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Thursday, October 31, 2019

Background Music - Light And Lively & Show Tunes

Light and Lively
Show Tunes
Background Music
Music Blended To Mix Graciously With Social Gatherings
16 Selections...
Over Forty Minutes Of Delightful Listening Music...
This Long-Playing Record Contains Two Full Capitol Albums Each Complete On One Side
Capitol Records P379

That Old Black Magic
You Are The Cream In My Coffee
Blue Skies
My Gal Sal
Sweet Sue, Just You
People Will Say We're In Love
The Way You Look Tonight
Thou Swell
It's De-Lovely
Some Enchanted Evening
Sometimes I'm Happy
Oh Lady Be Good

Happy Harmonica - Boris Draper

Love Walked In
Happy Harmonica
By Boris Draper with Orchestra
Cornet Records CX 98

From the back cover: The genius and virtuosity of Larry Adler is probably the greatest overall factor in the popularization of Harmonica music. Second to this, was probably Mr. Honer's ability to manufacture Harmonicas for 10¢, thus supplying the need of America's youth to give vent to its musical expression with an instrument that was cheap and highly portable. Now an accepted solo instrument, the Harmonica is capable of creating a whole series of musical moods, and this recordings has been expressly designed for this purpose, with the music ranging from "Smoke Gets In Your Eyes" in ballad mood, to the gay latin beat of "La Cucaracha."

Samson And Delilah
No Other Love
Smoke Gets In Your Eyes
Man On The Flying Trapeze
Love Walked In
Yama Yama Man
Humoresque Novelty
C'est Magnifique
I Talk To The Trees
La Cucaracha
To A Wild Rose
Isle Of Capri

Music From Hollywood - Al Goodman

David And Bathsheba
Music From Hollywood
Themes From Great Motion Pictures
Al Goodman and His Orchestra
RCA Victor (E3VP-5194) LPM-1007

High Noon (Do Not Forsake Me)
Theme Music From "The Snows Of Kilimanjaro"
Ivanhoe (from the M-G-M film "Ivanhoe")
Theme Music From "David And Bathsheba"
If You're In Love (from the 20th Century Fox film "The Four Poster")
The Song From "Moulin Rouge" (Where Is Your Heart)
The Happy Time (from the Columbia film "The Happy Time")
A Place In The Sun (from the Paramount film "A Place In The Sun")
Quo Vadis (from the M-G-M film "Quo Vadis")
Call Of The Far Away Hills (from the Paramount film "Shane")

Wednesday, October 30, 2019

$64,000 Jazz

Let's Get Away From It All
$64,000 Jazz
Photograph: Alfred Gescheidt
Columbia CL 777

From the back cover:

Honeysuckle Rose

(Benny Goodman and his Orchestra, recorded November 20, 1939.) This rocking Fletcher Henderson arrangement played by the King of Swing and his great band, typifies the swing era in all respects. Guitarist Charlie Christian and trumpeter Ziggy Elman share the solo spots with Benny, and the band not only swings but demonstrates the keen precision which sets Goodman apart from so many other swing bands of the period. The use of dynamics in the last chorus is especially effective. When going through the Columbia catalog for more Goodman, don't overlook his fabulous Carnegie Hall concert album of "Jazz Concert No. 2." They are the two biggest seller in the history of jazz recordings.

Ain't Misbehavin'

(Louis Armstrong, recorded July 5, 1955.) Louis Armstrong changed the whole course of solo jazz playing with his imaginative approach to swing improvising and his vocalizing is the foundation of jazz singers right to the present time. His work on this new version of Fats Waller's Ain't Misbehavin' show that he is still the master. Louis' albums of Fats Waller's and W. C. Handy's compositions are key sets for any jazz collection, as are the four volumes of Columbia's "Louis Armstrong Story."

