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Saturday, August 29, 2020

Hits Of The Great Girl Groups - The Laurie Sisters

Once In A While
Hits Of The Great Girl Groups
The Laurie Sisters
With Sid Bass and His Orchestra
Arranged and Conducted by Sid Bass
Produced by Chick Crumpacker
Recorded in RCA Victor's Studio A, New York City
RCA Camden CAL-545

From the back cover: One of the youngest and most versatile groups of newcomers in the grand tradition is the Laurie Sisters – Cathy, Carole and Rita. Cathy and Carole are twins; Rita is a year younger. The girls have been singing as far back as they can remember. Their first appearances were on kiddie programs on local radio stations in their native Pennsylvania. While still in high school, they sent a demonstration record to Ted Steele, New York's popular radio and television personality. The result: a six-month spot on Steele's daily TV variety show. The trio then came to the attention of bandleader Ted Lewis, who featured them in a review that played such chic locations as the Desert Inn in Las Vegas and Houston's Shamrock-Hilton. At the conclusion of the Lewis tour, the girls set out on their own. Highlighted among their numerous engagements were enormously successful appearances at Blinstrub's in Boston, the Copa Club in Pittsburgh, and New York's famed Palace Theatre. Currently the Laurie Sisters are touring the country with the popular Olsen and Johnson show.

Pennsylvania Polka
(I'll Be With You) In Apple Blossom Time
Bei Mir Bist Du Schön
Mister Sandman
Something's Gotta Give
Teach Me Tonight
Hearts Of Stone
Once In A While
Billy Boy

Organ Rhythms - John Elliott

Organ Rhythms
John Elliott and His Diatonic
Promenade HI-FI Long Play FM1
Pirouette Records

From the back cover: Don Elliott who plays these fine rhythms is a young man of Manhattan who received his first musical instruction on the piano. One of the first and foremost exponents of the Modern Jazz Piano, Don searched for an instrument that could more fully respond to his manner of musical expression. Happily, he found it in the first truly "modern" instrument – the Electronic Organ.

Forming the Diatonic 4, Don developed and enlarged upon exacting musical experiments and interpretations. This present record is the first of a series to be released by Promenade which will eventually be a complete library of exciting Organ Songs – a library which will include, classical thematic, rhythm and other basic musical styles.

I Can't Give You Anything But Love
Serenade In The Night
In Chi Chi Castenagngo
Stars Fell On Alabama
Diga Diga Doo
Blue Tango
I Can't Believe That You're In Love With Me
Who's Sorry Now
Syncopated Clock
Sophisticated Lady

In A Cuban Garden - Gonzalo Roig

Quiereme Mucho
In A Cuban Garden
Gonzalo Roig and His Orchestra
RCA Victor LPM-1531

From Billboard - May 19, 1958: This is not a dance album, but rather an album of original and popular Latin music, lushly arranged and conducted by Ganalo Roig. Himself a celebrated composer, Roig devotes the first side to his own more ambitious music, the second to inventive arrangements of more popular numbers, including her own "Quiereme Mucho" ("Yours"). For lovers of this type of music, beautifully orchestrated for listening, this is a top-drawer album.

Fantasia Cubana
Mosaico Cubano
Fantasia Sobre Dos Temas del Baile Tipico de "El Cocuye"
Hoy Son Dia de Reye
Quiereme Mucho (Yours)
Tu (You)
El Mambi
Flor de Your (Flower of Yumuri)
La Bella Cubana (The Beautiful Cuban Girl)
Potpourri de Aires Nacionales

A Tribute To Eddie Duchin - Milton Stanley

Besame Mucho
A Tribut To Eddie Duchin
Milton Stanley At The Piano
Cover Photo: Kim Novak and Tyrone Power as seen in the Columbia Picture "The Eddie Duchin Story"
Craftsmen - A Division of P.R.I.

Gee, Baby Ain't I Good To You
Nocturne In E Flat
Night Dreams
Starlight Concerto
My Heart Belongs To Daddy
It Must Be True
I Can't Give You Anything But Love
Besame Mucho
Love Walked In

When The Lights Are Low - Harry "Sweets" Edison

The Shadow Of Your Smile
When The Lights Are Low
Harry "Sweets" Edison
Producer: Jack Tracy
Conducted and Arranged by Julian Lee
Engineer: Dave Wiechman
Art Director: Woody Woodward
Design: Bernard Yeszin
Cover Photography: Ken Kim
Liberty Records, Inc.

