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Saturday, December 12, 2020

The Best Of Britt - Elton Britt's Biggest Hits


I Almost Lost My Mind

The Best Of Britt
Elton Britt's Biggest Hits
Reissue produced by Brad McCuen
Remastered by Jim Stone
Manufactured in West Germany

From the back cover: Elton Britt has had the hits and happily he's still actively on the scene. Was there ever an Army PX jukebox during World War II that did not have his There's A Star Spangled Banner Waving Somewhere? How many important artists have successfully followed Britt's original smash hit Someday (You'll Want Me To Want You)? Don't bother to answer, for here we have Elton's biggest hits. All his hits are not included in this set. There were many more than just twelve Elton Britt big hits; you'll find many other in Yodel Songs (RCA Victor LPM-1288) by Elton Britt.

There's A Star Spangled Banner Waving Somewhere
Blue Eyes Crying In The Rain
Mockin' Bird Hill
I Almost Lost My Mind
The Rovin' Gambler
It Is No Secret (What God Can Do)
Someday (You'll Want Me To Want You)
I Get The Blues When It Rains
Candy Kisses
I Hung My Head And Cried
Beyond The Sunset

Fiesta De Exitos Charleston Show

Agitame Como Yo You (Play Me Like A Yo Yo)

Fiesta De Exitos
Charleston Show
Arrangers & Directors: Chalio Garcia, Carlos Vazquez

Agitame Como Yo You (Play Me Like A Yo Yo)
A Mi Guitarra
La Llamada
Guarda Tus Besos Para (Save Your Kisses For Me)
Flauta De Pan (Dolannes Melodie)


Friday, December 11, 2020

Pacific Jazz Records - Gerry Mulligan

Lullaby Of The Leaves

Gerry Mulligan Quartet
Featuring Chet Baker
Gerry Mulligan, Baritone; Chet Baker, Trumpet; Larry Bunker, Drums; Carson Smith, Bass; Chico Hamilton, Drums; Bob Whitlock, Bass
A Richard Bock Production
Photographs and Cover Design: William Claxton
Pacific Jazz Enterprises, Inc. PJ-1207

From the back cover: Our cover painting represents the first of a series for Pacific Jazz Records by young resident West Coast artists.

This cover was done by Colorado-born (1920) Keith Finch, who has lived in Los Angeles since early childhood. Although he has become a member of the teaching staff of the Kann Institute of Art in Los Angeles and the University of California at Los Angeles. His successful exhibits at the Landau Gallery have shown him to be one of the most important artists in American contemporary painting.

As with the music of Gerry Mulligan, Finch's work has the assurance and completeness of statement and superb combination of color, design, and idea – those things which identify the mature artist.

At the present time, Finch and artist Howard Warshaw conduct classes at their own school in West Los Angeles.

Keith Finch is represented by the Landau Gallery, Los Angeles.

Also from the back cover: Mulligan's birthplace has been given as in many places. He was, however, born in a Catholic in Queens, New York, the fourth and youngest son of an industrial engineer. Before he was a year old his family had moved to Marion, Ohio, and when his schooling was over at the age of seventeen in Philadelphia, he had lived, in  addition, to New Jersey, Chicago, Kalamazoo, Detroit and Reading. His first instrument was a ukulele. He also took piano lessons which were terminated rather suddenly after an overly hesitant recital. Following this, he learned the ocarina family, then the clarinet, although he had asked his father for a trumpet. When, in 1944, Mulligan left school, where he had led several bands, he went to work as an arranger for Tommy Tucker, turning out in the three months that he stayed a trunkful of material, some of which is still in use. He spent the next six months or so as an arranger and sometime tenor saxophonist with Elliot Lawrence, joined George Paxton, and eventually, for a year, Gene Krupa. During the next few years, he worked as a freelance writer and sideman around New York, made his first recordings, with Brew Moore and George Wallington (he had just taken up the baritone saxophone seriously), had various rehearsal bands, which occasionally practiced in Central Park because no one had money for a studio, and, shortly after the Miles Davis date, hitchhiked, over a period of months, with waystops at Reading and Albuquerque, to Lost Angeles, where he stayed more or less permanently until recent move east. On the West Coast he wrote for Kenton, and worked marathon twelve-hour gigs on Saturdays and Sundays at the Lighthouse, Hermosa Beach. In 1951 he landed a Tuesday night job at the Haig in Los Angeles, where he did some experimenting with a trio composed of guitar, his instrument and drums. Then, almost inadvertently, after he had met Chet Baker, he hit upon the instrumentation of the quartet and was recorded by Richard Bock of Pacific Jazz, the cream of which can be heard in this twelve reissues, recorded between 1952-53, that make up this record.

