Evening In The Islands - The Maile Serenaders

 

Whispering Lullaby

Evening In The Islands
The Maile Serenaders
Producer: Don McDiarmind, Jr.
Engineer: Bob Land
Writer: Jean Sullivan
Artist: Lee Born, Nieman Advertising Agency
Cover Photographer: Werner Story, Camera-Hawaii
Recorded in Hawaii for Hula Records
Warner Bros. W 1584
1965

From the back cover: The Maile Serenaders are consistent in only two respects: they are heard only on record, and each musician is the best of the best. The membership varies according to the requirements of the project at hand... and is drawn from the major performing groups in the islands. Slack-key guitar? Gabby Pahinui, of course, from the Sons of Hawaii. Solo ukulele? Eddie Kamae, from the same aggregation. Bass? Kaipo Miller is one of the regulars of this group... live, he's heard at Duke's and the Royal. Conducting and arranging he shines, too, as this album testifies. Sol Kamahele of the Village Men is another who's almost always present with his guitar when the Maile Serenaders meet. Hard to choose which... Eddie Pang or Barney Isaacs... so include both... the twin steels of Hawaii Calls. Six top men from five top groups... make this a collector's item when it's brand new.

Lei Of Stars
Hula Breeze
Soft Green Seas
Whispering Lullaby
White Ginger Blossoms
Evening In The Island
Hana
Hawaiian Wedding Song (Ke Kaki Nei Au)
Pearly Shells (Pupu O Ewa)
Blue Hawaii
Love Song Of Kalua
Hawaii Calls

Andre Previn At The Piano

 

Just One Of Those Things

Andre Previn At The Piano
RCA Victor Musical Smart Set WP 214
45 RMP Box Set
1949

But Not For me
This Can't Be Love
Mad About The Boy
Hallelujah
My Shining Hour
Just One Of Those Things

Pleasure Time - Fred Waring

 

Besame Mucho

Pleasure Time
Fred Waring and His Pennsylvanians
Decca Album 9-27
45 RPM Box Set
1941

From inside the box: About Fred Waring

To Fred Waring, who pioneered professional choral singing, and whose famous chorus was the forerunner of many successful professional choral groups which followed, is due much of the credit for the growing popularity of choral music in this country

Fred Waring first gained famed with his Glee Club in theaters, recordings, and motion pictures. He carried his continuous experimentation with choral methods into the new field of radio, and development additional techniques to meet this special requirements of broadcasting.

Fred believes that making words understandable is as important as singing notes correctly. In the method of enunciation which he has developed, the group sings every component sound in every word in a careful defined unison. He calls each of them individual sounds a "Tone Syllable".

With good reason, Fred is genuinely proud of his arranging staff, and his relationship with them is unique in the music business. Most of his arrangers are developed from the ranks of performing musicians. Fred gives his arranging staff a free rein on interpretive ideas, neither limiting them to specific assignments nor harnessing them to rigid production schedules.

Fred Waring was born in Tyrone, Pa., June 9, 1900. As a Boy Scout he led the local Drum and Bugle Corps, and from it founded what is today the Pennsylvanians. The first "band" played local parties and was made up of Brother Tom Waring (piano), Freddie Buck (banjo), Poley McClintock (drums), and Fred Waring himself on banjo. All rehearsals then, and for many later years, were held in Mother Jessi Waring's parlor. And then, as now, they sang.

When Fred went off to study architectural engineering at Pennsylvania State College, of which his great-grandfather William G. Waring was one of the founders and its first president, the band continued to function. Fred booked week-end jobs at the fraternity house dances, and added a couple of new men to the group.

Waring, always on the look-out for promising talent, by his second year in college had assembled a group of men so able that even today some are still members of the organization. While Brother Tom and Poley hold the record for longest service, more than 25 years, there are 14 other who have been with Waring more than 10 years. Fred Culley, violinist and assistant conductor, joined the Pennsylvanians in 1924, following his brother George, trumpeter, who had been with the group for several months. Nelson Keller, another trumpeter, joined the band in 1922, and Fred Campbell left the Sousa band to join Waring in 1923, after an attack of arthritis was made chief librarian – a library, incidentally, that is insured for a half-million dollars.

The Waring organization today is not simply a band. Its musical activities spread in many directions. They have organized and trained choral groups for radio, Broadway musicals, symphony concerts, industry, community and even educational projects. The Pennsylvanians have always collected top honors in radio polls. When on the air at night, Fred Waring's show was, for five consecutive years, named the "Best Quarter Hour Program" by newspaper radio editors in the United States and Canada. Changed to a daytime hour, Waring continued to lead the field and has twice been awarded the honor of "Best Daytime Show."