From Billboard - November 26, 1966: One of the finest "easy-listening" disk to come alone in ages. The trumpet we've all heard with Sinatra, with Riddle, with Basie, at last gets a beautiful vocal and big band backing to produce a sound that's bound to move big. A superb collection of old and new "standards," such as "On A Clear Day" and "As Time Goes By."

On A Clear Day (You Can See Forever)
I Don't Know Why (I Just Do)
It Looks Like Rain In Cherry Blossom Lane
Summer Samba (So Nice)
Jive At Five
Mandy Make Up Your Mind
When Lights Are Low
The Shadow Of Your Smile
Somewhere, My Love
As Time Goes By

Come To Hawaii - The Hawaiian Beachcombers

Beyond The Reef
Come To Hawaii
The Hawaiian Beachcombers
Unart - A Division of United Artists Records, Inc.
STEREO S 21024

Sweet Lelani
Little Brown Gal
Beyond The Reef
The Hukilau Song
Now Is The Hour
Hawaiian Wedding Song
My Little Grass Shack
Moon Of Manakoora
Beach At Waikiki
Aloha Oe

Beautiful Hawaii - The Polynesians

Lei Makamae 
Beautiful Hawaii
The Polynesians
Crown Records CST 446

Pagan Love Song
Orchid Lei
Lei Makamae
Te Manu Pukarua
Moon Of Manakura
Utere Utere
Farewell And Aloha
Ua Like No A Like
Na Hala

Play Bach - Jacques Loussier Trio

Prelude No. 8
Play Bach
The Original Jazz Interpretations Of The Music Of Johann Sebastian Bach
Volume 1
Jacques Loussier Trio
London STEREO PS 287

Jacques Loussier - Piano
Christian Garros - Drums
Pierre Michelot - Bass

From the back cover: Jacques Loussier was born in Angers, France in October 26, 1934. He began to study the piano at the age of ten in addition to pursuing his other normal school studies. When he was 15, he entered the Paris Conservatory of Music where he studied in the master class of Yves Nat. Jacques Loussier's ambition was to become a classical pianist.

After having received a prize winning medal (here. Medaille) at the Conservatory, he resigned. In order to gain his livelihood he began to play piano with all sorts of groups; Gypsy, orchestra Trypique and jazz performing all over the world.

After serving in the army, he became the accompanist to Charles Aznavour; at the same time, being very much attracted by arranging-composing-orchestrating, he joined a record company, an affiliate of London Records – French Decca. In 1959, he made his first record. Loussier wanted to get away from the ordinary and to create something original, so he decided to take the music of Bach and treat it in a modern jazz mood with piano, bass and drums. For this he chose the best musicians in Paris – Pierre Michelot on bass and Christian Garros on drums. This was something he had wanted to do for some long time, and thus was born his first record – Play Bach.

To his great surprise his record was an instant success in France, and this success was soon repeated in Germany. As a result of this success Germany ordered a second volume of Play Bach.

Delighted at being able to pursue his dream, he decided to develop it further, this produced No. 3 and No. 4 (with organ and piano), earning the Grand Prix du Disque Francais.

Loussier was still very interested in composition, and, in continuing his research for new sounds, he began to compose for films. He worked with Anatol Litvak on "Five Miles To Midnight," and with Alain Jessua on "La Vie A L'Envers" which won the Prix Femina in 1964. He also worked with Jacques Robin in "Les Pas Perdus." In this last film he created another first – Michele Morgan singing the film theme. His work was next under demand for TV, and he composed for dramas, ballet, stories, etc. The famous actor Pierre Brasseur asked him to write for the theatre for "The King Of The Universe" by Chekov.

Before the success of Play Bach, he was engaged at the Casa Loma in Montreal by M. Cobeto. The public was very receptive, and the trio (J. Loussier - piano, Pierre Michelot - bass, Christian Garros -drums) enjoyed a great success and was held over for eight more days. He was immediately engaged in London for a series of 13 TV shows, and, because of this, there was a demand for a series of concerts in the United States for the 1964 - 1965 season.

