Peter Matz Brings 'Em Back

Song Of India

Peter Matz Brings 'Em Back
Great Songs Hits of The Big Bands... Updated... With Love
The Exciting, New and Different Sound of Peter Matz
Originated and Produced by Enoch Light
Associate Producer: Julie Klages
Arrangements by Lew Davis
Recording Engineer: Robert Fine
Master: George Piros
Cover Art: Charles E. Murphy
Enoch Light Presents Project 3 Total Sound PR5007M
1966

From Billboard - September 23, 1967: Matz adds his imagination and explosive arrangements to such big-band standards as "Jersey Bounce,' done in Latin tempo; "Frenesi" and "Bye Bye Blues." Results are swinging and scintillating. Solo work by Vinnie Bell, Bob Tricario and Paul Griffin is outstanding.

Canadian Sunset
Bei Mir Bist Du Shon
Jersey Bounce
Frenesi
Undecided
Heartaches
Chattanooga Choo Choo
Song Of India
String Of Pearls
The Music Goes 'Round And Around
Bye, Bye Blues
Thanks For The Memory

Frank D'Rone

You Stepped Out Of A Dream

Frank D'Rone
Mercury Records
Custom High Fidelity Mercury MG 20497
1961

From the back cover: The two years that span the period between Frank D'Rone's first Mercury album, Frank D'Rone Sings (MG20418 in monaural; SR 60064 in stereo); and this his third package represents over 24 months of working to audiences, ranging from the millions who view and hear the Como TV-er to the intimate boîte goers from San Francisco to New York. The contrast and development of a singing heart is easily evident. The D'Rone who came into a Chicago recording studio in 1959 was a guitarist of repute, more relying on his fantastic musical technique than on song salesmanship. For D'Rone, still well under 30, was in 1959 a master musician who had bagged top honors as a teen-ager in national guitar competition. Not a popular type competition judged by a studio audience, but a national contest by an association of guitar teachers judged by at the peers of the stringed instrument.

In Try A Little Tenderness, the album has a choice title song. For D'Rone proves that the 24 months spent with live audiences has proven a great schooling. This is a romantic album, which ranks in emotion with any ever done. The accent is on getting the thought of the lyric across with the greatest possible impact. You'll find a greater vocal control, too, from warbling in all types of entertainment effort. D'Rone's phrasing for the sake of putting over the word and not for the sake of making it a swinging' renditions is most evident.

Blue Velvet
Long Ago (And Far Away)
You Stepped Out Of A Dream
There's A Small Hotel
I Love You
Try A Little Tenderness
The Rest Of The Way
Misty
I Wish I Knew
Invitation
Gone With The Wind
Love Is A Simple Thing

Pardon My Doo-Wah - Neal Hefti

After Supper

Pardon My Doo-Wah
Neal Hefti and His Orchestra
Featuring the Neal Hefti Singers
Cover Photo of Neal Hefti and his family in Central Park
EPIC STEREORAMA BN 504
1958

From the back cover: Neal can pick talent. He always works with the best, it seems, and this time is no exception.

There's Phil Woods, 26-year-old native of Springfield, Mass., one of the top alto sax man. He has worked with Barrent, Lennie Tristano, Richard Hayman, the Jimmy Raney quintet, and Dizzy Gillespie. That's Phil on "Ready Rudy," "Cherry Point,""Kiss Me First" and "Chug-a-lug."

Seldon Powell, heard here on "Splanky," is rapidly winning new fans with his tenor sax. (He also plays a mean flute and piccolo.) Hefti helps give this young New Yorker a boost when he added him to the big band he formed in 1952.

Jerome Richardson, another versatile jazzman, put his flute aside and stayed with his alto horn for this date. A Lionel Hampton alumnus, Jerome now spends most of his time in New York freelancing. You'll hear his big sound on "After Supper" and "Oh, What A Night For Love."

Sonny Russo on trombone in another lad who traveled with the Hefti-Finnegan era. Now in a Broadway musical's pit band, Sonny is always called upon for record sessions such as this.

Frankie Rehak is another solid trombonist who credentials list Dizzy (for the Pakistan and Far East safari) and Charlie Barnet. A sample of his horn is included in "After Supper."

Ernie Royal, whose trumpet is herein heated on "Splanky," "Chug-a-lug" and "After Supper," came out of Los Angeles to play with Hampton, then with the Phil Moore Four and after three years in the Navy during World War II, with Herman and Ellington. Ernie helped the Stan Kenton crew blast off on many a date and started free-lancing five years ago.

Al Cohn, another busy-as-he-wants-to-be-because-he's-so-good tenor man. Only 32, Al is a Brooklnite who saw the world with Joe Marsala, Georgie Auld, Buddy Rich and the fabulous Herman Herd, vintgage '48 and '49. Neal, hip to Cohn's horn work, always includes him in his plans.

