Claudine Longet

Meditation

Claudine
Claudine Longet
Producer: Tommy LiPuma
Arranger: Nick De Caro
Engineer: Bruce Botnick
Album Design: Peter Whorf Graphics
A&M Records M&M 121
1967

A Man And A Woman (Un Homme Et Une Femme)
Here, There And Everywhere
Meditation (Meditacao)
Tu As Beau Souriere
A Felicidade
Wanderlove
Hello, Hello
Sunrise, Sunset
Until It's Time For You To Go
My Guy

Sunday In New York - Peter Nero

The Philosopher

Sunday In New York
Peter Nero
Music Composed, Conducted, Arranged and Performed by Peter Nero
Associate Conductor: Jack Pleis
Orchestrations by Peter Nero and Bobby Van Eps
Album Produced by Jack Somer
Pianos by Steinway
RCA Victor LSP-2827
1964

From Billboard - April 4, 1964: Peter Nero who has seven hit albums under his belt at RCA Victor, is now casting his eyes toward the singles field. Nero, who was in New York recently for a college date and to sign a new long-term contract with Victor, feels that the singles market is now ripe for his type of material and he's now looking into the possibilities of turning out more singles product during the course of the year.

The Nero drive into the singles field will not affect his album production, however, Nero says that he'll continue putting out three LP's a year as he had been doing under his pervious arrangement with Victor. The material for the singles, he says, will be original, and not culled from album tracks.

Meanwhile, Nero is hitting the college trail with a vengeance. He played about 200 campus dates tin 1963 and reports that this year he's well ahead of the 1963 pace. Of the college scene, Nero said, "I'd have to do 20 years of one-nighters to cover all the colleges."

In addition to his campus concertizing, Nero is also extending his efforts into composing for the movies. His initial effort was "Sunday In New York" and he's under contract for three more pic scores to Seven Arts Productions.

The "Sunday In New York" album is his current click release for Victor. His previous LP's were "Then Colorful Peter Nero," "For The Nero Minded," "Hail The Conquering Nero," "New Piano In Town," "Young And Warm and Wonderful" and "Peter Nero In Person."

Sunday In New York
Taxi!
More In Love
The Cookie Crumbles
Hello
Hello Hop
Don't Speak Of Love
The Philosopher
Eileen's Theme
Wonderful You
On Frantic Fifth
Finale

Popular Themes From The Classics - The Tiffany Strings

I Love Thee

Popular Themes From The Classics
The Tiffany Strings
Cover Design: Lee
Photo by Photo International, Inc.
Tiffany Records 1011
1960

Grieg - I Love Thee
Liszt - Etude, D Flat
Saint Saens - My Heart At Thy Sweet Voice
Chopin - Prelude, B Flat
Rubinstien - Romance
Chopin - Etude, E Major
Rachmaninoff - Piano Concerto #2, C Minor

The Fisher Fidelity Standard

Introduction/Sound Demonstration/Othello

The Fisher Fidelity Standard
A Low-Distortion Musical Program Source For Evaluating High-Fidelity Equipment
Producer, composer, arranger and soloist: Lenny Hambro
Producers: Vardi & Hambro, Productions, Inc.
Recording Studios" Mediasound, Inc. - New York, N.Y.
Art Direction and Cover Design: Edward Rostock (Muller Jordan Herrick, Inc.)
Cover Photography: Steve Nichols
Executive Producer: Peter Aczel (Muller Jordan Herrick, Inc.)
1972

Rock Band (3, 6 and 9):
Mike Zager: piano and Organ (also leader in 3 and 6)
Emanuel Vardi: Viola (also leader in 9)
Russel George: Bass (Fender)
Jay Berliner: Guitar
Aram Schefrin: Guitar
Randy Brecker: Trumpet
Lenny Hambro: Alto Sax, Soprano Sax, Alto Flute and Piccolo

Jazz Band (5, 7 and 8)
Lenny Hambro: Leader, Clarinet and Alto Sax
Derek Smith: Piano
Bobby Cranshaw: Bass
Grady Tate: Drums
Mel Davis: Trumpet
Harry DiVito: Trombone