A Cigarette, Sweet Music And You
So Beats My Heart For You
Day In - Day Out
Remember
Besame Mucho (Kiss Me Much)
Marcheta
My Ideal
Beyond The Blue Horizon

Innovations In Modern Music - Stan Kenton

 

Conflict

Innovations In Modern Music
Stan Kenton And His Orchestra
Volume One (45 RPM Box Set)
Capitol Records KDM 198
1950

From the inside box cover: In the summer of 1941, some fifty miles down the Southern California coast from Los Angeles, an unknown and somewhat musically fanatic Stan Kenton began unleashing from his fertile brain a music that was destined to make a unique contribution to the already flourishing music business. These ideas were amassed into the tangible form of "Artistry In Rhythm."

Growth was inevitable – stumbling at first like a child who has just discovered his legs, but always headed forward. Development and progress are synonymous; so after five years of indoctrination, the successful ideas were segregated and became known as "Progressive Jazz."

This was the second segment of Kenton's musical history. It found the band successfully departing from the smoke-filled, popcorn-littered, acoustically criminal ballrooms to the musical freedom of the concert stage. In this idiom the orchestra enjoyed its greatest success. There was one realization, however; one that was responsible for the startling announcement in December 1948 when Stan informed the band and the world that he was "throwing in the towel" at the time when he was perched high on a pedestal in the world of modern music. This was the limited number of performances that the band could present without returning, the balance of the year, to the slavery of he traditional demands made by "popular music." These would have been concessions that an undying integrity wouldn't allow him to make. Hence, seeing no immediate solution, "Progressive Jazz," so far as Kenton's active participation was concerned, came to an end.

Although the future was very vague for the time, the Kenton brain was far from sterility and was functioning constantly, formulating new ideas and mentally following the ramifications of each. New fields were even considered. Not too serious, however, inasmuch as Stan's thoughts would inevitably return to the realization that his first duty and obligations was to music – the field for which he was best suited.

After nine months of relaxation and rested thinking, plans for the future became positive. Those plans immediately became history, for in October of 1949 the news went out to millions of anxious ears that Kenton would return, but would utilize the only feasible medium in which his music could be advantageously presented - that of the concert stage.

It's obvious, then, that the stumbling brainchild which was born during the summer of 1941 has grown into manhood – and with manhood comes the musical maturity that is behind Kenton's third venture into a business which, more than any time in history, feels the need for creative music, examples of which are herewith evident in this, the first edition of "Innovations In Modern Music."

Trajectories
Theme For A Sunday
Conflict
Incident In Jazz
Lonesome Road
Mirage
Solitaire
Cuban Episode

Bobby Darin Born Walden Robert Cassotto

 

In Memoriam

Bobby Darin Born Walden Robert Cassotto

The Album was Written, Arranged, Produced, Designed and Photographed by Bobby Darin

Recording Engineer: Jerry Hansen

Mixing Engineer: Brent Maher

Direction Records 1936

Distributed by Bell Records, Inc.

1968

Questions
Jingle Jangle Jungle
The Proper Gander
Bullfrog
Long Line Rider
Change
I Can See The Wind
Sunday
In Memoriam

Songs For You - Happy Louie & Julcia

 

Aj, Aj, Aj

Songs for You
From The Happy Louie & Julcia Polka Band
Production and Direction: Happy Louie
Audio: The Gallery, E. Hartford, Conn.
Cover Idea: Denise, Lou, Diane and David
Photography: Misiaszek Studios, Danielson, Conn.
Halo Records SHL-5019

Oj Dana
Aj Aj Aj
Jabka (Freddie's Apples)
Barnyard
Siupaj
Stormy Atlantic
Fiddler's
Red Hat
Early Morning
Grandfather
Grey Goose
Mosquito

Eydie In Dixieland

 

Sleepy Time Down South

Eydie In Dixieland
Arranged and Produced by Don Costa
Special material by Dick Williams
Conductor: Joe Guercio
South Rampart Street Parade arranged by Manny Albam
Recorded at Bell Sound Studios, New York City
Engineer: Bill McMeekin
Package Design: ARW Production, Inc.
Cover Photo by Gary Wagner
ABC-Paramount ABC 343
1960

From Billboard - July 18, 1960: The thrush is at her dynamic vocal best in this package of exuberant Dixieland favorites. The tune line-up – all eminently spinnable – include "When The Saints Go Marching In," "Mississippi Mud," "Basin Street Blues" and a particularly sock rendition of "Bill Bailey."

When The Saints Come Marching In
Way down Yonder In New Orleans
Ja-Da
Sleepy Time Down South
Limehouse Blues
Basin Street Blues
Bill Bailey
Bye Bye Blues
South Rampart Street Parade
Lazy River
Mississippi Mud
Wang Wang Blues

For Those Who Think Young - Joanie Sommers

 

Out Of This World

For Those Who Think Young
Joanie Sommers
With Marty Paich and His Orchestra
In Very Live Concert
Cover Photo: Gene Trindl
Warner Bros. Records
HIGH FIDELITY W1436
1962

From the back cover:

The Band Side with the Orchestra of Marty Paich

Joanie Sommers, recently tabbed for Steve Allen as "just about the greatest young singer around today," pays a repeat call on a swinging big band, that of Marty Paich. It's a repeat call, since some two years ago, Marty backed Joanie on the LP that started it all swinging, Joanie's debut album. "Postively the Most!"

