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Saturday, December 19, 2020

Mirrors - Peggy Lee


A Little White Ship 

Peggy Lee
Words by Jerry Leiber
Music by Mike Staller
Arranged and Conducted by Johnny Mandel
A Leiber-Stoller Production
Art Direction: Roland Young
Design: Junie Osaki
Photography: Hans Albets
Illustration: David McMacken
Recording and Mixing Engineer: Hank Cicalo
Mastering Engineer: Bob Ludwig, Sterling Sound, New York
A&M Studios, Los Angeles, California
A&M Records AMLH-64547

Georgia Alwan
Norman Benno
Gene Cipriano 
Harry Klee
Ronald Langinger
Abe Most
John Neufeld
Jack Nimitz
Bill Perkins
Jerome Richardson
Tom Scott (Courtesy of Ode Records)

Joe Burnett
Buddy Childers
Charles Findley
Paul Hubinon
Malcolm McNab
Anthony Terran

Charles Loper
Richard Nash 
Kenneth Shroyer
Phillip Tule
Mike Vlatkovich
Chauncy Welsch

Vincent DeRosa
Alan Robinson
Marilyn Robinson

John Johnson
Bill Masonheimer

Clare Fischer
Don Grusin
Artie Kane
Micheal Lang
Mike Melvoin
Varda Ullman

Guitar (Banjo)
Dennis Budimir
John Pisano
Tommy Tedesco

Corky Hale

Stephen Paietta

Drums & Percussion
Larry Bunker
Gene Estes
Victor Feldman
John Guerin
Ken Park
Joseph Porcato
Emil Radocchia
Jack Ranelli
Mark Stevens
Alivn Stoller
Kenneth Warson

Arnold Belnik
Blanche Belnick
Harry Bluestone
Norman Carr
Marcy Dicterow
Assa Driori
Irving Geller
William Kurasch
Betty Lamagna
Guy Lumia
Erno Nefeld
Wilbert Nuttycombe
John Pintavalle
Tony Posk
Elliot Rosoff
Sheldon Sanov
Paul Shure
Richard Sortomme
Mari Tsumura
Gerald Vinci
Shari Zippert

Julien Barber
Allan Harshman
Virginia Majewski
David Schwarz
Barbara Thomson

Anne Goodman
Dennis Karmazyn
Jesse Levy
Edgar Lustgarten
Jackie Lustgarten
Fred Seykora (also Bass)

Ray Brown
Joe Mondragon

Ready To Begin Again*
Some Cats Know**
I've Got Them Feelin' Too Good Today Blues
A Little White Ship
Professor Hauptmann's Performing Dogs
Mary Jane
I Remember
Say It
Longings For A Simpler Time

*Arranged & Conducted by Perry Borkin, Jr.
**Recording Engineer: Pete Romano at A&M Studios, Hollywood and Carmine Rubino at the Record Plant, New York - Strings Arranged and Conducted by Meco Monardo

For The Good Times - Chet Atkins


Vesiti la giubb

For The Good Times
And Other Country Moods
Chet Atkins
Arranged by Chet Atkins
Recorded in RCA's "Nashville Sound" Studio, Nashville, Tennessee
Recording Engineers: Al Pachucki and Bill Vandevort
Recording Technician: Roy Shockley
Cover Photo by Jimmy Moore, New World Photography
RCA Victor LSP-4464

From Billboard - February 20, 1971: With equal potential for the pop sales chart as well as the country, the guitar king comes up with another superb program. He ads his own distinctive and unique style to such recent hits as "For The Good Times," "Snowbird," and "El Condor Pasa" and "Theme From Love Story." His rendering of "Vesti la guibba" is a gem

Chaplin In New Shoes
Walk Right Back
Tuck Me To Sleep In My Old Kentucky Home
Vesiti la giubba (from "I Pagliacci)
For The Good Times
El Condor Pasa
Just One Time
Together Alone
Theme from "Love Story"

