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Saturday, January 30, 2021

In The Land Of Hi-Fi - Sarah Vaughan


Oh My

Sarah Vaughan 
In The Land Of Hi-Fi
Orchestra Arranged and Conducted by Ernie Wilkins
Featuring: "Cannonball" Adderley, Alto Sax
Roy Haynes, Drums
Jimmy Jones, Piano
Joe Benjamin, Bass
Recorded October 25, 26, 27, 1955
EmArcy Mercury Records MG 36058

From the back cover: The glorious voice of Sarah Vaughan has been heard in every setting from a small rhythm combo to a full string ensemble, but the accompaniment on these sides is something new.

Ernie Wilkins was the arranger and conductor fo the big, swinging band on the three sessions recorded in November, 1955. There were four trumpets (Ernie Royal played some of the lead), four trombones (including a noted two-trombone team), and a five man saxophone section in which the featured soloist is Julian "Cannonball" Adderley, the Florida flash, who flew north with alto under arm especially to take part on these dates. The rhythm section comprises Sarah's usual sidekicks, pianist Jimmy Jones, drummer Roy Haynes and bassist Joe Benjamin, with a guitarist added in the person of Turk Van Lake.

That the music provided for this stellar line-up is worthy of Sarah's and the musician's talents should come as no surprise to anyone familiar with Ernie Wilkin's contribution to the modern music scene. Born in 1922 in St. Louis, he studied at Wilberforce University, then spent three years in the Navy, most of this time being devoted to the great all-star band stationed at Great Lakes with Clark Terry, Willie Smith, Gerald Wilson and a number of others who later achieved fame with name bands.

After leaving the Navy, Ernie worked with George Hudson, Earl Hines and Count Basie. He left Basie early in 1955 to stay in New York and concentrate on free-lance arranging, mainly for Basie, the Dorsey Brothers and for various recording dates.

His work for this Sarah Vaughan session illustrates how firmly the roots of his work are planted in jazz soil, for the band swings consistently, not only in the overall ensemble and in the rhythm section feeling, but in the writing for the variously voiced horns behind Sarah.

The incredible Sassy is at her most astonishing on these siders. Bending the melodies to her unique individual conception, swooping up for unexpected high notes, soaring in for fabulous top-register endings, she demonstrates her uncanny flair for vocal calisthenics to an unprecedented degree.

From Billboard - April 14, 1956: Sarah Vaughan's new album is one of Mercury's big promotional-plug items this month, and it should benefit from the push sales-wise both in the jazz and pop markets. The thrush sing in her old listenable, highly stylized jazz technique on most of these sides, with excellent backing. Julian (Cannonball) Adderley is featured soloist in the band's five-man sax section, with Jimmy Jones on piano; Roy Haynes, drums, and Joe Benjamin, bass. The canary appears on the album cover in a striking full-color photo, which should do much to hype sales.

Over The Rainbow
I'll Never Smile Again
Don't Be On The Outside
How High The Moon
It Shouldn't Happen To A Dream
Sometimes I'm Happy
An Occasional Man
Why Can't I
Oh My

Cha Cha And Mambo - Music Appreciation Library


Hi-Fi Mambo

Cha Cha And Mambo
Music Appreciation Library 
Volume 11
The Latin Rhythm Boys
Paris International, Inc. DG-123

Baby Doll Mambo
Moonlight Mambo
Romantic Mambo
Sweetheart Mambo
QuiƩreme Cha Cha
Borinquen Mambo
Paradise Mambo
Express Cha Cha
By Candlelight 
Hi-Fi Mambo
Sunrise Mambo
Concert Mambo

Friday, January 29, 2021

Floatin' Like A Feather - Paul Weston


What Can I Say After I Say I'm Sorry

Floatin' Like A Feather
Paul Weston
Produced by John Palladino
Cover Photo: George Jerman
Capitol Records T1153

From the back cover: Since making his first mood album nearly fifteen years ago, Paul Weston has recorded more than 250 selections in his famous melodic style. These recordings have featured a broad variety of sounds and techniques, for Weston experiments continuously with fresh orchestral ideas. In every recording, however, he has followed this basic concept: "The melody is the thing!" And he has built his art around that plan, seeing to it that over-harmonization and over-arranging never interfere with the listener's appreciation of the composer's melodic line.