With two years of steady singing, behind her – on TV (with Ernie Ford, Steve Allen, Bobby Darin, and many others), on a long string of cross-country concerts with Mort Sahl, on radio where her albums and singles join with her swinging vocalizing for Pepsi Cola (hence the title of this album) – Joanie is ready to "move" as never before. One of the few vocalists around who isn't intimidated by a big swing band behind her. Joanie relishes and is even spurred to new inventions by a blast of brass backing her up.

For this set of six, leader-arranger Marty Paich has massed some of the most talented jazz musicians in Hollywood to create the movement behind Joanie. Names such as Bud Shank, Conte Candoli, Abe Most, Frank Rosolino, Jack Montrose, Alvin Stroller, Bill Perkins, Lou Levy, Bill Hood and Stu Williamson signed up for the recording session, and each of them (plus many others) blew as if realizing that in backstopping for Joanie they were working with the best.

No need to cover the tunes one by one here. They're the kind Joanie belts the best, from the rocking "Hard Hearted Hannah" (The Vamp of Savannah) to Theolonius Monk's "'Round Midnight," there's a wide variety of stylings here, and the kind of tunes Joanie's fans expect of her: Show Stoppers.

The Concert Side
Recorded December 9, 1961 at San Fernando Valley State, Northridge, California

Following her coast-to-coast concert trek with Mort Sahl, Joanie Sommers returned home to Souther California, for one of the highlights of her entire career, the much talked-about December Night concert at California's Valley State College. Working with the basis of her regular touring group, led by pianist Bob Florence, Joanie had the benefit of a year's break-in with the musicians. This meant a close-knit musical empathy within the group. Each member understood the others, and their jamming showed it, especially with the added boost of such men as Bill Perkins and Stu Williamson to bring the group up to sextet strength.

Picking up on a kind of home-town enthusiasm, Joanie sang as well at this one live session as she ever has before. The crowd helped immensely, for it knew three things: (1), that this concert was being recorded, and the audience wanted it to be good; (2) that Joanie was their girl, a product of their schools, and their own success story; and (3), that Joanie, from the outset, was elated about the whole idea of this appearance, her first live concert recording.

What was created that day was a very swinging concert, of which the six tunes collated here from the high points. Equally at home with the tender and mellow (as in, for example, "My Ship"), Joanie concentrated on her proved big numbers, the ones that time and again wowed her audiences from Bangore on west. "You Came A Long Way From St. Louis" is a good example, a rocking sock of song the builds all the way. With that kind of repertoire and that kind of singing it's little surprise that this concert was the success that it turned out to be.

From Billboard - January 20, 1962: The Pepsi Cola slogan, which Joanie Sommers sings in radio-TV Jingle from for the soft drink firm, makes an effective title for the canary's new album. She is in vivacious, tasteful vocal form on a group of show manly oldies. Marty Paich provides solid backing on one side of the LP, while the flip spotlites the thrush in exciting "live concert" takes.

A Lot Of Living To Do
Out Of This World
'Round Midnight
Hey! Jealous Lover
Hard Hearted Hannah
Blues In The Night
I Feel A Song Comin' On
You Came A Long Way From St. Louis
My Ship
Ev'rything I've Got
Why Shouldn't I
I Feel Pretty

The Nation's 12 Big Hit Recordings

 

The Stroll

The Nation's 12 Big Hit Recordings
Featuring Vocal Stars Of Radio & Television
With Famous Orchestra
All Full Length
Hollywood Records LPH-139
A Blue Ribbon Product

The Stroll
Get A Job
Don't
Catch A Falling Star
Don't Let Go
Oh Julie
Short Shorts
Dede Dinah
Swinging Shepard Blues
You Are My Destiny
Oh-Oh, I'm Falling In Love Again
26 Miles

Real Hot Polkas - Happy Louie And Julcia

 

Green Grass

Real Hot Polkas

Happy Louie & Julcia Orchestra

Production and Direction: Happy Louie

Audio: Creative Sounds, Inc.

Cover Idea: Denise, Louie and Diane

Photo: Misiaszek Studio

Halo Records 5010

1973

Green Grass

Boli Boli Głowa

Oberek Medley

Soldier Boy

Clarinet

Apples, Peaches, Pumpkin Pie

Where's Johnny?