Joe Wilder, the fabulous Philadelphian who saw action not only with the Marines in our last Time of Peril, but with Hamp, Lunceford and, of course, the Count. That's Wilder on "Coral Reef," with a muted trumpet.

Milt Hinton, the granddaddy of this ensemble, was born in Vicksburg, Miss., in 1910. Milt grew up in Chicago, playing his beloved bass fiddle in high school, later with Eddie South, Zutty Singleton and Cab Calloway. His service record also includes honors with Basie, Satchmo, Benny Goodman and scads of top-flight albums (of which this is one more).

Joseph Galbraith and his impeccable guitaristry, out of Pittsburgh, has been free-lancing around New York, doing studio work after traveling with Red Norvo, Teddy Powell, Claude Thornhill and Hal McIntyre. You'll find one sample of his touch on Li'l Darlin'."

Lou Stein, pianist, another Philadelphian who started out as a saxophone player. His past associates include Buddy DeFranco, Ray McKinley and the Glenn Miller band of U.S. Air Force days. Be it traditional or modern style, Stein delivers.

Billy Byers, Los Angeles trombonist, did studio work in Hollywood before moving eastward with Georgie Auld, Buddy Rich and Benny Goodman. Now quite busy, thank you, as a free lance.

Mel Davis, a relative newcomer for the front ranks, recently cut an album of his own for Epic called "Trumpet With A Soul," which is as apt a description of his sound as you can find.

Charlie Persip, another Gillespie alumnus, is free-lancing at present and helping to make jazz albums that much more popular with his tasteful and pulsating stick work.

Sol Gubin, drummer for all but four of the 12 numbers included here (Pesip sat in on "Li'l Darlin'," "Cool Blue," "Kiss Me First" and "Oh, What A Night For Love") has down mostly studio and TV work around New York. He has, nevertheless, impressed more and more of the older jazzmen with his drive and style

George Duvivier, a Conservatory of Music and Art alumnus in New York, has built the rhythm with his bass for such as Nellie Lutcher, Lena Horne, Pearl Bailey and Mr. B, Billy Eckstine. George is a composer and arranger in his own right. He's there on "Coral Reef," "Buttercup," "Two For The Blues" and "Ready Rudy." – Fred Danzig

From Billboard - June 30, 1958: A swinging selection of Heftiana, with a good driving band sound, this time augmented by a mixed chorus, employing lyrics plus instrumental type vocal sounds. The "Doo-Wah" title sets the tone. Titles are such as "After Super," "Cool Blue," "Coral Reef," etc. with added lyrics by Steve Allen and Jon Hendricks. Smart arrangements provide good upbeat background stuff.

Kiss Me First
Chug-a-lug
Oh, What A Night For Love
Cheery Point
Two For The Blues
Li'l Darlin'
Ready Rudy
Buttercup
After Supper
Coral Reef
Splanky
Cool Blue

A Girl Is A Girl Is A Girl - Tony Williams

Laura

A Girl Is A Girl Is A Girl
The Voice Of Tony Williams
Lead Singer Of The Platters
Wacker Series
Mercury Records HI-FISTEREO SR 60138
1959

From the back cover: For his first solo album effort, Tony Williams, assisted by his musical mentor, Buck Ram, decided upon a melodic tribute to The Girls. Because in the five years since his featured vocalizing helped make the first Platters' hit – Only You – the girls of the world have been his greatest boosters!

Tony's sensitive and sincere interpretation of a lyric has resulted in his being compared to many as another "new but different" Nat (King) Cole. Williams realizes no greater compliment could be given. Born in Rochelle, N.J., Tony started singing as a child with his mother, father and sister in a gospel quartet. His real rise came when he joined the Platters in 1953.

From Billboard - November 16, 1959: The lead singer of the Platters turns in a solid performance in his first solo LP. He warbles with feeling and sincerity on a group of standards with fem names – "Ramona," "Ida," "Laura," etc. Excellent jockey wax.

Peg O' My Heart
Rose Of Washington Square
Ramona
Charmaine
Peggy O'Neil
Mona Lisa
(I'm In Heaven When I See You Smile) "Diane"
Amapola
Jeannie
Ida (Sweet As Apple Cider)
Macushla
Laura

Those Were The Days - Phyllis Newman

World Of Music

Those Were The Days
Phyllis Newman
Arranger: Arnold Goland
Produced by Arnold Goland, Richard Gottehrer & Seymour Stein
Engineer: Neil Ceppos
Recorded at Bell Sound Studios, New York City on October 26th and October 30th, 1968
SIRE STEREO SES 97002
Distributed by London Records, Inc.

From Billboard - December 7, 1968: There's so much versatility and charm in Phyllis Newman's vocal ways that her debut Sire album has a strong chance for a hot sales and spinning run. The material covers a range of pop moods and Miss Newman takes every one of them in her stride with payoff results.

