England's Enchanting Beverley Sisters

 

I Thought Of You Last Night 

England's Enchanting Beverley Sisters

The Royal Command Performance Girls Sing With Tony Osborne's Orchestra

Recorded in England

Capitol Records T 10286

1961

From the back cover: Once upon a time there were three pretty sisters living in the snug Northamptonshire countryside, because there was a terrible war on, and London, where they were born, was no place for little girls. Though there were three, sometimes you might have thought there were only two, because Teddie and Bass were look-alike twins.

Joy, the eldest, was wild about horsed and wanted to become a groom. Teddie and Bass wanted to join the police force. Their Dad and Mum were Coram and Mills, well known in their day as a music hall singing and comedy act, and the girls learned to sing in the cradle, practically. But they were still very, very young.

Then one day an advertising photographer needed some bonny children to snap for a cocoa ad. He picked the girls, photogenic then as now.

While Jock Ware (the photog) was adjusting lenses and lights, the girls harmonized. "A discovery!" cried Ware, and wrote to a friend at BBC who auditioned them.

When they got their first radio spot Teddie and Bass were just 14. That was in 1949.

Within a year and a half, the Beverley Sisters were a top British singing act, and then went to conquer America in a stay of eighteen months. 1952 saw (and heard) their first recording for EMI. In the same year they gave their first Royal Command Performance; their second was in 1958. Their own television program and many more American tours have added the crowning touch to their popularity.

What magic spell brought about their fairy story of musical success? Some point out that there has been troupers' blood in their veins from birth. Some credit their good looks and unspoiled charm. Others think it's due to the hard work the girls have put in on their arrangements, lyrics, routines – even their costumes.

Anyway, we hope they'll live happily ever after, and that they'll keep making records as smooth and warm as the great songs in this album.

In The Wee Small Hours Of The Morning

A Cottage For Sale

Once In A While

When The Boys Talk About The Girls

I'm Always Chasing Rainbows

No One But You

The Nearness Of You

Tammy

It Takes So Long To Say Goodbye

Beneath The Lights Of Home

I Thought Of You Last Night

Where Did Everyone Go? - Nat King Cole

 

That's All There Is

Where Did Everyone Go?

Songs Of Love And Loneliness By Nat King Cole

Arranged and Conducted by Gordon Jenkins

Produced by Lee Gillette

Cover Photo: Capitol Photo Studio - Ken Veeder

Capitol Records SW 1859

1963

From Billboard - April 13, 1963: Nat Cole's year just past has been one of his hottest, disk wise, in his long career, with both single and album hits in various moods and tempos. Here he is in a superb collection of ballad tunes, many of them in a lonesome, blue mood with standout backing provided by Gordon Jenkins. Included is the title tune plus "When The World Was Young," "Spring Is Here," etc. Great mood wax for buyers and spinners.

Where Do Everyone Go?

Say It Isn't So

If Love Ain't There

(Ah, The Apple Trees) When The World Was Young

Am I Blue?

Someone To Tell It To

The End Of A Love Affair

I Keep Goin' Back To Joe's

Laughing On The Outside (Crying On The Inside)

No, I Don't Want Her

Spring Is Here

That's All There Is

Easy Does It - Julie London

 

April In Paris

Easy Does It

Julie London

Arrangers: Kirk Stuart, Don Bagley, Allyn Ferguson

Art Direction: Woody Woodward

Design: Gabor Halmos

Photography: John Engstead

Engineer: Lanky Linstrot

Produced by Cal Carter

Liberty Records STEREO LST-7546

1968

Show Me The Way To Go Home

Me And My Shadow

This Can't Be Love

Spring Will Be A Little Late This Year

Soon It's Gonna Rain

I'll See You In My Dreams

April In Paris

Bidin' My Time

The Man I Love

It Had To Be You

We'll Be Together Again

The One I Love Belongs To Somebody Else

Delightfully Modern - Chico Hamilton / Laurindo Almeida

Blue Sands

Tocata

Delightfully Modern

The Chico Hamilton Quintet

The Laurindo Almeida Quartet

Jazztone Society J 1264

1957

From the back cover: The Chico Hamilton Quintet

No chamber-music style group to come along during the past few years swings as much as does the Chico Hamilton Quintet. Its exciting drive, light, delicate, yet assured, and its highly original sound made it one of the highlights of last year's Newport Jazz Festival and subsequently the most talked-of new jazz group of 1956.

