Italian Songs I Love Best - Anthony Giannini

Drigo Serenade

Italian Songs I Love The Best
Anthony Giannini Sings In Italian
Diplomat Records STEREO DS-2359

Sample noise due to subpar pressing.

Volare
Mama Che Vo Sape
Diciten Cello Vuie
Funiculi Funicula
Serenade Of Roses
Siciliani
Lolita
That's Amore
La Chcion D'Amore
Chiribiribin
Drigo Serenade
Toselli's Serenade

Two Slack / Key Guitars - Atta Isaacs & Gabby Pahinui

Waltz Medley

Two Slack / Key Guitars
Atta Isaacs & Gabby Pahinui
Producer: Margaret Williams
Engineer: Bob Lang at Commercial Recording
Album Design: Nieman Advertsing, Inc.
Published in Hawaii by Tradewinds - Honolulu, Hawaii

From the back cover: Slack Key Guitar cannot be adequately described, compared or analyzed. As Hawaiian as lime, it could almost be called an emotion poured from the very soul into the instrument. Depth of feeling is characteristic, for without the profound sensibility of the artist the spell is lost and Slack Key indeed casts a spell. There are no written instructions. Like many Hawaiian customs the method has been handed down from generation to generation. Yet each player has an individual style and unless this style is purposely imitated it remains almost a trademark.

Part of the charm of Slack Key lies in improvisation, for never is a melody played the same way twice. The throbbing, basic sound of the rhythm impart a primitive fascination. Legend has it that the method was discovered when there was a lack of back-up instruments. The Hawaiian, not having a string bass or an accompanist, used the bass strings of the guitar to play rhythm while he plucked the melody on the higher strings.

Many stories are told of the origin and method, but we can only believe what we wish to believe concerning them. We know that there are numerous tunings, among them "Wahine" and "Maunaloa," and that it is said these tunings are jealousy guarded family secrets. Thus the strings are tuned down or "slacked." The closest resemblance to the style is found in Country & Western music.

The Artist: While the popularity of Slack Key is undisputed in the Islands, it remains a sad fact that the strolling Slack Key guitarist is synonymous with a way of life that is dying away. The influx of Mainland-type music, and its influence on the young people has reduced the number of young students of Slack Key. There are possibly five or six well known, talented musicians who play in this style. Probably "Atta" Isaacs, of the famous musical Isaacs family, is the youngest. This is the first complete album by Atta, whose fine guitar work has been heard backing up many Island artists, and it boost him to the roll of star.

Atta's very good friend, "Gabby" Pahinui, long time recording star and Slack Key Guitarist of renown, wanted to play background for Atta's first album. Such is the friendship between these two who not only play music together but work together for the City of Honolulu. In this album Atta and Gabby combine their artistry with delightful results. Each complements the other and the rapport between them enables them to record using merely a nod or a raised eyebrow in lieu of a music sheet... to indicate signals known only to them. Atta's father Alvin on ukulele, his brother Norman on bass and Harold Hakuole on rhythm guitar complete the group.

I'm Livin' On A Easy
Wahine U'i E
Keali's' Mele
Noho AuA Kupa
March Medley
Ke Oni Nei Ka Huila or Luth Hula
Leaping Doll
Manuela Boy
Vaya Con Dios
Waltz Medley
Po La'Ila I
Ka Ua Noe

Mercy, Mercy - Buddy Rich

Channel 1 Suite

Mercy, Mercy
The Buddy Rich Big Band
Recorded Live At Caesars Place
Producer: Richard Bock
Engineer: Bill Porter
Art Direction: Woody Woodward
Design: Gabor Halmos
Color Photography: Peter Whorf and Ron Waller
Black & White Photography: David Redfern
World Pacific Jazz STEREO ST-20133
Liberty Records, Inc.
1975

Personnel:

Buddy Rich: Drums
Walter Namuth: Guitar (Solo)
William Prince: Trumpet (Solo)
Al Porcino: Trumpet
David Culp: Trumpet
Jim Trimble: Trombone
Richard Stepton: Trombone
Peter Graves: Bass Trombone
Don Menza: Tenor Sax (Solo)
Art Pepper: Alto Sax (Solo)
Charles Owens: Alto Sax
Pat LaBarbera: Tenor Sax
John Lewis: Baritone Sax
John Lewis: Bariton Sax
Joe Azarello: Piano
Gary Walters: Fender Bass & String Bass

From the inside cover: Buddy Rich has been singularly judicious in his choice of arrangers, in the material he has assigned them to compose or orchestrate, and in the sidemen he has undertaken, and by the roaring enthusiasm that has greeted him on every occasion.