I'm Coming Virgina

(Eddie Condo and his All-Stars, recorded April 20, 1955.) This is from an album in which Eddie paid tribute to his old pal, Bix Beiderbecke, the legendary "Young Man With a Horn," whose tragic story inspired a novel and a motion picture of that name. You can read and hear all about Bix in Comlubia's "Bix Beiderbecke Story," and there's lots of Condon in the catalog, too. No attempt is made on this record to imitate the magical sound of Bix's horn, but the trumpet solo (by Pete Pesic, so the original notes say, and we'er striking to it) evokes some of the spirit of the immortal cornetist from Davenport. As with the Armstrong extract above, there is a feeling of Dixieland in this performance although the emphasis is on the solo work of Dick Cary (alto horn), Ed Hall (clarinet), Cutty Cutshall (trombone) and Pesci.

One O'Clock Jump

(Harry James and his Orchestra, recorded January 5, 1938.) Just before Harry James launched his career as a bandleader, he recorded a couple of sessions with an all-star group drawn from the Benny Goodman and Count Basie orchestras. This version of Basie's swing classic was Harry's first hit record, and helped get him off to a fast start; it is still one of the favorites in his large and unusually fine catalog of Columbia recordings. Featured along with Harry are pianist Jess Stacy, Hershel Evans of tenor sax, and Veron Brown on trombone.

How Hi and Fi

(A Buck Clayton Jam Session, featuring Woody Herman, recorded March 31, 1954.) High-Fidelity studio jam sessions of the highest caliber is something Columbia first came up with in the winter of 1953-54, and Buck Clayton is the artist around whom we built them, because he is a great talent, and adaptable musician, and the kind of warm soul who can mole a heterogenous group of musicians into a homogeneous ensemble. The title of this one spoofs both the over-playing of How High Is The Moon and the high-fidelity craze; it's an origianl by Buck. An extra surprise on this date was Woody Herman, who dropped in a few hours before flying to Europe with his band. This version is trimmed down from the original one because of time restrictions, but for the complete version (which runs nearly 14 minutes) and many other fine Clayton jam session performances, check you Columbia dealers

I Let A Song Out Of My Heart

(Duke Ellington and his Orchestra, recorded March 3, 1938.) Again we have a combination of great repertoire and a great performance. This is, in fact, the definitive performances of one of Ellington's finest pop tunes. Hearing once again Johnny Hodge's alto sax, Harry Carney's baritone sax, Larry Brown's trombone, and Barney Bigard's clarinet, is like a sip at the Fountain of Youth; those freshman days are getting hard to recall without something like the help of Duke's incomparable band of that period.

A Fine Romance

(Dave Brubeck Quartet, recorded October 12, 1954.) Brubeck's well-deserved success after years of struggling and lack of sympathy from an uncomprehending public is a tribute to his devotion to an intensely personal kind of jazz which brings into improvisation many elements of "serious" music. Even the brief arranged parts of this performance are essentially improvised; the first and last choruses, in which Dave creates a fascinating fugue out of this familiar melody, form an excellent example of Dave's imaginative use of the materials of longhair music. Paul Desmond (alto sax), Bob Bates (bass), and Joe Dodge (drums) complete this fine quartet, whose Columbia albums are the best-selling jazz sets in the country today.

The Shrike

(Pete Rugolo and his Orchestra, recorded June 21, 1954.) Pete, a gifted young arranger who was Stan Kenton's chief of staff through lean years and fat, is one of the most advanced thinking musicians in jazz. In common with many contemporary arrangers, Pete does not hesitate to use all the instruments of a symphony – not just the conventional ones of a jazz orchestra – and the results are, as one can hear in this interpretation of Jose Ferrer's theme music for his motion picture of the same name, unusually varied in tone color as well as sleekly modern in conception. (This composition was originally known as Conversation, a title derived from it question-and-answer construction).


(Sarah Vaughan, recorded September 5, 1950.) This is another record which is something of a classic. Sarah Vaughan, one of the finest jazz vocalists of the day, and the girl who is considered by many to be the originator of "modern" jazz singing, gives a three-chorus demonstration of how to develop a piece vocally in the contemporary idiom, much as instrumentalists might do it with a series of solo choruses. This number, one of the mainstays of the Duke Ellington "book" of the forties, was picked up extensively by musicians of the post-swing be-bop era and later, but this treatment of it remains unique. The lyrics, added after the tune was an instrumental success; like the plot of Jack Webb's movie, "Pete Kelly's Blues," they are an interesting example of unintentional surrealism of hight quality.

