4-5-6 Trio - Fred Katz

Four, Five, Six

4 5 6 Trio
Fred Katz - Cello
Hal Gaylor - Bass
Johnny Pisano - Guitar
Mood Jazz in Hi-Fi
Decca DL 9213
1958

From the back cover: Fred Katz is very clear in his insistence that although others may feel impelled to categorize his work, he himself will not be bound by any definitions but his own. "What I try to create for myself and for the group is music," he told Metronome. "What I'm out to express are ideas and feelings that are beautiful. Criticism that my work is not jazz makes no difference. What is important is that my music should be beautiful and that it should be judged as music, not by an artificial standard of whether it is jazz of not."

Metronome apparently agree with Katz, because in its enthusiastic review of his previous Decca set, Soul Cello (DL 9202), it ended: "First, to us, comes emotion, then creation, then theory, trying to describe and explain. If this is the case, and it is the case with all music of strength and conviction, Fred Katz will have no trouble. For this is the way we feel he grows."

Fred has an unusually diversified background, another reason he feels it natural to range though different kinds of disciplines to create finally what he feels is his own musical speech. Born in Brooklyn, February 25, 1919, he was a scholarship student of cello and piano at the Third Street Music Settlement; played at Town Hall at 13; studied conducting and composition; became musical director of the 7th Army Headquarters overseas; and wrote music for a ballet. in 1945. His works have been played by concert orchestras, including one program by the Heidelberg Symphony and that was devoted entirely to his work.

In the popular field, Fred has been piano accompanist for Lean Horne, Mindy Carson, Tony Bennett and others. He has written for films; taught; and has been commissioned by cello virtuoso Gregor Piatigorsky to write a jazz piece for him. In jazz, he first became widely known with the Chico Hamilton Quintet – for which he also wrote – and has since functioned on several albums as player, writer and occasionally leader.

Fred has the capacity to gain and keep the admiration of musicians with whom he has worked. Paul Horn has called him a "phenomenal musician" and credits Fred with having been the most important influence on him when he was with Chico Hamilton's unit. Fred has been and continues to be a source of encouragement – and instruction – for several young musicians on the coast who, like himself, believe in worrying about categories after the music had been created.

Like Fred, guitarist John Pisano and bassist Hal Gaylor are alumni of the Chico Hamilton Quintet. Pisano was born in Staten Island, New York, some 26 years ago. After high school and guitar studies with Chuck Wayne, he went into the Air Force and became a member of the service band, The Crew Chiefs. After being discharged, he freelanced in New York with several commercial and jazz units, and then replaced Jim Hall with Hamilton.

Taylor, born July, 1929, in Montreal, first played clarinet and saxophone. When he was 20, he picked up his father's bass and it became his primary instrument. He worked with singers and gigged in instrumental combos around Montreal, recording several years ago with the Canadian All-Stars. He worked with Paul Bley, another Canadian jazzmen, before joining Chico Hamilton.

The dominant voice in this unusual set of solos, duos and trios is Fred Katz. To my knowledge, this is the first non-classical album to feature a cellist throughout in this kind of intimate instrumentation and material. There is no place to hide when your only associates are guitar and bass. The challenge for Katz to sustain interest and his own invention over an entire 12" album. In his favor, aside from the multi-faceted background previously described in his remarkable flexibility on his instrument. He has made it so much an extension of himself that he can call on it to wail, literally and figuratively, to play with passionate romanticism; to be witty brisk; and to play a "straight" melody with very personal phrasing along with "legitimate" tone and technique. – Nat Hentoff

From Billboard - December 8, 1958: A unique string trio makes something special out of standards and originals. The three Chico Hamilton alumni are gifted musicians with "Sophisticated Lady," "Perdido" and "Della" standout. Find mood wax.