Prelude No. 1
Fugue No. 1
Prelude No. 2
Fugue No. 2
Prelude No. 8
Prelude No. 5
Fugue No. 5

Friday, August 28, 2020

Nothing But Percussion Vol. 1 - Byron Parker

Nothing But Percussion
Volume 1
Byron Parker and His Percussion Ensemble
Entire Production Conceived and Produced by Dr. Kurt List and Edgar P. Talmus, Westminster Recording Company, Inc.
Westminster STEREO WST-15064

From Billboard - March 20, 1961 (review of "mono" issue WP 6130): Here's a study in percussive sound that is unfortunately available in only mono form, which will be something of a handicap in today's stereo conscious percussion market. Such instruments as xylophone, marimba, bells, celesta, chimes, guitars, cymbals, gourds, etc., are employed on such material as "Carioca," "Hawaiian War Chant," "Cherokee" and "Drums In The Night." Interestingly different cover employs merely a blob of black paint but it creates quite and effect. Part of a percussion series, this will have interest for those with monaural equipment only.

Drummer Boy
I Got Rhythm
Night And Day
Peanut Vendor
Beyond The Blue Horizon
Drums In The Night
Hawaiian War Chant
Drums In My Heart

Come Hither - Sonny Stitt

Tasty Cakes
Come Hither
Sonny Stitt
Arranged and Conducted by Jimmy Mundy
Produced by Richard Carpenter
Recorded: Plaza Sound Studios - New York City
Engineer: George Sawtelle
Solid State STEREO SS 18057


Sonny Snitt - Varitone Alto Sax
Jerome Richardson - Baritone Sax and Flute
Joe De Angelis & Don Corrado - French Horn
Paul Griffin - Piano and Organ
Bob Bushnell - Fender Bass
Billy Butler - Electric Guitar
Joe Marshall - Drums

Gentle On My Mind
I'm Gonna Make You Love Me
Witchita Lineman
Tasty Cakes
Private Number
Gimme Gimme Good Lovin'
For Once In My Life
California Soul
Soiree (Night Party)

Raunchy - Bill Justis

Flea Circus
And Other Great Instrumentals
Bill Justis
Sun - 109

From Billboard - December 27, 1969: Bill Justis' "Raunchy" is one of the classics of rock 'n' roll's rise from Memphis, and the current revival should spark new sales and a bigger audience for this historical sampler of the instrumentalist's early success. "Flea Circus," co-penned with Steve Cropper, plus "Scrongie," Floyd Cramer's "Flip, Flop and Bop" and "The Midnight Man" are gems from the vaults of Sam Phillips and the pen of Bill Justis.

College Man
The Stranger
Wild Rice
Flip, Flop And Bop
The Midnight Man (Vocal)
Summer Holiday
Cloud 9
Flea Circus

8 Top Western Hits - Texas Jim Roberts

8 Top Western Hits
Texas Jim Roberts and His Westerners
Vocals: Jimmy Steele, Dale Noe, Bobby Blue and Johnny Todd
Masterseal Records, Inc. (10 inch 33 RPM)

A wonderful budget mess of a set by Masterseal that features barely a single "Western Hit" on the disc.

All Shook Up
Four Walls
Bye Bye Love
First Date, First Kiss, First Love
White Sport Coat
Next In Line
Gonna Find Me A Bluebird

Thursday, August 27, 2020

Thank You Pretty Baby - Nat King Cole

Magic Night

Thank You, Pretty Baby
Nat King Cole
Produced by David Cavanaugh and Lee Gillette
Capitol Records ST 2759

From Billboard - August 19, 1967: Nat King Cole had a special way with a romantic song that gave it a lingering quality. Some of his best romantic bands have been together in this package and the effect is quite rewarding. "Magic Moment," "People" and "You Made Me Love You" show a mastery of style that remains unmatched.

Magic Moment
Make It Last
You Made Me Love You
Thank You, Pretty Baby
Magic Night
Brazilian Love Song
One Sun
Mr. Wishing Well

That Old Gang Of Mine

That Old Gang Of Mine
Starring The Brigadier Quartet, The Pilot Quartet, The Cruisers and Suzy Lockwood
FDR King Size MHK 33-1240
Waldorf Music Hall Inc.