Let's Get Away From It All

(J.J. Johnsone and Kai Winding, recorded June 23, 1955.) This is a modern jazz group entirely unlike any other, if only because of its daring instrumentation. Jay and Kai are perhaps the two finest trombone players in the modern idiom, and that they have made a success of a combo in which they are supported only by a rhythm section is a tribute to their imaginative arranging and playing. Here they make sport with a familiar Matt Dennis tune; for an analysis of which plays where, see the notes of the album form which this is taken.


(Erroll Garner, recorded January 11, 1951.) Until Erroll Gardener's emergence on the jazz scene in the mid-forties, jazz piano had not had a major influence since another Pittsburgher, Earl Hines, originated the style that launched Teddy Wilson, Art Tatum, and a hundred other fine pianists. Garner was and still is an unorthodox, highly gifted, and thoroughly uninhibited improviser (he does not read music) who quite literally played in his own way. Laura is a popular-type Garner improvisation, but contains all the elements in which Erroll expanded previous conceptions of harmonic, rhythmic, and melodic boundaries. There are still bolder Garner performances in his large Columbia catalog, but this strikes us as being a perfect introduction to this delightful innovator.

Mulligan Tawny

(Woody Herman and his Orchestra, recorded May 21, 1954.) The choice of Woody Herman to close this collection is particularly apt, because Woody himself is a cross-section of jazz. He has run the gamut of jazz, and changed with the times – more correctly, always ahead of the times. His first orchestra leaned on the dixieland tradition for its foundation, but in 1945 he began the series of orchestras – each better than the one before! – which have since been dubbed "The Three Herds." (A Columbia album of that name commemorates the highlights of this extraordinary phase of Woody's career.) Mulligan Tawny salutes the unusual and highly influential Gerry Mulligan Quartet of a couple of year back, when Chet Baker was playing trumpet with Gerry, in the deliberate imitation of its sound in the intro and coda. The main body of the piece, however, is pure Third Herd.

From Billboard - November 5, 1955: As this is written, the jazz-minded contestant on the fabulous TV show has attained the $32,000 mark, which is a great plug for jazz, and especially for this LP. The collection itself is like a de luxe "sampler," with the best and near best gleaned from a number of top Columbia jazz LP's. It figures to get immediate action if displayed, and any dealer would be missing a sure bet if he didn't display it prominently while the show is providing the heat. And it's a great collection of jazz besides.

Flutes & Percussion - Jerome Kern

Flutes & Percussion
Jerome Kern
Arranged and Conducted by Hal Mooney
Artist & Repertoire: Bob Shad
Original Recording Engineers: Bob Arnold and John Cue
Re-Recording Engineer: John Cue
Mastering: Hal Diepold
Liner Notes: Mark Reilly
Album Coordination: Arpena Spargo
Album Design: Murray Stein
Typography: The Composing Room, Inc.
Recorded August 11, 16, 18, 1960
Series 2000
Stereo Time S/2012


Flutes, Alto Flutes, Bass Flute, Clarinets, Bass Clarinet, English Horn & Oboe
Phil Bodner
Andy Fitzgerald
Bernie Kaufman
Walt Levinsky
Tom Parshley
Romeo Penque
Ray Shiner
Bill Stapin
Joe Soldo
Stan Webb

Piano & Organ
Don Abney
Moe Wechsler

Art Davis
Milt Hinton

Osie Johnson

Al Caiola
Barry Galbraith
Bucky Pizzarelli

Percussion, Vibes, Xylophone, Bells & Chimes
Eddie Costa
Art Davis
Phil Kraus
Bob Rosengargen
Ted Sommer
Terry Synder
Joe Venuto

Ol' Man River
All The Things You Are
The Way You Look Tonight
The Last Time I Saw Paris
Make Believe
Look For The Silver Lining
She Didn't Say "Yes"
Smoke Gets In Your Eyes
They Didn't Believe Me
Why Do I Love You?