Four, Five, Six
Sophisticated Lady
Isn't It Romantic
Della
Like Someone In Love
Krelch
Mountain Air
Perdido (Lost)
I'm Getting Sentimental Over You

The Mellow Moods

Easy Now

The Mellow Moods
RCA Victor LPM 1365
1956

Also see this issue: Mellow Moods Of Jazz - LPM 1365

From the back cover: The framework for this special type of mellowness have been provided by three unusually gifted arrangers: Ralph Burns (Why Shouldn't I; Pastel Blue, Moments Like This; Everything's Been Done Before), who wrote the memorably mellow Early Autumn for Woody Herman and lately has had great success in writing unhackneyed settings singers; George Siravo (What Do You Want To Make Those Eye At Me For?; Easy Now; Let's Take The Long Way Home), a quondam jazzman who has found this knowledge useful in giving singers – Frank Sinatra, for one – the kind of stimulating accompaniment which brings out all their potential; and Bill Stegmeyer (Robins And Roses; I'll Be A Friend With Pleasure; Keeping' Out Of Mischief Now; Morning Glory), a top jazz clarinetist who has written for numerous big bands since 1942, including that of his Transylvania College roommate Billy Butterfield.

Robins And Roses, one of Bing Crosby's early singing stints for the films, is decorated by the very Goodmanesque clarinet of "Peanuts" Hucko (it has been said of Hucko that he plays more like Benny Goodman today than Goodman himself does). Clarineting of a very different order – the lithe, feather-toned manner of Tony Scott – is the feature of another, later Crosby film tune, Let's Take The Long Way Home. Hucko also trots out his tenor saxophone to give a new sound to What's New, which was originally a trumpet showpiece called I'm Free when Billy Butterfield used to play it with Bob Crosby's band.

The same Butterfield, mellifluous as ever, teams up with the trombonist Urbie Green for an unusual duet of Cole Porter's Why Shouldn't I and has the solo spotlight to himself on two numbers – I'll Be A Friend With Pleasure, a tune that was granted immortality by Bix Beiderbecke's recording of it with Paul Whiteman's orchestra, and on of the more haunting of the old standards, Everything's Been Done Before.

Green, a trombonist of awesome versatility who is a graduate of several big bands, including Woody Herman's is the duet specialist in this set. In addition to his bit vis-a-vis Butterfield, he joins fellow trombonist Lou McGarity in a lovely version of Artie Shaw's Pastel Blue which is in the finest tradition of relaxed jazz playing. McGarity huffs along on "Fats" Waller's bouncing Keeping' Out Of Mischief Now.

Ernie Caceres, who has stopped briefly with most of the better big bands of the past twenty years (Glenn Miller, Goodman, T Dorsey and Herman head his list), is featured on What Do You Want To Make Those Eyes At Me For?, a number remembered for Berry Hutton's lusty rendition of it. Caceres changes the tenor of the tune but – clever fellow – he does it with a baritone saxophone. The lightly modern alto sax of Hal McKusick glides through Frank Loesser's Moments Like This, an old Maxine Sullivan specialty, while Lee Castle, the sure-lipped trumpeter who has also been known as Lee Castaldo during his tenures with Artie Shaw, Tommy Dorsey, Glenn Miller and others, recreates Duke Ellington's brilliant Morning Glory. The only new tune in the set, a worthy companion to the other well-seasoned selections, is Easy Now, embellished principally by Barry Galbraith's polished guitar work.

– John S. Wilson
From Billboard - February 23, 1957: A "Save on Records" selection in December, this is a solid commercial entry. While this is a "background" or "mood" type LP, it is in a jazz context and anything but musically innocuous. Three arrangers – Ralph Burns, George Siravo and Bill Stegmeyer – were given a big band for a session apiece and each produced some highly attractive settings for some lovely but neglected popular songs of the past. "Pastel Blue," which features he trombones of Urbie Green and Lou McGarity, would be a good demo band. The music is varied, but it is relaxed, melodic, danceable stuff that will have wide general appeal.