Bix Beiderbeche Memorial Jazz Band


Blues For Bix

Bix Beiderbecke Memorial Jazz Band
Photo by Bob Farlee
Audex AX-103

The Bix Beiderbecke Memorial Jazz Band

August 6, 1971

Oakdale Cemetery, Davenport, Iowa - Davenport Blues

Joe Ashworth - C Melody Sax
Billy Barnes - Cornet
Bill Donahoe - Washboard
Jay Duke - Drums
John Gill - Banjo
John Schober - Clarinet
Skip Strong - Trombone
Bill Taggart - Tuba

From the back cover: This recording took place October 19 and 20, 1973, at The Tarn in Bartley, NJ – a 100-year old foundry converted into a gigantic recreation room. It was cold – so was the BBMJB since they hadn't played together since July in Davenport. This was the original 1971 group with a plus of Tex Wyndham on piano for good measure. Joe Ashworth switched to clarinet/soprano sax and John Schaber to C melody/alto sax.

Basically, the Bix Beiderbecke Memorial Jazz Band is a visual band capable of a spiritual drive when the occasion and venue require it. They are high-spirited and empathic at some time – all these virtues dissolve their few technical errors under such conditions. But a cold recording in a cold studio with harder-to-throw cold engineers and liner/notes/writers and critical friends and unsympathetic acoustics ain't easy. (Ever record with six-foot logs cracking and snapping in a giant fireplace?) The end result? The BBMJB on tape, finally. Recorded, edited, mastered by a master. Something for posterity.

The BBMJB has had detractors – "they don't play (sound) like Bix (Bix group)." This is not the intent of the BBMJB. Their intention is playing what they feel in tribute to Bix and his days and fellow Bix-era jazzmen – feeling the guts, spirit, fun, sadness, wildness of an age highlighted buy the short life of a long-legendary figure who epitomized the times and the music - a figure who gave this time of American Music a romantic filter of sterile musical windmills.

Some of Bix's best known tunes are not here. Neither are some of BBMJB's famed lease breaking flagwavers. And here in non-biz-relatged-jazz – but what is  non-biz is jazz and BBMJB is jazz and this session is jazz? As Barnes said sagely, "So why not Creole Love Call? Bubber recorded with Bix? Lagniappe is the absence of any vocals; knowing the words and the music (almost) is not enough to capture the nuances of Bix-era vocalists that would be almost in opposition here to what the BBMJB intends and dose. And anti-climatic.

Blues For Bix required just one take. Some numbers are 3rd and 4th takes. A few more were done on both sessions before a printable edition came out of the playback monitor.

Here, without the redundant explanations of the who/what/where/how comes of lp note sonography are serious, dedicated jazzmen doing what they want to do their way. Let the listener and devotees of Jazz and Bix and BBMJB be the critic/lp liner note writer.

Jazz history has been made by the Bix Beiderbecke Memorial Jazz Band and the dream of non-musician (as he calls himself)/leader Bill Donahoe. The purpose of making this lp is so there will exist a tangible record that on the 40th anniversary of Bix's death there were those who cared. – Bill Bocin - Editor, The Jazzologist

Davenport Blues
Creole Love Call
Royal Garden Blues
Fidgety Feet
Riverboat Shuffle
Blues For Bix
From Monday On
I'll Be A Friend With Pleasure
Bogalusa Strut

Railroad Man - Hank Snow


Ghost Train

Hank Snow
Produced by Chet Atkins
Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee
Recording Engineer: Tommy Strong
RCA Victor STEREO LSP-2705

Waiting For A Train
Big Wheels
The Last Ride
The Streamline Cannon Ball
Ghost Trains
Pan American
Way Out There
Chattanooga Choo Choo
The Wreck Of The Number Nine
Lonesome Whistle
The Crazy Engineer

Friday, December 18, 2020

Mort Wells Plays New Orleans


Sweet Lovin' Gal

Mort Wells Plays New Orleans
Producer and Engineer: Don Sears
Cover Design: Dennis Kennedy
Applause Records
STEREO Sears Recording Studios

From the back cover:

Mort Wells (Trumpet)
The sound of Mort Wells has echoed in every major ballroom, club and hall, in the country since the early 30's when he joined "Jim Pound's Seven Ounces". Mort cut his first record with Dan Ingraham's "Detroiters", and in 1933 joined Paul Specht's Band in New York City. During the days of the BIG BANDS Mort's distinctive trumpet was heard for seven years with Orin Tucker and his Famous Colmbia Recording Band, The Lucky Strike Hit Parade, Paramount Pictures, Meredith Wilson's Armed Forces Radio Service, and the U.S. Navy. Mort plays many arrangements given to him by his old friend as radio and TV Musical Director Mort developed his own racing stable, and his horses have raced in the money at numerous tracks around the nation. He has a real winner in this album.

Elder ("Ole") Gunderson (Drums)
"Ole" is one of the few drummers who has that rare gift of knowing what the horn man is going to do... before he does it. Back in 1918 he began with a homemade set of drums, the foot pedal being a barn door hinge, with a baseball on the end for a beater. He toured with the old Harry Tuner Band, and joined the Buddy Fisher band (where a fella' named Skitch Henderson was playin' piano). After service in the Army he joined Mort Wells (in the 40's) and is very much in evidence throughout the album. You'll hear "Ole's" familiar humming and singing in the background.

Bob Morgan (Piano)
In 1936 Bob appeared with the Ted Lewis Amateur Hour, and traveled extensively through the 40's with many name bands, the majority of the time with the Earl English Band. He joined Mort in 1957 and, although the youngest member of the group, has that certain quality that highlights him as one of the finest Dixie pianists of the day.

George Casey (Clarinet)
Back in the vaudeville days a group called "Kiddies Of The World" toured the nation. That was 1930, and "Casey" was at bat with them, although he was already somewhat of a veteran (began his musical career in 1928). He, like the others of the band, has put in his time on the road. He played with the Paul Davis Chicago Band in 1933, also many radio shows, including the "Fiber McGee and Molly Show" with the great Billy Mills Orchestra.

Wendall Hall (Bass)
Another Veteran of vaudeville, Wendal began in 1923 as a banjo player, touring the famous RKO Circuit. In 1927 he was a member with the ZEZ Confrey group, and played with numerous name bands until joining Mort Wells in 1950.

Lauren ("Snuffy") Brown (Trombone)
"Snuffy" began playing a violin but in 1927 he bought his first trombone – for $35.00 – and has become a master of the instrument. He has played with the old Curly South band and various name groups, including Lawrence Welk (40's). His "sound" brings back memories of the late Jack Teagarden, and yet the styling of this fine musician is excitingly original.

Sweet Lovin' Gal
You Brought A New Kind Of Love To Me
Float Me Down The River
Clarinet Marmalade
Tiger Rag
Closer Walk With Thee
Foolin' Around
Wabash Blues
Dreamin' On The River

Country Music Time - Kitty Wells


A Wound Time Can't Erase

Country Music Time
Kitty Wells
With The Jordanaires Courtesy of Columbia
Decca Records DL 4554

From the back cover: If you are sincere in feeling that you must surely be one of Kitty Well's greatest admires, you can count yourself a member of a very exclusive club. Membership is limited to six persons: Carol Sue Strudivant and Ruby Jean Stephenson, both of Nashville, Tenn., John Robert Wright Jr. of Hollywood, Calif., and John R. Wright Sr. and Frank G. Clement, also both of Nashville – and you.

Carol and Ruby are Kitty's married daughters, John the youngest is her television actor-son, and John Sr. is Johnny Wright, Kitty's husband of 27 wonderful years. Frank Clement is not in the family, but rather he is Tennessee's distinguished governor.

That Governor Clement is every bit as much an admirer of Kitty  as you and her immediate family was vividly proven in a statement of the Governor's. "In addition to her artistry," he told an audience of the most successful singers and songwriters, "Kitty has demonstrated that she is an outstanding wife and mother in keeping with the finest traditions of Southern womanhood."