Easy To Love - Frankie Carle

Easy To Love
And Other Favorites
Frankie Carle
A&R Coordinator: Fred Allen
RCA Camden CAS-987 (e)

Easy To Love
Tulips And Heather
I Told Myself A Lie About You
I Could Have Danced All Night
The Song From Moulin Rouge (Where Is Your Heart)
Somewhere Along The Way
Spring Will Be A Little Late This Year
Please Mr. Sun
I Wish I Didn't Love You So

When Dilliance Was In Flower And Maidens Lost Their Heads - Ed McCurdy

When Dilliance Was In Flower And Maidens Lost Their Heads
Volume III
Sung by Ed McCurdy
Eirk Darling: banjo and additional guitar
Arrangements: Erik Darling and Ed McCurdy
Production Supervision: Jac Holzman
Engineering: David B. Jones and Jac Holzman
Elektra 160

From the back cover: Ed McCurdy was born in Willow Hill, Pennsylvania and now resides with his wife and three children in New York City. He began his professional career as a gospel singers on radio station WKY in Oklahoma City, has sung in theaters and clubs, and once had a short run in burlesque. In 1946 he began singing folk songs over the Canadian Broadcasting Corporation radio network and in 1952, began writing and performing for children on television and radio in Canada.

Since coming to New York City in 1954 he has become one of the most recorded folk artists with, among many others, six Elektra albums to his credit, including the two predecessors to the present volume (EKL-110 and EKL-140). He has also encountered American television, both as that beloved children's pal, Freddy the Fireman, and as the voice of a brand of filter cigarettes.
Among Erik Darling's accomplishments are the accompaniments on over twenty albums (including the previous Dalliances), an album all to himself (aptly titled Erik Darling, ELK-154), and membership in two current folk singing groups, The Tarriers and The Weavers.

From Billboard - May 18, 1959: This should meet a ready market among those who own its two predecessor versions, both of which enjoyed high success. McCurdy is in fine form as usual and fanciers will find these tales to banjo and guitar accompaniment just as tangy and tart as those which went before. A bold and brazen cover will catch looks.

The Yeoman Of Kent
The Shepherd
Old Brass To Mend
As I Walked In The Woods
The Merry Wedding
Whilst Alexis Lay Prest
How Happy's The Miller
The Hive Of Bees
The Sound Country Lass
She Rose To Let Me In
The Country Wake
When Flora Had On Her New Gown
The Spinning Wheel
The End

Velvet Carpet - George Shearing

Autumn Leaves
Velvet Carpet
The George Shearing Quintet
With String Choir
Arrangements by Dennis Farnon and George Shearing
Orchestrator and Conductor: Dennis Farnon
Capitol Records T720

From Billboard - September 1, 1956: Shearing, for the first time, with strings. The sound produced is rich and plush – of more appeal to the pop customer than to jazz connoisseurs. Material consists of standards mostly unrecorded by him before; "September Song," "Autumn Leaves," A Foggy Day," "I'll Close My Eyes," etc. A colorful, romantic program that can be expected to have broad general appeal.

September Song
Autumn Leaves
Dancing On The Ceiling
I'll Close My Eyes
A Foggy Day
Have You Met Miss Jones?
The Starlit Hour
All Of You
'Round Midnight
No Moon At All

Steel Band Carnival At The Royal Vic

Mambo No. 8
Steel Band Carnival At The Royal "Vic"
Recorded at the Royal Victoria Hotel in Nassau, Bahamas
Cover Photo Courtesy of Treadway International

From the back cover: The "Steel Band Carnival at the Royal Vic" is the second album of Dudley Smith's World Championship Steel Band to be recorded under Carib's label. Since the release of their first album, Dudley and his band have gone on to success after success in the field of entertainment in the Bahamas. They have become unquestionably the greatest single attraction in the islands and are now entering their fourth year of playing at top hotels and clubs. Their's is a well deserved triumph for it is backed by hard work and the intelligent application of talent in the refinement of the tonal quality of the steel drum instruments, in the arrangements and adaptation of them to all kinds of music and in the writing of original music.