Robins And Roses - "Peanuts" Hucko, Clarinet
Why Shouldn't I - Urbie Green, Trombone and Billy Butterfield, Trumpet
What Do You Want To Make Those Eyes At Me For? - Ernie Caceres, Baritone Sax
Pastel Blue - Lou McGarity and Urbie Green, Trombones
Moments Like This - Hal McKusick, Alto Sax
I'll Be A Friend With Pleasure - Billy Butterfield, Trumpet
Keepin' Out Of Mischief Now - Lou McGarity, Trumpet
What's New - "Peanuts" Hucko, Tenor Sax
Morning Glory - Lee Castle, Trumpet
Easy Now - Barry Galbraith, Guitar
Let's Take The Long Way Home - Tony Scott, Clarinet
Everything's Been Done Before - Billy Butterfield, Trumpet

The Young Ones Of Jazz

Moon Song

The Young Ones Of Jazz
Twelve Outstanding Jazz Selections By America's New Jazz Greats
High Fidelity Jazz EmArcy
Jam Session
Mercury Records MG 36085
1956

From the back cover: Youth, which is always bound to be served, gets some of its best servings in the world of jazz. Jazz is so much a music of youth – but not exclusively for youth – that it is difficult to think of even one jazz musician of high standing whose reputation was not well on the way to being made while he was still in his twenties – and his early twenties, at that. It is so much a music of youth that its giants can be established at an age when those undertaking other careers are only standing on the threshold.

That is certainly the case with Clifford Brown who, despite his death in an automobile accident in 1956 at the untimely age of 26, has won an unquestioned place as one of the most brilliant trumpet men in the history of jazz. Like Brownie, all of the stars in this album (with one exception) are in their twenties or have just crept over the line of thirty. They provide an impressive and exciting illustration or the new vitality that youth is constantly bringing to jazz in return for the opportunities for youthful recognition which the music offers.

The line-up of Young Ones tees off with Clifford Brown playing with the great group which he and Max Roach jointly led before the accident which ended the careers of both Brownie and the group's pianist, Richie Powell. Richie, Bud Powell's brother, wrote Gertrude's Bounce, a rhythmic, swinging piece named for a Chicago artist, Gertrude Abercrombie, whose walk, Richie explained, was just like the rhythm of the introduction. The Bounce includes a polished example of the more relaxed side of Clifford Brown's trumpet style. This group is filled out by Sonny Rollins on tenor saxophone and George Morrow on bass.

Morgana King, life Clifford Brown, was 26 when she made Frankie and Johnny. It is taken from her next long-playing record, which was the culmination of several years of study (including bath classical music and dramatics) and work in clubs in New York, Washington and Chicago.

The helpful influence of Lionel Hampton in the development of young talent is pointed up by this collection. Three of the seven Young Ones represented here have been given a boost up the ladder by Hampton: Brown, who achieved stardom with Hampton's band, Jackie Paris, who was encouraged to concentrate on his singing after working with Hampton as a vocalist, and trombonist Jimmy Cleveland who became known as a stand-out soloist during his four years with the Hampton band. Hampton had spotted Cleveland in a college band a year before he finally lured him away from Tennessee State University to join his trombone section. Jimmy was 29 when he made his first album under his own name in 1955. Little Beaver, which is taken from that album (EmArcy MG 36066), is Cleveland's own composition and features him with a group made up of Ernie Royal, trumpet; Lucky Thompson, tenor saxophone; Cecil Payne, baritone saxophone; John Williams, piano; Barry Galbraith, guitar; Paul Chambers, bass and Max Roach, drums.

John Williams, now 27 years old, made his first big impression when he was featured with Stan Getz at the age of 23. He made important contributions to several groups after that, including Jimmy Cleveland All Stars above, and finally got a recording date of his own (EmArcy MG 36061) at which he cut his blithe original, Okeefenoke Holiday, with Ernie Farrow on bass and Frank Isola on drums.