Wishing Wel

Mountain Park

Peanuts

The Blue Train - Johnny Cash

 

Two Timin' Woman

The Blue Train
Johnny Cash
Share STEREO 5002

Train Of Love
Wreck Of The Old 97
Wide Open Road
Port Of Lonely Hearts
Two Timin' Woman
The Blue Train
Hey Porter
Rock Island Line
Home Of The Blues
Belshazah

Rudolf Friml Suite - Mantovani

 

Indian Love Call

Rudolf Friml Suite
Mantovani and His Orchestra
Decca Records LK 4096

Made In England (import)

From the back cover: Mantovani was born into a musical family. His father was a Professor at two conservatories in Italy, where the Mantovani family had its origins, had played in orchestras under the baton of Mascagni and Toscanini, and was created a Cavalliere by the King of Portugal for his services to music. The family came to England when Mantovani Senior was playing with a touring Opera Company, and got stranded by the outbreak of the First World War. So it was not surprising that Mantovani should follow a musical career. He started on the violin at the age of fourteen, and made very rapid progress under his father's tuition. He was promised that when he could faultlessly play a certain difficult concerto he should have a Testori violin which has been presented to his father by a Russian princess. This is still one of his prized possessions. One of his proudest achievements was when, as a solo violinist, he played Saint-Saens' B minor violin concerto at Queen's Hall, London.

At sixteen he was a professional violinist, and two years later was leading his own quintet at the Midland Hotel, Birmingham. His next move was to the Hotel Metropole, London, and he began to broadcast regularly.

In the early 'thirties he formed his Tipica Orchestra and began a series of lunch-time broadcasts, from the Monseigneur Restaurant, Piccadilly, and remained there until this establishment closed. This was followed by engagements at the Cafe de Paris, and at the Hollywood and San Marco Clubs. He was then offered a contract with the Gaumont-British cinema and gained a great deal of experience in the stage presentation of an orchestra.

He has had considerable experience as a theatre orchestra conductor, with shows such as "Noel Coward's "Ace Of Clubs", "Pacific 1860" which featured Mary Martin and "Sigh No More", with Leslie Henson in "Bob's Your Uncle" and "And So To Bed", and for Stanley Lupino, Sally Gray, Pat Kirkwood, Lupino Lane and many others.

He first became a Decca recording artist in 1940, always enjoying great popularity, but it was the New Orleans formed in 1951 which really sent the sales soaring. This is an orchestra of forty musicians, mainly strings, and the incredible effects which we hear on this record are achieved without any tricks of recording. These are the sound which have taken America by storm as well as the British record-buying public; the performances are always as near perfect as is humanly possible and the effect, to put it mildly, is terrific.

Love Everlasting
Rose Marie
Dear Love, My Love
Only A Rose
Song Of The Vagabonds
Love Is Like A Firefly
Giannian Mia
Indian Love Call
He Who Loves And Runs Away
The Donkey Serenade
The Door Of Her Dream
Totem Tom Tom
Sympathy
Someday

Cara Mia - David Whitfield

 

How, When Or Where

Cara Mia
David Whitfield
With Mantovani and His Orchestra
London LL 1417
1957

From the back cover: David Whitefield was born in Hull, England on February 2, 1926. He started singing as a choir-boy at the local St. Peter's Church. At 17 he joined the Royal Navy, staying for seven years. Whenever time and duties allowed, he would sing, entertaining his shipmates from England to Hong Kong.

In 1953 things started happening... fast! On free evenings and weekends he went on singing at local concerts in and around Hull, and in January 1953, he took the gamble of leaving Hull to appear in a London cabaret show. A talent spotter from London Records came in one night and, impressed by David's fine voice and superb range, arranged a record test the next day. His first record, "Marta", attracted immediate attention. This was followed by hit after hit, and finally, the over-a-million record seller, "Cara Mia".

David's fame spread from the national to the international field on July 24, 1953, when, at Europe's first International Festival of Popular Song at Knokke-le-Zoute. Belgium, he was awarded by a jury of all European nations the Grand International Prize for being the best singer of all nations represented at the Festival. Since David's fabulous rise in America, he has performed six times on Ed Sullivan's TV Show.

The songs included here are love songs, and David Whitfield sings them with warmth and understanding.

Credit a strong assist on six of the selections to Mantovani, hi arrangements and his orchestra, and then listen to the scintillating Whitfield style, with its faultless phrasing, its bright lilt, and its captivating poise. The result is music you'll enjoy hearing for a long, long time.