This is their first stereo album and those of you who enjoyed their first release will delight in the stereo effects achieved in this recording. The original eight members of Dudley's band are present again and we think you will agree that they have accomplished such all time favorites as, Margie, Colonel Bogie and Tea For Two Cha Cha.

You will detect sounds of excitement and merriment in the background. That is no accident but part of the atmosphere that results from Carib's policy of recording on the scene during an actual performance in order to capture all the spontaneity and natural tone. In this case Carib was rewarded handsomely. The "studio-in-the-field" Victoria Hotel with a really "live" audience of hotel guests and tourists was established between the performers and the audience. Feeling the warmth and encouragement surrounding them. Dudley and his men really extended themselves. The excitement grew until some of the listeners could no longer contain themselves and became vocal in their enjoyment.

The picture of Dudley and his band appearing on the cover was taken on the steps of the famous Tree House of the Royal Victoria Hotel where tea has been served traditionally since colonial times.

Dudley's Merengue
Tea For Two Cha Cha
Calypso Medley (Mary Ann - Brown Skin Gal)
Colonel Bogie
Mambo No. 8
Hold 'Em Joe
Malady D'Amour
Peanut Vendor

Tuesday, October 29, 2019

Innovations By Masonite- Skitch Henderson

All Through The Night
Innovations By Masonite
Prepared expressly for the Masonite Corporations by RCA Victor
RCA Victor PRM-193

From the inside cover: Born in Birmingham, England, Skitch Henderson spent his youth in pursuit of serious musical goals. He studied piano with Roger Aubert in Paris, conducting under Albert Coastes and Fritz Reiner, during which time he moved to America and finished instruction in composition and harmony with twelve-atonalist Arnold Schonberg. These associations were interrupted by World War II: Henderson enlisted as an aviation cadet, won his wings, and spent the next four years as a pilot. He still flies jets in his spare time as an officer in the Air Force Reserve.

Popular music found him "grounded" in the classics as it has few other arrangers/conductors of our time. A succession of events, beginning with a theater tour as Judy Garland's accompanist and ending as piano soloist on both the Bing Crosby and Frank Sinatra radios shows, led Henderson to form his own band. After touring with great success during the late 'forties, he returned to radio as musical director of a series featuring Sinatra and Dorothy Kirsten.

In 1954 began Henderson's long tenure as musical director of the Steve Allen "Tonight" show on NBC, where he also aided in the development of acting parts and personalities. Meanwhile, he was also determinedly getting back to serious music by making guest appearances as conductor with the New York Philharmonic and the Minneapolis Symphony. Further, he composed ballet music for Maria Tallchief and various television groups – all the while maintaining his unique image and reputation as a leading popular arranger.

Henderson's image is projected most frequently these days on the "Tonight" show with Johnny Carson, where his orchestrations and solo work remain a delight to millions. There and in the selections of this album, he has taken truly giant steps toward healing the rift between popular and classical music. Inventive, provocative, but always incomparably right, the art of Skitch Henderson is a modern wonder, not only of Show Business, but of the total American musical scene.

It's Delovely
All Through The Night
My Blue Heaven
Dancing On The Ceiling
East Of The Sun
Pick Yourself Up
The Continental
Mood Indigo
Japanese Sandman

Monday, October 28, 2019

The Aznavour Story

Je T'aimais Tant
The Aznavour Story
Frane's Greatest Singer - Composer
Charles Aznavour
Singes His Electrifying Songs In French
Accompanied by Paul Mauriat and His Orchestra
Art Direction: Ed Thrasher
Cover Photo: Sherman Weisburd
Reprise 6172
A Barclay Recording

From the back cover: When he gave his first concert at Carnegie Hall, 150 fans flew over from Paris to be on hand. Three thousand people applauded, before, during, and after almost every song. He sings in French. But even to the non-French-speaking listener, his charm comes through.