Nat Adderley has suffered a fate somewhat like that of another trumpet player, Charlie Teagarden – working in the shadow of an unusually talented older brother. Nat and his brother, Julian, who is more recognizably identified "Cannonball," rather than the retiring Nat, who drew the lion's share of attention at first. Nat has played trumpet on most of his brother's recordings and now, returning the favor, "Cannonball" plays alto on two of Nat's first recordings. Sun Dance and Little Joanie Walks. The rhythm section supporting the two Adderleys is made up of Horace Silver, piano; Paul Chambers, bass and Roy Haynes, drums.

As we have already noted, Jackie Paris was guided toward his career as a singer by his experience singing with Lionel Hampton's band in 1949. Before that he had been primarily a guitarist who also sang. After his term with Hampton, he dropped the guitar completely and with such success that he was voted the best new singer of 1953 in Down Beat's critic poll. All this may make Jackie sound like a veteran, but he's a veteran who has just turned 30. Manny Albam backs him up as arranger and conductor of That Old Devil Called Love and Wrap Your Troubles In Dreams.

Joe Sayer is the oldest among those Young Ones. Now all of 33, the Scottish Pianist is still quite new to American audiences. During his career in Great Britain, which began when he was featured on accordion with Roy Fox's band at the age of 14, he has led his own groups, worked with Coleman Hawkins and been featured frequently at Ted Heath's famous Palladium swing sessions. On Moon Song and I'll Know, his piano is complemented by the haunting flute of Herbie Mann with rhythm support provided by Barry Galbraith on guitar, Milt Hinton on bass and Sonny Payne at the drums.

Gertrude's Bounce - Clifford Brown
Frankie And Johnny - Morgana King
Little Beaver - Jimmy Cleveland
O Keefenokee Holiday - John Williams
Sun Dance - Nat Adderley
That Old Devil Called Love - Jackie Paris
Little Joanie Walks - Nat Adderley
Moon Song - Joe Saye
Wrap Your Troubles In Dreams - Jackie Paris
I'll Know - Joe Saye

The Exotic Guitars

Quiet Village

The Exotic Guitars

Solo Guitar: Al Casey
Arranged and Conducted by Bill Justis

Produced by Randy Wood

Cover Design: Charles Cordell Jr. thru the art division of Fanfare Studios, Del Compton, Director
Engineers: Thorne Nogar, Don Blake, John Wood and Ron Compton
Ranwood Records, Inc.
Stereo RLP-8104
1972

From Billboard - November 25, 1972: The Exotic Guitars continue to provide beautiful listening pleasure. Best cuts: "Quiet Village," "Telestar," and "Spanish Harlem."

Cursing Down The River
Whispering
You Can't Be True, Dear
The Shadow Of Your Smile
Cold Cold Heart
Josephine
In The Mood
Quiet Village
Telstar
You Made My Love You
Spanish Harlem

Strolling Mandolins - Raoul Meynard

The Song From Moulin Rouge

Strolling Mandolins
Raoul Meynard his Mandolins and Orchestra
The Irresistible Sounds Of An Italian Night
Cover Photo: George Jerman
Warner Bros.
W 1405 High Fidelity
1961

Return To Me
Three Coins In The Fountain
Oh Marie
Come Back To Sorrento
The Song From Moulin Rouge
Neapolitan Nights
Non Dimenticar
Mattinata
Arrivederci Roma
Vieni, Vieni
Santa Lucia
Volare

The Shape Of Sounds To Come - Larry Elgart

Arkansas Holler

The Shape Of Sounds To Come
Larry Elgart
A&R: Grace Elgart
Recording Studio: Webster Hall
Engineers: Ray Hall & Don Miller
MGM High Fidelity SE3896
1961

From the back cover: The word is Truth.

The Shape Of Sounds To Come will be realistic.

