)
Cha Cha In Alaska
Romantic Island Songs By Haunani
Cover Photo by Mary E. Browning / Photo Researchers Inc.
Recorded in Hawaii by Webley Edwards
Capitol Records T1203
1959
From the back cover: Call her "Haunani" Pronounced it "How-nonny." You'd never be able to say her full name! Old-timers in Hawaii say that the Islands haven't produced a voice like hers in half a century.
Most recently, the singer has been featured at Don the Beachcomber's at Waikiki Beach. In addition, she stars on the famous "Hawaii Calls" broadcasts, and has sung at Waikiki's Top of the Isle, Royal Hawaiian, and Moana Banyan Lanai.
Haunani Kahalewai began to sing before she could walk. As she reached maturity, her voice took a surprising dip to lower than contralto, but returned its high range to G above high C. Today, Hawaiians speak in awe of her rare gift of "two voices." Haunani has been featured in several "Hawaii Calls" albums, but always, her many fans have asked that she make an album of her own. This is that album.
The day Haunani was born, in the little city of Hilo, an unusual tropic snowfall blanketed the towering crest of the nearby mountain, Mauna Kea. Her mother, Keonaona, looked up at the rare sight of a Torrid Zone sunset touching the snow with pink and gold, and in the Hawaiian tradition that big events call for big names, named her "The Beautiful Snow on the Slopes of Mauna Kea."
In Hawaiian this turned out to be Kahaunaniomaunakeajauiokalewa. Her father, Sam Kahalewai, an inter-island steamship purser, shortened the tongue twister to Hanuani.
When Hunan was three, she won a radio contest – and a big silver dollar. Some time later, a talent contest won Haunani a professional engagement at the famous Royal Hawaiian Hotel on Waikiki Beach. A motion-picture producer, filming in Hawaii, put her voice onto the soundtrack, for the effect of her deep voice, in a Polynesian lament, which then rose dramatically into an obbligato high above the chorus.
Hearing that soundtrack at a theater, Webley Edwards, producer of the "Hawaii Calls" radio program, sent out word to "find that voice!" His impresario, Al Kealoha Perry, searched the Islands, tracked her to a small resort on Kauai Island, and made her a regular star on the broadcasts.
Haunani smiles shyly as she recalls how, as a small girl, her father made her sit by the little family radio to listen to the same program, saying: "Listen carefully. Then some day, you too, will sing on 'Hawaii Calls' for the world to hear!"
From Billboard - June 15, 1959: Recorded in the Islands by the well-known Waikiki figure, Webley (Hawaii Calls) Edwards, this features the voice of Haunani, a lady with a distinctly soft Hawaiian quality but with an unusually broad range. Songs include "Far Away Places," "Hawaiian Wedding Song," "Beyond The Reef," etc. They all have the pretty, dreamy backings typical of this music of the Islands. Recording sports a fine sound and some of the items would lend themselves to relaxed jock segs.
Faraway Places
Hawaiian Wedding Song
Palisa (Paris)
Beyond The Reef
Isa Lei
Hawaii Sang Me To Sleep
Trade Wind Island
Tiare O'Tahiti
When I Fall In Love
Tomi Tomi
Lei (Kuu Lei Poina Ole)
Aloha Oe
Bossa Nova
Leroy Holmes Goes Latin
Featuring Bossa Nova
Recorded at A&R Recording Studios, New York
Recording Engineer: Phil Ramone
Lider by Norman Weiser
United Artist UAL 3242
1962
From Billboard - October 20, 1962: The new craze from South America gets a most unusual treatment from LeRoy Holmes and one of the finest groups of jazz musicians ever assembled in one recording studio.
One Note Samba
Desafinado
Morena
Baia
Adios
Recado
Tabatinga
The Jazz Samba
Perfidia
Poinciana
Nocturne
O Pato
Guitars Al Viola Producer: Ray Stanley Engineer: Don Gallese Cover Design: Bill Pate Liberty Records, Inc. LRP 3112 1959
Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket note excerpt.