He's skinny as a microphone. Short as a barstool, mournful as Edith Piaf. He's forty years old, and he is also France's most popular singer.

From Billboard - September 4, 1965: Charles Aznavour has the same style Gallic "soul" that made Edith Piaf a legend in her lifetime. He sings the weepers and the up-tempo material with the same verve. Paul Mauriat and his orchestra do a fine job backing. English translations dealing with the theme of each selection are helpful.

Que C'est Triste Benise
Je T'aimais Tant
A Ma Fillle
Tu T'amuses
Le Jour Se Leve
Il Te Suffisait Que Je T'aime
Le Temps
Hier Encore
Chaque Fois Que J'aime
Toi Et Tes Yeux D'enfants
Quand J'en Aurai Assez

East Coast Jazz No. 7 - Kai Winding & J. J. Johnson

Gong Rock

East Coast Jazz Series No. 7
Kai Winding and J. J. Johnson
Photography and Cover Design: Burt Goldblatt
Engineering: Tom Dowd
Bethlehem Records BCP-6001 (see, above, second cover variation: "Nuf Said")


Kai Winding: Trombone
J. J. Johnson: Trombone
Dick Katz: Piano
Al Harewood: Drums
Milt Hinton: Bass (Love; Stolen Bass; Mad About The Boy; Yes Sire, That's My Baby; Going Rock Out Of This World; That's How I Fee About You)
Wendell Marshall: Bass (Thou Swell; Lope City; It's All Right With Me)

From the back cover:

Kia Winding was born in Denmark and came to the United States at an early age with his parents. That was in 1934. His experience with name bands began in 1941 when he joined Sonny Dunham's orchestra. From there he went with Alvino Rey until Uncle Sam claimed him in 1942. For the next three years Kai played with the U. S. Coast Guard Dance Band stationed at Curtis Bay, Md. In 1945, after his release from the service, he became a member of Benny Goodman's band. A year later he joined Stan Kenton and it was with the Kenton band that Kai first began to attract attention as a jazz trombonist of importance. From 1947 -1950 his efforts were primarily devoted to his own small group which played the complete circuit of important jazz clubs in and around New York. For the following four-year period Kai worked for the most part in the radios, television and recording studios in New York. Many people will recall, for instance, Kai's trombone wok with Raymond Scott's orchestra on the Lucky Strike Hit Parade Show on television. Last year he combined talents with J. J. Johnson and two of them planned, created and presented their own quintet.

J. J. Johnson is a native of Indianapolis. He began playing professionally at about the same time as did Kai. In 1941 he joined Snookum Russell's band where he met and blew alongside another rising star who also was to impact a profound influence upon the youngster jazz musician – Fats Navarro. From 1942-1944 J. J. was with Benny Carter and for the following two years with Count Basie. During 1946 and 1947 he fronted his own quintet, a group which worked at the Three Deuces on 52nd Street and which featured such giants of jazz as Bud Powell, Max Roach and Fats Navarro. In 1948 and 1949 J. J. worked with Illinois Jacquet's Band. For the next three years he freelanced, working with such people as Dizzy Gillespie, Woody Herman and Charlie Parker and also teaching harmony, theory and arranging at the Music Center Conservatory in the Bronx. During 1951-1952 J.J. toured the Far East with Oscar Pettiford's USO troupe. Then in 1952, succumbing temporarily to the economic demands which beset most of us at one time or another, he secured himself a day gig as a quality control inspector at the Sperry Gryoscope Company where he remained for almost two years. With the inception of the quintet with Kai, he returned to the music scene full-time, and, we hope for good.

The solid rhythm section behind Kai and J. J. is composed of two veterans and two comparative newcomers. The veterans – Wendell Marshall and Milt Hinson – share the bass chores. Wendell an alumnus of the Duke Ellington organization, played the first night of the recording date. Milt, who recently fronted his own quartet for Bethlehem (BCP-1020), was present on the second night. Both of these mean are superb musicians – technically, musically and creatively. Both are at the top of the list on their chosen instrument. And both are probably among the fairly small group of all-time underrated greats.