Credit for much of the swinging beat must go to its leader, for Chico Hamilton is a swinger from way back, a steady, tasty drummer who reflects the style and the teaching of his early idol, Jo Jones. Noted especially for his light, deft touch, Chico did bang away with big bands like Ellington's, Hampton's and Basie's before touring the world with Lena Horne as her accompanist, joining up with Gerry Mulligan as one fourth of his original quartet, working in Paramount Pictures' studios, and then forming his own group in 1955. Equally responsible for that group's great time is its bassist, Carson Smith, another quarter of the original Mulligan four who still in his early twenties, has received great acclaim from fellow-musicians. Say Chico, who used to work alongside the greatest of all bassists, the late Jimmy Blanton, "I get everything I could possibly want from Carson Smith."

As for the unique sound of the quintet, credit must be divided equally between its three remaining members. Fred Katz's cello is, of course, the most obvious innovation. Originally suggested the use of the cello to Hamilton who immediately seized upon the idea. Katz is also an arranger, so that his contributions to the group include not only his rich, sonorous sounds, but also many of its ingenious voicings.

Buddy Collette, who plays the dextrous flute and clarinet, started out as a jazz musician, playing with numerous small West Coast outfits, before he went into the studios, working on shows like Groucho Marx's You Bet Your Life and doing quite a bit of teaching of reed instruments as well. It was Hamilton who enticed him back to jazz, and it is doubtful that Chico could have uncovered a musician with a better mixture of jazz understanding and technical mastery than Collette.

Jim Hall, the group's studious-looking guitarist, obviously is an admirer of the late Charlie Christian, as his clean, incisive playing attests. Like the other members of the quintet, he is also an extremely well-trained and articulate musician, whose feeling for jazz and ability to blend with the other instruments helps to create the superbly polished, swinging sounds that emanate from this record.

The Laurindo Almeida Quartet

The sound of a classically-trained guitarist, playing finger-style without a pick on an unamplified instrument is certainly a rarity in jazz. And it becomes a most delightful rarity when played by an artist as superb as Laurindo Almeida.

This is the guitarist who is probably best-known among jazz fans for his work with Stan Kenton's band in the late forties. But even then he was no new-comer to music, in general, for he had already achieved fame as an outstanding classical guitarist in his native country of Brazil. To Kenton must go the credit for adding the sound of this instrument to modern jazz. And to Laurindo, himself, must go all the accolades for drawing such gorgeous sounds from his guitar, pure and legitimate sounds that are still much in the jazz idiom.

Equally responsible for this group's delightful jazz is one of America's great young alto saxists. Bud Shank, who, after having attended the University of North Carolina, played in the big bands of Charlie Barnet and Kenton, and then became one of the leading lights of the growing West Coast jazz movement. Also a flutist of rare jazz abilities, Bud has won numerous popularity polls.

The group's rhythm section is comprised of two musicians also closely associated with the growth of West Coast jazz. Bassist Harry Babasin played in the Benny Goodman and Woody Herman band, also dabbled around with jazz cello, worked in Hollywood's studios and even started his own record company, Nocturne Records. Roy Harte, formerly the drummer with such big swing bands as Les Brown's and Boyd Raeburn's has been one of the leaders in the move to utilize more complex rhythms in jazz, as his use of numerous South American beats on this record shows so well.

The Chico Hamilton Quintet

A Nice Day

My Funny Valentine

Blue Sands

The Sage

The Morning After

The Laurindo Almeida Quartet

Carinsos

Tocata

Hazardous

Nono

Noctambulism

Blue Baiao

Two Sides Of Slide - Slide Hampton

 

Summertime

Two Sides Of Slide

Slide Hampton

Slide Hampton by special arrangement with Atlantic Record Corporation

Arranged by Slide Hampton

Cover Idea: Doris Parker

Cover Photo: Maurice Seymour, N.Y. Photographers

Cover Design: Reiss Art Studio

Engineer: Bob Simpson - RCA

Produced by Aubrey Mayhew

Charlie Parker Record Corporation PLP-803-S

Distributed by MGM Records

1961

From the back cover: The band is in the best shape it has been in since we've been together. I have learned to write for these particular men and what they play best: Hobart Dotson, our very wonderful lead trumpet was with the Billy Eckstine band – Willie Thomas was with the MJT plus 3 – George Coleman and I played together with the Maynard Ferguson band – Benny Jacobs - El just joined the group, his stay with Marshall Brown's Youth Band prepared him to fit in with us immediately - our rhythm section is composed of two guys who really meld together and put the foundation there that the band needs, without a piano player, they are Lex Humphries, who was with the Jazztet, Donald Byrd and Dizzy Cillespie; and Eddie Khan, a hard swinger with a big sound comparable to his big size (6' 7") I think it is important that each musician feel what his voice has to do with the chord structure at any given time. When he feels thereby he can enjoy playing his part as often as he's called upon to play it. This spells the difference between a band that apathetically goes through the motions night after night, and one where the musicians are interested and inspired by the music they're playing.