This is what bandleader / audio engineer Larry Elgart believes. "Our goal is to achieve realism." he says, "The major part of the recording industry has been going the other way."

The young, bearded alto sax player notes, "There's too much emphasis these days on 'getting a sound' or tricking a record for stereos. We've avoided this kind of thing. "When this record is played in stereo, the listener will be hearing the band as it sounds live. We've done everything known in electronic recording to give this stereo recording all of the true sound of the band."

Elgart and his pretty wife Grace, who supervises all his recording sessions, decided long ago that there were two approaches to the use of electronics in recording: "you can strive to make something larger than life and not be interested in the original material, or you can use science and electronic skills as tools to recreate the original material with authenticity."

The Elgarts chose the latter course.

Larry credits Grace with making his records as lifelike as they are. "She has terrific hearing and understanding of what we're striving for," he says. "After all, we've been together since we met as kids at 14. Our concepts have developed together. And women are most sensitive to distortion, but Grace is unusually so. She can also be objective about my playing, and the sound of everyone in the band.

While Larry is with the band in the studio, Grace is perched behind the panel in the control room, feeding information and instructions to the recording engineers. Every take of every selection is played back so that everyone in the band can hear his part. The Elgarts reason that technical skill alone cannot make a good record. The musicians have to be comfortable, and have to be able to hear how they sound. This is area in which Larry can speak with authority, because first and foremost he is a superb instrumentalist with technique to spare and tonal brilliance few can match.

To help attain clean, realistic sound, Elgart has his band stand while recording. "Most musicians get a better sound standing up." he says. "For instance, sax players don't rest their horns on their knees and change their embouchures. And playing while standing helps breathing. It's particularly good for balance because the guys don't play into their music stands."

Larry and Grace spend considerable time in advance planning for each album. This set was fermenting in their minds before the echo had died from the final sessions of "Sophisticated Sixties." An idea, usually the strongest facet of the previous recording effort, is developed – in this case, sheer sound.

But the sound was to be a true sound, not one cluttered with echo or dazzling effects. After all, the band, and not a recording studio, is what takes to the road to play for dancing and concerts. There would be emphasis on sound, but the sound would be that of the band.

A staff of crack arrangers who regularly write for the band contributed a dozen fresh arrangements. John Murtaugh wrote "Get Out Of Town," "You Stepped Out A Dream," "I've Heard That Song Before," "All The Things You Are and Ain't Misbehavin';" Marty Homes penned "Theme From the "The Ingrates;" and Elgart's first Cha-Cha, Tony's Wife; Bill Finegan arranged "More Than You Know," "I've Got You Under My Skin" and "Rain On The Roof:" Bobby Scott cleaved "Arkansas Holler": and Lew Gluckin arranged "Jackie's Tune."

From Billboard - April 17, 1961: The Larry Elgart band comes through with fresh, sparkling performances here of a group of standards that should interest the ork's many followers. The arrangements are modern and stylish, and the dancing beat comes through on every tune. Songs include "I've Got You Under My Skin," "Get Out Of Town," "Tony's Wife" and "All The Things You Are."

I've Got You Under My Skin
I've Heard That Song Before
All The Things You Are
Theme From "The Ingrates"
More Than You Know
Tony's Wife
Get Out Of Town
Ain't Misbehavin'
You Stepped Out Of A Dream
Jackie's Tune
Rain On The Roof
Arkansas Holler

It's Over - Jimmy Rodgers

Lonely Tears

It's Over
Jimmie Rodgers
Arranged and Conducted by Jimmie Haskell
Produced by Randy Wood
Engineer: Hank Cicalo
Dot Records DLP 3717
1966

Bass: Buddy Clark
Drums: Hal Blaine
Guitar: Ralph Grasso & Glen Campbell

From Billboard - July 2, 1966: Featuring his current hit single, "It's Over," the singer-composer has assembled a group of his new compositions in this easy listening and highly commercial package. "I Keep Thinking" and "Let's Go Away" have strong hit single potential. His adaptation of "Sloop John B" is a standout.

