Summertime - Paul Desmond

 

Lady In Cement

Summer Time

Paul Desmond

Arranged by Don Sebesky

Produced by Creed Taylor - CTI

Cover Photographs: Pete Turner

Album Design: Sam Antupit

Recorded at Van Gelder Studios

Engineer: Rudy Van Gelder

Recorded October 10, 16, 24; November 5, 20; December 26, 1968

A&M Records - A&M STEREO SP 3015

1968

Trombone: 

Wayne Andre (2, 3, 5)

Paul Faulise (1, 2, 3, 4, 5)

Urbie Green (1, 2, 3, 4)

J. J. Johnson (1, 4)

Bill Watrous (1, 2, 3, 5)

Kai Winding (1, 2, 3, 4, 5)

Trumpet and Flugelhorn

Burt Collins (1, 2, 3, 4, 6)

John Eckert (2, 3, 5)

Joe Shepley (all dates)

Marvin Stamm (1, 2, 3, 4, 5)

Percussion:

Jack Jennings (1, 4)

Airto Moreira (1, 6)

Vibes:

Mike Mainieri (1, 4)

Flute and Oboe:

George Marge (6)

Flute and Bassoon:

Bob Tricarico (6)

Marimba:

Joe Venuto (6)

Alto Sax:

Paul Desmond (all dates)

Bass:

Frank Bruno (6)

Ron Carter (1, 2, 3, 4, 5)

Piano:

Herbie Hancock (1, 2, 3, 4, 5) - Herbie Hancock appears through the courtesy of Blue Note Records

Drums:

Airto Moreira (4, 5)

Leo Morris (1, 2, 6)

Guitar:

Joe Beck (5)

Eumir Deodato (4)

Bucky Pizzarelli (6)

French Horn:

Ray Alonge (1, 2, 3, 4, 5)

Jimmy Buffington (1, 2, 3, 4)

Tony Miranda (2, 3, 5)

(1) October 10, 1968 - Where Is Love? / Summertime

(2) October 16, 1968 - Emily / North By Northeast

(3) October 24, 1968 - Olvidar / Someday My Prince Will Come

(4) November 5, 1968 - Lady In Cement

(5) November 20, 1968 - Samba With Some Barbecue

(6) December 26, 1968 - Ob-La-Di, Ob-La-Da

From the inside cover: When the Dave Brubeck Quartet called it a set at the end of 1967, Paul Desmond decided it was high time for Time Out. And rightly so. After all, he had been with the quartet since "before the Crimean War" (factually, 17 years), logged a million-plus miles in air travel, cut 50 or so LPs and played in as many countries, and was plain bushed.

For nine months he never laid lips on an alto sax. Four of those months he whiled away pleasantly in a rented house in Montego Bay. There he conceived the idea and set down the first jottings for a book of reminiscences – a book tentatively titled How Many Are There In Your Quartet? It was a question Payl and his colleagues had learned to live with, since it was put to them so sweetly – and so often! – by airline stewardesses.

Samba With Some Barbecue

Olvidar

Ob-La-Di, Ob-La-Da

Emily

Someday My Prince Will Come

Autumn Leaves

Where Is Love?

Lady In Cement

North By Northeast

Summertime

Tony Martin At The Desert Inn

 

So In Love

Tony Martin At The Desert Inn

Conducted by Al Sendrey

Produced by Dick Peirce

Recording Engineers: Al Schmitt & Norman Cook

Recorded at Wilbur Clark's Desert Inn, Las Vegas, Nevada

RCA Victor LPM 2146

1960

Fire Down Below

Autumn Leaves

So In Love

You Made Me Love You

Thank Heaven For Little Girls

Stranger In Paradise

All Of You

Arrivederci, Roma

Around The World

I Love Paris

There's No Tomorrow / I'll See You In My Dreams (Clarinet Solos by Tony Martin)

Strass Waltzes - Andre Kostelanetz

 