Introduction
Sound Demonstration
Othello
Rock My Soul
Jazzy Jack
Let It Be
Song For Lynn
That's A Plenty
Soul Drift

String Orchestra (1, 5 and 6)
Conductor: Emanuel Vardi
Violins: David Nadien, Harry Cykman, Raoul Polakin, Paul Gershman, Mathew Ramondi, Harlod Kohon
Violas: Richard Maximoff, Hugh Loughran, Alfred Brown
Cellos: Eleanor Slatkin, Charles McCracken, Alan Shulman
Double Bass: Donald Palma
Harpsichord: Jocelyn Chaparro

Vivaldi - Concerto in C Major For Two Trumpets
Stravinsky - L'Histoire du Soldat (Suite)
Chopin - Nocturne, Opus 48, No. 1, in C Minor
Mozart - Don Giovanni
J.S. Bach - Brandenburg Concerto No. 3 in G Major

Waltzes To Remember - Frank Chacksfield

Out Of My Dreams

Waltzes To Remember
Frank Chacksfield and His Orchestra
London Records LL 1603
1957

From the back cover: He (Chacksfield) was born in Battle, Sussex, and studied music from the age of seven. First he played the piano, then the organ, passing the Trinity College exams and appearing as a soloist at Hastings Music Festival before he was fourteen. At the age of fifteen he formed his own dance band, but his parents were against his embarking on a musical career and he started working in a solicitor's office.

All day Frank worked in Law, at night he studied music. Slowly he grew convinced that music was to be his career. War broke out and in 1940 he joined the Army. After being transferred to the Southern Command Entertainments Section at Salibury, he became staff arranger to the War Office shows, "Star in Battledress," and shared an office with Charlie Chester, both being demoted on the same day. This led to a job with "Stand Easy" at Blackpool, with Frank conducting the orchestra. Later he became composer, arranger and conductor for various well-known B.B.C. shows. He made his first record in 1948, and has directed the accompaniment for a number of the leading singers of radio and records. Amongst many other very fine recordings, his version of Limelight made for Londo in April 1953, became a best-seller. The Chacksfield Orchestra began to appear regularly on T.V. in August 1954, was the forerunner of many more successful shows... and so the success story continues.

From Billboard - October 28, 1957: The set is not unlike a previous waltz entry by Mantovani. It's full of the shimmering strings effects and the recording job is clean and bright. Selection consists of entirely of evergreens like "Alice Blue Gown," "Symphony," "The Desert Song," etc.

The Desert Song
The Pink Lady Walt
Sympathy
Alice Blue Gown
The Girl That I Marry
Sweethearts
Kiss Me Again
The Count Of Luxembourg
Deep In My Heart, Dear
Out Of My Dreams
Will You Remember
I Love You So
My Hero

Say It With Music - Rubino

Blue Moon

Say It With Music
Perfect For Party Dancing
Rubino and His Continental Orchestra
Photo: Mel Mills
HI FI Telefunken STEREO TPS 12512
1960

From Billboard - February 8, 1960: A nice easy-listening program of continental-style society music. The group performs various dance tempos including foxtrots, several waltzes, a rhumba and a meringue. Tunes are strictly standards. Good sound makes a worth-while buy at the price.

I Can't Give You Anything But Love, Baby
In Spain They Say "Si, Si"
Avalon
Red Sails In The Sunset
The Continental
Blue Moon
I'm In The Mood For Love
Say It With Music
It's A Sin To Tell A Lie
Good Night, Irene

Happy Days Are Here Again - Will Glahe

Goody Goody

Happy Days Are Here Again
Will Glahe and His Orchestra
London MONO LL 3397
1965

From the back cover: Will Glahe, master of the accordion, was born at Elberfeld (Wuppertal). Although as a boy he learned how to play the piano his father would not let him become a musician. Will Glahe was to be a teacher but, fortunately enough (one is inclined to say), he did not get a job after World War I. So then he finally enrolled at the Cologne conservatory of Herman Abendroth which meant studying in the daytime, and working in the evenings and at night in order to earn his living as a pianist at coffee shops, or cinemas.