From the back cover: Alfred F. Viola (what the "F" stands for curiously remains the secret of his wife and blood relatives) was born June 16, 1919 in Brooklyn, New York. He was one of the eight children of Joseph and Mary Viola. He attended the local grade and high schools and managed to be much more precocious around the pool tables than he was with the academic endeavors. But a billiard cue was not the only outlet for his skilled hands. Both his mother and oldest brother, Anthony, were adept with most of the plectrum instruments, and it wasn't too long before Al was studying the guitar and learning all they could teach him. Charlie Christian was his next big influence. Al bought all the great man's records, listened and absorbed what he heard. Between practicing and playing, any casual jobs he could find in and around the neighborhood. Al would regularly take the subway to Harlem and to Mintons to hear the gifted artist in person. And later, when Christian was on the road with the Goodman band, you'd be likely to find Mrs. Viola's boy at Kelly's Stable on 52nd Street where Oscar Moore held forth with the Nat "King" Cole Trio. More listening. More absorbing.
The army intervened in early 1941, and Al was one of the fortunate few the classification section managed to place rightly. He was sent for duty with the Camp Kohler band in Sacramento. He played bass drum in the day time and guitar at night with a trio called "The Three Sergeants," with Louis Ventrella on piano and Lloyd Pratt on bass violin. When Ventrella was transferred, Page Cavanaugh took up the piano chores. The new group soon became tremendously popular; and their whispering unison vocal stylings created so much favorable comment that it was no surprise to anyone when they stayed together after they exchanged their sergeant's stripes for West Coast sports shirts. This, as you might have guessed, was the beginning of The Page Cavanaugh Trio, a unit that in two short years was riding the crest of a wave with an RCA-Victor recording contract and an engagement at the Waldorf accompanying Frank Sinatra.
But Al was not unlike many other musicians I've known... the constancy of the road trips began taking its toll, and he had an insatiable longing to settle down with his wife in their San Fernando Valley home that they managed to see one or two months a year if they were lucky. That's where I came into the story. Al, and ironically enough, Lloyd Pratt and I formed a trio that was eventually to play practically every saloon in the Los Angeles area. In the years that were to follow, Al kept practicing religiously and listening and maturing musically. That's been one of the keys to his development and success. He never stop learning. When our group finally ran out of clubs, Al joined other groups for brief periods; did more and more record dates; accompanied Julie London in her first New York and Las Vegas engagements; was featured in Ray Anthony's network television show; played with the great new Harry James band; worked again for Frank Sinatra on his ABC-TV series; recorded with Nelson Riddle; bought a gut-stringed instrument and mastered the difficult technique; very capably filled the guitar chair in Buddy Collette's wonderful jazz quintet. I could go on. Suffice to say that Al Viola is a very-much-in-demand instrumentalist in these parts. He's achieved the goal he set for himself back in the Charlie Christian days... He can sit happily with his wife, Glenna and his two sons, Danny and Jeff, in their Studio City home and never worry about playing another one-nighter the rest of his life if he doesn't choose to. – Bobby Troup
From Billboard - April 27, 1959: Al Viola, a fine artist, becomes something of a one-man guitar band on this interesting recording, in which, via multi tracking, he handles all the parts – bass and rhythm guitar, amplified melody guitar and in some cases yet another track of fast-fingered solo guitar. Tunes are nicely varied – "Moonlight In Vermont," Route 66," "Take Me In Your Arms." Guitar lovers will find it rewarding but it also comes across as pleasant background material. Stereo is no great asset, however in this case.
When You're Smiling Moonlight In Vermont I'll Always Be In Love With You And The Angels Sing You And The Night And The Music Blue Skies Route 66 Take Me In Your Arms Sophisticated Lady Always The One I Love Belongs To Somebody Else Lover