From Billboard - September 3, 1955: A prize collection of recordings from the Quartet's 1952-53 phase, when Chet Baker was still blowing with Mulligan. The combo made history with their fresh sound and engaging style, blazing a trail that many since have attempted to follow. The delicately balanced sonorities of baritone sax and trumpet in seemingly effortless contrapuntal play was a new aural kick for which modern jazz audiences still have sharp appetites. Mulligan's own compositions and arrangements provide the group with the most congenial framework in which to display their talents and personalities. A must for all modern collectors, unless they have previously gotten some of them released on EP.

Nights At The Turntable
Lullaby Of The Leaves
I May Be Wrong
Aren't You Glad You're You
I'm Beginning To See The Light
The Nearness Of You
Makin' Whoopee
Tea For Two 

Cuban Carnival - Tito Puente


Mambo Buda

Cuban Carnival
Tito Puente and His Orchestra
Reissued By Request
RCA Victor International FPM-143
Producido y Distribuido por Kelvinator Sales Of Puerto Rico, Inc.

Elegua Chango
Cual Es la Idea (What's The Idea)
Pa Los Rumberos (For Dancers)
Que Sera (What Is It)
Oye Mi Guagunanco (Listen To The Guaguanco)
Happy Cha Cha Cha
Mambo Buda
Cha Cha de Pollos (Cha Cha For Chicks)
Guaguanco Margarito
Cuban Fantasy

Boleros a la Manera de Juan Mendoza


A Un Corazon

Boleros a la Manera de Juan Mendoza
"El Tariacuri"
Accompana: Mariach de Alfredo Serna
Discos Peerless LD 508

Chacha Linda
Mi Dolor
Un Compromiso
Enamorado Perdido
Ojos Tristes
Razón Para Quererte
A Un Corazon
Viejo Sendero
Ayudame Dios Mio
Desperte Llorando

Noche de Flamenco - Jose Greco


Porque To Quiero (Milonga)

Jose Greco
Noche de Flamenco
MGM E3802

Side One - Manuela De Jerez (Vocal)
La Virgen De La Augusta (Granadina)
Porque Te Quiero (Milonga)
Sale La Aurora (Serrana)
La Flores (Alegrias)

Side Two - Rosario Caro (Vocal)
Dace Cascabeles (Passcelle)
Echale Guindas Al Pave (Bulerias)
La Emperaora (Farruca)
La Mora (Zambra Gitana)

Manuela De Jerez (Vocal)
La Paloma Blance

Thursday, December 10, 2020

House Of Horn - Paul Horn


House Of Horn - The Golden Princess

House Of Horn
Paul Horn
Produced by Tom Mack
Recorded September, 1957, in Hollywood, California
Jazz Horizons
Dot Records DLP 3091


Paul Horn: Flute, Alto Sax, Piccolo, Clarinet, Alto Flute
Gerry Wiggins: Piano and Celeste
Dan Lube & David Frisina: Violin
David Sterkin: Viola
Fred Katz: Cello
John Pisano: Guitar
Red Mitchell: Bass
Forest Thorn: Drums
Larry Bunker: Vibes
Bill Max: Bells

From the back cover: The five instruments Paul plays here are alto saxphone, clarinet, piccolo, flute and alto flute. Actually, he has mastered even more of the woodwinds, and one might well wonder why this diversity of effort. Paul's answer is quite clear: "There are emotions you can register on a flute," he points out, "that just wouldn't come off on, say, a piccolo or alto sax. Each has an individual sound. And I never feel satisfied with substitutions.

This discerning musical taste has made Paul his own sternest taskmaster. Having postponed earlier opportunities to record a first Paul Horn album, he now presents this album's inventive, wide-ranging program with the confidence of someone who knows at last where he stands, as artist who has clearly defined his terms.