Pack Up Your Troubles In Your Old Kit-Bag and Smile Smile Smile
Peg O' My Heart
Happy Days Are Here Again
She's Only A Bird In A Gilded Cage
Waltz Me Around Again, Willie
The Band Played On
Put Your Arms Around Me Honey
Tell Me Pretty Maiden
I Love My Wife, But Oh You Kid

Deep Purple - Nino Tempo & April Stevens

I've Been Carrying A Torch For You So Long That I Burned A Great Big Hole In My Heart
Deep Purple
Nino Tempo & April Stevens
Arranged and Conducted by Jimmy Haskell
Supervision: Ahmet Ertegün and Nesuhi Ertegün
Cover Design: Loring Eutemey
Cover Photo: John Engstead
Recording Engineer: Dave Wiechman
Atco SD 33-156
A Division of Atlantic Recording Corp.

From the back cover: In the fall of 1961I was recording Bobby Darin in Hollywood, and at the beginning of one of the sessions I was struck by the unusual playing ability and the infectious enthusiasm of a young saxophonist in the band which had been assembled by arranger-conductor Jimmy Haskell.

During a break in the recording, this young man walked over to the piano with Bobby and played him a song he had just written. We all fell out. His song was very good, but what impressed me even more was his very personal singing quality and the groovy arrangement implied by his blues-style piano accompaniment.

"Who are you?" I asked this man of many-faceted talents. I couldn't believe it when he answered Nino Tempo, because I knew of Nino Tempo only as a modern jazz tenor man who used to play way-out music at the legendary Lighthouse where Shorty Rogers, Shelly Manne and other famous West Coast jazzmen made their name.

I asked him what his plans were, and he told me that he was working out an act with his sister, and that they were about to play a series of bookings in various nightclubs around the country.

"Your sister! Really, who's your sister?" I inquired. By this time I was ready for anything.

"April Stevens!" Nino didn't know it, but the beautiful April who had already had several big hits (Touch Me Tiger, I'm In Love Again), was one of my favorite pop singers.

The next day I was in the large comfortable house of Nino and April's parents, eating the best spaghetti west of Milano (as can only be prepared by Mrs. Tempo) and listening to April and Nino's very original approach to such standards as Sweet And Lovely and Paradise, both of which were to become hits.

That's how I can to know Nino and April. And now, everyone who follows popular music has come to know Nino and April because of their complete engaging rendition of Deep Purple. – Ahmet Ertegun

From Billboard - November 2, 1963: The brother-sister act took a good spell to make it with their current smash (No. 3 in the Hot 100 last week), but the disk is now one of the biggest of the moment and this set, picturing the pair on the color, could be a fast mover. Other tracks, in addition to the hit, offer "Paradise," "True Love," "One Dozen Roses" and several good originals. This could be an important set.

Deep Purple
Baby Weemus
True Love
It's Pretty Funny
Tears Of Sorrow
Sweet And Lovely
One Dozen Roses
(We'll Always Be) Together
Indian Love Call
Shine On Harvest Moon
I've Been Carrying A Torch For You So Long That I Burned A Great Big Hole In My Heart

Jimmie Skinner Sings Bluegrass

I'll Railroad No More
Jimmie Skinner Sings The Blues
Vetco Records - Cincinnati, Ohio
LP 3001
Queen City Album - Cincinnati, Ohio

Blue Ridge Mt. Blues
Dear Old Mother
You'll Never Worry My Mind
A Lot More Time To Go
I'm A Free Little Bird
Letter Edged In Black
In The Pines
Short Life Of Trouble
Door Of My Heart
I'll Railroad No More
A Lonesome Railroad Man
A Rolling Stone
Going Down The Road Feeling Bad
Midnight Special
Walking Out Of Your Life
Chain Of Broken Hearts
Time Won't Ease My Worried Mind
I'll Bet You My Heart That You're Mine
Little Nora
Drifting And Dreaming

Theme Music From Tom Jones, Charade, Pink Panther

Pink Panther 
Theme Music From Tom Jones, Charade, Pink Panther and Other Favorites
Wyncote SW9009
Cameo-Parkway Records, Inc.