Lady Of Madrid
How, When Or Where
You Are Everywhere
Santa Rosa Lea Rose
Beyond The Stars
When You Lose The One You Love
I'll Never Stop Loving You
Mama
Open Your Heart
The Lady
Angelus
Cara Mia

Country & Western Roundup Nashville Style

 

Go, Cat, Go

Country & Western Roundup Nashville Style
Producer: William Beasley
Assistant Producer: Ted Jarrett
Recorder & Compatible Mastering: Columbia Recording Studio, Nashville, Tennessee
Cover Design: McPherson Studio, Nashville, Tennessee
Modern Sound MS 533

Once A Day
The Race Is On
I'll Go Home And Cry All Night
Pay It No Mind
It's Been A Long Long Time
You're The Only World I Know
Go, Cat, Go
Don't Come Too Late
Where You Been
When I hear A Sad Song

Four Of A Kind - The Quartette Tres Bien

 

Somewhere

Four Of A Kind

The Exciting Piano Rhythms of The Quartette Tres Bien

Produced by Charles Bud Dant

Cover Photo: Hal Buksbaum

Decca Records DL 4958

Decca Records, A Division of MCA, Inc.

1968

Matchmaker, Matchmaker – from the musical production "Fiddler On The Roof"

How Insensitive (Insensatez)

Goodbye Summer

Girl Talk

Tribal Festival

Somewhere

The Joker

Strangers In The Night – A theme from the Universal Picture "A Man Could Get Killed"

Yesterday

Stan Kenton Plays Chicago

 

Inner Circle

Stan Kenton Plays Chicago
The Stan Kenton Orchestra
Conductor, Arranger, Producer: Robert Curnow
Engineer: Murray Allen
Art Direction and Photography: Paul Roewade
DBX Recording Equipment Courtesy of Larry Blakley and DBX Corporation
Creative World Records ST 1072
1974

Personnel

Saxophones and Flutes: Tony Campise, Rich Condit, Greg Smith, Dick Wilkie, Roy Reynolds
Trombones: Dick Shearer, Lloyd Spoon, Brett Stamps, Bill Hartman,
Tuba: Mike Wallace
Trumpets: John Warner, Dave Zeagler, Mike Barrowman, Mike Snustead, Kevin Jordan
Drums: Peter Erskine
Acoustic and Electric Bass: Mike Ross
Percussion: Ramon Lopez

From the back cover: Know Your Band (Front Cover) Hunkering at far left I'm the dark blue jacket is Greg Smith; crouching behind him in the white shirt is Rich Condit; above him, leaning out of the bus is Roy Reynols; kneeling in the foreground next to Greg is Dave Zeagler; standing in front of the door is Peter Erskine; kneeling in the sandals next to Peter is Lloyd Spoon; standing under the rear-view mirror in the black turtleneck is Dick Wilkie; crouching in the light blue slacks to Dick's right is Mike Snustead; standing center foreground to the right of the three Mikes is the man who made the trip possible; standing next to Stan's right are, left to right, John Harner, Bill Hartman, Mike Wallace, Brett Stamps and Kevin Jordan; deep-kneeling to Stan's right are, left to right, Ramon Lopez, Tony Campise and Dick Shearer. Behind the bus is Lincoln Park and downtown Chicago.

Recording and mix down done with DBX equipment and an Ampex MM-1000 16 track machine. Saxophones were recorded with five U-67 mikes; trumpets with three U-47s; trombones with six RE-16s; piano with a Sennheiser 201; drums with two AKG 451s, two KM-84s, one KM-86, and one U-47; bass was recorded direct.

From the inside cover: Bob Curnow, producer of this album and Director of Artists and Music for Creative World Records, is a bright new star among the select group of American composers-arrangers. All arrangements heard here are Curnow's work, as well as the two originals compositions First Child and Fugue.

At one time a trombonist with the Kenton orchestra, Curnow was later Director of Instrumental Music at Case Western University in Cleveland, Ohio. He holds B.S., M.A., and M.M. degrees, and his compositions have been recorded by many student jazz groups.

This album is the fourth album Curnow has produced for Creative World. He was responsible for the smashing success on 7.5 On The Richter Scale, for Solo: Stan Kenton Without His Orchestra, and for the internationally acclaimed National Anthems Of The World, for which he wrote all of the arrangements.

This album, then, is dedicated to Chicago and to Blood, Sweat and Tears. We salute them, with gratitude and deep appreciation, for their contribution to modern music.

From Billboard - October 26, 1974: This is a very exciting LP because producer-arranger Robert Curnow has given Chicago and Blood, Sweat & Tears music a legit jazz orientation. The Kenton orchestra comes alive, or rather brings its vitality to compositions by these two jazz-rock bands. All the polyphonics of Kenton's band are alive and swinging. The horn section work is crisp and enthusiastic on this program of lesser known works by these two bands. This is not huntsville in a new dress. Rather, it is a contemporary excursion for Kenton's band which continues amazing people all over the world with its freshness. The LP need national distribution. 

Best Cuts: "Once Upon A Time," "Alone," "The Rise And Fall Of A Short Fugue."

Dealers: Kenton is very active with concerts and college gigs. This can help sales in your area if you're stocked his mail-order product.