The acquisition of this musical identity, Paul feels, came about when he left the relative anonymity of the Sauter-Finegan Orchestra for the creative explorations of the Chico Hamilton Quintet. Though he credits every member of that group with stimulating help, Paul singles out Fred Katz (who, remarkably, works simultaneously as jazz cellist, classical cellist, and serious composer) as the most important influence of all.

"I live just two doors from Fred," he relates, "and we spend a great deal of time together. We talk about our kids, about politics, about people, places and economics. But mostly we talk about music."

And, of course, they play music. The result, in both writing and performance, is an unusual  amalgam of what most people call jazz and the classics, of improvisation and composition. To those who would ask what, really, to call his music, Paul has this reply:

"I think," he says, "that it's unfortunate when any music must carry a label. "If a person begins to listen to music with preconceived notions of the category it ought to fall into, that person isn't giving himself or the music a fair chance.

"A musician has to satisfy his own musical desires and most of the time that can be difficult enough."

"In this particular case – in House Of Horn – I'm doing what really satisfies me. I can't ask for more than that."

Also from the back cover: Paul Horn was born on March 17, 1930, in New York City. His parents both loved music. Paul's mother, Frances Sper, was associated with Irving Berlin and was a well known pianist and singer in Tin Pan Alley; his father, Jack Horn, gave Paul's career invaluable support. At four Paul began instruction in piano, but shelved that for the clarinet at eleven, took up alto sax at thirteen. He played in the band and orchestra at high school, took a Bachelor's Degree in Music at Oberlin College. He studied further at the Manhattan School Of Music (where his classmates included Max Roach, John Lewis, Julius Watkins) and there won his Master's Degree. After a term of military service Paul played with the Sauter-Finegan Orchestra for nearly a year, leaving it in September, 1956, to join the Chico Hamilton Quintet. Paul is married (to the former Yvonne Jourdan) and has one son (Marlen; born Sept. 3, 1957). This is his solo album debut, though he is also heard in the Dot Album Word Jazz, which features Ken Nordine and the music of the Fred Katz Group.

From Billboard - December 16, 1957: There's some clever work displayed by Horn on a variety of interesting originals, most notable of which is "Golden Princess." Horn works the woodwinds thruout the set, using alto, clarinet, piccolo, flute and alto flute to achieve striking and at times brilliant effects. Instrumentation on "Princess" – flute, piano, celeste and vibes creates an infectious sound while the music itself is superbly written. Many modernists will enjoy the package.

Pony Tal
Day By Day
A Soldier's Dream
House Of Horn
The Golden Princess
Sunday, Monday Or Always
To A Little Boy

Introducing Eric Kloss With Don Patterson


Close Your Eyes

Introducing Eric Kloss
With Dan Patterson
Produced by Cal Lampley
Recording: Rudy Van Gelder
Prestige Records, Inc.
Prestige 7442

Eric Kloss: Tenor and Alto Saxophones
Don Patterson: Organ
Pat Martino: Guitar
Billy James: Drums

From the back cover: That's The Way It Is, a tune written by one Eric Kloss, is the lead tune on the second side of this records. And the way it is with young (sixteen) Eric Kloss is mighty right, as attested by the performance he gives on this album, his first recorded effort, and you will hear him play both alto and tenor saxophones the way they should be played. For the simple fact of the matter is Eric Kloss, who is only in his third high school year at the Western Pennsylvania School for Blind Children (his father is superintendent of the school), has reached a maturity in his music that few people twice his chronological age ever attain and that is the way it is with Eric Kloss.