After starting out in Las Vegas, the band played at home and abroad, in night clubs and on television, at concerts and festivals. The wheel having now turned a full circle, we now find him in this album at the epicenter of Nevadan luxury, Caesars Palace in Vegas.

"Buddy was working an engagement there with Tony Bennett," say producer Dick Bock. "On the concluding night, the band stayed over, and a specially invited audience, including quite a few show business celebrities, came to the room – or in many cases just stayed on after seeing the regular performance. We then began the recording session at 3 a.m. and finished up the album with a similar date the following afternoon. The audience and the band were so in tune with one another that everything went off more smoothly than anyone thought possible. Most of the tunes were "wrapped" in just one of two takes."

Buddy amplifies Bock's comments, "There were 400 people at the 3 a.m. session – actors, bartenders, dancers, everyone from all along the Strip. In the afternoon we invited the general public, and we had about 800. What thrill me was there were so many kids in that daytime audience! They not only dug the band, but they asked some intelligent questions about the music. We were really getting through to the youngsters."

Since the release of the last Buddy Rich album, there have been a couple of important changes in the band's personnel. Al Porcino, a trumpet player who could safely lead a brass section through a brush fire, took over the challenging first trumpet chair. Around the same time, Art Pepper, a long-time Stan Kenton man and one of the most gifted all-around reed artists in the Los Angeles area, joined the saxophone section on alto and flute.

The consequences of these two events are conspicuous in this album. The brass marches with power and togetherness under Porcino's direction. The saxophones, already a potent team, are further enhanced not only by Pepper's contributions, but also by the presence of Don Menza. Menza, a brilliant tenor player, born in Buffalo in 1936, has spent so much time living overseas that Americans have never heard about him. I caught him in Berlin in the fall of 1967, when he was a part of a radio house band that backed Don Ellis at a jazz concert. Not long after, he returned to the U.S. As you will observe on these sides, he has discovered just about all of the vast range of possibilities inherent in the tenor saxophone. – Leonard Feather (Author of The Encyclopedia Of Jazz in the '60's)

Mercy, Mercy, Mercy (Arranged by Phil Wilson)
Preach And Teach (Arranged by Don Sebesky)
Channel 1 Suite (Arranged by Bill Reddie)
Big Mamma Cass (Arranged by Don Sebesky)
Goodbye Yesterday (Arranged by Don Piestrup)
Acid Truth (Arranged by Don Menza)
Alfie (Arranged by Don Piestrup)
Ode To Billy Joe (Arranged by Charles Owens)

The Stage Door Swings - Stan Kenton

Whatever Lola Wants

The Stage Door Swings
The Stage Door Swings: Broadway Hits Interpreted By Stan Kenton
Stan Kenton And His Orchestra
Produced by Lee Gillette
Capitol Records T 1166
1959

Personnel:

Leader and Piano: Stan Kenton:
Trumpets: Frank Huggins, Al Sunseri, Bud Brisbois, Bill Catalano, Jack Sheldon
Trombones: Archie Lecoque, Bob Olson, Bill Smiley, Kent Larsen, Jim Amlotte
Saxes: Bill Perkins, Steve Perlow, Bill Robinson, Bill Turjillo, Lennie Niehaus
Bass: Red Kelly
Drums: Jerry McKenzie

From the back cover: As Stan is quick to point out, much of the credit for this album goes to his star altoist and arranger Lennie Nichaus. His fluent sax work has been heard with Kenton for a number of years, but this is his first complete album as an arranger. And Lennie has created refreshing stylings for each of these show tunes.