Side One

Chicago Suite
Canon - J. Pankow
Mother - R. Lamm (Soloists: Dick Shearer, Brett Stamps)
Once Upon A Time - J. Pankow (Soloist: Stan Kenton)
Free - R. Lamm (Soloists: Peter Erskine, Roy Reynolds, Mike Barrowman)
Recorded at Universal Studios/Chicago, Illinois - June 4, 5, 6, 1974

Side Two

Alone - L. Marini
First Child - R. Curnow (Soloists: Tony Campise, Dick Shearer, Kevin Jordan (Flugelhorn))
The Rise and Fall Of A Short Fugue - R. Curnow (Soloists: Stan Kenton, Peter Erskine, Tony Campise (Flute))
Inner Crisis - L. Willis (Soloist: Tony Campise)

Billy Eckstine & Sarah Vaughan Sing The Best of Irving Berlin

 

Remember

Billy Eckstine & Sarah Vaughan
Sing The Best Of Irving Berlin
Mercury Records Custom High Fidelity MG 20316
1957

From Billboard - October 28, 1957: Fans of the two artists will go for this set in a very big way. Their styles of singing complement each other very well. Tasteful orking is by Hal Mooney. Berlin favorites include "You're Just In Love," "Cheek To Cheek" and "Always." Fine set for either pop or jazz followers.

Alexander's Ragtime Band
Isn't This A Lovely Day
I've Got My Love
To Keep My Warm
All Of My Life
Cheek To Cheek
You're Just In Love
Remember
Always
Easter Parade
The Girl That I Marry
Now It Can Be Told

Jazz Ultimate - Bobby Hackett & Jack Teagarden

 

55th And Broadway

Jazz Ultimate
Bobby Hackett & Jack Teagarden
Recorded in New York City, September, 1957
Capitol Records T933

From the back cover: Bobby Hackett has, during a career that began at fourteen, successively dropped the banjo, violin, guitar and cornet, retaining his Besson trumpet and his unique lyricism. People unable to tell the difference between the kind of music that he reads with Horace Heidt and the kind he once made on "the street" (52nd, of course), have been so struck by his solos on Jackie Gleason's records that they have gone out of their way to discover that he is, yes, the Bobby Hackett – the one they heard play String Of Pearls with Glenn Miller, and the same who has led a versatile group at the Henry Hudson Hotel in New York City – a group accomplished in just about every style of jazz. (They can be heard on "Gotham Jazz Scene," Capitol T857.)

The story of how Jack Teagarden in Texas and Jimmy Harrison in New York independently developed a similar and completely new role for the jazz trombone is well enough known not to need repeating. The real point is that Teagarden is not content to rest on laurels already won, but is still a vital and important musician. Composer-arranger-trombonist Bill Russo (who is beat known through his association with Stan Kenton) has said that Teagarden is the best trombonist and that he invents like a composer, the "ultimate of the jazz improvisor." His style has also been justly pictured as that of a man setting out to do a rather complicated thing at the last possible moment, and doing it with the greatest of ease, relaxation and sureness.

Another thing is present in this recital is some very smoothly integrated playing by the rhythm section: Billy Bauer (who has worked with everyone from Woody Herman, Benny Goodman to Lennie Tristano), Jack Lesberg (who has played with everyone from the New York City Symphony to Eddie Condon), Buzzy" Drootin (long a fellow Condonite with Lesberg) and Gene Schroeder (making it a minor Condon reunion). Ernie Caceres, incidentally, doubles on baritone sax, Peanuts Hucko on tenor.

Indiana
Oh Baby
It's Wonderful
I Found A New Baby
Sunday
Baby, Won't You Please Come Home
Everybody Loves My Baby
Mama's Gone, Good Bye
'Way Down Yonder In New Orleans
55th And Broadway
'S Wonderful

Jan Peerce On Broadway

 

'Til There Was You

Jan Peerce On Broadway
Produced and Directed by Daniel Sloan
Orchestra under the Direction of LeRoy Holmes
Arrangements by LeRoy Holmes, Nick Perito and Marty Manning
Cover Design by Richard E. Sloan
Cover Illustration by Anderen
Liner by Norman Weiser
United Artists Records UAL 3248

1963

From the back cover: Jan Peerce, a native New Yorker, today is one of the most widely known singers in the world, performing in opera, on the concert stage, in radio, television and motion pictures. His renown is international in scope, his voice a beloved instrument brought into millions of homes via his numerous recordings. Peerce is primarily a classical artist of tremendous proportions, but his versatility is demonstrated when he moves into the realm of popular music with a zest and ability rarely found in this area.

The listing of personal appearances made by Peerce during his illustrious career would fill a complete book. His travels have covered the length and breath of the United States as well as practically every country on the face of the globe. Honors have been awarded him from Maine to California; from Israel to the Vatican City in Rome. He is a star among stars at the Metropolitan Opera in New York, and on-stage in Las Vegas. He is in actual fact a living legend.