It's Over*
Let's Go Away*
Little Boy Born
Sloop John B
Time
Land Of Milk And Honey
The Grass Is Greener*
Morning Means Tomorrow*
Lonely Tears*
Let's Stay Together*
La-De-Da*

* Original Compositions by Jimmie Rodgers

Glory Of Love - Herbie Mann

Upa, Neguinho

Herbie Mann
Glory Of Love
Produced by Creed Taylor
Cover Photographs: Pete Turner
Album Design: Sam Antupit
Recorded at Van Gelder Studio
Engineer: Van Geldger
Recorded July 26, 27: September 19; October 6, 1967
A&M Records / CTI

Personel:

Flute: Herbie Mann (1, 2, 3, 4)

Piano: Roy Glover (1, 2)
Roland Hanna (2)
Paul Griffin (3)

Organ
Roy Glover (1, 2)
Roland Hanna (2)

Bass
Ron Carter (1, 2, 3)
Earl May (4)

Drums
Grady Tate (1, 2, 4)
Herb Lovelle (3)

Vibes
Ted Sommer (3)
*Roy Ayers (4)

Percussion
Ray Barretto (1, 2, 3, 4)
Ted Sommer (3)
Johnny Pacheco (3)

Guitar
Eric Gale (1, 3)
Jay Berliner (3)
Sunny Sharrock (4)

Flute & Piccolo
*Hubert Laws (1, 2, 3)

Trumpet & Flugelhorn
Ernie Royal (3)
Burt Collins (3)

Trombone
Benny Powell (3)

Saxophone
Joe Grimaldi (3)

(1) July 26, 1976
No Use Crying
Glory Of Love
Unchain My Heart
House Of The Rising Sun
Oh, How I Want To Love You

(2) July 27, 1967
In And Out

(3) September 18, 1967
Upa, Neguinho

(4) October 6, 1967
Hold On, I'm Comin'
The Letter
Love Is Stronger Far Than We

• Herbert Laws and Roy Ayers appear thought the courtesy of Atlantic Records

From Billboard - December 23, 1967: Under a special deal, Herbie Mann, an Atlantic artist, has recorded one album for A&M. The package is an excellent cross section of the performer's talents, with his flute interpretations ranging from highly commercial renditions of "The Letter." the title tune "Unchain My Heart" and "House Of The Rising Sun" to his stylized "Upa Neguinho" and "Love Is Stronger Than We." While all the songs are done well, the latter group is the best.

No Use Crying (arranged and conducted by Roy Glover)
Hold On, I'm Comin' (arranged and conducted by Herbie Mann)
Glory Of Love (arranged and conducted by Roy Glover)
Unchain My Heart (arranged and conducted by Roy Glover)
House Of The Rising Sun (arranged and conducted by Roy Glover)
The Letter (arranged and conducted by Herbie Mann)
Upa Neguinho (arranged and conducted by Herb Bernstein)
Love Is Stronger Far Than We (arranged and conducted by Herbie Mann)
Oh, How I Want To Love You (arranged and conducted by Herbie Mann)
In And Out (arranged and conducted by Herbie Mann)

Meet Jack Reno

How Sweet It Is

Meet Jack Reno
Jab Records Series
Produced by Buddy Killen
Cover Photo: Walden S. Fabry
Cover Design: Loring Entemey
Recorded at Columbia Recording Studios, Nashville
Recording Engineers: Selby Coffeen & Charlie Bragg
Atco Records SD 33-251
A Division Of Atlantic Recording, Corporation
1968

From the back cover: It's 1967. We sit in Buddy Killen's office in Nashville, home of Jab Records, talking music business shop talk. Buddy's desk a picture of organized confusion. Small mountains of unopened mail and demonstration tapes dwarfed by larger mountains of similar stuff, already opened.

"Hey, man, I want you to hear something."