At Lennie's touch, On The Street Where You Live, for instance, turns into a modern, "blue lights" street; London jumps like Broadway on this one, in a complete revitalization of the popular ballad. Bali Ha'i sports an Afro-Cuban and, at times, easy rock-and-roll beat, especially when Bill Robinson's outstanding baritone work steps in to send it along. Baubles, Bangles, And Beads moves rhythmically from the Near East to somewhere south of Cape Canaveral, with a latin beat adding new dimension to the "Kismet" favorite. Hey There, till now a lyric ballad, gets a complete remake and swings like never before. And the devilish Whatever Lola Wants is given a completely new wardrobe with Robinson's fleet baritone solo and Kenton's amusingly "slurred" paint approach.

Stan and Lennie have also cooked up plenty of variations on the "riff" device. "The Stage Door Swings" is filled with them – even melodic lines are rhythmically broken up to fit a riff pattern. Sections play what only can be termed "unison solos" – they wail along the melody line, usually against a riff-like counter melody stated by another section. Outstanding soloist are on hand too, including brilliant young trumpeter Jack Sheldon, a newcomer to Stan's orchestra.

From Billboard - April 13, 1959: Kenton turns to a group of well-known show tunes for his latest LP. Set if filled with the orkster's imaginative treatments - all of which are ideal in stereo. The rhythmic and melodic variations show imagination and taste. Tunes include "Younger Than Springtime," "Whatever Lola Wants" and "I've Never Been In Love Before."

Lullabye Of Broadway
The Party's Over
Baubles, Bangles, And Beads
Ev'ry Time We Say Goodbye
Whatever Lola Wants
Bali Ha'i
Hey There
Younger Than Springtime
On The Street Where You Live
I Love Paris
I've Never Benn In Love Before
All At Once You Love Her

Nelson Riddle Interprets Great Music

Over And Over

Nelson Riddle
Interprets Great Music, Great Films, Great Sounds
Produced by Sonny Burke
Reprise RS-6138
1964

Charade
Theme From "Stowaway In the Sky"
Theme From "Taras Bulba"
Love Song from "Mutiny On The Bounty"
Sawdust And Spangles And Dreams
It's A Mad Mad Mad World
Little Girl Blue
The Most Beautiful Girl In The World
Over And Over Again
My Romance
This Can't Be Love

Dance And Dream - Dick Richards

Blue Smoke

Dance And Dreams
With Dick Richards and His Orchestra
Fortuna Records TLPS 921

Blue Smoke 

Song of the Cuckoo
Everytime You Hold My Hand
You Forgotten
Shadow Waltz
Let's Remember
Port-Au-Prince
Charmaine People

Will Say We're In Love
Under The Bridge Of Paris
When I Grow Tired Of You

The End - Earl Grant

Push De Button

The End
Earl Grant
Decca Records DL 8830
1959

From the back cover: Just this once, and for a very good reason, let's begin at the end. The End in this case being the fabulous new hit record by Early Grant.

With the same outstanding vocal style and virtuoso-touch at the organ, Earl Grant delivers a Hi-Fi album filled with great melodies such as the title song, which is sweeping the country; the Rodgers-Hammerstein favorites Hello, Young Lovers and We Kiss In A Shadow; the engaging Push De Button, from the current Broadway hit musical "Jamaica"; the extremely popular Italian import Volare; and many others.

Earl is ably assisted on all the rhythm numbers by Eddie Hunton on drums and Fred Clark on alto and tenor sax. The guitar work is divided between Al Hendrickson and Al Viola. The bass work is split between Joe Comfort and Wilfred Middlebrooks, and the conga drums is by Ukano.

Earl Grant, a native of Kansas City, is a remarkably versatile young man. This point is well illustrated in his preceding albums, "The Versatile Earl Grant" DL 8672, in which he sings, and, with equal skill and authority, alternately accompanies himself on the organ and the piano.