Maria (West Side Story)
The Sweetest Sounds (No Strings)
I've Grown Accustomed To Her Face (My Fair Lady)
What Kind Of Fool Am I? (Stop The World I Want To Get Off)
Love Makes The World Go 'Round (Carnival)
'Til There Was You (Music Man)
Theme From Exodus
If Ever I Would Leave You (Camelot)
Shalom (Milk And Honey)
Make Someone Happy (De Re Mi)
They Say That Falling In Love Is Wonderful (Annie Get Your Gun)
Climb Every Mountain (The Sound Of Music)

The Sounds Of Christmas - The Three Suns

 

Carol Of The Bells

The Sounds Of Christmas
The Three Suns
With String Orchestra conducted by Marty Gold and Sid Ramin
RCA Victor LPM-1132 (reissue with same catalog number as the 1955 release)
1957

From Billboard - October 22, 1955: Here is a timely package, and dealers with an eye to the Christmas season should stock it. The Three Suns, with a string orchestra conducted by Marty Gold and Sid Ramin, do the traditional anthems and carols as well as such relatively modern songs as "Winter Wonderland" and "Rudolph." It is a well-produced package, musically. The artwork on the cover lends itself to display and gift purposes.

Adeste Fideles
The First Noel
Rudolph The Red-Nosed Reindeer
O Holy Night
The Monastery Bells
Greensleeves
Winter Wonderland
Deck The Halls With Boughs Of Holly
Carol Of The Birds
God Rest Ye Merry Gentlemen
Silent Night
Der Tannenbaum (Christmas Tree)
Santa Claus Is Comin' To Town
It Came Upon A Midnight Clear
Carol Of The Bells
Hark! The Herald Angels Sing

Erroll Garner and The Maxwell Davis Trio

 

Paradise Hill

Mr. Erroll Garner

And The Maxwell Davis Trio

Cover Design: Paul L. Thomas

Crown Records STEREO CST 404

Lover 

Paradise Hill
Reverie
Annie Laurie
Tenderly
Swanee River
Humoresque
Old Mill Steam
Carry Me Back

Gaines Presents The Best Of Burt Bacharach

 

How Can I Hurt You

Gaines Presents The Best Of Burt Bacharach
"A Musical Biography" as Performed by Peter Nero, Al Hirt, Lana Cantrell
And Other Famous Recording Artists
Prepared Exclusively for General Foods Corporation by RCA
RCA Special Products PRS-410
1972

From the back cover:

Hugo Montenegro (Raindrops Keep Fallin' On My Head). Both Hal David and Burt Bacharach enjoyed some success as songwriters before they got together, but when they did something magical happened. Their collaboration has produced more contemporary standards than any other team. "Raindrops," introduced by Butch Cassidy and the Sundance Kid, is the favorite of many. In a world deluged with problems, it's nice to hear an optimistic note now and then.

Si Zentner (Wishin' And Hopin'). Though there are thousands of songwriters grinding out their wares every day, there are very few indeed that gain the reputation for quality and consistency associated with Bacharach and David. Music, being the international language, has made their songs desired around the world. This song recorded by England's Dusty Springfield became an international hit right away, as do so many B and D songs.

Marilyn Maye (I'll Never Fall In Love Again), like many popular singers today, emerges from the special medium of TV signing commercials. Her voice quality, style and personality, above all else, communicate the composer's intent via the somewhat less "hot" medium of recordings. Her club performances of this number from "Promises, Promises" have helped to establish her as one of the top live acts in the country. Or should we say, "lively"?

Peter Nero (I Say A Little Prayer). The beauty of Bacharach-David songs is that they can be presented so many different ways and still have the same great impact. Even with the words missing (and great words they are), the melody stands well enough on its own to make this recording by Peter Nero a delightful listening experience.

Norman Luboff (Walk On By). Perhaps the best example of first-generation Bacharach-David songs, "Walk On By" has the structure and rhythmic patterns that have become their trademark. The result is a captivating combination of intense emotion and poignancy. This recording is a special treat, with full, mixed chorus and orchestra spectacular capturing the mood for which it was written.

Floyd Cramer (They Long To Be Close To You). In the music business they say, "You can't keep a good song down." Here's an example of a Bacharach-David tune that became a hit years after it was written, and served as the vehicle to launch the spectacular career of the soft-rock Carpenters. Of course, since then almost everybody has recorded it. Here, country pianist Floyd Cramer lends his very special style to Burt's lovely melody.

Lana Cantrell (How Can I Hurt You). As an afterthought to the success story of "Close To You," here's an example of a Bacharach-David song that has not yet become as popular as the other songs in this album. However, artists like Lana Cantrell have already discovered it. Listen and make your own decision. Perhaps, soon, when it is as popular, you will remember where you first heard it... and see how good a judge you are.