Then, on the strictly professional side of her personality, Kitty won this tribute from Nashville's most respected writer, Charlie Lamb: "The pros always act like pros. When Kitty Wells walks into the studio, she greets everybody cordially, walks over to the microphone and sings; no temperament, no falderol, merely perfection. It is easy to see why she is the Queen Of Country Music." 

Few of Nashville's recording artists are Nashville natives, as Kitty is. Her parents were a railroader and his wife, Mr. and Mrs. Charles Season, who christened their bright-eyed baby Muriel. At 15 she was playing guitar and singing spirituals. Three  years later she met at Mount Juliet, Tennessee's handsome young Johnny Wright, and from that moment her life and her love were dedicated to him. Together they became famed country talents. Kitty as a solo performer and Johnny with his Tennessee Mountain Boys partner, the last Jack Anglin. Along the way Kitty's stage name was borrowed from a song, "I Could Marry Kitty Wells," popularized in the early 1930s by a Grand Ole Opry group, the Picard Family.

I've Thought Of Leaving You
Begging To You
B. J. The D. J.
Old Records
As Usual
Going Through The Motions Of Living
Gonna Find Me A Bluebird
This White Circle
A Wound Time Can't Erase
(I Didn't Have To) Break Up Someone's Home
Before This Day Ends

Thursday, December 17, 2020

Overture From Tommy - The Assembled Multitude


While My Guitar Gently Weeps

The Assembled Multitude
Overture From "Tommy"
Produced by Bill Buster and Tom Sellers in association with John Madara Enterprises, LTD.
All selections arranged by Tom Sellers with the exception of Twenty Four Hours From Tulsa which was arranged by Richard Rome
Recorded at Sigma Sound Studios, Philadelphia, PA
Recording Engineer: Joe Tarsia
Album Art: Jim Dine
Album Designer: Loring Eutemey
Atlantic Records SD 8262

From Billboard - October 3, 1970: The hit single, "Overture From "Tommy" will give this LP its initial sells push and the drive will continue because of the solid way the Assembled Multitude handles the other cuts. Among the noteworthy items are "Woodstock," "I Want You," "Ohio," MacArthur Park" and "Twenty Four Hours From Tulsa."

Overture From "Tommy" (A Rock Opera)
Where The Woodbine Twineth 
Singalong Junk
MacArthur Park
The Princess And The Soldier
Twenty Four Hours From Tulsa
While My Guitar Gently Weeps
Mr. Perppercorn
I Want You (She's So Heavy)

I Can - Ben Sweetland


How To Master Habits

I Can
The Key To Life's Golden Secrets
From The Book by Ben Sweetland
Success Motivation Institute, Inc. SMI-1314

From the back cover: Dr. Ben Sweetland is widely known on the West Coast as a consulting psychologist. A wide and varied career, that has included advertising, radio and newspaper work, has brought him into contact with thousands of different individuals. His sincere love of people, his sympathetic attitude toward their problems, and his marvelous insight into their capabilities has uniquely fitted him for his career of helping others.

Dr. Sweetland could be classified as a more or less ordinary American citizen until he was well past middle age. He rocked along in a commonplace routine with not too much incentive, past the "golden days of youth", past "when life begins at forty". His late fifties found him in a modest apartment with no automobile, no savings, just enough money each pay day to meet his financial obligations.

In his early sixties, he and he beloved wife, Edel moved into an estate in Hillsborough, California, a unique community often referred to as "the millionaire's town". His palatial home was designed  by a famous architect and is elegantly furnished. He found himself a world traveler and lecturer, a syndicated columnist (his "The Marriage Clinic" runs in many papers), and a successful author. The secret of his success???... he took his own advice! He states that he has made greater progress in the past ten year of his life than he made in the first fifty! And this narration of I Can tells you how he did it and how You Can To!