Intending originally to teach, Earl studied music at The New Rochelle Conservatory in New York, De Paul University in Chicago, and The University of Southern California. While working on his thesis, however, he entertained at clubs in the Los Angeles area, and proved to be an immediate hit. Although still interested in teaching, his every-growing audience won't let him off the stage long enough to try it.

From Billboard - January 19, 1959: Grant os a versatile Vocalist and his material in this package illustrates it. Show tunes, foreign-derived pop hits, calypsos - all manner of material and rhythms are here, done with aplomb. "Hello, Young Lovers," "Volare," "Careless Love," "Jamaica Farewell Song" are included.

(At) The End (Of The Rainbow)
Hello, Young Lovers
Push De Button
Volare (Nei Blu, Dipinto Di Blu)
I Feel It Right Here
I'm Beginning To See The Light
I'm Just A Lucky So And So
Alright, Okay You Win
We Kiss In A Shadow
Jamaica Farewell Song
Come By Sunday
Careless Love

Carmen - Andre Kostelanetz

Act I

Bezet
Carmen (Opera for Orchestra)
Andre Kostelanetz and His Orchestra
Photo by Kreiger (woman)
Photo (Bullfight) from book, "La Fiesta Brava," The Art Of The Bull Ring, Barnaby Conrad
Columbia CL 735

From the back cover: Facts About This Record

Recorded at Columbia's 30th Street Studio New York City, October 30 and November 6 and 13, 1953.

George Bizet: Born in Paris, October 25, 1838; died Bougival, June 3, 1875. Studied with Halevy, whose daughter he later married, and who, with Meihac, adapted the libretto of Carmen from the short novel by Prosper Merimee.

Carmen was produced at the Opera-comique in Paris in 1875. After fifty performances it was dropped from the company's repertoire until 1883 when it was restored and given ovation in virtually every country in Europe. By 1903 Carmen had been given more than one thousand times in Paris alone, and except for the work of Wagner, is the most popular opera on the European stage. Bizet, however, died, just three months after the production of the opera and never knew that he had created such a widely accepted masterpiece.

Acts I through IV

Ted Heath Swings In High Stereo

Boomsie

Ted Heath Swings In High Stereo
Recorded at Kingsway Hall
London PS 140
1958

"C" Jam Blues
Three For The Blues
My Funny Valentine
I Like To Recognize The Tune
Love Me Or Leave Me
Ja Da
Boomsie
Big Ben
Sophisticated Lady
Wrap Your Dreams In Dreams
Over The Rainbow

Carl Dobkins, Jr.

If You Don't Want My Lovin'

Carl Dobkins, Jr.
Hi-Fi Decca Records DL 8938
1959

From Billboard - September 14, 1959: The popular young hit maker has his first album offering, with a selection of tunes which includes his big singles hit, "My Heart Is An Open Book." Other selections offered by the chanter includes the well-known "True Love," from "High Society," "For Your Love" and "If You Don't Want My Lovin," written by the artist himself. Pleasing effort which teen-age fans should enjoy.

My Heart Is An Open Book
True Love
Three Little Peggies
Raining In My Heart
Class Ring
Love Is Everything
For Your Love
If You Don't Want My Lovin'
Open Up Your Arms
I'm Sorry
My Pledge To You
(Now And Then There's) A Fool Such As I

Sock Soul - Jeannie C. Riley

Neglected

Sock Soul
Jeannie C. Riley
LD Little Darlin' Corporation
STEREO SLD-8011
1968

The Heart He Kicks Around
Neglected
I'll Be A Woman Of The World
I Don't Know What I'm Doing Here
How Can Anything So Right Be So Wrong
You Write The Music
What About Them
Or Is It Love
No One Ever Lost More
One Slightly Used Wedding Band
The Price I Pay To Stay
Deaf, Dumb And Blind

Tenderly - Oscar Peterson

Little White Lies

Tenderly
Music By Oscar Peterson
Supervised by Norman Granz
Cover Photo by Alex de Paola
Liner Photo by Herman Leonard
Clef Records MG C-969