Showcasing as artist is a very difficult task. It is far too easy to classify ones talents. If a featured player has as a complement a swinging organist (Don Patterson), a "down home" amplified guitarist (Pat Martino), and a swacking, grooving, drummer (Billy James), some would say – "Well, he's in the 'soul' bag" or try to compare him with an established artist, like – "Oh yeah, but he's in Sonny Stitt's groove" but Eric Kloss is right out of Eric Kloss and warrants no similarity. Here is the rare musician who is beyond categorizing – an individual voice! – Jack Yard (Nov. 1965)

Close Your Eyes
Old Folks
'S 'Bout Time
That's The Way It Is
All Blues
Embraceable You

Songs Of The South Seas - Ray Kinney


Hawaiian War Chant

Songs Of The South Seas
Ray Kinney And His Famous Hawaiian Orchestra
And The Five Aloha Maids
FDR Full Dynamic Range
Waldorf Music Hall Records MH 33 113 (10 inch 33 RPM)

Hawaiian War Chant
Hawaiian Paradise
Old Plantation
Beauty Hula
Ua Like No A Like
Kuu Lei

The Great Arrival! - Doc Seversinsen



The Great Arrival!
Doc Severinsen
Arrangements: Marion Evans & Dick Hyman
Originated and Produced by Loren Becker & Robert Byrne
Art Director: Daniel Pezza
Recording Engineer & Stereo and Monaural Mastering: George Piros
Command ABC Records 
Grand Awards Record, Co. A Subsidiary of ABC Records, Inc.


Trumpets: Johnny Frosk, Robert (Bob) McCoy, Dick Perry, James Maxwell, Eugene (Snooky) Young, Clark Terry

Trombones: Robert (Bob) Alexander, Seymour (Sy) Berger, Herb Wise, Paul Faulise

Woodwinds: Arnie Lawrence, Al Klink, Walter (Wally) Kane, Tom Newsom, Don Ashworth

Guitars: Tony Mottola, Al Casamenti, John (Bucky) Pizzarelli, Gen Bertoncini

Fender and Regular Bass: Giulio (Julie) Ruggiero

Piano: Derek Smith

Drums and Percussion: Robert (Bob) Rosengarden, Ed Shaughnessy, Sol Gubin

Free Again
What The World Needs Now Is Love
The More I See You
Trumpets And Crumpets
You And The Night And The Music
It Must Be Him
Up, Up And Away
I Have Dreamed
Alone Together

Organo Melódico Vol 8. Juan Torres


Por Amor

Organo Melodico
Vol. 8
Organista: Juan Torres
Todas Las Selecciones De Este Disco Son Instrumentales
Grabación Directa Con Tecnica De Roberto Sasian S. 
Musart 1458

Por Amor
Estoy Loca Por Ti
Te Vi Llorando
Me Quiero Casar Contigo
Cuando Amanezca
Corazon Feliz
Ojos Españoles
Maria Isabel
Dulce Dulce (Sugar Sugar)

Monday, December 7, 2020

We Dig Mancini - The Anita Kerr Quartet



We Dig Mancini
The Anita Kerr Quartet
The Anita Kerr Quartet: Anita Kerr, Dottie Dillard, Gil Wright, Louis Nunley
Produced by Chet Atkins
Recorded in IBC Studios, London, England
Recording Engineer: Glyn Johns
RCA Victor STEREO LSP-3428

Baby Elephant Walk
Mr. Lucky
Days Of Wine And Roses
How Soon
The Pink Panther
Dear Heart
Too Little Time 
Moon River
The Sweetheart Tree

Shelly Manne And His Friends


Step Steps Up

Shelly Manne And His Friends
Produced by Bob Thiele
Engineer: Doug Hawkins
Cover Photo: David Redern
Doctor Jazz FW38728
Teresa Gramophone Company, LTD.

Recording Data:

Moonglow, Tea For Two, Step Steps Up, Step Steps Down. Shelly Manne featured with the Barney Bigard Trio (Bigard, clarinet; Eddie Heywood, piano; Manne, drums). Recorded January 22, 1944 in New York City.

How High The Moon, Penthouse Serenade, Them There Eyes, Sarcastic Lady. Shelly Manne featured with Eddie Heywood and His Orchestra (Ray Nance, trumpet and violin; Aaron Sachs, clarinet; Don Byas, tenor saxophone; Heywood, piano; John Simmons, bass; Manne on drums.) Recorded May2, 1944 in New York City.

On The Sunny Side Of The Street, Time On My Hands, Night And Day, Flamingo. Shelly Manne featured with The Eddie Heywood Trio (Johnny Hodges, alto saxophone; Heywood, piano; Manne, drums.) Recorded May 26, 1944 in New York City.