The baritone horn (or euphonium) adds a great deal to the sound of the band – when it isn't playing or doubling the melody, it can color the harmony more by playing the tonic or the fifth tones that have less color – or by playing obligato parts, moving where the other instruments stand still, as a cello might do; or it can be on the bottom, it is a very useful instrument. I've found that with the six instruments we have, we can get the same range as almost any orchestra of up to sixteen pieces.

In the Dance Suite of the Cloisters, I've utilized a very legitimate approach, learned over my entire composing career – the brass choir, the two clarinets, moving parts and extension, the brass section without the baritone horn in order to get a flatter sound – we start off with a small, pretty sound, trying to  build as we go along, building the excitement and the tempo until we get to the screaming pitch of the widest sound we've gotten from the orchestra in the last movement, then back to the original slow tempo. The Suite is in four movements: Part One "Impression"' Part Two "Obsession", Part Three "Expression" and Part Four "Possession". In writing the first movement "Impression" we tried to portray  the dancers as they listen and are slowly captured by the mood – In "Obession" the dancers are compelled by the waltz – In the fourth emotions are excited to the highest pitch as the dancers are completely possessed by the "Dance". This work has been choreographed why Matt Mattox, eminent New York dancer, and performed by his company.

Playing jazz definitely keeps a person's mind moving into new channels, this has to do with one's writing, too. The things that you find or hear find, in improvising, you can place in your writing, perhaps creating a new kind of orchestration or harmonization, or simply a unison or a rhythmic pattern. It is very much of an advantage to be a player-writer because it keeps your mind fresh. – Slide Hampton

The Cloister (Dance Suite) (Slide Hampton)

Part 1 – Impression

Part 2 – Obsession

Part 3 – Expression

Part 4 – Possession

There's A Boat Dat' Leavin' Soon For New York

Bess You Is My Woman

Summertime

I Love's You Porgy

It Ain't Necessarily So

The Concert Jazz Band - Gerry Mulligan

 

I'm Gonna Go Fishin'

Gerry Mulligan

The Concert Jazz Band

Verve Records HI-FI MG V-8388

Recorded May, 1960

Personnel:

Saxophones: Gerry Mulligan, Dick Meldonian, Zoot Sims, Gene Allen

Clarinet and Alto Saxophone: Gene Quill

Trumpets: Nick Travis, Don Ferrara, Conte Candoli

Trombones: Bob Brookmeyer, Wayne Andre, Alan Raph

Bass: Buddy Clark

Drums: Mel Lewis

Personnel on I'm Going Fishin'

Saxophones: Gerry Mulligan, Dick Meldonian, Gene Allen, Jim Reider

Clarinet and Saxophone: Gene Quill

Trumpets: Danny Stiles, Don Ferrara, Phil Sunkel

Trombones: Bob Brookmeyer, Wayne Andre, Alan Raph

Drums: Dave Bailey

Bass: Bill Takas

From the back cover: In deciding on the instrumentation for the new band that makes its album debut here, Gerry Mulligan says "I wanted the same clarity of sound and interplay of lines that I had in the smaller groups.

"We have a clarinet in the reed section, not primarily for a clarinet-lead effect but for a sound contributing to the ensemble in general. As for the soloists, I wanted to use just a few men for the bulk of the solo work, so that they would be heard enough for the audience to become familiar with their styles.

What he has built, says Gerry, is essentially a concert band – a jazz band for listening – and it was on this premise that the band's first tour was arranged by Norman Grantz for the fall of 1960.

Further words are unnecessary. The album delivers its own exciting message: that the is the best new jazz orchestra of the year. – Leonard Feather (Author of The New Encyclopedia of Jazz: Horizon)

Sweet And Low

Bweebida Bobbida

Manoir Des Mes Reves (Django's Castle)

You Took Advantage Of Me

Out Of This World

My Funny Valentine

Broadway

I'm Gonna Go Fishin'

Jazz Impression Of The U.S.A. - Dave Brubeck

 

Plain Song

Jazz Impression Of The U.S.A.