From the back cover: The sun was just starting to rise over New York City on this early morning in November 1945. Walter Gross, not long in civilian clothes after two years in the Army, sat at the piano. A dim light flickered in the apartment. Gross loosened his tie. Then he took off his tuxedo coat and wrapped it on the piano bench. Now his hands pressed the keys, gently and thoughtfully, as the first strains of an original melody evolved. It was 5 in the morning now and sunlight streaked into the apartment. Gross found the nub of a pencil in his pocket, but there was no manuscript paper to be found. Finally, he uncovered a piece of scrap paper in his wallet and quickly squared off a musical bar. Then, slowly at first, he began putting the music to paper. The song was, of course – "Tenderly."

"There had to be a romantic reason for composing a song like that," Gross recalled, years later,"and there was. Naturally, I was in love at the time – and I wasn't feeling too badly either about getting out of the Army. I'd say it was a pretty happy time all the way around."

Two week later, Jack Lawrence added lyrics to the melody and in March, 1946, "Tenderly" was published. Gross was playing piano at the Little Club in New York at the time and almost from the start to song became a popular one as well as a contagiously romantic one (Ina Ray Hutton and Randy Brooks, just to cite one couple, met while Gross was playing "Tenderly" at the Little Club and were married shortly thereafter.)

In the years that followed, "Tenderly" grew in popularity – in 1950 and '51 it was the most played standard tune throughout the world and it is not unlikely that in time "Tenderly" will replace "Stardust" as the most played standard of all. So far, close to 90 individual recordings have been cut of "Tenderly," with most of the major artists rating the song high among their personal favorites.

Gross, in turn, rates pianist Oscar Peterson extraordinarily high. "Along with Tatum," Gross declared, "Peterson is the finest jazz pianist in the world today – a brilliant musician and a wonderful interpreter of a melody..."

It is "Tenderly," of course, which is the featured side in this album, but a collection fo eight other standards as well as three Peterson originals are also included, making for a good representation of the Peterson piano technique.

Peterson, a native of Canada who left his native land to join Norman Granz's Jazz at the Philharmonic troupe in 1949, is accompanied here by Ray Brown on rhythm bass, on all tunes except the last four which feature Major Holley on bass.

Tenderly
Oscar's Blues
Little White Lies
In The Middle Of A Kiss
Nameless
Two Sleepy People
Debut
They Didn't Believe Me
Lover Come Back to Me
Where Or When
Three O'Clock In The Morning
All The Things You Are

Happy Holi-dee - Lenny Dee

Sleigh Ride

Happy Holidays-dee
Lenny Dee at The Organ with Orchestra
Decca Records DL 4146
1961

From Billboard - November 13, 1963: A bright and distinctive sampling of holiday fare on this LP by organist Lenny Dee. The album deals exclusively with non-religious material and Dee's arrangements are inventive and lilting. Besides the organ, an ork does some backing. The Anita Kerr Singers are also on hand. Besides the usual Christmas material a parody of "Mr. Sandman" is included called "Mr. Santa."

Sleigh Ride
The Christmas Song (Merry Christmas To You)
Rudolph The Red-Nose Reindeer
Let It Snow! Let It Snow! Let It Snow!
Mister Santa (Christmas version of "Mister Sandman" - Vocal by The Anita Kerr Singers)
Jingle Bells
Jingle Bell Roc
Silver Bells
Parade Of The Wooden Soldiers
Santa Clause Is Comin' To Town
Christmas Time Is Here (Vocal by The Anita Kerr Singers)
Auld Lang Syne (Vocal by The Anita Kerr Singers)

The Art Of Belly Dancing Vol. II

Chifte Telli

The Art Of Belly Dancing Volume 2
Cover Design: Lee/Myles Associates - NYC
Production Supervisor: Jilana
Photographed in Hollywood by David Alexander
Model: Roni Saunders
Engineer: Larry Ziemba
Recorded at Sound Book Studios - NYC
Gateway Records STEREO GSLP-3531
A Product of Gillette Madison, Co.