Glahe soon put together an ensemble of his own. In 1929, the famous band leader Dajos Bela, contracted him as a pianist of this band. A year later, Glahe got his first contract for gramophone records and concentrated on the instrument that for years to come, was to be connected with his name, i.e., the accordion.

World War II put an end to his making music. Wounded and a prisoner of war, a Scottish group who knew him as a musician found him and signed him on as a band leader. In 1947, when the SUDWESTFUNK opened at Baden-Baden, Glahe returned to German pop music and together with his Musette Orchestra, he soon reached the top as a soloist and composer.

Happy Days Are Here Again
Jeepers Creepers
Goody Goody
The Music Goes 'Round and 'Round
Bei Mir Bist Du Schon
Boo Hoo
By The Light Of The Slivery Moon
Heartaches
Peg O' My Heart
Cruising Down The River
The Band Played On
Nola

Surprise Party For Dancing - Jerry Meadows

The Last Chance

Surprise Party For Dancing
Jerry Meadows and His Orchestra
Promenade 2240

Pirouette STEREO FM 86
Manufactured by Synthetic Plastics Co.

Chattanooga Choo Choo
Lucky Lady Mambo
The Last Chance
June Is Bustin' Out All Over
East Coast Cha Cha
Londenderry Air
Swing Low
Twilight In Cuba Mambo
Fascination

Shine On Harvest Moon Cha Cha
Old Devil Moon
Every Day Is Ladies' Day Merengue

All Time Favorites - George Lewis

Lisbon Antigua

High Fidelity All Time Favorites
George Lewis and His All-Star Orchestra
Golden Tone C4011
Distributed by Radio Craftsman, Co.

Lisbon Antiqua
I Can't Give You Anything But Love
Melody Of Love
Adios Muchachos
Frenesi
The Touch Of Your Lips
All Or Nothing At All
Humoresque

Bobby Hackett Plays Henry Mancini

Peter Gunn

The Most Beautiful Horn In The World Bobby Hackett
Plays The Great Music Of Henry Mancini
Produced by Bob Morgan
Bobby Hackett's cornet as photographed on this album cover was custom made by Renold Schike

Dick Hyman appears courtesy of Command Records
Epic Stereo BN 26061
1964

From the back cover: Born in Providence, Rhode Island on January 31, 1915, Hackett's first instrument was the violin, which he studied for a year when he was ten. But, with characteristic modesty, he says, "Then I heard Heifetz and those guys and I figured that's that." When pressed about his early musical associations, he says, "Listen, I have succeeded in forgetting all that." For the record, however, Bobby provided entertainment in a few Boston speakeasys ("The people came to drink and we just happened to be there and the boss had to get rid of some money"), played guitar and cornet with Glenn Miller ("Guitar is just an ace in the hole. Somebody hits me in the mouth, I play guitar") and he worked with Horace Heidt ("for about a year – I got off for good behavior").

After coming to New York, he worked as a staff musician at the radio networks, and for a while he served as a conductor for the American Broadcasting Company. He received wide public acclaim as a result of a series of mood music albums he made with a large orchestra. (When asked how he got started playing, Hackett shot back, "Jackie Gleason taught me.") These day, when he is not recording, he is on the road with various musicians. At this writing, he is appearing in Mexico with Benny Goodman.

Theme From "Peter Gunn"
A Powdered Wig
A Profound Gass
Baby Elephant Walk
Soft Touch
Don't Forget It
Days Of Wine And Roses
Theme From "Mr. Lucky"
Joanna
Moon River
Dreamsville
Song About Love

Kitten On The Keys - Jack Fina

Kitten On The Keys

Kitten On The Keys
Jack Fina
Dot Records
DLP 3268 & DLP 25268 (STEREOPHONIC)
1960

From the back cover: Jack and his trio, who are a nightly favorite in the Persian Room of the Beverly Hills Hotel, have been providing the dance customers there with these and many other variations of pianistic rhythms for a couple of years now. The same (Jack, Tiny Magardo, drums, and Herb Lessner, bass) bring their close-knit, long-standing mutual sensitivity to their albums.