Dave Brubeck Quartet

Featuring Paul Desmond

Original compositions by Dave Burbeck

Columbia Records CL 984

1957

Alto Sax: Paul Desmond

Piano: Dave Brubeck

Bass: Norman Bates

Drums: Joe Morello

From Billboard - May 20, 1957: An extremely salable jazz package concerned with impressionistic Brubeckian sketches. Excellent soloing gives material's descriptive qualities real delineation. The drumming of recently acquired Joe Morello gives the group a rhythmic solidity, unity and tastefulness, it never has enjoyed before. Jazz dealers can safely order in quantity.

Ode To A Cowboy

Summer Song

Yonder For Two

History Of A Boy Scout

Plain Song

Curtain Time

Sounds Of The Loop

Home At Last

Swing Session - Ted Heath

 

Fourth Dimension

Swing Session

Ted Heath and His Music

England's Swingin'est Band In Action

Recorded at Kingsway Hall

London Records PS 138

1958

From Billboard - November 24, 1958: The British maestro provides an exciting stereo sound experience in this swinging instrumental LP, which should have appeal for both pop and jazz fans. Selections include a great version of Gillespie's "The Champ," "Rhapsody For Drums" and some quieter arrangements of "Eloquence," "Do Nothin' Til You Hear From Me." etc. Merits jockey spins, too.

The Champ

Eloquence

Do Nothin' Till You Hear From Me

Pick Yourself Up

Blues For Moderns

Fourth Dimension

Etrospect

Dark Eyes

Solitude

The Hawk Talks

I Got It Bad

Rhapsody For Drums

Cuttin' Capers - Doris Day

 

Let's Fly Away

Cuttin' Capers

Doris Day

Frank De Vol and His Orchestra

Photograph: Hal Adams

Columbia Records CL 1232

1959

From the back cover: This particular collection finds Doris in a distinctly light-hearted frame of mind and voice, offering a sheaf of songs that deal with various euphoric states in various euphoric manners. There are up-tempo numbers, easy-going numbers and even a few taken in temps that may seem a little slow for capering but turn into cheerful propositions when Doris is through with them. And the accompaniment under the direction of Frank DeVol are just as merry and carefree as her interpretations.

One of the reasons for Doris Day's enduring success is the fact that, without for a moment losing the attractive timbre of her voice, she has become an assured and gifted singing actress. One of the very few recording artists to become successful in other field of entertainment (most of the others are in television), she has maintained an infectious personality while at the same time broadening and keeping her interpretations. From her very first hit – Sentimental Journey, with Les Brown and his Band of Renown – to her latest, there has been a steady development that has brought her to the very top of her profession. (And if this would seem to indicate that her early records were immature, just listen to some of them again for contradiction).

From Billboard March 16, 1959: Popular songster assisted by the swinging Frank De Vol ork is in excellent form in this set of favorites. Tempos are varied, with bright and bouncy versions of "Stepping Out With My Baby," and "I'm Sitting On Top Of The World" and such smooth ballads as "Why Don't We Do This More Often" and "Get Out And Get Under The Moon," Good disk socket programming plus wide appeal to the thrush's many fans.

Cuttin' Capers

Steppin' Out With My Baby

Makin' Whoppee

The Lady's In Love With You

Why Don't We Do This More Often 

Let's Take A Walk Around The Block

I'm Sitting On Top Of The World

Get Out And Get Under The Moon

Fit As A Fiddle

Me Too

I Feel Like A Feather In The Breeze

Let's Fly Away

ABC Of The Antilles

 

Baca Flaco

ABC Of The Antilles

Philips International Series

Philips STEREO PHI 444

A Product of Mercury Record Productions, Inc.

From the back cover: Baco Flaco: A "tumba" played bu Juan Serrano and his Caribbean Combo (Lucky Liefveld, Lou Holtuin, Orlando Govela, and the famous Julian B. Coco). "Baca Flaco" means "meagre cow" an animal which is turned into a delicious, spiced soup; It's purely folklore, since even cows (frozen) are jet-freighted to the Antilles these days.

Baca Flaco - Juan Serrano and his Caribbean Combo

Tus Ojos (Dr. P. I. Henriquez) - Rafael Pieters, organ

Peruchi (H Boo!) - Trios Los Imperiales

Georgina (R Plaate) - Norman Moron, piano with rhythm accompaniment

The Shell Steelband Broke Away - The Shell Steelband

MiTa Di Bo So (R. Palm) - Trios Los Vigilantes, Oswald Specht, vocal

Pepe Sana (E. Palm) - Edgar Palm and His Combo

Pal'i Flamboyants - Grupo Folklorico Rincon

Feli Cabe Limpi (R. Plaate) - Conjunto Tipico Santa Roas

Dalla - Tony Thyssen, harp

Yvete (R. Rijna) - Grupo Tipico Santa Marta

China - Juan Serrano and his Caribbean Combo

Gilberto With Turrentine

 