From the back cover: Jilana, our production supervisor is an experienced belly dane teacher who has been dancing since she was a young child. She became interested in the art of belly dancing after having been a ballet and modern dancer when she discovered that the movements helped reduce her waist line and tone her muscles even more so than in the others. An avid tennis player and swimmer, she combines business with pleasure by teaching belly dancing at several of New York's summer resort hotels.

2/4 Tempo
Rhumba
Fast Tempo
Chifte Telli
Fast Chifte Telli
Karsukanas

Side Two (Single Track)

Sandy Nelson And Then There Were Drums

...And then There Were Drums

Sandy Nelson
And Then There Were Drums
Pickwick SPC-3805 STEREO
By arrangement with United Artist
These recordings have been previously released
1978 Pickwick International

No Matter What Shape (Your Stomach's In)
Be Bop Baby
...And then There Were Drums
Let There Be Drums
All Shook Up
The Charge
Day Drumming
Splish Splash
Day Train

Rockin' At The Hop - Sam Taylor

Sam's Blues

Rockin' At The Hop
Music With A Beat
Sam (The Man) Taylor
His Tenor Sax and Orchestra
Photo of Dancers: Lester Krauss
Lion Full Fidelity L70054

The Big Beat
Let's Ball
Fish Roll
Oo Wee
Look Out
Sam's Blues
The Boss Is Home
Ride, Sammy, Ride
Real Gone
Do-A-Lu
Taylor Made
Road Runner

Italian Style - The Di Mara Sisters

Toreo

Italian Style
The Di Mara Sisters
Forum Circle FC-9089
Connoisseur Record Corp.
1964

From the back cover: It has been some five years now since the Di Mara Sisters left their native Italy to come to America. Musically speaking, Italy's loss has been America's gain. In the past five years Lillian, Rose and Marisa Di Mara have lived their thoroughly ingratiating young voices in sweet song and given us a touch of the sadness, the romance, the gaiety and the beauty of sunny Italy.

Back in the old country, the Di Mara girls lived the quiet normal lives of youngsters growing up. Their father, Señor Di Mara, was a representative of the International Accordion Company, and he made certain that music played an important part in his daughter's upbringing. All three studied music under a number of professional music teachers, including the well-known Maestro Sciorelli.

When the girls were ready, they made their professional debut over the Rome television station "La Rai." The three young charmers met with instantaneous success. In 1953, Senor Di Mara and his American-born wife left Italy and brought their daughters to these shores in 1955, at the Club Alamo in Detroit. The Di Maras made their first appearance in an American night club. Once again, they met with immediate success.

There are, without a doubt, many albums of Italian music and songs on the market today. What makes the work of the Di Mara Sisters different is best described in one word, authenticity. There is no vocal group that can sing with the complete authenticity and innate "known-how" as these three young ladies.

In this album, as in the first, Tony Dannon plays accordion and conducts the orchestra. Tony, who has been associated with the Di Mara Sisters for many years, is also connected with the International Accordion Company and operates an accordion school in Detroit.

Toreo
Souvenir D'Italy
La Tarantella
Che La La
Anema E Core
Parigi O Cara
I'm Alone Cause I Want You Alone
Baciare Baciare
Uno Momento
Funiculi Funicula

Gems Of Jazz Vol. 5

Jumped By A Rabbit

Gems Of Jazz
Volume 5
Decca Records DL 8043
1952

Art Hodes and His Orchestra
Sidney DeParis - Trumpet
Rod Cless - Clarinet
Brad Gowans - Tombone
Art Hodes - Piano
Eddie Condon - Guitar
Earl Murphy - Bass
Zutty Singleton - Drums

Sides recorded March 17, 1942 in New York City:

Georgia Walk
Liberty Inn Drag
Get Happy
Indiana (Back Home Again in)

From the back cover: Art Hodes has yet to receive the rightful acclaim due a pianist of his calibre. The famous Original Wolverines, Wingy Manone, and the Chicagoans, are only a few of the historical jazz groups with which he has been associated. Art has always been recognized, among those "in the know," as the greatest white exponent of genuine blues piano. It is only recently that the public has a been clamoring for his work. A great deal of his time, in those early Chicago days, was spent in absorbing the music of Jimmy Yancey, Pine Top Smith, Albert Ammons and Meade Louis, and the great Bessie Smith. It is no wonder that the blues pours out of this man's soul.