From Billboard - January 4, 1960: Jack Fina, who used to perform on wax with the Freddy Martin crew, turns in a bright group of readings here of a collection of standards, played in clever boogie-woogie style. Selections include "Kitten On The Keys," "Ballin' The Jack," "Begin The Beguine" and "Honky Tonk Train."

Nola
Canadian Capers
Doll Dance
Manhattan Serenade
12th Street Rag
Kitten On The Keys
The Wedding Of The Painted Doll
Raggin' The Scale
Dizzy Fingers
Dill Pickles
Maple Leaf Rag
Parade Of The Wooden Soldiers

Sunflower - Milt Jackson

Sunflower

Milt Jackson
Sunflower
Arranged and Conducted by Don Sebesky
Produced by Creed Taylor
Recorded at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded December 12 and 13, 1972
Album Photograph: Pete Turner
Liner Photograph: K. Abe
Album Design: Bob Ciano
CTI Records
A Division of Creed Taylor, Inc.
CTI 6024
1973

Vibes: Milt Jackson
Piano: Herbie Hancock
Bass: Ron Carter
Drums: Billy Cobham
Percussion: Jay Berliner
Trumpet & Flugelhorn: Freddie Hubbard
Flute, Alto Flute, Piccolo & English Horn: Phil Bodner
Clarinet, Bass Clarinet, Alto Flute & English Horn: George Marge
Alto Flute, English Horn & Oboe: Romeo Penque
Violin: Max Ellen, Paul Gershman, Emanuel Green, Charles Libove, Joe Malin, David Nadien, Gene Orloff, Elliot Rosoff & Irving Spice
Cello: Charles McCracken, George Ricci & Alan Shulman
Harp: Margaret Ross

For Someone I Love
What Are You Doing The Rest Of Your Life
People Make The World Go Round
Sunflower

Encounter: The Swingle Singers Perform With The Modern Jazz Quartet

Air For G String

Encounter: The Swingle Singers Perform With The Modern Jazz Quartet
All selections arranged by John Lewis
Philips PHS 600-225
1967

From the back cover: "The Swingle Singers interpret baroque music in a modern style, while the Modern Jazz Quartet uses baroque concepts to interpret modern compositions," say John Lewis of the M.J.Q. and Ward Swingle, leader of the Swingle Singers. Thus it was inevitable that the meeting of the two ensembles would produce a profound and mutual admiration. It is symbolically significant that the first meeting one evening in 1964, at the conclusion of an M.J.Q. concert at the Theatre des Champs Elysees. Almost immediately Lewis and Swingle arrived at the same thought: "We must do something together." Though varied commitments kept oceans between them, a cordial correspondence began, laying the foundation for future collaboration.

I December, 1965, the two groups managed a first rehearsal in New York, using a score John Lewis had composed for the occasion. Things went even better than they'd hoped. Finally in September, 1966, the M.J.Q. and the Swingle Singers set aside time to make the present album, using compositions and arrangements John Lewis had been preparing for two years.

Aside from the remarkable musicianship possessed by these artists, the most striking thing about the six sessions require to complete this album, recorded displayed, making it possible to complete the album even more quickly than had been expected. "We'd catch the very serious Connie Kay smiling at the mischievous, give-and-take tricks played by Milt Jackson and Christiane Legrand," agree John Lewis and Ward Swingle. – John Lewis and Ward Swingle as told to Morgan Arnes

From Billboard - March 11, 1967: A dazzling display of the techniques of two of the most popular jazz groups around. The vocal styling of the Swingle Singers blend perfectly with the instrumentalists of the MJQ. John Lewis' arrangements sparkle in baroque and original compositions like "Alexander's Fugue," which is performed brilliantly.