Those Were The Days
When I'm 64
Until It's Time For You To Go
World Of Music
Gentle On My Mind
Frank Mills
Hold Me Tight
Your Mother Should Know
Both Sides Now
Misty Blue
The Party's Over

Summer Evening Serenade - Stanley Black

Memory

Summer Evening Serenade
Stanley Black
Gown on cover by Filcol
Garden Chair on cover by Salterini
London Records LL 1332
1956

For the back cover: Stanley Black was born in London on June 14th, 1913. His musical education began at the Matthay School Of Music, where he studied the pianoforte. After this opening skirmish he went on to work, as pianist and arranger, with various dance-bands and light orchestras, gaining invaluable experience and knowledge both of what kind of music pleased the public taste and of how the public liked it served: hot, sweet, strong, or subtle-flavored. In 1938 (as an example of his thoroughness) he paid a visit to South America to obtain a first-hand knowledge of Latin-American music, and a year later enlisted in the R.A.F. In April 1943 he stepped unobtrusively but firmly into the limelight by taking over the conductor's baton of the B.B.C. Dance Orchestra, and during the following years he averaged the astounding total of six programs a week, a physical and mental strain which many dance-band conductors would not care to endure. His orchestra, with his arrangements, supplied the music ( a tremendously important ingredient in the success of a variety show) to such top-line programs as "Much Binding" sagas, "Ray's A Laugh", and scores of others. In 1947 he married the vocalist, Edna Kaye.

From Billboard - April 7, 1956: To noted BBC maestro has cut a pleasant album of mood music, reminiscent of summer evening and balmy breezes. The arrangements are eminently danceable and have showmanship and taste. Included are "Serenade To Eileen," "From Here To Eternity," "Melody Of Love," "Tango Desire," "Siciliano," etc.

Gaviotta
Serenade To Eileen
Siciliano
From Here To Eternity
Memory
Tango Desire
Starlight Serenade
Carbet de Bal
Le Grisbi
Magic Circles
Melody Of Love
Estrellita del Sur

Joan Of Arc Presents MGM's Music To Your Taste - Volume No. 1

Ill Wind - George Shearing

Joan Of Arc Presents MGM's Music To Your Taste
Volume No. 1
MGM High Fidelity PM-14

Stormy Weather - David Rose
Don't Worry About Me - Count Basie
I Should Care - Andre Previn
Blue Moon - Mel Torme
South Rampart Street Parade - Al Hirt
Hootenanny Hoot - Sheb Wooley
I'm Comin' Virginia - Harry James
Ill Wind - George Shearing
It Don't Mean A Thing - Stan Kenton
La Dolce Vita - Eartha Kitt
Panama - Pete Fountain
Mam'selle - Ray Charles Singers

A Real Swingin' Affair - Tommy Watt

The Moon Was Yellow

A Real Swingin' Affair
That Wonderful Sound And Beat Of A Big Band
Tommy Watt And His Big Swingin' Band
Recorded by E.M.I. London
High Fidelity King International
King Records 2012
1960

Personnel:
Trumpets: Stan Roderick, Albert Hall, Tommy McQuater, Bert Courtley
Trombones: Jack Bain, George Chisholm, Jackie Armstrong, Jack Irvine
Alto Sax: George Hunter
Tenor Sax & Bass Clarinet: Bob Efford
Tebor Sax, Clarinet & Vibes: Tubby Hayes
Bariton Sax & Clarinet: Ronnie Ross
Flute & Piccolo: Peter Edge
Bass Joe Muddel
Guitar: Ike Issacs
Piano & Celeste: Tommy Watt
Drums: Phil Seamen
Percussion: Tommy Blades

From the back cover: I first met Tommy Watts in 1944 at the R.A.F. Air Crew Reception Center in Scarborough. We were both sitting in depressed attitudes contemplating the inoculations and vaccinations ahead – but each of us recognized the other as being connected with "show business". It must have been our hair cuts! I had just left repertory in Harrogate – but Tommy had been called away form the more rarified atmosphere of the Dark Barriteau outfit. This band was then at the top and Tommy was, of course, its pianist. Needless to say a friendship sprang up between us and together we organized the station concerts – whilst in the N.A.A.F.I. I would gather the crowds round Tommy to hear his incredible handling of that monster – the N.A.A.F.I. piano!

After Scarborough we lost sight of each other until 1950 when I came to the Whitehall Theatre with "Reluctant Heroes" – but in the intervening years Tommy had finished the R.A.F. service and was now well established as a West End pianist and up to 1955 he played with such names as Ronnie Muntro, Kathy Stobart, Paul Fenjoulet, Ken Mackintosh, Harry Parry, Ambrose and Harry Roy – so all the time his experience was increasing. Then in 1955 I asked him if he'd ever though of forming his own band. Tommy eagerly agreed to the idea and together we arranged a private recording session which immediately resulted in his being signed up by Parlophone. Since then he has made several 78's, one E.P. and now here, at last, is his first L.P. – Note by Brian Rix

From Billboard - August 22, 1960: Tommy Watt and his Big Swingin' Band King 2012 Album is one of King's new international series, and was recorded in London. Watt has a swinging big band, with danceable arrangements. "Won't You Come Home, Bill Bailey," "The Moon Was Yellow," "Easy Street" are typical.