From Billboard - March 16, 1959: Lightly swinging' arrangements by Paul Weston on a fine array of standards adds up to a fine terp or listening package. Jocks have a wealth of programming material in the sparkling set which includes "It's A Lovely Day Today," "You Took Advantage Of Me" and the album title tune. Various jazz soloists are featured throughout. Good prospects. Stereo is nicely balanced and brings out the inventiveness of the treatments.

Among the soloists:
Gene Estes - Vibes (Courtesy of Carlton Record Corp.)
Don Fagerquist - Trumpet
Paul Horn - Alto Flute (Courtesy of Dot Records, Inc.)
Ronnie Lang - Alto Sax
Matty Matlock - Clarinet (Courtesy of Warner Bros. Records, Inc.)
Ted Nash - Alto Sax
Dick Noel - Trombone
Babe Russin - Tenor Sax
Paul Smith - Piano

Twilight Time - Eddie Barclay


I'll Keep Coming Back For More

Twilight Time
Eddie Barclay and His Orchestra
Mercury Records Hi-Fi Stereo SR 60167

From the back cover: With over 25,000 Long Play albums available to the record buyers of the U.S., and an additional 5,000 new packages produced yearly, this album of Firsts is truly remarkable!

Remarkable because of the union of the mood music magic of French maestro Eddie Barclay and the famed-for-his-jazz-arrangements Quincy Jones, Seattle-born ex-Basie sideman. That the melding of these two talents was sensationally successful is apparent after a minute of listening to any band in this album.

For the dynamic duo have taken all manner of instrumentation, massed strings, muted sound. New particularly in that unlike most mood music, this "swings," not ala Benny Goodman or Duke Ellington, but ever so lightly. Swings to provoke a desire to dance!

Sound-wise, ever since Neal Hefti's first mating of instruments with voices in 1955, there's been a sameness, but Barclay-Jones Inc. have so cleverly and subtly joined voices with horns that most of the times, it's difficult to tell the difference between a horn, a stringed instrument or a voice. Therein lies the new sound! Especially in Twilight Time and Moonlight Serenade is it difficult to differentiate.

And it's to the credit not only of the two internationally-noted musicians, but important praise belongs to the French audio engineers and the musicians on the date. Since the invention of the modern instrument,  man's goal has been to make the instrument as human in performance as possible.

Any you'll find a wonderful pacing program-wise. Barclay and Jones skip the gamut with all manner of fox-trot tempo, waltzes and even a bolero treatment of Dans Mon Ile.

While a large number of the instruments are originals from the pens of Barclay or Jones, a first hearing, I'm sure, will bring the feeling that "I've heard that song before." Such quasi-nostalgia indicates the true appeal of the melodic patterns. In fact, don't be surprised if such a stellar melody as Fragile Eyes pops up in the future as hit material, complete with an English lyric.

From Billboard - November 21, 1960 (Album Cover Of The Week): Alluring cover shot of the lovely lady provides for prime display material. Colors are warm shades of brown and bright green.

For The First Time (Come Prima)
Moonlight Serenade
Dans Mon Ile
Coeur D'Artichaut
Mon P'Tit Pote
Twilight Time
Smoke Rings
I'll Keep Coming Back For More (Fragile Eyes)
Sous Le Vieux Pont Des Souliers
Valse Des Lilacs
Je Voudrais

Dancing Party - Freddy Martin



Dancing Party
Freddy Martin and His Orchestra
Designed for Dancing - One of a series
Cover: Dressed by Ceil Chapman
RCA Camden CAL 264

Symphony Cornish Rhapsody
Rachmaninoff Concerto No. 2
Symphonie Moderne
Warsaw Concerto Theme
Easy To Love
Magic Is The Moonlight
Strange Music
After You've Gone
The 3rd Man Theme