Little David's Fugue
Air For G String
Vendome
Ricercare A Six
Dido's Lament
Alexander's Fugue
Three Windows

Things Go Better With Love - Jeannie C. Riley

The Artist

Things Go Better With Love
Jeannie C. Riley
Plantation Records PLP-3

1969
The Rib
Sunday After Church
The Artist
I'm Only A Woman
A Real Woman
There Never Was A Time
Things Go Better With Love
I'm The Woman
The Wedding Cake
Thin Ribbon Of Smoke
Our Minnie
The Backside Of Dallas

Chris Connor Sings The George Gershwin Almanac Of Song

Little Jazz Bird

Love Is Here To Stay

Chris Connor Sings The George Gershwin Almanac Of Song

Chief Recording Engineer: Tom Dowd
Associate Recording Engineer: Heinz Kubicka & Al Schmitt
Cover Photo: Jay Maisel
Cover Design: Marvin Isreal
Album Notes: Gary Kramer
Supervision: Nesubi Estegun, Ahmet Ertegun & Jerry Wexler
Oscar Pettiford appears by arrangement with ABC-Paramount Records
Atlantic 2-601
1957

Personnels

Chris Connor is accompanied by the following ensembles:

Instrumental Group One: Joe Newman, trumpet; Al Cohn, sax; Eddie Costa, vibes; Ralph Sharon, Piano; Milt Hinton, bass; Johnny Rodriquez, bongo; Osie Johnson, drums. Arranger: Ralph Sharon

Instrumental Group Two: Herbie Mann, flute or alto flute; Ralph Sharon, piano or celeste; Barry Galbraith, guitar; Oscar Pettiford, bass; Ronnie Free, drums. Arranger: Ralph Sharon

Instrumental Group Three: Ralph Sharon, piano; Oscar Pettiford, bass; Osie Johnson, drums. Arranger: Ralph Sharon

Instrumental Group Four: Herbie Mann, flute; Sam Most & Peanuts Hucko, clarinets; Ralph Sharon, piano or celeste; Joe Puma Guitar; Vinnie Burke, bass; Osie Johnson, drums. Arranger: Ralph Sharon on Nice Work If You Can Get It, the clarinet obligato is by Peanuts Hucko. On They Can't Take That Away From Me, the clarinet solo is by Sam Most.

Instrumental Group Five: Jimmy Cleveland, Jim Thompson & Warren Covington, trombones; Eddie Wasserman, tenor sax or bass clarinet; Hank Jones, piano; Barry Galbraith, guitar; Wendle Marshall, bass; Ed Shaughnessy, drums. Arranger: Ray Ellis. All trombone solos are by Jimmy Cleveland.

Instrumental Group Six: Doc Sereinsen, trumpet; Eddie Bert, trombone; Al Cohn, tenor sax; Danny Bank. baritone sax; Stan Free, piano; Mundell Lowe, guitar; Wendell Marshall, bass; Ed Shaughnessy, drums. Arranger: Ray Ellis.

Instrumental Group Seven: Milt Jackson, vibes; Stan Free, piano, Mundell Lowe, guitar; Milt Hinton, bass; Ed Shaughnessy, drums. Arranger: Stan Free.

From Billboard - July 8. 1957: Here's a handsomely packaged, top-drawer album fare well sales-wise in both the pop jazz names, the canary thrushes with tasteful perception on 30 Gershwin evergreens, including a "Porgy and Bess" medley, "Liza," etc. Double-fold cover has sock display potential, with insert page of notes and photos, also a sales plus. Sarah Vaughan and Ella Fitzgerald have Gershwin packages out, but this one can hold it's own in market.

Somebody Loves Me
Fascinating Rhythm
Little Jazzbird
That Certain Feeling
The Man I Love
Looking For A Boy
Clap Yo Hands
'S Wonderful
My One And Only
How Long Has This Been Going On
Liza
I've Got A Crush On You
Strike Up The Band
Soon
I Got Rhythm
Embraceable You

Bla Bla Bla
Of Thee I Sing
Love Is Sweeping The Country
Medley From "Porgy And Bess"
I've Got Beginner's Luck
A Foggy Day
Slap That Bass
They Can't Take That Away From Me
I Can't Be Bothered Now
Nice Work If You Can Get It
Love Is Here To Stay
Love Walked In
I Was Doing All Right
For You, For Me, For Evermore