Brazilian Tapestry

Gilberto With Turrentine

Arranged and Conducted by Deodato

Produced  by Creed Taylor

Cover Photography by Pete Turner

Liner Photography by Price Givens

Album Design by Bob Ciano

Recorded at Van Gelder Studios

Engineer: Rudy Van Gelder

Recorded January, February, March, April, 1971

CTI Records 6008

1971

Electric Piano: Eumir Deodato

Tenor Saxophone: Stanley Turrentine

Guitar: Gene Bertoncini, Sam Brown, Bob Mann (all solos), Sivouca

Bass: Ron Carter, Russell George

Drums/Percussion: Airto Moreira, Joao Palama, Dom Um Romao, Dennis Selwell

Harmonica: Toots Thielmans

Flute: Hubert Laws (solo on To A Flame), George Marge, Romeo Penque, Jerome Richardson

Violin: Paul Gershman, Emanuel Green, Julie Held, Harry Katzman, Joe Malin, Gene Orloff

Viola: Harold Coletta

Cello: George Ricci

From Billboard - June 5, 1971: Miss Gilberto, the original "Girl From Ipanema," makes her debut on the label, along with Stanley Turrentine, and together they make it an outstanding debut. Miss Gilberto's treatment of "Zazueira" is exceptional, but there are other gems also, including a sensitive performance of the recent Academy Award winner "Solo El Fin (For All We Know)" and "Historia De Amor (Love Story)." Much airplay and sales potential here.

Wanting Things

Brazilian Tapestry

To A Flame

Solo El Fin (For All We Know)

Zazuelra

Ponteio

Traveling Light

Vera Cruz

Historia De Amor (Love Story)

Where There's A Heartache

The Wonder Bag - The Ernie Watts Encounter

I Was Made To Love Her

The Wonder Bag

The Ernie Watts Encounter

Arranged by Kim Richmond

Produced by Richard Bock

Design and Photography: Edwin Francis

Vault STEREO 9011

Vault Recording Corporation - A Subsidiary Of National Tape Distributors, Inc.

1970

Ernie Watts - Saxophone (Baritone, Flute and Tenor)

Joe Sample - Piano

David T. Walker - Guitar

Francisco Aguabella - Conga

Paul Humphrey - Drums

Bob West - Bass

Sweetening on: Ain't No Loving, Never Had A Dream, Nothing's Too Good For My Baby, Ain't That Asking For Trouble

Charles Loper - Trombone

George Bohanon - Bass and Tenor Trombone

Chuck Findley & Jay Daversa - Trumpet

From Billboard - October, 17, 1970: Vault Widens A&R Policy

Two saxophonists, Ernie Watts and Charles Owens, will be recorded by Dick Bock's Aura Productions for Vault Records.

By using Bock's new firm, Vault broadens its own policy of working with freelance A&R men in the jazz, pop and blues fields.

The two new bands have a contemporary jazz flavor, explained Jack Lewerke, Vault's president. The National Tape Distributors subsidiary will release their LPs this month

Watt's is entitled "Wonder Bag" and is a compilation of Stevie Wonder songs. Owens' LP will have a Latin flavor. Watts has been performing with the Buddy Rich Band; Owens with that aggregation plus Mongo Santamaria.

Watts plays tenor. Owens plays tenor and alto. This is the first time that Bock has produced any groups for Vault. He recently left Liberty/UA as general manager of its World Pacific division.

Nothing's Too Good For My Baby

Never Had A Dream Come True

I'd Be A Fool Right Now

My Cherie Amour

You Met Your Match

Ain't No Lovin'

I Was Made To Love Her

Angie Girl

Ain't That Askin' For Trouble

Roman Holiday - Dick Contino

I Have But One Heart

Roman Holiday

Dick Contino and His Accordion

Orchestra and Chorus conducted by David Carroll

Mercury MG 20635

1961

From the back cover: Born of Italian parentage in Fresno, California, Dick showed an early inclination toward music. In fact, by the age of 7 young Dick was begging his parents for an accordion. Later, when the family moved to San Francisco, Dick decided he wanted a better accordion and his folks turned him down until they could decide whether or not he had "what it takes." About that time his parents discovered an old accordion master, Angelo Cognazzo, who said he'd find out if Dick had the "stuff." This was a crisis in Dick's life, for if he failed this test, he would have to return to the butcher shop where he was working and continue to learn the meat-cutting trade. Dick not only impressed the master, but soon after, at the instructor's demand, Dick moved in with the teacher in order to devote full time to his musical studies. This move literally assured Dick Contino of success.