Won't You Come Home Bill Bailey
Easy Street
Going To The Country Fair
Beaulieu Beef
Poor Little Rich Girl
Medley: Lullaby Of Leaves, It Might As Well Be Spring, September Song
I'll String Along With You
The Moon Was Yellow
The Piper's Son
Scooter Brain
Vibe Rations
Five Foot Two, Eyes Of Blue
Medley: My Heart Stood Still, Zing Went The Strings Of My Heart, My Heart Belongs To Daddy
Rock Bottom

Swingin' On The Golden Gate - Bob Scobey

I Can't Get Started With You

Swingin' On The Golden Gate
Bob Scobey's Frisco Jazz Band
With Clancy Hayes
Arrangements: Matty Matlock
Cover Photo: William Claxton
RCA Victor LPM-1448
1957

Trumpet and Leader: Bob Scobey
Trumpet: Dick Catheart
Clarinet: Matty Matlock
Trombone: Abe Lincoln, Warren Smith & Jack Buck
Piano: Ralph Sutton
Bass: Red Callender
Tuba: Bob Short
Drums: Sammy Goldstein
Guitar or Banjo: Clancy Hayes

From the back cover: Not enough, either, can be said in praise of Scobey's Frisco playmate, Clancy Hayes. Nat Hentoff of Down Beat called him an "urban minnesinger," and this is all right with Clancy, especially as Nat went on to say that Hayes is "one of the better singers on records." At any rate, Clancy's warm, easy, casual vocals are a joy to hear, which is as it should be because Clancy takes great joy in singing. Also, it would be hard not to rave about Ralph Sutton's piano, for it has always seemed that Sutton would rather play than read and you can be sure that he'd much rather have you listen and forget about the words of praise. Anyhow, he's just great! As is Matty, of course, and that anchor man of a trombone player, Abe Lincoln, who handles all of the trombone solos here.

Sunny Disposish
Carolina In The Morning
Feet Dragin' Blues
It Happened In Sun Valley
I Can't Get Started With You
Come Back Sweet Papa
Wabash Cannonball
New Orleans
Ain't-Cha' Glad
Let's Dance The Ragtime, Darlin'
Snag It
Waiting For The Robert E. Lee

Golden Hawaiian Hits - The Banjo Barons

Medley #5: Honolulu Punch / Hawaiian Holiday / Male Kalikimaka

Golden Hawaiian Hits
The Banjo Barons
Arranged and Conducted by Marty Manning
Produced by Two Macero
Columbia Records STEREO CS 8783
1963

Medley #1: My Little Grass Shack In Kealakekua, Hawaii / Pagan Love Song / Hawaiian War Chant
Medley #2: Hello, Aloha! - How Are You? / Adventures In Paradise / I've Found A Little Grass Shack
Medley #3: Song Of The Islands / King Serenade / The Cockeyed Mayor Of Kaunakakai
Medley #4: A Song Of Old Hawaii / Maori Brown Eyes / It Was In Kalua

Medley #5: Honolulu Punch / Hawaiian Holiday / Male Kalikimaka
Medley #6: Tropic Trade Winds / Lovely Hula Hands / Aloha Oe
Medley #7: Blue Hawaii / Hawaiian Paradise / The Hawaiian Wedding Song
Medley #8: For You A Lei / An Old Hawaiian Custom / The Hawaiian Christmas Song
Medley #9: In A Little Hula Heaven / Cocoanut Grove / Pretty Red Hibiscus
Medley #10: Hawaii Calls / Hawaiian Hospitality / To You Sweetheart, Aloha
Medley #11: I Want To Learn To Speak Hawaiian / When Hilo Hattie Does The Hilo Hop / On The Beach At Waikiki
Medley #12: Sweet Leilani / Aloha, Kuu Ipo, Aloha / South Sea Island Magic / Hawaii Ponoi

Cruise Along - Dance Along - Geraldo

Quick Step Medley

Cruise Along - Dance Along
To The Music Of Geraldo and His Orchestra
32 Favorites From The Twist To The Waltz
A&R Coordinator: Ethel Gabriel
Recorded in England
Cover Courtesy of Conard Steamship Co., LTD.
RCA Camden CAL-720
1962

From the back cover: Outstanding among cruise-liner maestri is Geraldo, musical director of the Cunard fleet. A leading British bandleader, he reigned in the Thirties along with such other great British batoneers as Ray Noble, Ambrose and Jack Hylton. His orchestra was one of London's top society bands, that wonderful and long-lived genre that plays a suave music perfect for dinner-dancing, for discreet conversation, for the fun and games and party activities of civilized people on a night out. When the present Duke Of Windsor was still the Prince of Wales, Geraldo was more often than not responsible for the musical background of that gay period. His long reign as piper to British society is further evidenced by the fact that his band was selected to play for Queen Elizabeth and Prince Philip at festivities in 1955.