From the back cover: There is playing on this set that is equal to some of the best distillations of the jazz of the early 1940s. What a delight it is, for example, to hear Johnny Hodges again in what for him, was a rare setting – the trio date that produced On The Sunny Side Of The Street, Time On My Hands, Night And Day and Flamingo. Aficionados will remember another Hodges' Sunny Side – that soaring performance with Lionel Hampton – but this one has its own rewards, and its a real dividend to have this side available again along with the Hampton track on RCA Victor. What happens to the other three standards in that trio setting, by the way, is a classic illustration of what jazz is all about. At the time, those three songs were among the most familiar of all pop standards (and the first two in particular are still often heard, if largely in elevators). Yet then – and listening now nearly three decades later – Hodges, Heywood and Manne so transmute and personalize those songs as to make them sound brand new. If anyone asks you what the essence of jazz improvisation is, play him these three tracks.

How High The Moon
When We're Alone (Penthouse Serenade)
On The Sunny Side Of The Street
Time On My Hands
Tea For Two
Them There Eyes
Sarcastic Lady
Night And Day
Step Steps Up
Step Steps Down

Go Go - Johnny Rivers & Trini Lopez


Only In My Dreams - Trini Lopez

That's My Baby - Johnny Rivers

Go Go
Johnny Rivers / Trini Lopez
Custom Records CM 2019

Sinner Not A Saint - Trini Lopez
Where Can My Baby Be - Trini Lopez 
Rosita - Trini Lopez
Only In My Dreams - Trini Lopez
If - Trini Lopez
Your First And Last Love - Johnny Rivers
White Cliffs Of Dover - Johnny Rivers
That's My Baby - Johnny Rivers
Such A Fool For You- Johnny Rivers

Sunday, December 6, 2020

Previn Plays Gershwin - Andre Previn


II. Adagio – Andante con moto

Previn Plays Gershwin
Rhapsody In Blue Concerto In F
An American In Paris
London Symphony Orchestra
Andre Previn - Pianist & Conductor
London Symphony Orchestra
Producer: Christopher Bishop
Recording Engineer: Christopher Parker
Recored at EMI Studios, Abbey Road, London
Annotation Editor: Janice May
Art Direction and Design: Marvin Schwartz/Rod Dyer
Cover Photo: Ken Veeder
Jacket made in Canada
Angel SFO-36810

From the inside cover: Andre Previn was born in Berlin in 1930; and, as he himself attests, owes his affinity for classical music to his father, Jack Previn, a lawyer and judge by profession, who was a devoted amateur pianist. Previn counts among his earliest recollections evenings of chamber music and lieder singer in their Berlin home. At the age of six, the young Andre was studying piano, composition and musical theory at the Berlin Hochschule, supplementing  his father's instruction in sight-reading (his "textbooks" included Mozart, Beethoven, Schumann and Brahms symphonies plus Mahler and Strauss arranged for four hands).

Further opportunities for serious study were made available to Previn when the family moved to California in 1939. For composition his professors were Joseph Achorn and Mario Castelnuovo-Tedesco, and for conducting he enjoyed a considerable time under the exacting tutelage of the legendary Pierre Monteux. The following year he attended the Paris Conservatorie where he studied with Marcel Dupre, returning to California after twelve months to continue his schooling.

In 1946 at the age of sixteen, Previn joined the music department at MGM as arranger and composer of film music. This move, he recalls, was motivated primarily by the family's financial circumstances at the time. During the next fourteen years, he composed and arranged music for over 30 film scores, winning four Academy Awards for "Gigi," "Porgy And Bess," "Irma la Douce," and "My Fair Lady." Of these years at MGM Previn acknowledges both the positive and negative aspects of such an experience for a maturing musician. Of the greatest advantage was the fact that he was writing music constantly and, within days of composition, hearing his own music performed which was, as he has described the experience, "an extraordinary instant education." On the negative side, he came to increasingly regret the lack of time for serious composition, chamber music and conducting the classical repertoire. In 1960, Previn decided to concentrate solely upon classical music and for the next four years worked on refining and establishing his conducting repertoire.

It must be noted here that Previn's early career was also marked by his considerable renown as a jazz pianist. Today his performances occasionally include appearances as piano soloist (the Gershwin concerto here features Previn as conductor-pianist), or a a member of a chamber group. While his primary concentration was focusing on the field of conducting, he nonetheless retained his interest, both personally and professionally, in the piano.