Buddy, co-owner and producer of Jab Records, aims his hand in the direction of a medium sized mountain and plucks out a box of tape and it is quickly spinning on the deck at 7 1/2. Twin speakers on the wall pour out a liquid voice. "Repeat after me... darling I love you." Warm. Rich. "...I really need you." A strong, sure delivery, no gimmicks necessary, Buddy and I sit there digging the sound as it flows from the wall speakers. I like it. My introduction to Jack Reno.

It's later. Two months later. Jack Reno's record comes to me in the mail for review in Cash Box magazine. Radio stations across the country get copies at the same time. Deejays who know Jack as a fellow member of the radio society (he's a key jockey at WXCL in Peoria, Ill.) are introduced to Jack Reno the singer.

Still later. This time only a few days. Stations begin playing the record. Over and over. The warm voice spins on hundreds of studio turntables. Travels over thousands of miles of airwaves. Beams out of scores upon scores of radio speaker. Millions of listeners meet Jack Reno.

Now it's 1968. May. "Repeat after me" has become a smash success and Jack Reno is suddenly known from border to border. Fan clubs spring up. His second record has just been released and now there's no long waiting period. Stations are playing it heavily. Fans are out in the stores to get their copies. "How Sweet It is... to be in love with you." Same warm voice. Same sureness of delivery. And now it's time for an album. It has to be a strong album. Like Jack's voice. It has to have good songs all the way. – Tom McEntee - Country Editor, Cash Box Magazine

From Billboard - July 13, 1968: Jack Reno's current Jab Records Series hit single "How Sweet It Is (To Be In Love With You)" and his former hit "Repeat After Me" should help spark this, his debut album, to sales success since both are included here. But, the other 10 cuts are appealing as Reno sings Ferlin Husky's "Just For You," Henson Cargill's "Skip A Rope," and the standard "A Fallen Star" in fine style.

Just For You
Skip A Rope
A Fallen Star
Before The Bird Flies
Repeat After Me
You're Gonna Have To Come And Get It
How Sweet It Is (To Be In Love With You)
Music Is (The Language Of Love)
The Memory
Jukebox
Birds Can't Fly That High
The Market Place

Bill Hayes Sings The Best Of Disney

Cinderella

Bill Hayes Sings The Best Of Disney
With Don Costa's Orchestra and Chorus
Produced by Don Costa and Sid Feller
Cover Design: Bob Crozier
Cover Photography: Alan Fontaine
Engineering by Frank Abbey
ABC- Paramount ABC 194
1957

From the back cover: To give these songs a proper setting and an interpretation worthy of Disney's own gauge of perfection, what better performer could be selected than the handsome and affable Bill Hayes? A thorough master of the vocal art, Bill began his professional career as a $10-per-week singing telegram boy for Western Union. Holding a master's degree in music from Northwestern University, he studied opera for a year at Roosevelt University (Chicago), then accepted his first role in professional show business with the Chicago company of "Carousel." His complete success in the exacting role earned him a starring spit in Olsen & Johnson's "Funzapoppin'," in which he toured the United States and Canada. The famed TV producer, Max Liebman, seeing the performance one evening, signed the talented youngster immediately as featured vocalist on the hour-and-a-half series, "Your Show Of Shows," starring Sid Caesar and Imogene Coca. During the show's summer hiatus from the tele waves, Hayes added to his thespian art by playing in stock in the strawhat circuit, which led to his motion picture debut in the Warner Brother's production, "Stop, You're Killing Me." Not long after, Bill was signed as featured juvenile lead in the musical comedy "Me And Juliet," by Robert and Hammerstein, which forced him to give up his stint on "Show Of Shows." Some two years later, after his emergence as a full-fledged star of musical comedy – based on his overwhelming success in "Me And Juliet," Hayes returned to the television scene and recordings, coming up with his fabulous waxing of "Davy Crockett." To date, the record has sold well over two million copies, and is still in demand.