New York's Country Ronnie Smith

Let's Call It Anything But Over

New York's Country Ronnie Smith
United Music Craft Records
Producers: Doyle Wilburn and Jimmie Helms
Photographer: Chery Llyn Cogar
UMC-101 STEREO

Special thanks to all the Nashville Musicians that have been a Big part of Ronnie Smith's sessions. They include: Jimmy Capps, Earl Ball, D. J. Fontana, Willie Ackerman, Charlie McCoy, Leon Rhodes, The Bobby Hardin Singers, Billy Linneman, Johnny Gimble, Buddy Spicher,

Country I'm Coming Home
Making Plans
Let's Call It Anything But Over
One Kiss Away From Loneliness
Why Me Lord
The King
My Home Town
Let Me Be The First To Know
Home's Just One Old Faded Memory Back
How Great Thou Art

The Lonely Hours - Sarah Vaughan

Friendless

The Lonely Hours
Sarah Vaughan
Arranged by Benny Carter
Produced by Teddy Reig
Designed by Moscow-Morrison, Inc.
Roulette Birdland SR 52104
1964

Lonely Hours
I'll Never Be The Same
If I Had You
Friendless
You're Driving Me Crazy
Always On My Mind
Look For Me, I'll Be Around
What'll I Do?
Solitude
These Foolish Things (Remind Me Of You)
The Man I Love
So Long, My Love

South Pacific - Al Goodman

Bali Hai

South Pacific

Al Goodman and His Orchestra Play Rogers & Hammerstein's South Pacific

Vocals by Richard Torigi, Susan Shaute, William Reynolds, Dolores Marin & Paula Wayne

Spin-o-rama S 3047 & Parade Hi-Fi SP-347

From the back cover of Parade SP - 347: Richard Torigi, featured vocalist on this album was born Santo Torrtorigi in the Bay Ridge section of Brooklyn N. Y.

Mr. Torigi has been singing professionally since he was 16 years old. World War II, however, interrupted his career for four years. He saw combat as a radar flying officer in the South Pacific.

Returning home, he joined the New York Opera Company in 1950, singing with them for five years. He also performed with distinction as a member of the Wagner and San Carlo Opera Companies.

Many of the leading opera troupes, groups and repertories have featured him. He has appeared with various companies in New Orleans, Chicago, San Francisco, Pittsburgh and Cincinnati. His most recent Broadway appearance was the lead in "The Most Happy Fella."

When not employed in singing roles, Mr. Torigi finds a creative outlet is his sculpturing.

Overture
Some Enchanted Evening
There's Nothing Like A Dame
Bali Ha'i
I'm In Love With A Wonderful Guy
Entre' Acte
Younger Than Springtime
I'm Gonna Wash That Man Right Out Of My Hair
This Nearly Was Mine
Happy Talk
Finale

Masterpieces By Ellington

Mood Indigo

Masterpieces By Ellington
I Uncut Concert Arrangements
Duke Ellington and His Orchestra
Recorded December 19, 1950
Columbia CL 825
1957

Personnel:

Piano: Duke Ellington & Billy Strayhorn
Saxophone: Russel Procope, Paul Gonzales, Johnny Hodges & Jimmy Hamilton
Trumpet: Nelson Williams, Andrew Ford, Harold Baker, Ray Nance & William Anderson
Trombone: Quentin Jackson, Lawrence Brown & Tyree Glenn
Horn: Mercer Ellington
Drums: Sonny Greer
Bass: Wendell Marshall
Vocalist: Yvonne

From the back cover: Born in Washington D.C. on April 29, 1899, he earned his name Duke in high school, for his exceptionally neat dress and fastidious manners. Edward Kennedy Ellington took only a few piano lessons, but became proficient enough to acquire a job as jazz pianist in Washington cafes during the first World War. At the same time, he became a member of a large orchestra organized by Russell Wooding to give Sunday night concerts in the war-time capital.