Tom Jones
Pink Panther
Theme From The Young Ones
Theme From The Impossible Lovers

Tuesday, August 25, 2020

Johnny Desmond Sings

That Old Devil Moon (Desmond)
Johnny Desmond Sings
Coronet Records CX 193
A Division Of Premier Albums, Inc.

From the back cover: Johnny Desmond is one of the most versatile men in show business. Although known primarily as a singer, he is also a skilled composer, dancer, actor, and musician. These talents were developed through years of hard work and determination. Years not always filled with the success he now enjoys.

As a child, Johnny rarely had the opportunity to play with his friends, for he was busy delivering papers and working in his father's grocery store in order to earn money for voice and music lessons. He was starred in his own radio show by the time he was eleven, and his boy soprano voice inspired billing as "The Italian John McCormack". His acting career also blossomed with many appearances on the "Lone Ranger" network series. But alas, two years later, the inevitable happened. The changing of his voice relegated him to the category of a "has been".

The next few years were difficult and frightening ones, filled with the struggle of self development; learning how to handle his voice, and the basics of showmanship and dramatic acting. Finally in 1938 he got his first big adult job when Bob Crosby hired Desmond's vocal group, named them the Bobolinks, and featured them with his band. When he was still a $72 a month G.I., he received international acclaim when Glenn Miller chose him to sing with his Official Army Air Force Band. In 1949 Don McNeil made him a regular on the renewed "Breakfast Club", where he stayed for five years. Thereafter his career zoomed in all directions. Philco signed him as the dee-jay emcee of "Phonorama Time" on the Mutual network in 1955, and cast him in a straight dramatic role on the Philco Television Playhouse, for which he received critical acclaim. This ultimately led to one of his greatest achievements, a starring role in a Broadway show, where he was fortunate enough to work with Abe Burrows.

Perhaps the secret of Johnny Desmond's success is that he thoroughly enjoys his work. And when a performer really enjoys what he is doing, this feeling is rapidly transmitted to his audience. Listen, as Johnny Desmond and another of America's Top Singers Johnny Kay, bring your some pleasurable melodious moments.

Johnny Desmond Sings

This Can't Be Love
There's A Small Hotel
That Old Devil Moon
All Of You
The Last Time I Saw Paris

Johnny Kay Sings

When You Were Sweet Sixteen
Santa Lucia
O Sole Mio

This Is Petula Clark

Too Darn Hot
This Is Petula Clark!
A&R Coordinator: Ed Barsky
Art Direction: Woody Woodward
Sunset - A Product Of Liberty Records

From the back cover: The first British invasion took place over 300 years ago. While it may have passed fairly unnoticed then, it must be admitted that its impact is still being felt today. That's the way the British do things.

Another invasion took place recently. Probably this one was scheduled better, surely more comfortably, and this time it definitely didn't pass unnoticed.

The main emissary was a petite, grey-eyed blonde known to millions of Britons as Petula Clark, star of motion pictures, her own TV series and a long and successful list of phonograph hits. Miss Clark also brought her voice.

In discussing the repertoire for her first Imperial record album, Miss Clark made little use of the latter. In her company were two of Britain's most charming, angry young men, beset by the one desire that nothing but the best was to be provided for their protege. It was.

With the assistance of Billy May, Pete King and Don Ralke, musicians were engaged, orchestrations prepared, recording facilities tuned-up, and general nuisance and melee reigned for a full week at Universal Recording Studios. The only one unaffected by all this confusing was Miss Clark. With a stubbornness becoming a Disraeli or Richard, the Lion-hearted, she pursued and accomplished her one objective – to put every once of her ninety-five pounds into her songs. Admittedly, she lost a few in the transfer.

Well – it all ended as it began. Suddenly the trio of tea-drinking colonists had sailed away. The studio is dark again. But something indelible is forever caught in the nooks and crannies of the hall on Sunset Boulevard: the charm, the grace, the wonderful artistry and emotion of Miss Pet Clark

Maybe it will take another 300 years for another British invasion. If my name were Methuselah, I'd be around. Unfortunately, it isn't. It's Henri Rene.