Quick Step Medley: Brazil / Taboo / Perhaps, Perhaps, Perhaps / Besame Mucho
Mambo Medley: Mambo No. 5 / Mambo No. 8 / El Cumbanchero / Mambo Jambo
Foxtrot Medley: Perfidia / You Are Always In My Heart / You Belong In My Heart / Cherry
The Twist Medley: Deep In The Heart Of Texas / Come To The Mardi Gras / You Are My Sunshine / I'm Thinking Tonight Of My Blue Eyes
Quick Step Medley: Baia / Can't Get Out Of This Mood / Tico-Tico / Granada
Cha Cha Cha Medley: Patricia, It's Patricia / Sweet And Gentle / Sway / Nicolasa
Old Fashioned Waltz Medley: The Story Of Love / Be Mine Tonight / Casey / Maria Elena / The Story Of Love
Foxtrot Medley: Frenesi / Without You / Come Closer To Me / Time Was

The Original Peanuts - The Sunglows

Happy Hippo

The Original Peanuts
The Sunglows
Arranged, Produced and A&R: Manny Guerra
Distributed by Masters Releasing, Inc.
Printed by Tanner 'N' Texax, Inc.
SLP-103

Peanuts
The Circus
Merry Go Round
Happy Hippo
Battle Of Flowers
Beer Barrel Polka
Popcorn
La Raspa
Rancho Grande
Chin-Wen-Wen Chona
Colt 45
The Indian

Doc Severinsen's Closet

The Court Of The Crimson King

Doc Severinsen's Closet
Doc Severinsen and The New Generation Brass
Arranged and Produced by Don Sebesky
Recorded at A&R Studios
Engineered by David Danders
Cover Photo: Douglas Kent Hall
Cover Design, Liner Photo and Liner Design by William Shepard
Command Records RSSD 950S
A Division of ABC Records, Inc.
1970

From Billboard - July 4, 1970: Doc Severinsen is a flashy trumpeter with a dynamic musical style. His range is wide and sure as attested to in this album which runs the gamut from the Beatle to Bela Bartok. The package was tastefully arranged and produced by Don Sebesky.

The Court Of The Crimson King
Bottleneck
Surfer Girl
Give Me Just A Little More Time
Footprints Of The Giant
Power To The People
Abbey Road Medley

A Place In Time - Dave Brubeck

Pennies From Heaven

A Place In Time

The Dave Brubeck Quartet
Formerly titled "Brubeck Time"
Featuring Paul Desomd, Sax; Bob Bates, Bass; Joe Dodge Drums
Cover Art: John Berg
Recorded in October and November, 1954
Columbia Jazz Odyssey STEREO 32 16 0248
Electronically re-channeled for stereo
A Product of CBS, Inc.

From the back cover: In late 1954, when I was asked to line up material for a studio session in New York, I talked it over with Paul, Joe and Bob, and we were all reluctant to do a formal studio session. Of course, we had heard of the wonderful acoustics of Columbia's 30th Street studio, but, no matter how great it might be, it was still a studio. We all felt our group performed better before a live audience.

I was pretty skeptical when I walked into that enormous room, so it was a real surprise to me that most of the tunes we recorded during the studio session were good on the first take. If memory serves me right, "Brother, Can You Spare A Dime," "A Fine Romance," "Why Do I Love You," Keeping' Out Of Mischief Now" and "Pennies From Heaven" were all first takes. Studio or not, I have to admit things went well.

As you might imagine, though, we felt that we were on pretty shaky ground, and undoubtedly our playing reflected the shakiness. Gjon Mili (the famous photographer who was at the session to consider the Quartet for a film feature) was impatient with our nervousness, and after the first take, he declaimed in clear, firm tones, "My first impression was right. You're no good."

At this point, my blood began to boil. Once again I resented all studios and all people who thought jazz "is like a faucet; it goes off and on." of course, Mili had first heard us in fairly top form at Basin Street with a good, live audience. Naturally, he wanted that for his sound track, but now were we to deliver under these conditions?

But we jumped in, and now when I hear "Stompin' for Mili," it is evident that this is my musical expression of rage and frustration. The first quote I played in my solo, "Thank You For A Lovely Evening," pointed directly at Gjon.

We finished with a feeling that we had redeemed ourselves. I can still see Mili jumping from his chair, exclaiming "You're hot! By God, you're hot! Don't stop now!"

Anyway, we all ended friends again and amenable to the suggestion that we next play a minor blues in a quiet view. "I would like," said Gjon, closing his eyes, "to see Audrey Hepburn come walking through the woods..."