Dick Katz and Al Harewood comprise the younger complement in the rhythm section. Dick, who comes from Baltimore, is rapidly coming into his own as one of the better jazz pianists around today. In addition to being a hard swinger, he is one of those rare few who play intelligently. Dick is also an accomplished composer. Al Harewood is a product of Brooklyn. He as been around on the jazz scene for almost eight years, but has been more or less out of the spotlight until the Kai Winding-J.J. Johnson group. Al is a driving, tasteful drummer, but as some other drummers around, never gets int he way. – Tom Stewart

From Billboard - April 23, 1955 - (Bethlehem BCP-13): Some of the most exciting music heard on the East Coast this past season has been that provided by the quintet formed by the two leading jazz trombonists. Kai Winding and J. J. Johnson. Fine as both of these men are as individual, together they stimulate each other to heights that set new standards for both. No small amount of the credit for this swinging session is due bassists Wendell Marshall and Milt Hinton and pianist Dick Katz.

Out Of This World
Thou Swell
Lope City
Stolen Bass
It's All Right With Me
Mad About The Boy
Yes Sir, That's My Baby
That's How I Feel About You
Gong Rock

Sunday, October 27, 2019

1963 The Year's Most Popular Themes - Enoch Light

The Year's Most Popular Themes
Enoch Light and His Orchestra
Originated and Produced by Enoch Light
Arrangements by Lew Davis
Associate Producers: Julie Klages and Robert Byrne
Recording Chief: Robert Fine
Mastering: George Piros
Art Director: Charles E. Murphy
Command Records RS854SD
Grand Awards Record Co., Inc.

From Billboard - August 24, 1963: Top themes from top pictures of 1963 played stylishly by the Enoch Light Orchestra, with sparkling arrangements and nigh-perfect sound. Tunes includes themes from "Mutiny On The Bounty," "Hud," "55 Days At Peking," "More" and "Days Of Wine And Roses." Classy set.

How The West Was Won
Anthony And Cleopatra Theme
Put On A Happy Face (from "Bye Bye Birdie")
More (Theme from "Mondo Cane")
Lawrence Of Arabia Theme
Speck Not A Word (from "Island Of Love)
Theme From "Mutiny On The Bounty"
Days Of Wine And Roses
The Peking Theme/So Little Theme (from "55 Days At Peking")
Spencer's Mountain
I Could Go On Singing

Pal Joey Featuring Duke Hazlett & Adele Francis

Lady Is A Tramp
Pal Joey
Featuring Duke Hazlett and Adele Francis
Arranged and Conducted by Maxwell Davis
Cover Photo: Ken Whitmore
Art Direction & Production: Florette Bihari
Crown Records 5053

From the back cover: Here is an album from the overture to the finale the page is up almost all the way. As arranged and conducted by Maxwell Davis the sound is the big sound that you'd expect from a clever Broadway musical. The backing to the vocals is exact and seems more like an emotional alliance than a mere recording session for in fact that is what it was.

You'll undoubtedly be struck by the voice, style and phrasing of young and talented Duke Hazlett. Currently working at the LA Ronde, a smart supper club on Ventura Boulevard in the San Fernando Valley. His ease and charm of delivery that are so evident on the floor have been recaptured right here in this album. Standing thin and somehow wistful looking – hat titled back – and using a hand mike – Duke stands before the band.

The intro starts and the rhythm begins. He sings and the magic is there. Conversations cease and only the soft whir of a cocktail mixer is heard through the music. Duke's charm and complete ease are fascinating to see and hear. He's swinging' with the music now and his left hand softly snaps with the beat.

Suddenly he's saying 'goodnight' and you realize that 30 to 40 minuets have gone by. The conversations start again – but the memory of this charming spell-weaver with the richly sensuous sounds and style still lingers. And so it does indeed.