Day In And Day Out
Darn That Dream
There'a A Small Hotel
(Where Are You?) Now That I Need You
I Love A Violin
Too Darn Hot
Mama's Talkin' Soft
For The Very First Time
That's How It Feels
I'm In Love Again

Sunday, August 23, 2020

Easy Now - Ruby Braff

Willow Weep For Me
Easy Now
Ruby Braff and His Men
Warm Jazz
Recorded in Webster Hall, New York City, August 11 and 19, 1958
RCA Victor LPM-1966

From the back cover: Ruby, who is barely into his 30s, has been in jazz a bit more than half his young life, dating back to his high school years in Boston. Before he was half-way through high school, he had his union card and was playing around town, putting to work what he had taught himself about his horn.

All along, he's been studying. Not formally, but in his own way and on the things he feel he needs. A little scoring with Nat Pierce, and a lot of solo practice on the horn because he has some ideas about embouchure.

"If you think a certain instrument," he says, "you can get an approximation of that sound. You have to develop a rubber mouth, but you can do a lot of things to the texture of your sound. Vic Dickenson has that capability.

"Some players have their sound, and it's theirs. It never varies. That's not for me. I may not want that sound after eight bars." It make sense. With a varied palette, an artist can obtain many subtle colors.

From Billboard - June 22, 1959: Braff and crew have a middle swinging' sound on a bunch of oldies. It's mainstream in feeling and can have wide appeal. Wide separation stereo is effective on most tracks. Tunes include "Yesterdays," "Willow Weep For Me," and "This Is My Lucky Day," Displayable cover.

My Walking Stick
Willow Weep For Me
When My Sugar Walks Down The Street
The Song Is Ended By The Melody Lingers On
Give My Regards To Broadway
This Is My Lucky Day
Someday You'll Be Sorry
For Now
I Just Couldn't Take It, Baby
Little Man, You've Had A Busy Day

Autobiography In Jazz

Janet Thurlow With Charles Mingus Octet 
Autobiography In Jazz
Mastering: Bob Guy (Audiosonic Recording Company, New York City)
Debut Records, Inc. DEB-198

From the back cover: A Word About The Recordings

Lee Konitz and Jackie Paris were the first two artists recorded with Charles Mingus Quintet. Single records released from these sessions were termed "unusual" by Leonard Feather (Downbeaat). "Mingus is as good as his word to produce out-of-the-ordinary records," said Metromone's Barry Ulanov, who rated the sides highly.

The waxing of Max Roach's Sepet came next in April 1953 followed by recordings in the next months of Hank Jones and two Max Roach discoveries – little 15-year old Honey Gordon and The Gordons, a vocal group which included Honey, her father George Gordon and her two brothers, George, Jr. (14) and Richard (11). Barry Ulanov reviewed Bebopper as "a witty, almost touching saga of an almost-up-to-date jazzster in which for once jazz language is fitting and unforced."

May brought the Massey Hall concert sponsored by the New Jazz Society of Toronto which was recorded in Toronto. The recordings released were given 5-stars in Downbeat by Nat Hentoff who remarked "This is what records are for. It would be a shame to lose this after only one performance." Along these same lines, the Jazz Workshop series materialized from an idea conceived by Charles Mingus while he was running sessions at Putnam Central Club in Brooklyn during the summer of 1953. Praise was again received from Nat Hentoff who awarded 5-stars to the first Workshop releases and wrote "Congratulations about all to Debut for having had the presence of spirit to record this."

Near the end of the year Mingus recorded again, this time with an octet and singer Janet Thurlow. Released only on EP the sides were rated "an unusually interesting collection" by Nat Hentoff who further stated that "Janet sings the difficult vocal of the sociological Eclipse with sensitive musicianship." 1953 wound up with the recording sessions of Paul Bley with drummer Art Blakey, and the Sam Most Quartet. The LP released from the latter date was undoubtedly instrumental in bringing Sam to attention of the critics who voted him "New Star on Clarinet" in 1954.

Don Senay and Thad Jones with Strings were recorded in September 1954. Of this session Bill Coss of Metronome reported: "A novel session for Debut in a getting-together of jazz and classical musicians. Points of interest: Don's musically baritone voice and Louis Mucci's trumpet obligato on Makin' Whoopee, the breath of all this playing and writing which requires keen listening.