It was Hayes' substantial success with "Davy Crockett" which prompted executives of ABC-PARAMOUNT to sign him to a recording contract late in 1956, when casting about for a singer to do justice to two new Walt Disney songs, "Wringle Wrangle" and "Westward Ho The Wagons," from the picture of the latter title. This also propelled Hayes, once again, into hundreds of thousands of homes via the turntable route. Shortly thereafter, it was decided to compile the album of the best Disney, and Bill Hayes emerged as the logical choice to delineate these great songs for you.

Ferdinand The Bull
Lavender Blue
When I See An Elephant Fly
One Song
Wringle, Wrangle
Lazy Countryside
Cinderella
'Twas Brilling
When You Wish Upon A Star
Whale Of A Tale
Bella Notte
Zip-A-Dee-Doo-Dah

Dancing Over The Waves - Ray Anthony

Intermezzo

Dancing Over The Waves
Ray Anthony
Capitol Records ST 1028
1958

Dancing Over The Waves
This Is Our Love Song
Beautiful Lady
Cantabile Serenade
My Dream Of Jeanie
Martha's Song
Serenade To A Dance
Your Sweet Face
Liebestraume
Intermezzo
Romance
Melody Of Romance

Love Story - Hollywood Sound Stage Orchestra

I Love You, Phil

Hollywood Sound Stage Orchestra Plays Scores From The Paramount Picture Love Story
Composed by Francis Lai
And Other Romantic Film Favorites From Film Sound Track Scores
Recorded under the direction of D. L. Miller
A Damil U.S.A. Production
Stereo Gold Award GA-31
Manufactured by Haddon Record Corp.

Theme From Love Story
Snow Frolic
I Love You, Phil
The Christmas Trees
Love Story
A Love For All Seasons
Mozart: Piano Concerto No. 21
Reverie
Nocturne For Lovers
Never Sorry

Gigi & My Fair Lady - John Senati

The Street Where You Live

Lerner And Loew's
Gigi & My Fair Lady
John Senati conducting the Bravo "Pops" Symphony Orchestra
Bravo! K104

I Could Have Danced All Night
I've Grown Accustomed To Your Face
On The Street Where You Live
Get Me To The Church On Time
Gigi

Fabulous Hollywood - Frank DeVol

Return To Paradise

Fabulous Hollywood!
The Hollywood Sounds of Frank DeVol and His Orchestra
Columbia CL 1371
1959

From Billboard - October 12, 1959: Big, string-filled orchestral readings of a group of top, all-time favorite screen hits. Selections include "Tammy," "Return To Paradise," "Gigi," "An Affair To Remember" and "Love Letters." Lush insturmentations with some beat here but the set is more listening than dancing. Lovely lady on the cover is inspecting the foot and handprints of Grauman's Chinese Theater in Hollywood, which sets the tone for the album well.

Tammy
My Foolish Heart
Golden Earrings
Love Letters
True Love
Third Man Theme
Unchained Melody
Around The World In 80 days
Return To Paradise
Gigi
An Affair To Remember
Love Is A Many-Splendored Thing

Very Frenchy - Jo Courtin

Toi L'Andalu

Very Frenchy
Direct From The Sidewalks Of Paris
Jo Courtin
Recorded by President Records, Paris
High Fidelity King International 2005
1960

From Billboard - August 22, 1960: Courtin plays a musette accordion with full rhythm accompaniment, resulting in a set of instrumentals with the Continental touch. This is one of King's new International series. Material includes standards, most of them French, but many familiar to Americans.

Track list as it appears on the disc label:

C'est Ca L'Amore
Le Marchand De Bonheur
Toi L'Andalu
Nathanlie S'en Va
Fete A Napoli
Piano
Les Flons Flons Due Bal
Le Bar Des Amours D'un Soir
Milord
Strange Tango
Ole Amigo
La Valse A Mille Temps