Getting Acquainted With Yourself
Your Pledge To Yourself
Your Life's Pattern
The Art Of Relaxation
You Mental Powerhouse
Work Less-Accomplish More
How To Overcome Worry
The Value Of Self-Appreciation
How To Gain Self-Mastery
You Mental Yard-Stick
How To Build A Magnetic Personality
Your Normal Life Span
How To Develop A Powerful Memory
Conversation And Public Speaking
How To Make  Good In The Field Of Salemanship
How To Get A Better Job
How To Build A Business Of Your Own
How To Master Habits
Your Marriage Can Be Happy
Personal Remarks By The Author, Dr. Ben Sweetland

Tanzmusick Nach Mass - Bela Sanders


Night Train

Tanzmusik nach Mass
2 Folge
Bela Sanders
Philips STEREO 840 420 PY
Printed in Germany

Tanze mit mir in den Morgen - Tango
Roter Sombrero
Night Train - Blues
Little Dipper
Does Boogie - Boogie-Woogie / Rock
That's The Beat
Love Letters In The Sand - Slowfox
Dark Moon
Ganz allerliebst (Tres Jolie)
Herbstweisen (Pomone)
At The Darktown Strutter's Ball - Dixieland / Charleston
Lamberts Nachtlokal (Lambeth Walk)

Another Step Forward - Joe Morello


The Truth

Another Step Forward
Joe Morello
Produced by Dick Schory
Recording & Mixing Engineer: Brian Christian
Technical Director: Ron Steele
Cover Design: Guar A. Barkans
Ovation Records OV/14-02

Drums: Joe Morello
Bass: Jim Atlas
Tenor Sax: Buddy Terry
Piano: George Gaffney, Larry Novak
Guitar: Ron Steele
Valve Trombone: Bob Ojeda
Trumpets: John Howell, Robert Lewis, Gary Slavo
French Horn: Dale Clevenger
Trombones: Bill Porter, Ralph Craig
Violins: David Chausow, Sol Bobrov
Viola: Arthur Ahlman
Cello: Leonard Chausow

The Sound Of Silence
The Beginning Of Time
The Truth
I Don't Know
Give Me A Simple Tune
Not So Fast
The Fool On The Hill
Church Key

Wednesday, December 16, 2020

Soft & Wicked - Ronnie Aldrich


Last Tango In Paris

Soft & Wicked
Ronnie Aldrich And His Two Pianos
The London Festival Orchestra Chorus 
Producer: Tony D' Amato
Engineer: Arthur Bannister
Photography: Frank Moseati
Art Direction: Vincent J. Biondi
Phase 4 Stereo London SP 44195
Decca Records

Last Tango In Paris
You're So Vain
Tie A Yellow Ribbon Around The Old Oak Tree
Call Me (Come Back Home)
Good Time Charlie
Oh Babe, What Would You Say
Killing Me Softly With His Song
Last Song
Love Theme (from the Colgems Picture "The Valachi Papers")
It Never Rains In Southern California

In Love - Petula Clark


Quelli Che Hanno Un Cuore

Petula Clark 
In Love
Cover Design: Miller, Boded & Rich
Laurie Mastersound ST-90497

From the back cover: "Pet", as Miss Clark likes to be called, was discovered by most Americans in late 1964 via her million selling hit, "Downtown". However, Petula "Pet" Clark has been an international star in movies and on records for more than two decades. She has sold over 22 million records in Europe and has the unique distinction of making the top of the charts in the United States and seven different countries in Europe – all with different tunes. She sings in many languages and had her first hit at the early age of 17. She had a hit record in France, sung in French, before she actually learned to speak it fluently. The great demand on the continent for personal appearances encourage her to master French and other languages.

Her to-date fabulous career actually began when she was signed by the BBC to sing and recite poems for the families of British soldiers at the beginning of World War II. She was only nine years of age and in the next three years made over 500 appearances on the BBC.

Pet Clark was signed to a movie contract when she was but 12 years old and has starred in over two dozen films, many with the leading film stars of today. Quite a few of these films, in fact, have been shown on U.S. television.