Later, he became the leader of one of Oliver "Doc" Perry's orchestras, and in 1922 he joined Elmer Snowden's orchestra, where he met trumpeter Arthur Whetsel, drummer Sonny Greer and saxophonist Otto Hardwick. Next he played with Wilbur Sweatman's band, and sometimes obtained outside engagements with a five-piece group known as The Washingtonians, including the above-named players, with James Miley as second trumpeter and trombonist Charley Ervis.

In 1926, he moved to New York and began playing at the Kentucky Club with his own orchestra. His fame began to spread, and soon publisher Irving Mills stepped in to foster the growth and promotion of the orchestra. On December 4, 1927, Ellington opened at the then-famous Cotton Club in Harlem, and here the tingling excitement of his music really burst into the limelight. The startling arrangements, the unforgettable originals poured forth in rich profusion, and the orchestra was securely established as one of the great organizations in music, a popular success, and a critical success. This record presents, for the first time in full-length recorded arrangements, four of the finest Ellington scores, typical of the advancement and lively intelligence that the Duke has brought to popular music. Each is genuinely a masterpiece, and each, obviously, could have only been created by Duke Ellington and his orchestra. – GBD

Mood Indigo
Sophisticated Lady
The Tattooed Bride
Solitude

Dance The Twist - Bunny Chess

Red Devil Twist

Dance The Twist
Bunny Chess And The Twister
Hudson Record, Co.
Acorn 677

Red Devil Twist
Hey Little Girl
The Spinner
My Baby Couldn't Dance
The Twister
Two To Twist
I Need Your Love
Diggin' The Twist
Oh This Is Love
Like, The Twist
I Just Couldn't Take It
Ankle Twist

Suite Music By Bizet - Bamberg Symphony

Carmen Suite

Suite Music By Bizet
Arlesienne Suites #1 & #2
Carmen Suite
Bamberg Symphony
Marcel Couraud - Conductor
Vox Productions VOX PL 10 230
1957

From Billboard - May 6, 1957: A well executed and packaged interpretation of the always popular L'Ariesienne Suites which obviously are subject to extremely rough competition with such names as Tocanini, Stokowski, Ormandy, etc., attached to other versions. Couraud conducts with lively understanding by comparative results don't look to touch off more than moderate sales interest.

Designed For You - The Johnny Smith Trio

I'll Take Romance

Designed For You
The Johnny Smith Trio
Produced by Teddy Reig
Back Cover Illustration: Leonard Slonevsky
Roost SLP 2238
1959

From Billboard - December 7, 1959: Johnny Smith, a big deejay favorite, displays his relaxed, sensitive musicianship here on a group of standards. He registers particularly well with tasteful, smiley stated guitar solo treatments of "Fools Rush In," "Mood Indigo," "My Romance," etc.

Fools Rush In
I'll Remember Clifford
The Lady Is A Tramp
There Will Never Be Another You
Autumn Leaves
Mood Indigo
Sentimental Journey
Three Little Words
My Romance
Sometimes I'm Happy
I'll Take Romance

Easy Listening _ Johnny Smith Trio

I Didn't Know What Time It Was

Easy Listening
Johnny Smith Trio
Produced by Teddy Reig
Cover Photo: Ray Jacobs
Royal Roost Records LP 2233
1959

From Billboard - May 4, 1959: Johnny Smith continues his easy ways with this new release, performing a group of standards with the tender touch that has made many of his guitar albums steady sellers. On this set Smith performs both unaccompanied and with a small combo, handling standards like "When I Fall In Love," and for tunes such as "Black Is The Color Of My True Love's Hair" with warm and feeling. For the many Johnny Smith fans.