The rest of the Dick Contino story is written in the music history ledgers. Dick was discovered by a talent scout for the then famous Horace Heidt Show, and the playing of the now famous "Lady Of Spain" won the contest for Dick and made him a nation-wide star with more than 500 fan clubs to his credit.

Volare (Nel Blu Dipinto Di Blu)

Santa Lucia

I Have But One Heart (O'Marenariello)

Cielieto Lindo

Innamorata (Sweetheart)

Arrivederci Roma (Goodbye To Rome)

Non Dimenticar (Don't Forget) (T'Ho Voluto Bene)

'O Sole Mio

Bella Melodia

Return To Me (Ritorna-Me)

Neapolitan Nights

Cirbiribin

Jimmie Haskell's French Horn Volume Two

 

Owed To Bobbie Gentry

Jimmie Haskell's French Horns

Volume Two

Producer: Tom Mack

Arranger & Conductor: Jimmie Haskell

Engineer: Hank Cicalo

Cover Photo & Design: George S. Whiteman

Art Director: Christopher Whorf

Dot Records STEREO SLP 25860

1968

From the back cover:

Q. "Can you give me an example of an understatement?"

A. "That's Jimmie Haskell is one of the world's busiest arrangers is an understatement."

Q. Will you expand on that?"

A. "Sure. Look – Merely to follow him around in a typical week would exhaust most people. Nobody has ever figured out exactly when Jimmie writes his record arrangements, does his screen composing, and prepares his TV programs – Not to mention where he finds time for such trivialities as eating and sleeping."

Q. "Busy, Huh?"

A. "That's right. He does it without helicopters, motorcycles escorts, or roller skates. He doesn't have a gnome in a closet ghosting for him. Does it all himself. In spite of his hectic schedule, the quality of his work remains superb – as does his disposition. Whatever adjustment is required in a studio or on stage, Jimmie does it with a smile, instantly and correctly."

Q. "What about this album of his?"

A. "Suggest you just listen. All I'll say is that he has developed that groovy French horn quartet sound which he started in the other album ("When Love Is Young," Dot DLP 25806), This time with a stronger beat and using generally more rhythmic material. Oh yes, and four of these tunes seemed to need the lyrics to be complete, so he brought in a vocal group, 'Haskell's Hummers,' to sing them."

Q. "What's that title mean: Owed To Bobbie Gentry"?

A. "You know Jimmie wrote the arrangements for Bobbie Gentry's wonderful album and single, "Ode To Billy Joe,' right? Well, he won the NARAS Grammy Award for that. He wanted to express his gratitude to Bobbie, so he wrote this original and dedicated it to her."

Summer Scene

Owed To Bobby Gentry

Fred (vocal chorus by Haskell's Hummers)

Cab Driver

Leichen (from the United Artists Release "The Wicked Dreams Of Paula Schultz - Vocal chorus by Haskell's Hummers)

Pretty

Only Love (L'Habitude)

Alicia (vocal chorus by Haskell's Hummers)

Valerie (from the Paramount Picture "Rogue's Gallery")

The Silly Song (vocal chorus by Haskell's Hummers)

Ode To Billy Joe.

Bobby Hacket Plays Tony Bennett's Greatest Hits

 

The Shadow Of Your Smile

Bobby Hackett Plays Tony Bennett's Greatest Hits

Arranged by Frank Hunter

Produced by Bob Morgan

Epic LN 24220

1966

From Billboard - November 26, 1966: With outstanding arrangements and performances, Hackett offers a beautiful tribute to Tony Bennett and the Bennett hits. Undoubtedly the best Hackett album to date, it should prove a big sales item. Backed by lush strings, his treatments hav feeling and warmth, especially "I Left My Heart In San Francisco."

Put On A Happy Face (from the Musical Production "Bye Bye Birdie")

I Left My Heart In San Francisco

The Good Life

Rag To Riches

Just In Time (from the Musical Production "Bells Are Ringing")

Stranger In Paradise

I Wanna Be Around

The Shadow Of Your Smile (Love Theme from "The Sandpiper")

Because Of You

Artistry In Voices And Brass - Stan Kenton

 

Intermission Riff / Concerto (Of Love)

Artistry In Voices And Brass

Music by Stan Kenton

Arrangements by Pete Rugolo

Lyrics by Milt Raskin

Produced by Lee Gillette

Cover Photo by Rod Dyer

Capitol Records T 2132

1964

From the back cover: Anyone who has followed the music of the Kenton Orchestra over the years knows that only about half the library is give over to hard-driving jazz scores. Kenton himself has written and arranged a wealth of material in the more romantic vein, and many of these instrumental selections have taken their place among Stan's greatest hits in the popular field, and have even been choreographed by the Ballet Russe de Monte Carlo and the Sadler's Wells Ballet Company.