"Gee," said Paul, wistfully, "so would I."

"One," I said, noticing the glazed expression about Paul's eyes, "two, three, four."

And we played it. Hence the title.

Pete Rugolo once told me that he would like to hear more of the arranged counterpoint we used to play. So when we decided to record in a formal session, I wrote arrangements for the first and last choruses of most of the tunes, but we retained the privilege of playing our own little games of improvising counterpoint before going into the written chorus. Many people have suggested that we play some of the arrangements that were more or less characteristic of my earlier trio and quartet. So, the arrangement of "Brother, Can You Spare A Dime" is a very simple canon, with the alto stating the theme and the bass and piano handling the successive entrances.

The arrangement of "A Fine Romance" begins with the piano stating the first theme in the first eight bars; then piano and bass skip to the bridge, leaving the alto sax to play the second eight-bar section. Paul then plays the bridge, while Bob and I repeat the theme of the first eight bars – a kind of "Row, row, row your boat" construction.

In "Keepin' Out Of Mischief Now," we tired to retain the true flavor of the original Fats Waller composition. Most of the newer schools of jazz have forgotten the wonderful old Waller tunes.

"Jeeper Creepers" is a natural for jazz groups, but the first time I ever heard it played as a jazz tune was in 1949, when trumpeter Dick Collins wrote an arrangement for himself, Paul and the trio I had then. However, Dick isn't responsible for our hokey ending – we just tagged that on for laughs.

Except for a series of modulations, we stuck very close to the original melody of "Why Do I Love You." And there's no arrangement on "Pennies From Heaven" – it's a one-shot version of an old standard that was thrown in for good measure and just happened to turn out well.

All in all, I think it's a good album. Paul was great on "Audrey," and I think there are some exciting moments in all the tunes. The main criterion is not our individual efforts so much as how we perform as a group, the overall feeding and form that sometimes – even in spite of studios – do take shape. – Dave Brubeck

Audrey
Jeepers Creepers
Pennies From Heaven
Why Do I Love You
Stompin' For Mili
Keepin' Out Of Mischief Now
A Fine Romance
Brother, Can You Spare A Dime

Stan Kenton Presents

June Christy

Stan Kenton Presents
Capitol Records T248
1955

Art Pepper
Maynard Ferguson
The Halls Of Brass
Evening In Pakistan
June Christy
The House Of Strings
Shelly Manne
Soliloquy

Warm And Tenderly - Anna Maria Alberghetti

I've Got The World On A String

Warm And Willing
Anna Maria Alberghetti
Arranged and Conducted by Nelson Riddle
Produced by Voyle Gilmore
Capitol Records ST1379
1960

From the back cover: Miss Alberghetti is, of course, the Hollywood beauty from Pesaro, Italy, whose scrapbook now bulges with a diversity of praiseful clippings. Her effortless soprano, which won many hearts at her Carnegie Hall debut at the age of thirteen, has continued to win hearts and tributes at the Waldorf in New York, the Cocoanut Grove in Los Angeles, the Desert Inn in Las Vegas, and many other grand entertainment centers where she attracts vast audiences.

At the other extreme, her private life as one of the most exciting bachelor girls in the movies, TV and night clubs is chronicled by syndicated columnists all over the world.

Warm And Willing
Anema E Core (With All My Heart And Soul)
In The Still Of The Night
I've Got The World On A String
Smoke Gets In Your Eyes
Porgy
Cuban Love Song
I Have A Dream
Non Dimenticar (Don't Forget)
I'm In The Mood For Love
How's Your Romance?
Come Back To Sorrento (Torna a Surriento)

Rome Today - Tony Mottola

Semplicissimo

Romea Oggi
Rome Today
Enoch Light Presents Tony Mottola
Produced by Enoch Light
Associate Producer: Julie Kalges
Arrangements: Tony Mottola & Lew Davis
Director of Engineering: Phil Ramone
Cover Photos: John Vidol
America's Greatest Guitarist Plays Today's Italian Hits
Project 3 Total Sound Stereo PR 5032 SD
1968

From the inside cover: The setting in which Tony Mottola has placed these big hits of today is the sound of today; a mixture of the beat that identifies the Sixties as they approach the Seventies, and a cushion of strings for Tony's guitar. Supplementing the strings are Dom Cortese's rich accordion. Phil Bodner's bright-toned flute and piccolo and Dick Hyman's keyboard virtuosity on piano, organ and harpsichord. The rhythm section on which this ensemble rolls is made up of Bucky Pizzarelli on rhythm guitar, Bob Haggart, bass, Phil Kraus, vibes and Bill Lavorgna, drums.