Max Roach Septet Orientation (April 10, 1953)
Alto Saxophone – Gigi Gryce
Bass – Franklin Skeete
Drums – Max Roach
Piano – Walter Davis II
Tenor Saxophone – Hank Mobley
Trombone – Leon Comegys
Trumpet – Idrees Sulieman
Written-By – Hank Mobley

Jackie Paris With Charles Mingus Quintet (September 16, 1952)
Paris In Blue (Mingus)
Bass – Charles Mingus
Cello – Jackson Wiley
Drums – Max Roach
Flute, Alto Saxophone – Paige Brook
Piano – John MeheganWritten-By – Mingus*

Lee Konitz With Charles Mingus Quintet (April 12, 1952)
Extrasensory Perception
Alto Saxophone – Lee KonitzBass – Charles MingusCello – George KoutzenDrums – Al Levitt
Piano – Phyllis Pinkerton
Written-By – Mingus

Janet Thurlow With Charles Mingus Octet (October 27, 1953)
Alto Saxophone – Eddie Caine
Baritone Saxophone – Danny Bank
Bass – Charles Mingus
Cello – Jackson Wiley
Drums – Kenny Clarke
Piano – John Lewis
Tenor Saxophone – Teo Macero
Trombone – Willie Dennis
Written-By – Mingus

Paul Bley Trio Santa Claus Is Coming To Town (November 30, 1953)
Bass – Charles Mingus
Drums – Art Blakey
Piano – Paul Bley

The Gordons With Hank Jones Trio (April 29, 1953)
Bass – Charles Mingus
Drums – Max Roach
Piano – Hank Jones
Written-By – Gordon, Leonard

Jazz Workshop Kai's Day (September 18, 1953)
Bass – Charles Mingus
Drums – Arthur Taylor
Piano – John Lewis
Trombone – Bennie Green, J. J. Johnson*, Kai Winding, Willie Dennis
Written-By – Kai Winding

Thad Jones With Strings Portrait (September 17, 1954)
Alto Saxophone – John LaPorta
Bass – Milton Hinton
Cello – Jackson Wiley
Drums – Joe Morello
Piano – Billy Taylor
Trumpet – Thad Jones
Written-By – Mingus

Honey Gordon* With Hank Jones Trio Can You Blame Me (April 29, 1953)
Bass – Charles Mingus
Drums – Max Roach
Piano – Hank Jones
Written-By – Gordon, Leonard*

Sam Most Quartet Notes To You (December 29, 1953)
Bass – Percy Heath
Clarinet – Sam Most
Drums – Louie Bellson
Piano – Bob Dorough
Written-By – Bob Dorough

Don Senay With Strings Makin' Whoopee (September 17, 1954)
Alto Saxophone – John LaPorta
Bass – Milton Hinton
Cello – Jackson Wiley
Drums – Joe Morello
Piano – Billy Taylor
Trumpet – Louis Mucci

Hank Jones Medley (April 29, 1953)
Piano – Hank Jones

Max Roach Drum Conversation Part 2 (May 15, 1953)
Drums – Max Roach

Bud Powell Trio* I've Got You Under My Skin (May 15, 1953)
Bass – Charles Mingus
Drums – Max Roach
Piano – Bud Powell

Bach Humbug! - George Gruntz

Das Frauenzimmer Verstimmt Sich Immer
Bach Humbug!
Or Jazz Goes Baroque
George Gruntz Quintet
Arrangements by George Gruntz
Philips Records PHS 600-162


George Gruntz - Harpsichord
Peter Trunk - Bass
Klaus Weiss - Drums
Emil Mangelsdorff - Flute
Klaus Doldinger - Clarinet, Soprano Saxophone

From Billboard - February 6, 1965: Baroque classics are enjoying an unprecedented popularity among classical music collectors these days. It was inevitable that some clever chap would come along with a good jazz LP take-off on Baroque. Interesting for jazzophiles and "ins" everywhere.

Das Frauenzimmer Verstimmt Sich Immer
Pavana "The Earl Of Salisbury"
Le Croc En Jambe
Gavotte En Rondeau
Ouverture – Bourree, Hornpipe from "The Watermusic"
Ciacona F-Moll
La Chrimae Antiquae Pavan
Musette En Rondeau from "Les Indes Galantes"
Corrente Gavotte "Concerto Grosso No. 9, F-Dur"