The charming and lovely Adele Francis singing the songs of Rita Hayworth brings charm and wit to her share of the album, especially you'll notice this on her understanding and piquant version of the strippers 'inner-though' while she's performing... the saucy "Zip".

The noice heard on this sample is due mostly to pressing imperfections.

There's A Small Hotel
I Could Write A Book
The Lady Is A Tramp
I Didn't Know What Time It Was
My Funny Valentine

A Fellow Needs A Girl - Joe Bushkin

Willow Weep For Me
A Fellow Needs A Girl
Joe Bushkin
Arrangements by Joe Bushkin and Glenn Osser
Photographed by Richard Avedon
Cover Designed by Art Kane
Capitol Records T832

Cover Models:
Sunny Harnett (top above Bushkin)
Gita Hall (left of Bushkin)
Nancy Berg (on Bushkin's lap)
Suzy Parker (laying on the piano)
Ginny Taylor (far right)

From Billboard - May 13, 1957: This is another tastily arranged set of quiet mood music, in the style of the pianist's earlier "Midnight Rhapsody," package for Capitol. Jocks can be expected to get on this for healthy exposure and dealers will find that the cover offers big counter appeal. Can definitely by sold.

A Fellow Needs A Girl
These Foolish Things
How Long Has This Been Going On
Don't Blame Me
Isn't It Romantic
Don't Take Your Love From Me
Falling In Love With Love
It's Easy To Remember
Then I'll Be Tired Of You
I'll Be Around
Willow Weep For Me
What Is There To Say

Guitars In Italy

Non Dimenticar
Guitars In Italy
Painting by Mino Ceretti
Aristocrat's & Repertoire: Bob Shad
Original Recording Engineer: John Cue
Re-recording Engineer: Frank Abbey
Mastering: Nal Diepold
Liner Notes: Edward Jablonski
Album Coordination: Sandi Greene
Album Design: Murray Stein
Typography: The Composing Room, Inc.
Series 2000
Time Records, Inc. S/2047
Printing and Fabrication: Globe Albums, Inc.

Personnel & Instrumentation

Electric and Rhythm Guitars:
George Barnes
Al Casamenti
Barry Galbraith
Mr. Guitar
James Mitchell

Spanish Guitars:
Don Arnone
Allen Hanlon
Tommy Kay
Bucky Pizzarelli
Mr. "X"

Leonid Bolotine
Al Chernet
Dick Dia
Tommy Lucas
Carmen Mastren
Harry Reser
Art Ryerson

Dominic Cortese

Frank Carroll

Ray Crisara

Sol Gubin

Phil Kraus
Arthur Merotti
Bob Rosengarden

From the jacket cover:
Autumn In Rome
Carnival In Venice
Dicitencello Vuie
La Ragazza
Non Dimenticar
Parlami D'Amore Mario
Tarantella Italianissimo
Toselli's Serenade
Vieni Sul Mar
Vien, Vieni

From the disc label:
Vieni Sul Mar
Parlami D'Amore Mariu
Tarantella Italianissimo
Non Dimenticar
La Ragazza
Dicitencello Vuie
Vieni, Vieni
Autumn In Rome
Toselli's Serenade
Carnival In Venice

Pops For America - Ray Bloch

Since I Met You Baby
Pops For America
18 Top Hits
A New High Fidelity Recording of America's Hit Songs
Ray Bloch and His Orchestra
Bob Eberly & Jimmy Blaine
Artie Malvin, Dottie Evans, Loren Becker, Lois Winters
The Rhythm Rockets, The Larsen Sisters and Enoch Light and His Orchestra
Grand Award G.A. 33-POP 7

Long Before I Knew You
Banana Boat Song
Gonna Get Along Without You
Love Me
Just In Time
Moonlight Gambler
Rock-A-Bye Your Baby
Since I Met You Baby
Mutual Admiration Society
Don't Forbid Me
Rose And A Baby Ruth
Slow Rock
Young Love
On My Word Of Honor