Although offers came during the early 1960s from major American orchestras for podium assignments of a light nature (in essence what he had been doing in Hollywood) he accepted dates from lesser-known orchestras who invited him to conduct the more traditional classical compositions. His own summation of those appearances: "Besides the much-needed experience, I had a terrific time."

Subsequently, his catholicity was rewarded and he emerged not as "Hollywood's Andre Previn..." but as Andre Previn conductor." As he himself related: "How happy I was the first time I was given a bad review solely on the strength of having given a concert and not because I was geographically suspect."

His first recording, made in 1962, was a highly-acclaimed reading of Britten's "Sinfornia da Requiem." And some three years later, as noted, he began his distinguished recording program with the London Symphony Orchestra.

As for his conducting posts, he has served as guest conductor with the world's greatest orchestras (among them the Boston, Chicago, New York, Berlin and Stockholm ensembles). Following a successful two years as Musical Director of the Houston Symphony Orchestra, he was appointed Principal Conductor of the London Symphony Orchestra in 1968 for a three-year term. As of this writing, the contract has been extended for an additional four years. For the past several seasons, Previn and the LSO have toured extensively and recently returned from a widely-acclaimed visit to the Far East and Russia. Joining the LSO for the event were composers William Walton and Benjamin Britten in addition to soloists Peter Pears, Kyung Wha Chung, John Lill, Sviatoslav Richter and Mstislav Rostropovich, (Of all Soviet musicians he talked with on the tour, Previn found Richter the most fascinated by American composers, particularly Gershwin.) In 1972, Previn and the LSO are scheduled to appear in major cities throughout America and Germany as well. Future plans, on Previn's agenda, include a debut at Covent Gardens conducting operas by British composers (he is a firm partisan of English music) – the stage premiere of Britten's "Owen Wingrave" and Walton's "Trollus and Cressida," both in 1973. For his recording career, the works of Prokofiev, Shostakovich and Tchaikovsky are frequently mention as strong contenders.

From Billboard - December 4, 1971: This all Gershwin program suits pianist/conductor Previn whose dual journeys into popular and serious music compare to those of the great American composer. The popular pieces, with their equal influences of popular, jazz and serious composition, are expertly performed by the pianist and the London Symphony Orchestra and include "Rhapsody In Blue," "An American In Paris," and "Concerto In F."

Rhapsody In Blue
An American In Paris

Concerto In F
  I. Allego
  II. Adagio – Andante con moto
  III. Allegro agitato

Andre Previn, Piano
Howard Snell, Trumpet

Composed: 1925. First performed: December 3, 1925m New York Philharmonic Symphony Society, Walter Damrosch conducting, George Gershwin at the piano.

"Gershwin was not writing jazz rhapsody, as Damrosch pointed out when introducing the work, but a conventional piano concerto which utilized the musical speech of popular music and jazz for its melodic and harmonic elements. It was more a work of art than an exercise in free expression like the Rhapsody. In three moments, it is a work full of brooding melancholy and easy charm, melodic, well constructed, tellingly orchestrated (by Gershwin himself)... it is, after all, the best-known, most-played of all American concerts and is likely to remain a permanent part of the repertoire." Peter Gammond

This Is The Life - Matt Monro


I'll Take Romance

This Is The Life!
Matt Monro
Produced by David Cavanaugh
Cover Photo: Capitol Studio - George Jerman
Capitol Records ST 2540

From the back cover: Sit in on this – Matt's first recording session for Capitol – and you're in for the same kind of Matt Monro excitement. Sining his entire range with ease of a born professional, he displays that almost indefinable gift of giving a word or line the perfect, the unforgettable reading. And from first moment to last he's in the superb company of musical director Sid Feller whose inspired arranging and conducting ideally suit the songs and the way Matt singes them.

I'm Glad There Is You
This Is The Life
You're Gonna Hear From Me
I'll Take Romance
Strangers In The Night
On A Clear Day (You Can See Forever)
Sweet Lorraine 
My Best Girl
On A Wonderful Day Like Today
Merci Cherie
Honey On The Vine