The Twist craze in France afforded Miss Clark with the opportunity of again capturing the French population with her hit. Pet Clark has won many awards for her recording feats – actually too numerous to even list here. This lovely blond actress - vocalist - mother - wife and just plain nice people is highly deserving of the accolades heaped upon her for she has been studying, practicing and performing all of her life. As so many times happens in show business, she today is considered an overnight smash in the U.S. This particular overnight has lasted for more than 25 years.

In Love
Les Chants De L'ete
I Will Follow Him
J'ai Tout Oublie
Quelli Che Hanno Un Cuore
Darling Cheri
Plaza De Torros
Casanova Baciami
The Road
Jumble Sale
Gigolo Gigolino
Elle Est Finie

Arabian Delight - Adbu El Hanid



Arabian Delight
Music From Egypt, Libya, Tunisia, Algeria, Morocco
With Abdu-El-Hanid and His Orchestra
Monitor MFS 434

From the back cover: Abdu-El-Hanid and his orchestra give you an exhilarating performance of 2 authentic native selections, some as old as the Islamic civilization and some of a more contemporary nature.

The ensemble in this recording is typical for Arabic music; Out (Arabic lute), Kanon (Oriental zither), Nay (flute), Violin, Derbeke (Arabic Drum), and Tambourine

Karyat Dance (Instrumental- Country Dance)
Aroos (Wedding Dance)
El Falah (Harvest Song)
Fil Sahra (Instrumental - In The Sahara)
Al Raeya (chant)
Al Sabri (Patience)
Rak El Seyoff (Sword Dance)
Asmar (Dark And Handsome)
Keyf Ansak (I Can't Forget You)
Fikry (My Conscience)
Raks El Banat (Beautiful Maiden)
Maak Maak (Always With You)

Tuesday, December 15, 2020

Oklahoma And Carousel - Cecil Wheatridge


Carousel Waltz

Oklahoma And Carousel
Orchestra Conducted by Cecil Wheatridge
Mercury Wing MGM 12142

From the back cover: Cecil Wheatridge gives you a third-row center set as he batons his French musicians thru a typical Broadway instrumental performance of these two stirring all-time legit musical hits.

Oklahoma Overture Part I:
I Can't Say No
Many A New Day
Out Of My Dreams

Oklahoma Overture Part II:
Kansas City
All 'Er Nothin'
Pore Jud Is Daid

The Surrey With The Fringe On Top
Oh What A Beautiful Morning
People Will Say We're In Love
June Is Bustin' Out All Over
If I Loved You
You'll Never Walk Alone

Carousel Medley:
What's The Use Of Wonderin'
When I Marry Mr. Snow
This Was A Real Nice Clambake

Carousel Waltz

No Count Sarah - Sarah Vaughan


Moonlight In Vermont

No Count Sarah
High Custom Fidelity
Mercury Records MG 20441


Trumpet: Wendell Cutty, Thad Jones, Eugene Young and Joe Newman
Trombone: Henry Coker, Al Grey and Benny Powell
Saxophone: Frank Wess, Frank Foster, Billy Mitchell, Charley Fowlkes and Marshall Royal
Guitar: Freddy Green
Bass: Richard Davis
Drums: Sonny Payne
Piano: Ronnell Bright

From the back cover: The "Kid from Red Bank" is not on this session, thus the title: "No Count Sarah."

But there's the incongruity, for to a square, it might seem "No Count Sarah." But, just listen to the opening 30 seconds on "Smoke Gets In Your Eyes," when "Sass" drifts in after the Marshall Royal opening, wailing like a low-register trombone, and you know it's Vaughan that counts.

Sarah has hit peaks, just like any other great sports, theatrical or cinema personality. She did it on previous Mercury albums (Sarah Vaughan in The Land Of Hi-Fi and Sarah Vaughan After Hours At The London House). These were peak recording sessions by la Vaughan.

But the Divine One tops all singers, male and female, on this session!

Never has she been so uninhibited. Well, maybe once years ago she almost approached this peak. It was about 14 years ago when she was just new, the girl singer with progressive jazz Billy Eckstine crew. The Bird, Did, Wardell Gray, Art Blakey, the late Fats Narvarro and a crew 10 years ahead of itself worked behind her.