Blue Danube Waltz, Op. 314

Strauss Waltzes

Andre Kostelanetz and His Orchestra

Cover Photograph taken at the St. Regis Roof / Dirone

Columbia Records CL 805

1955

Blue Danube Waltz, Op. 314

Southern Roses, Op. 388

Tales from The Vienna Woods, Op. 325

Waltz from "The Gypsy Baron"

Waltzes from "Die Fledermaus"

Artist's Life, Op. 316

Voices Of Spring, Op. 410

Emperor Waltz, Op. 437

Vienna Life, Op. 354

A Thousand And One Nights, Op. 346

5 Star Fiesta - Firestone

 

Riders In The Sky - Kay Starr

Firestone

5 Star Fiesta

Dean Martin, Jackie Gleason, Nat King Cole, Kay Starr, Guy Lombardo

Produced by John H. Begley Associates

Capitol Custom CSD-1001

Firestone Stock #4-Q-1

Riders In The Sky - Kay Starr

Blue Gardenia - Nat King Cole

Autumn Leaves - Jackie Gleason

Memories Are Made Of This - Dean Martin

Now Is The Hour - Guy Lombardo

Side By Side - Kay Starr

Mona Lisa - Nat King Cole

Love Letters - Jackie Gleason

Return To Me - Dean Martin

Love Is Here To Stay - Guy Lombardo

Synanon - Neal Hefti

 

Zankie

Columbia Pictures Presents A Richard Quine Production

Synanon

Original Sound Track Recording

Music Composed, Arranged and Conducted by Neal Hefti

Producer: Dave Pell

Engineer: "Lanky" Linstrot

Cover Design: Studio Five

Liberty Records LRP-3413

1965

From the back cover: Neal Hefti

As recently as a half-dozen years ago the use of a jazz composer-arranger to do a film underscoring would have made headlines in the music press. It was an implacable theory on the part of the movie-makers that jazz writers might be nice to visit once in awhile, but certainly no one would want to live there.

That attitude has taken an abrupt about-face, however, and one of the men chiefly responsible for the change is Heal Hefti. He, along with men like Henry Mancini and Andre Previn, has shown that the jazz composer is not only technically equipped to handle the problems of film scoring, but that he brings with him a vitality and freshness that adds immeasurably to the picture's impact. He provides more than "background music" – he makes the music an integral part of the action.

Hefti's skill at heightening drama, building tension, and supporting action with out intruding upon the dialog can be heard at its very best in Synanon. Neal has that rare ability to write temptation to try to make the viewer leave the theater saying, "Wow, did you hear that score?"

And one does not have to see the picture to appreciate the irony of "Main Street" or the wistful resignation of "The Wiffenpoof Song" as they are programmed on this album. They tell an eloquent story.

It did, indeed take the film industry a long time to tap the rich lode of music that is to be mined from jazz. But when it did make its move, it went first class. It looked to men like Neal Hefti.

Zankie (Main Title)

The Perfect Beginning

Main Street

Blues For Hopper

Hope

Tonight's The Night

Zankie And Put Your Little Foot

Open House

Put Your Little Foot

Zankie

The Whiffenpoof Song (Written by Minnigerode, Pomeroy, Galloway, Vallee)

Music Of Vincent Youmans - Andre Kostelanetz

 

Carioca

Music Of Vincent Youmans

Andre Kostelanetz and His Orchestra

Columbia Masterworks ML 4382

1951

From the back cover: Vincent Youmans was a man of generous enthusiasms. He loved to entertain his friends far into the night with his piano playing, but what he played chiefly were the works of other composers. He talked about music warmly and fluently, especially the works of his musical gods – Sibelius, Rachmaninoff (whom he also revered as a friend) and Delius. But he was reluctant to discuss his own musical achievements.