Al Hirt (Do You Know The Way To San Jose). We've heard male and female vocals, country and city pianos, orchestras and choruses... all taking Bacharach-David songs and making them sound great, in their own way. Now listen to the big bearded one from New Orleans as he "puts away" this very distinctive Bacharach composition. Universal appeal is probably the one phrase that describes Bacharach-David songs best.

Peter Nero (Always Something There To Remind Me). From the same generation of Bacharach-David songs as "San Jose" comes this tune (both songs originally recorded by Dionne Warwick). Dionne is one of many artists who found their career-launching vehicles in a Bacharach-David work. To steal from the title, there's always something there to remind us it's definitely a Bacharach-David song, and why artists like Peter Nero find it a pleasure to record them.

Living Strings and Living Voices (What The World Needs Now). No other song better expresses the feeling of the younger generation in their quest for new and better human values. Here, we must provide you with both the words and the music, because the message in both is so beautiful:
"What the world needs now,
Is love sweet love
No not just for some
But for everyone

Dance To The Lester Lanin Beat

 

Two Guitars - Dark Eyes

Dance To The Lester Lanin Beat
The Lester Lanin Trio
Volume 10
Epic LN 3656
1960

From the back cover: The Lanin beat comes in many sizes, a full orchestra for a coming-out party, a cocktail trio for less formal entertaining, a Latin-American group for lively affairs; just about any combination for any party imaginable. This flexibility in size, together with the instinctive Lanin way for sensing the mood and color of a party, has made the beat a fixture wherever tasteful, tuneful dance music is the order of the evening.

Not the least of the Lanin engagements, in addition to his constant round of private parties, are the numerous benefits for which his orchestra is hired. Throughout the entire social season, in New York, Philadelphia, Washington, Chicago, Boston and many other cities, Lester Lanin is called upon to play at charity balls, fund-raising parties and other occasions. He is called upon by the various great medical foundations, civic groups, church organizations and many others to supply the music for their charitable parties, and the disparate dancing couples of all ages and tastes find the Lanin beat a further bright spot in the evening.

I Got Rhythm - Of Thee I Sing - Poor Butterfly - Oh, You Beautiful Doll - Begin The Beguine

It Had To Be You - Love Is The Sweetest Thing - I Guess I'll Have To Change My Plan

Gold and Silver Waltz - Skaters' Waltz - Over The Waves

Down In Jungle Town - Goodbye, My Lady Love - Coney Island Baby - Hello Ma Baby - I Want To Be Happy - You've Got That Thing - Deep In My Heart, Dear - Get Happy

Dance Of The Hours - Theme From Beethoven's Fifth Symphony

Let's Do It - Do It Again - You're The Top - Who Cares - I Found A Million Dollar Baby - But Not For Me - Something To Remember You By

Meet Me In St. Louis, Louis

Ain't She Sweet - Thinking Of You - What Is This Thing Galled Love? - Love Is Sweeping The Country - The Kerry Dance - You're An Old Smoothie - The Man I Love

Lover, Come Back To Me! - The Very Thought Of You - Pretty Baby

Liza - Lullaby Of Broadway - Jeepers Creepers - I Like The Likes Of You - If You Were The Only Girl - Tip-Toe Thru The Tulips With Me

Two Guitars - Dark Eyes

Don't Fence Me In - I'll See You Again - I May Be Wrong - If I Love Again - I'm Just Wild About Harry - Hallelujah!

When Your Love Has Gone - Bidin' My Time - You Must Have Been A Beautiful Baby - Three Little Words - Beautiful Dreamer - High Society

50 Guitars Visit Hawaii - Tommy Garrett

 

Song Of The Island

50 Guitars Visit Hawaii
The 50 Guitars Of Tommy Garrett
Arranger: Hank Levine
Producer: Tommy "Snuff" Garrett
Engineers: Eddie Brackett and Jim Economides
Cover Design and Photography: Studio Five
Guitars through the courtesy of Gibson, Inc.
Liberty Records
Visuals Sound STEREO LSS 14022
1962

From Billboard - August 25, 1962: This album should appeal to hi-fi sound buyers devotees of the Hawaiian sound, and those who like their music done in tasteful production. The set is a solid catalog item that features such standards as "Sweet Leilani," "Pagan Love Song," "Hawaiian War Chant" and "Aloha Oe," The music is gentle and string-filled and should show steady sales.

Blue Hawaii
Hawaiian Wedding Song
Pagan Love Song
My Little Grass Shack
Now Is The Hour
Hawaiian War Chant
The Hukilau Song
Song Of The Islands
Lovely Hula Hands
Sweet Leilani
Moon Of Manakoora
Aloha Oe