Help Yourself
A Man Without Love
Begin To Love
Semplicissimo
Mala Fennena
Come Prima
Vacanze
Forget Domani
Amore Scusami
You And Only You
Volare
Sentimental Guitar

Big - Lee Evans

Harlem Nocturne

Big
Big Piano / Big Band / Big Sound
Lee Evans
Produced by Andy Wiswell
Notes by Dorothy Kilgallen
Capitol Records T 1625
1961

From the back cover: When Lee Evans was chosen to play the piano on "The Gershwin Years," television casting hit a new high – because Lee Evans plays the way George Gershwin wrote. At the keyboard, he is a soaring romantic.

Although his virtuosity encompasses amusing treatments of rhythm tunes and impeccable handling of the classics, to my mind he creates the most excitement when he applies his lush technique to melodies that are resplendent and haunting.

In this album he runs the gamut from a swift, humorous version of "The Trolley Song" to the heartbreaking tenderness of "Lullaby Of The Rain." His rendering of "You Forgot Your Gloves" is explicit and pure, and I think Cole Porter would applaud his stirring Latin translation of "Love For Sale."

Lee Evans is a good-looking young man from the Bronx, N. Y. Like George Gershwin, he is a product of the Big Town, and often the city's rhapsodic moods crowd their way into his playing. He has studied music ever since he can remember; he got his bachelor of arts degree at New York University and his master of arts at Columbia. While scarcely old enough to look the part, he spent a year teaching at Junior High School 123 in the Bronx.

His one important excursion from urbanity occurred in 1954 when he joined the United States Army and served as rehearsal conductor for the 291st Army Band at Fort McCellan, Alabama.

I first saw and heard Lee Evans in 1957 when he played at the Left Bank Restaurant in New York as the star of a trio composed of piano, bass and drums. I soon found that I could listen to him night after night, always with the same sense of discovery and excitement. And I had plenty of company; there were regular customers who simply refused to go home until Lee had played their favorites from his repertoire.

Since his debut at the Left Bank, he has played the St. Moritz Hotel and the Embers in New York, the Sands in Las Vegas, and various music-loving rooms around the nation. Wherever he goes, there seems to be an enormous audience for this keyboard perfectionist who can oblige his fans with anything from the latest show tune to a delicacy by Mozart.

The Trolley Song
The Moon Was Yellow
You Forgot Your Gloves
Lullaby Of The Rain
Love For Sale
Hallelujah
Harlem Nocturne
The House Is Haunted
The Girls Of Rome
Tin Tum Tan
Beyond The Reef
Blow Gabriel Blow

Italian Symphony - Serge Koussevitzky

Second Movement - Andante con moto

Mendelssohn
Italian Symphony
No. 4, In A, Op. 90 ("Italian")
Boston Symphony Orchestra
Serge Koussevitzky, Conductor
RCA Victor LM-20 (10 inch LP)

Mood Music - Leroy Holmes

All Of Me

Mood Music
The M-G-M Strings conducted by Leroy Holmes
A High Fidelity Recording E246 (10 inch LP)
Lowe's Inc.
1954

I'm In The Mood For Love
Two Sleepy People
All Of Me
Snuggled On Your Shoulder
Two Cigarettes In The Dark
So Beats My Heart For You
Linger In My Arms
I Surrender, Dear

South Sea Island Magic - Pua Almeida

South Sea Island Magic

South Sea Island Magic
Pua Almeida & His Polynesians
MGM Records
A High Fidelity Recording E20 (10 inch LP)
Lowe's Inc.
1955

From the back cover: Charles Puaonaona Almeida better known as "Pua" was born in Honolulu on February 17, 1922. This young man of Hawaiian-Portuguese racial extraction started his training of both voice and music of birth under the guidance of his blind father John K. Almeida to whom recently, special tribute was paid as Honolulu's "King Of Composers".

Pua made his debut to the entertainment world at the age of 6 with a ukulele in his hand, singing and playing a solo for an island concert. He went as far as the 8th grade and then had to leave school to work with his father playing music for a living.

In 1940, in Honolulu, Pua organized his own orchestra consisting of 4 saxophones, 2 trumpets, a trombone, drums, piano, bass, guitar and steel-guitar. He played with great success at various island night clubs such as Queen's Surf, Trader Vic's, Lou Yee Chai's, Pago Pago, Waikiki Tarven, Don The Beachcomer and Pearl City Tavern.

In 1947 he made his first trip away from the islands with 3 musicians and a dance to entertain for 6 months at the Pago Pago Club in Colton, Calif. In 1950 he entertained on Okinawa, Japan for 5 months and then he joined Alice Hall's quartet in Honolulu as bass-man, steel-guitar player and vocalist. Later he left the quartet and went back to island music, opening at the Huntington Hotel in Pasadena with Eddie Bush, George Kainapau and Alfred McIntyre. He is currently working under the leadership of Sam Koki at the 7 Seas Club on Hollywood Blvd., across from Grauman's Chinese Theatre in Hollywood and at the same time is doing television shows and recordings.

Pua's experience in music and entertainment is priceless for he is one of the few musicians and singers who has so much love and soul in his work that to listen to him is to hear the rolling of surf, and the carefree laughter of island people, and to smell the sweet fragrance of tropical flowers.