After he had become a successful, much admired composer of musical comedy and film scores, Vincent Youmans began a serious study of composition, taking courses at Loyola University and in Colorado Springs. What he might have accomplished if his long illness and untimely death had not interfered, we can only conjecture. What he has left us, though, is abundant proof of a fine and lovable genius. These songs of his are shapely and warm-colored flowers in the garden of American music.

From Billboard - June 16, 1951: Kostelanetz's concertized approach to pop music has plenty of melodic meat to dig into in the music of Vincent Youmans, one of the giants of Tin Pan Alley. Kosty manages to squeeze a dozen of Youman's best known songs into this lush presentation. The set should prove a popular item with that sizable family crowd which goes for Kosty's kind of schmaltz.

Hallelujah! (from "Hit The Deck")

Time On My Hands (from "Smiles")

Tea For Two )from "No, No, Nanette")

Carioca (from "Flying Down To Rio")

Without A Song (from "Great Day")

Great Day (from "Great Day")

More Than You Know (from "Great Day")

Orchids In The Moonlight (from "Flying Down To Rio")

Sometimes I'm Happy (from "Hit The Deck")

I Know That You Know (from "Oh, Please")

Through The Years (from "Smiling Through")

Drums In My Heart (from "Smiling Through")

One Night Stand - Harry James

 

Mam Bongo

One Night Stand

Recorded At The Aragon Ballroom, Chicago

Columbia CL 522

Originator of The Modern Long Playing Record

1953

Trumpets: HarryJames, Nick Buono, Arthur DePew, Everett McDonald, Ralph Osborn

Trombones: Carl Elmer, Lewis McCreay, Gene Norton, David Wells

Saxes: William Masingill, Robert Poland, Francis Polifrani, Musky Ruffo, Herb Stward

Piano: Bruce MacDonald

Drums: Jackie Mills

Bass: Paul Morsey

Harry James plays the bongos in "Mam Bongo:

Thomas Gunina plays accordion in "The Flight Of The Bumble Bee"

From the back cover: No matter how exciting the record date – and Harry James has had some that number among the most magnificent – the interchange between players and audience that make live music so endlessly interesting is missing. A particularly relevant demonstration of this occurs in the Benny Goodman records, when Harry James was contributing genuinely sterling performances to that fine group: the record sessions were almost entirely eclipsed by the recording of the Carnegie Hall concert, and records made from tapings of broadcasts of some of the Goodman one-night stands. Something of the same happens in this James one-nighter, bringing the flavor of the James group through on records as it has rarely been caught before.

The James orchestra is, of course, one of the oldest currently in the music business. With the exception of one of two other tenacious gentlemen, Harry is the only one of the big name leaders from the great days of swing to keep his orchestra more or less constantly going up to the present. When the surge toward vocalists began around 1945, many of the old stand-by had been knocked about by the war to begin with, and the craving for vocalists rather than instrumentalists pulled the remaining props out from under many first-rate orchestras. However, Harry James kept the big-band torch burning, and with considerable brightness. His tours became shorter and less frequent, but the band was still in business and playing beautifully. And then, with the revival of interest in orchestras, there he was, playing just as brilliantly as ever and still great name in music.

This particular one-night stand on records is not quite an accident. During an Eastern swing by the Harry James orchestra in the fall of 1952, Columbia pop album director George Avakian huddled with James between sets in a dance hall to discuss future plans. Each discovered that the other was thinking along the same lines: to set up a session some time during an actual performance. Shortly thereafter, the band played in the Aragon Ballroom in Chicago, where the Columbia Broadcasting System has a direct wire to its studio in the Wrigley Building. Avakian arranged with Columbia Records' Chicago engineering department to monitor the band's lat broadcasts to determine the quality of the sound in the ballroom. A tape was made of one of the broadcasts, and the line was left open for the rest of the evening. The results were so successful that it was decided to clear the experimental tape with the American Federation of Musicians as an actual recording session. The result you can now hear, a remarkable example of vintage James performances, including some of his most famous numbers. The orchestra has clearly caught fire from the audience in the required exchange, and the excitement comes through with telling effect. Moreover, the James trumpet is soaring as high and as free as ever, challenging the historic solos he contributed in the past.