But this is the Count-less crew. Another band years ahead. And Sarah's inspired. She does things not yet done vocally. Her range makes Yma Sumac sound like a third-grade soprano. And there's loads of humor and satire. It's the kind of album that reminds you of an old Groucho Marx motion picture. The kind you had to hear three or four times to get all the punch lines!

Smoke Gets In Your Eyes
Darn That Dream
Just One Of Those Things
Moonlight In Vermont
No 'Count Blues
Cheek To Cheek
Missing You

The Australian Jazz Quartet


Lullaby Of The Leaves

The Australian Jazz Quartet
Cover Design: Burt Goldblatt
All Starred tunes recorded January, 1956; others recorded February, 1955; all made in New York City
Bethlehem Records BCP 6002

Composite Personnel Of The Australian Jazz Quartet/Quintet 


Dick Healey - Flute, Alto, Clarinet, Bass
Errol Buddle - Tenor, Basoon
Bryce Rohde - Piano
Jack Brokensha - Drums


Same members with Jimmy Gannon - Bass

Assisting Artists for these recordings:

Jimmy Gannon - Bass
Nick Stabulas - Drums
John Fawcett - Bass

A Foggy Day
Little Girl Blue
September Song
Loose Walk
The Girl With The Flaxen Hair
You Are Too Beautiful
Music For Walkin'
Lullaby Of The Leaves 
Like Someone In Love
The Things We Did Last Sumer
Fascinating Rhythm

Monday, December 14, 2020

Selections From Showboat


Wade In The Water

Selections From Showboat
And Other Standard Hits
Varsity Singers And Orchestra
Cover: Design House
Concertone 20127

Can't Help Lovin' That Man
Old Man River
Why Do I Love You
Wade In The Water
Git On Board, Little Chillun
Loin du Bal (Gillet)
Fantasy Impromptu (Chopin)
Intermezzo (Cavallo)
Valse Blette (Drigo)
Hungarian Scenes (Hubay)
Serenade (Haydn)
Country Dance (Beethoven)

A Mann Named Lorene - Lorene Mann


Stranger At The Funeral

A Mann Named Lorene
Lorene Mann
Recorded in RCA's "Nashville Sound" Studio, Nashville, Tennessee 
Recording Engineers: Bill Bandevort, Tom Pick, Jim Malloy and Chuck Selta
Recording Technicians: Les Ladd and Milton Henderson
Cover Photo: Bill Grine
RCA Victor STEREO LSP-4243

From the back cover: If Lorene Mann had stayed in Huntland, Tennessee, married her childhood sweetheart and given up "those silly notions" of writing songs and wanting to be a recording star, you might not be holding the album in your hand. You might not be hearing the many single recordings of Lorene's songs that country DJs and others play daily. But Lorene had a dream, and I had a front-row seat at its premiere.

I met Lorene when she first came to Nashville, when she was just forming a new circle of friends in the music capitol. What I didn't know then was that Lorene is a regular powerhouse when it comes to music.

She sang for us one night backstage at the Opry House, and we were entranced with the simple sincerity of her songs and her sweet, down-home manner of singing. I'm happy the RCA people recognized her talent, too, for the little song So I Could Be Your Friend, here included, was the song that turned the trick for Lorene's climb to success. Like constructing a building stone-by-stone, song-by-song Lorene built a name for herself. One Of Them and Stranger At The Funeral followed. Later, the duet with Justin Tubb, Hurry, Mr. Peters, led to an album entitled Together And Alone, a collection of duets with Justin and solos by both.