In this MGM Record album the voices of Solomon Kamahele Jr., Sam Kaaupuni and Sam Koki are also heard with Pua Almeida.

Fish And Poi
South Sea Island Magic
Hawaiian Hospitality
Blue Pacific Moonlight
Hawaii Calls
To You Sweetheart, Aloha
A Million Moons over Hawaii
Sweet Leilani

For Members Only - Shirley Scott

Freedom Dance

For Members Only
Shirley Scott Trio
Orchestra Conducted By Oliver Nelson
Produced by Bob Thiele
Cover Design: Flynn/Viceroy
Cover and Liner Photos: Bob Ghiraldini
Liner Design: Joe Lebow
A Product of ABC-Paramount Records, Inc.
Impulse! STEREO A-51
1963

From the inside cover: The high technical level of her (Scott) playing stems from her studies at Ornstein School of Music, in Philadelphia, which she attended following Girls High. An excellent pianist, her switch to the organ was not due to the economic reasons that have compelled others to it, but based on the welcome excitement of the many tonal voices available through the instrument.

Shirley, at one time a member of the popular Eddie Davis Trio, and now the leader of her own trio with Stanley Turrentine, has become recognized as one of the foremost organists of jazz. She has had to overcome the natural prejudices (if prejudice is natural in any form) to her successful ability in making the organ respond to her desires, she is, finally, a well-balanced artist in a field known more for the imbalances of its performers.

Throughout, the characteristics of a highly trained performer with a warm, romantic and rhythmic sense of beauty, is noted. The pairing of Miss Scott with Oliver Nelson is an excellent combination, and Oliver displays once more his belief that the organ can sit comfortably within the big band.

Southern Comfort
Blue Piano
Freedom Dance
Toys In The Attic
Bues For Members
I've Grown Accustomed To Her Face
Marchin' To Riverside
We're Goin' Home

The Thinking Man's Music - Ralph Sharon

You Stepped Out Of A Dream

The Thinking Man's Music
Ralph Sharon
Cover Photo & Design: Burt Goldblatt
Engineer: Frank Abbey
Deluxe Series Hi Fidelity
Bethlehem Records BCP41

From the back cover: Ralph Sharon has been a dedicated student of the piano and of piano styles for more than sixteen years. Although he has been recording for a large part of that time, this LP – which is his first in the U. S. – is, by his own admission, his best recording to date. To amplify his analysis further, Ralph feels that the work of the trio in general and his own piano in particular is as uncluttered and as free of excessive tricks and influences as anything he has been able to attain so far, short of a live performance. Ralph Sharon is an English-born musician who inherited his talent for music from his mother and developed it formally at the Royal Academy of Music. He readily agrees that his orientation in jazz has a second-hand nature about it, in view of the fact that American jazz records were virtually the only source of exposure that he and his countrymen had to compelling American jazz styles.

Having established himself as a capable musician in England, Ralph came to this country some two years ago with a two-fold purpose in mind: to organize a musical group and to hear for himself the variety of piano stylists working in this country. The first he accomplished with relative ease, and although the personnel may change from time to time, the format in the same politely swinging style contained in these sides. The second is a never-ending ritual with Ralph in his quest to assimilate as much of "what's going on" as his time and commitments will allow. Because of this open-minded approach to his work Ralph expects that changes in his style will continue to occur for quite some time. Typical of Ralph's devotion to developing his talent further is his feeling that he must know the lyric to any tune in his repertoire. Seemingly unimportant, Ralph explains that this is an aid to greater sound" in his instrument. This coupled with other applied "extras" indicate Ralph's serious and yeoman-like efforts toward increasing his stature as an important jazz artist.

Choice of personnel for the trio is also the result of profound thought and listening by Sharon. Ralph seldom auditions a man under the circumstances usually described by the word. If he is in need of a replacement, he makes every effort to hear the man "on the job." This methodical approach provides him with young and stimulating musicians who compliment his piano style so well.

On these sides Jay Cave is heard on bass and Christy Febbo on drums. Cave is the 22 year old newcomer from Youngstown, Ohio whom Ralph regards as a fine young prospect because of his extraordinary solo work. Cave's ability in this direction stems from the fact that he plays very good piano as well. Until he joined the Sharon Trio, Cave has been working jobs in his own home town. Christy Febbo has been drumming professionally for 5 years. He's a native of Altoone, Pennsylvania. and his reputation as a jazz drummer is top-drawer within the trade. He's been on the Herbie Fields band, and provides the lightly swinging beat which Ralph demands for a successful unit.

Don't Be That Way
Give Me The Simple Life
I Didn't Know What Time It Was
I'm Glad There Is You
I'm Beginning To See The Light
They Can't Take That Away From Me
Steeple Chase
Angel Eyes
You Stepped Out Of A Dream
Bluz For Suz