The James background is too well known to require more than a swift listing here: his early days traveling with his family with a circus, where he learned the trumpet; his adolescence in Texas, playing with local bands; his discovery by Benny Goodman and his participation in the great music-festivals of that organization; his first, not-too-rewarding experiences with his own orchestra, and then the skyrocketing success in 1940 and thereafter. Since that time, he has made his fans and his business advisers happy with appearances in movies, on radio and records and  at theater dates, as well as his annual tours across the country. A marginal note on the James orchestra is that the members of the natives, and the boys pile out for a swift game. This athletic propensity is not common to musicians, a congenitally inactive group of people, and many to some extent explain the singular liveliness heard in the playing here. Instead of sitting doubled up in their bus all day, these men have taken time out of lope around a diamond, to arrive at the hall limbered up for the evening ahead.

Ultra

Blues from "An American In Paris"

Mam Bongo

Memphis Blues

The Flight Of The Bumble Bee

There They Go

Jackpot Blues

You Go To My Head

Don't Stop

Feet Draggin' Blues

Back Beat Boogie

Music And Memories - Georgia Gibbs

 

After You've Gone

Music And Memories

Songs by Georgia Gibbs

Mercury Records MG 20071

1956

From the back cover: Georgia was raised in a New England orphanage and made her first personal appearance at the age of thirteen in a Children's Concert at the orphanage. By the time she was sixteen, she was already singing with local bands. Even at this early age, her voice showed the spark that was to burst into the flame of success in the years to come. One can say that the key to Georgia Gibb's success is found in the fact that she worked instead of waited for her big break. After touring the country with several name bands the big break finally came in the form of a phone call from Jimmy Durante who wanted her to sing on his network radio show. From that moment on Georgia Gibbs star climbed steadily to the top. Georgia capitalized on this break with the great energy for which she is noted, playing in rapid succession all of the major theaters and night clubs in the land. Georgia's success in the record business was inevitable, her recording of "Kiss Of Fire" followed by "Seven Lonely Days," skyrocketed her to the top and she has had a long run of hits ever since.

The Man That Got Away

I'll Be Seeing You

How Did He Look

What'll I Do

Baby Won't You Please Come Home

After You've Gone

It's The Talk Of The Town

He's Funny That Way

Say It Isn't So

If I Had You

I'll Always Be In Love With You

Somebody Loves Me

My Mexico - Maria De Lourdes

Llora, Paloma, Llora

My Mexico

Tasty Pop Tunes In Spanish by Maria De Lourdes

And The Lively Mariachi Jalisco

Produced by Dave Dexter, Jr.

Recorded In Mexico 

Capitol Of The World - Capitol Records ST10249

1961

From the back cover: Maria de Lourdes Perez Lopez was born in Mexico City, and has been singing since she was a child. Today she is immensely popular on radio and television and widely known in Latin America through her many tours. This is her first album for 'Capitol' of the World, and an exciting introduction it is to this glamorous artist.

From Billboard - February 13, 1961: From its Capitol of the World series, the label introduces a rich-throated Mexican contralto singer of pop songs of that nation, to the colorful and striking accompaniment of a great mariachi band known as Mariachi Jalisco. The attractive thrush bases her program on the idea of birds as a symbol of love with such translated titles as "Frivolous Swallow," "Weep, Dove, Weep," "Little Mountain Bird," etc. A most attractive performance.