Now "Artistry In Voices and Brass" presents some of Stan's finest romantic music in a new lyrical approach... new romantic ballads that present yet another stunning example of Kenton's skill in creating and sustaining infinite levels of beauty.

Working with a vocal group is nothing new for Kenton. In 1946 he made a series of commercially-successful records with The Pastels, whose style of working with dissonances and close voicings remains one of the most imitated.

It is also significant that the material Kenton and his arrangers wrote for Anita O'Day, June Christy, Chris Connor, Ann Richards and more recently Jean Turner, set a precedent by allowing the vocalist unlimited freedom to create a story line of her own. She could soar through a variety of moods and be assured the band would always be there to guide her home.

The compositions written for this album by Stan, Bill Russo (Solitaire) and Pete Rugolo, his collaborator of eighteen years and arranger of this album, sparkle with Milt Raskin's haunting lyrics. During preliminary meetings with Rugolo and Raskin, Stan decided that rather than use the Orchestra, a better cause might be served if the themes were scored for eighteen voices (4 sopranos, 4 altos, 4 tenors, 4 baritones and 2 basses) augmented by five trombones and a rhythm section. "Pete and I felt," said Kenton, "that by treating original material with the proper lyrics we could give credence to our theory and modern music is endowed with as many levels of romantic love as a Rodgers and Hart ballad. Lyrics, we knew, would add a new dimension to thematic material which had been written expressly for an orchestra and not a vocal group.

"For years Rugolo and I have sought someone whose musical turn of mind was such that he could write lyrics fro the themes associated with the band. Both of us had been approached by a number of lyricists who felt their material complemented our scores, but invariably their ideas completely missed the musical point we were trying to emphasize.

"Then last winter, about ten days before the band left for a tour of Great Britain, Milt Raskin showed me lyrics he had written for eleven of our compositions. I was quite excited about the things Milt had done and a week later – after Pete had an opportunity to write the arrangements – we recorded this album with some of the finest, most disciplined voices in Hollywood."

Raskin, one of the West Coast's most gifted musicians and lyricists, supplies the perfect complement to Kenton and Rugolo's material. His poetical appraisal of Kenton's dominant and counter themes in Concerto To End All Concertos, and his crystallization of the rollicking joy woven throughout Sunset Tower confirm just two of the reasons why Stan waited so long to find "someone whose ideas were delightfully free of musical cliches." – Noel Wedder

Flame - Artistry In Bolero

Moonlove - Collaboration

Painted Rhythm - Painted Rhythm

These Wonderful Things - Lush Waltz

Eager Beaver - Eager Beaver

Daydreams In The Night - Machito

Intermission Riff (labeled on disc, but not the track list on the back cover)

Concerto (Of Love) - Concerto To End All Concertos

Solitaire - Solitaire

Its Love - Sunset Tower

Night Song - Artistry In Rhythm

Sitting Pretty - Marjorie Meinert

 

I'm Falling In Love With Someone

Sitting Pretty

Marjorie Meinert at The Lowrey Organ

Produced by Herman Diaz, Jr.

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

RCA Victor LPM-2168

1960

From Billboard - July 11, 1960: Miss Meinert restyles 16 favorite tunes of the old theatrical organists, via a swingy modern tempo, accompanied by guitar, bass and drums. Playing with verve on an electronic organ – a Lowery "Lincolnwood" – she provides pleasantly melodic treatments of "Smiles," "Pretty Baby," "Avalon," and other nostalgic oldies.

Smiles

Pretty Baby

Memories

Kiss Me Again

Avalon

Poor Butterfly

Sometimes I'm Happy

I'm Falling In Love With Someone

I'm Forever Blowing Bubbles

Tea For Two

Oh! You Beautiful Doll

It Had To Be You

Your Eyes Have Told Me So

I Wonder What's Become Of Sally

If I Could Be With You (One Hour Tonight)

Just We Two - Eddie Layton & Buddy Morrow

 