Jimmie Noone and His Orchestra
Guy Kelly - Trumpet
Jimmie Noone - Clarinet
Francis Whitby - Tenor Sax
Preston Jackson - Trombone
Gideon Honore - Piano
Israel Crosby - Bass
Tubby Hall - Drums

Sides recorded January 15, 1936 in Chicago, Ill.:

The Blues Jumped A Rabbit
He's The Different Type Of Guy
Way Down Yonder In New Orleans
Sweet Georgia Brown

From the back cover: Jimmie Noone was one of the greatest of the New Orleans clarinetists. And nothing comes finer than a New Orleans clarinet player as it should be, by a man from New Orleans. His tone and technique alone were the envy of musicians the world over. Add to this, a never ending fountain of original music expression, in perfect taste, and you realize why the name Noone is a style in itself. Noone's first big job was with Freddie Keppard's name of 1913, down in New Orleans. He later achieved fame, with a group of his own, in 1926, at the old Apex Club in Chicago. Noone records of this period with Earl Hines on piano, and Joe Poston on saxophone, are among the most treasured of all collector's items. Noone's recent death in California was a great loss to all lovers of the blues.

Jimmy McPartland and His Orchestra
Jimmy McPartland - Trumpet
Rosy McHargue - Clarinet
Joe Harris - Trombone
Dick Clark - Tenor Sax
Dick McPartland - Guitar
Jack Gardner - Piano
Country Washington - Bass
George Wettling - Drums

Sides recorded April 24, 1936 in Chicago:

Original Dixieland One Step
I'm All Bound 'Round With The Mason-Dixon Line
Panama
Eccentric

From the back cover: Jimmy McPartland's stimulating trumpet need no introduction to jazz enthusiasts. He was the only man with ability and feel enough to replace Bix Beiderbecke in the original Wolverines orchestra. After the Wolverines he joined Ben Pollack's amazing aggregation working with Benny Goodman, Glenn Miller, Ray Bauduc, Jack Teagarden and Charlie Spivak. At the time of this date McPartland was doing club work mostly in Chicago. Except for a sojourn at Nick's in New York, in 1941, Jimmy's natural habitat has always been Chicago.

More Mauriat - Paul Mauriat

Bang Bang

More Mauriat
The Dynamic Paul Mauriat Orchestra Doing The "Now" Scene!
Philips STEREO PHS 600-226
A Division of Mercury Records
1968

From the back cover: Paul Mauriat's musical biography is not unusual. That is not to say it is unworthy, but simply put that he – like many other musicians – was trained as a classical musician via the conservatory and later turned his talents to the more popular musical expressions. He entered the conservatory at age 10. He soon "discovered" jazz, and like many others, this exciting musical genre captivated him. The unique part of the Mauriat story is what he did with his discovery.

At age 17, Mauriat organized his own orchestra and began appearing all over France and the continent. Soon, he was established with a large segment of the public as a musician of considerable prowess.

Coming to Paris, Mauriat turned more and more to writing and arranging, and the results are revealed in the recordings his orchestra has since turned out. Obviously, he has never lost touch with his classical training (as his treatment of "Sunny" alone on this LP will show). He admits that his preference among serious composers runs to the modern – composers from Debussy to Stravinsky. Yet, he also confesses that he often prefers orderly classicism of Bach at times. In his continuing affection for the jazz idiom, he admires both Ella Fitzgerald and Louis Armstrong among American artists and, among French Vocalists, the abilities of Aznavour, Brassens and Salvador.

Black Is Black
Sunny
Winchestra Cathedral
Guantanamrea
Love Me, Please Love Me
Reach Out I'll Be There
Bang Bang
Lara's Theme From Doctor Zhivago
Theme From "Is Paris Burning"
En Bandouleire