Golondrina Presumida (Frivolous Swallow)

Llora, Paloma, Llora (Weep, Dove, Weep)

Paloma Torcaza (Wild Dove)

Cu-Cu-Rru-Cu-Cu Paloma (Singing Dove)

Pajaro Azul (Blue Bird)

Pajarillo De La Sierra (Little Mountain Bird)

Paloma, Paloma Negra (Black Dove)

Golondrina Aventurera (Fancy-Free Swallow)

Dos Palomas Al Volar (Two Doves Flew Out)

Vuela, Paloma (Fly Away, Dove)

Amor De Palomos (Pigeon Love)

Paloma Herida (Wounded Dove) 

8 Top Hits - The Chordates & Archie Bleyer

 

Hearts Of Stone

8 Top Hits

Featuring The Chordates

Archie Bleyer • 4 Top Haters • Mary Del • Maddy Russell

Cadence Blue Label Series  LP 3055 (10 inch)

Mr. Sandman

Let Me Go Lover

Naughty Lady Of Shady Lane

Hearts Of Stone

Melody Of Love

Make Yourself Comfortable

Dim Dim The Lights

Sincerely

Toni Arden & Shep Fields

 

Two Loves 

Shep Fields and His Orchestra with Toni Arden

Don Baker Organ and Rhythm (there are no "Don Baker" tunes on this disk)

Royale Long Play (10 inch) 18142

1955

Track list from the jacket

Two Loves
Let's Be Sweethearts Again
We Just Couldn't Say Good-bye
Baby Don't Be Mad At Me
Dark Eyes
Musical Moment
Southern Rhythm
June

Track list from the disk label 

Shep Fields and His Orchestra with Toni Arden

Two Loves 
Let's Be Sweethearts Again 
We Just Couldn't Say Good-bye 
Baby Don't Be Mad At Me 

Music of Rodgers & Hart and others

Thou Swell

Where Or When

There'a A Small Hotel

My Heart Stood Still

Furioso! - Sabicas

 

Gitana Te Enamoraste

Furioso!

Sabicas and Dolores Vargas

With Los Companeros del Flamenco

Flamenco Compositions by Sabicas

Decca Records DL 8900

1959

From the back cover: About Sabicas

The name of Sabicas is everywhere synonymous with the purest traditional Spanish Flamenco style and the highest degree of virtuosity. Sabicas was born in 1917, in Pamplona, the capitol of Navarra, and began to play the guitar at the age of five. Without benefit of formal instruction, his natural mastery of the instrument enabled him to concertize for the first time at the age of eight in his native Pamplona! Barely three years later he won a coveted prize in a nationwide contest held in Madrid.

In 1937 he formed his own company and toured extensively throughout South America. Carmen Amaya chose him, in 1942, for her first U.S. tour, and for five years Sabicas shared her triumphs, both on Broadway and in Hollywood. Later he returned to Mexico (where he now makes his home) concertizing frequently in the Latin capitols and working in domestic and foreign films. Recently he again joined Carman Amaya's troupe as solo guitarist and arranger, capturing anew audiences in both the United States and Canada. On this recording, his fourth album for Decca, he is also accomplished by a selected group of virtuosos guitarists, Los Companeros del Flamenco.

From Billboard - June 22, 1959: Spirited Spanish music with heel-stompin', castanets and Flamenco guitar. Flamenco singer, Dolores enlivens the program and things get pretty wild – Spanish-style – on side two. If any of your customers dig Flamenco or have bought Sabicas earlier releases try them on this one. Pretty special stuff.

Gitana Te Enamoraste (Tientos)

Catalina Por Bulerias

Desengano

La Castanuela (Tanguile)

La Rabida (Fandango)

Ay Mi Huelva (Fandango)

Aires De San Fernando (Alegrias)

Danza De Las Marianas 

Arabesca 

Los Arraynes (Granadine)

Bulerias Del Terremoto

The Calypso Carnival

 

Ministre A Zaca

The Calypso Carnival

Columbia Records CL 1007

1957

Honey Man

Victoria Market

Small Island

Better Woman Than You

Union Street

Ministre A Zaca

Trinidad Blues

Miss Emmalina

Solas Market

Chicken Gumbo And The Okra Water

Shimmy Like A Lady

Zombie Jamboree

Choucounne