When I Fall In Love
It Might As Well Be Spring
I Didn't Know What Time It Was
Black Is The Color (Of My True Love's Hair)
Like Someone In Love
You Don't Know What Love Is
Isn't It Romantic
I Remember The Corn Fields
A Foggy Day
Scarlet Ribbon
People Will Say We're In Love
The Nearness Of You

Let's Go Loco - Joe Loco

Madness

Let's Go Loco
Joe Loco and His Orchestra
Photo: Garrett Howard
IR Imperial LP 12014
1959

From the back cover: Since has been the case with Latin-American music, especially in the hands of its leading exponent, Joe Loco, who was the first man to introduce both the mambo and cha cha cha to this country. His mambo treatment of "Tenderly," the first mambo record ever released in 1951, was not only one of the biggest selling records of the day (and is still selling), but was a forerunner to adapting Latin rhythms to American pop tunes. Along with the Latin and pop tunes, Loco added another most important ingredient – jazz. This gave his music that extra bit of seasoning that made it distinctive and universally accepted. It appealed to the jazz buff, the melody lover, and the dancer. Two years later, in 1953, when Loco introduced cha cha cha, he handled it the same way for the same mass appeal.

Joe Loco is one of the most talented and versatile musicians in the business. He is a graduate of Juilliard and plays every instrument in the band. He is a fluent writer and excellent arranger. Following four years at Juilliard, Loco took post-graduate work at New York University and then studied the complicated Schilinger system of music under Richard Bender. He was playing piano professionally at sixteen years of age and before that was a hoofer. At seventeen he was playing trombone with Count Basie's band when Basie brought his first band to New York from Kansas City. He has played with dozens of the biggest bands, including Will Bradley, Joe Reisman, and Xavier Cugat, to name a few.

From Billboard - April 20, 1959: Here's an album that should appeal to all dancers of Latin rhythms, with the music dished out by one of the top Latin bands, the Joe Loco crew. On this well-recorded stereo set, the Loco crew comes thru with rhythmic versions of "From This Moment On," Nightmare," and "Tangerine."

Moderna Muchacha
Regalame Esta Noche
Shakin'
Julie Is Her Hame
Madness
From This Moment On
Nightmare
Tangerine
September Song
Take Me In Your Arms
Summertime
Gypsy In My Soul

Anita - Anita O'Day

Beautiful Love

Anita
Anita O'Day
Orchestra Conduct by Buddy Bregman
Cover Photo by Alex de Paola
Verve MGV-2000
1956

From the back cover: Through the years, from the time when she was emerging from Chicago's Schurz High School and singing with Stan Kenton and Gene Krupa and turning out such best-selling records as "Her Tears Flowed Line Wine," Miss O'Day has had an enviable reputation as a singer with a beat. This affinity for the beat, along with a highly individual manner of phrasing and the pleasantly unexpected accents and pauses, is put to good use, to begin with, on one of the finest songs Cole Porter ever turned out – "You're The Top," from the Broadway hit, "Anything Goes." For all his facile genius as a lyricist, Porter may be surprised, though – and you will be delighted – by the second chorus in which Anita supplies her own up-to-date but nonetheless appropriate words.

Also from the back cover: For this (A word about the strings: they are, fortunately, divorced from the current trend towards sticky over-lushness and are used subtly, tenderly and with artful simplicity throughout.), you can credit Buddy Bregman (like Anita a native of Chicago), who arranged the music and conducted the orchestra for these sessions in January, 1956. Bregman's name is familiar to record buyers. Following his studies at Chicago Musical College and UCLA, Bregman has been an arranger for most of the top singers in the business, including Tony Martin, Dinah Shore, Dean Martin and Ethel Merman, and for such television programs as the NBC "Comedy Hour" and the Johnny Carson show on CBS.

Here, to accompany Miss O'Day, Bergman has assembled some of the foremost musicians in Hollywood: Paul Smith, Piano and celeste; Barney Kessel, guitar (courtesy Contemporary Records) (Smith and Kessel take particularly notable solos on "Who Cares?", "As Long As I Live," and "Beautiful Love"); Joe Mondragon, bass; Alvin Stoller, drums; trombonists Milt Bernhart, Cy Zentner, Joe Howard and Lloyd Elliott; Corky Hale, harpist; and an outstanding string section.

You're The Top
Honeysuckle Rose
A Nightingale Sang In Berkeley Square
Who Cares?
I Can't Get Started
Fine And Dandy
As Lone As I Live
No Moon At All
Time After Time
I'll See You In My Dreams
I Fal In Love Too Easily
Beautiful Love