Medley #4

Just We Two

Eddie Layton at The Organ

Buddy Morrow on Trombone

Mercury Records SR 60018

1958

Medley #1: You Always Hurt The One You Love, I'll Remember April, All Or Nothing At All, I'm Looking At The World Through Rose Colored Glasses
Medley #4: I'll Never Smile Again, Lover Man, Comme Ci Comme Ca
Medley #6: Domino, The Petite Waltz, Padam...Padam...(How It Echoes The Beat Of My Heart),Pigalle, Under Paris Skies
Medley #5: Red River Valley, Into Each Life Some Rain Must Fall, Heartaches
Medley #2: C'est Si Bon, Is You Is Or Is You Ain't (My Baby), Ooh! Look A There Ain't She Pretty, Everybody Loves My Baby (But My Baby Don't Love Nobody But Me), Undecided
Medley #3: He's My Guy, (I Love You) For Sentimental Reasons, Jim
Medley #8: Tu Sais (You Know), Valentino Tango
Medley #7: (All Of A Sudden) My Heart Sings, The Gypsy, Never Leave Me
Medley #9: Old Piano Roll Blues, Little Girl, It's A Pity To Say Goodnight, I've Found A New Baby

Sound Spectacular - Ray Anthony

 

Reuben, Reuben

Sound Spectacular

Ray Anthony

Produced by Lee Gillette

Capitol Records ST 1200

1959

Instrumental power varies throughout the album. The saxes range between five and six. 

In some selections thirteen brass are heard, in others fifteen.

Among the outstanding musicians appearing with Ray in all or some of these selections are – Trumpet: Frank Beach, Pete Candoli, Gene Deurmeier, Conrad Gozzo, Manny Klein, Jack Laubach, San Rasey; Trombone: Francis Howard, Ed Kusby, Frank Lane, Pete Lofthouse, Murray McEachern, Dick Nash, Tommy Pederson, George Roberts, Lloyd Ulyate; Saxophone: Gus Bivona, Med Florey, Bob Hardaway, Plas Johnson, Joe Maini, Wilbur Schwartz; Drums: Lou Singer, Alvin Stoller; Bass: Don Simpson; Tuba: Red Callender; Piano: Paul Smith, John Williams; Guitar: Al Hendrickson.

Annie Laurie

Deep River

Reuben, Reuben

Campton Races

Mocking Bird

Blue Bells Of Scotland

Kerry Dance

Dry Bones

Comin' Thru The Rye

American Patrol

Swing Low

Chop Sticks

Hong Kong! - Exotic Chinese Pop Music Recorded In Lowloon

 

The Sorrows Of Meng Chiang Nu

Hong Kong!

Exotic Chinese Pop Music Recorded In Lowloon

Produced by Dave Dexter, Jr.

Capitol Records T10267

From the back cover: The fabulous port of Hong Kong teems with unbelievable contrasts: poverty and wealth, ugliness and beauty, modern commercialism and a culture that is thousands of years old.

On Hong Kong Island and on the adjacent peninsula of Kowloon, which also forms part of the same British colony, you can hear both modern popular music from all over the world and Chinese classical music from the mainland dating back as far as the 14th Century. Like Hong Kong itself, the music in this album is a fascinating fusion of east and west, old and new.

The instruments heard in this album include the most important and colorful used in Chinese music. The p'i-p'a, or lute, (here illustrated) has four strings, a long crooked neck and a graceful oval-shaped body. It is played with only the fingers, and an accomplished artist can draw from the instrument a variety of tonal colors and virtuosic effects comparable to the virtuoso style of the greatest Western pianists. The Zheng, a small reed organ, is made from nineteen bamboo sticks fixed in a bowl of wood or copper. It plays melodies as well as chords, and requires tremendous amounts of wind from the player. The ti-tzu, or bamboo flute, is held to the side like the Western flute, and has keys, which are sometimes rubbed or hit for special effects. The hu China, the Chinese fiddle, has two strings, no fingerboard, and only small cylinder for a body. Its dark sound is often used in a sliding, singing style quite distinct from Western violin playing. Among the exciting percussion heard in this album are the p'ai-pan, wooden clappers; the lo, a large metal gong; the po, an exotic, rich-sounding cymbal; tank-ku, a small hollow-bottom drum; and assorted large drums and tiny bells.

Most of the selections are compositions or arrangements of Yao Ming, a prominent musician and composer, resident of Hong Kong since 1950. Mr. Yao has devoted himself not only to the study of classical Chinese music, but to composing popular songs as well, and his fame has extended all over South East Asia.

Lantern Dance

Sword Dance

The Sorrows Of Meng Chiang Nu

Swatting Butterflies

Persuasion

Springtime South Of The River

Parting Sorrow

The Return Of Spring

Flower Drum Dance