Color Him Father
Daddy Sang Bass
Stand By Your Man
All I Have To Offer You (Is Me)
Stranger At The Funeral
You Used To Call Me Baby
Tell It All
Don't Put Your Hands On Me
So I Could Be Your Friend
One Of Them
Stay Out Of My Dreams

Dear Perry - The Perry Como Show


Red Sails In The Sunset

Dear Perry
The Perry Como Show
RCA Records, London
Made In England
RCA RD-27078

Theme (Dream Along With Me)
It Could Happen To You
Love Letters
We Get Letters (medley)
  Almost Like Being In Love
  Little Man You've Had A Busy Day
  Gypsy In My Soul
  Whiffenpoof Song
Between The Devil And The Deep Blue Sea
Red Sails In The Sunset
Birth Of The Blues
When I Fall In Love
Come Rain Or Come Shine
We Get Letter (medley)
  You Made Me Love You
  I May Be Wrong
  Like Someone In Love
  Vaya con Dios
It Had To Be You
Twilight On The Trail
Theme (You Are Never Far Away)

This-A-Way That-A-Way - Ella Jenkins


Miss Mary Mack

This-A-Way That-A-Way
Cheerful Songs And Chants with Ella Jenkins
And Children From Tennessee
Guitarist: Guy Guilbert
Fiddler: Earl J. White
Photographer: Bernadelle Richter
Script: Joanne Taylor
Folkways Records FC 7546

This-A-Way That-A-Way
Miss Mary Mack
I Like The Way That They Stack Hay
So You Know Your County?
I Know A Tom
Miss Sue
Please Is A Pleasant Expression
The Jolly Bus
I Love To Ride A Bus
Goin' To Kentucky
Turkey In The Straw
Sing Me A Song Again, Ella

Tender Is The Night - Andre Kostelanetz


Love For Sale

Tender Is The Night
Andre Kostelanetz and His Orchestra
Columbia CL 886

From Billboard - September 15, 1956: An eye-catching cover and the lush, sentimental instrumental stylings of Kostelanetz makes this LP a potent sales entry in the mood music field, and particularly good for romantic deejay segs. Selections include such poignant standards as "But Not For Me," "The Thrill Is Gone," and "Body And Soul."

Love For Sale
But Not For Me
These Foolish Things (Remind My Of You)
The Thrill Is Gone
More Than You Know
Body And Soul
What Is This Thing Called Love
Alone Together 
It's All Right With Me
In The Still Of The Night

Sunday, December 13, 2020

Contemporary Spanish Dances - Emma Maleras



Contemporary Spanish Dances
Emma Madera and Her Spanish Ballet
Recorded in Barcelona
Cover Photo: Phillip March
Back Cover Photo: Alfonso of Barcelona
Capitol Records  P18019

From the back cover: Born in 1921 in Ripollet, a little village near Barcelona, Emma Maleras matriculated at 8 at the Conservatorio del Liceo in Barcelona where she studied piano and harmony.

But on her eleventh birthday anniversary, Emma's parents enrolled her with Antonio Alcaraz, a prominent Spanish dance instructor who had worked with Antonia Merce (La Agentinita), most renowned of all Spanish dancers, and sister of the still-active and celebrated Pilar Lopez. At 14, Emma Maleras was known in Barcelona as "the little witch of the castanets" and was appearing professionally. Later she studied the dance briefly with Jaun Magrina.

In 1950 Miss Maleras organized her own Spanish ballet troupe, a group which represented Spain at the International Congress of Opera and Ballet at Wiesdaden, Germany. She performed the opera, "La Vida Breve" and the ballet "El Amor Brujo," both by Maneul de Falla, with spectacular success.

The Germany triump led the Malerasdancers to tours of Portugal, France, Switzerland, Italy and Egypt. A contract for recording followed shortly thereafter. 

Today, in Barcelona, Emman Maleras is possibly the most successful and influential teacher of Spanish dances. Frequently she goes out on tour with her now-renowned Ballet Espanol. "Contemporary Spanish Dances" as offered by Capitol marks the North American debut of Miss Maleras and her company on records.

Anda Ya!
El Gato Montes
Capote De Grana Y Oro
Segundas De Filigrana
Faraon Cambalachero
Garrotin De Cordoba
Bulerias Del Pajaro Pinto
No Te Puedo Querer
La Flor De La Maravilla