All Of Me - Johnny Hartman


The Lamp Is Low

All Of Me
The Debonair Mr. Hartman
Johnny Hartman
Recorded November, 1956 in New York City
Bethlehem Records BCP-6014

Johnny Hartman, vocals, accompanied by:

1. The Bethlehem Orchestra conducted by Frank Hunter
2. The Ernie Wilkins Group (on starred tunes only)

Tony Ortega - Alto
Jerome Richardson - Flute, Tenor
Lucky Thompson - Tenor
Danny Bank - Baritone

Erine Royal - Trumpet
Howard McGhee - Trumpet
Frank Rehak - Trombone

Hank Jones - Piano
Osie Johnson - Drums
Milt Hinton - Bass

From Billboard - March 30, 1957: Aside from a set of puerile liner notes, this is a class package for discriminating deejays with fairly hip tastes. Hartman brings a warm expressive vocal manner and innate good taste to a group of nostalgic standards, with sock backing in a swingy vein by Frank Hunter on the slower ballads. Selections include "Blue Skies," "I Could Make You Care" and "While You're Young."

Blue Skies*
I Could Make You Care
The Lamp Is Low
While We're Young
Birth Of The Blues*
I'll Follow You
I Concentrate On You
Stella By Starlight
I Get A Kick Out Of You*
The End Of A Love Arrair
All Of Me*

This Is Brian Collins


My Love

This Is Brian Collins
Produced by Jim Foglesong
Basic Arrangements: Harold Bradley
String Arrangements: Bill BcElhiney
Dot Records DOS-26017
Distributed by Famous Music Corp.

From Billboard - October 27, 1973: A relatively new artist, this album should firmly establish Brain Collins. It's all easy listening and he shows strength and smoothness beyond his years. Best cuts: "My Love" and "Lonely Too Long."

I Wish (You Had Stayed)
I Don't Plan On Losing You
Take One Step
My Love
Satin Pillows (To Cry On)
I'll Be Your Bridge
How Can I Tell Her (About You)
The Corner Of My Life
Statue Of A Fool
Lonely Too Long
Hand In Hand With Love

Flute Flight - Sam Most


Last Night When We Were Young

Flute Flight
Sam Most
Produced and Directed by Don Schlitten
Notes: Kent Hazen
Cover and Liner Photos: Don Schlitten
Recording: Arne Frager
Recorded December 28, 1976
Manufactured and Distributed by Cream Records, Inc.

Sam Most: Flute and Clarinet
Lou Levy: Piano
Monty Budwig: Bass
Donald Bailey: Drums

From the back cover: "I didn't even have many lessons, it's just something that I took to. In fact when I started to play I started to use that humming technique a lot because I couldn't play out in my apartment. Maybe it was late at night and I wanted to play, so instead of playing out in full tones I might just kind of hum and sing along." That's how Sam Most describes his earliest bouts with the flute. In any field of endeavor some breakthrough occur as a result of countless hours of arduous research, relentless study and conscious experimentation. Then again, of course, there are cases like Archimedes overflowing his bathtub – or Sam Most attempting to practice in near silence. A breakthrough is a breakthrough, however, and today it is commonly known that solid objects displace water and that the human voice can be combined with the tone of a flute. The advantage which has accrued to Sam for having made the latter breakthrough early in life and in such a relatively painless fashion is that he has had more time than any other flute player to work with that technique and develop it to perfection.

Needless to say there is more to playing the flute than vocalizing into it. For Sam this device has never been an end in itself, but merely a highly useful addition to his formidable arsenal of flute technique. Any conscientious artist knows that too much of a good thing can be counterproductive, and Sam is very conscientious. 

Back in the early 50's when Sam began expanding his sphere of musical interest to include the flute, there was a singular dearth of models to emulate: "I don't think I chose it as an 'I must play the flute' type of thing. To tell you the truth, I don't remember hearing anyone play jazz on it at all. I started out playing the clarinet because my brother (Abe Most, the prominent LA studio woodwind player) as an inspiration growing up. That was towards the last of the swing era. Then when I was about sixteen or so I started hearing the Charlie Parker things and was caught up in that. I think I first heard Ben Webster on 52nd Street, and he inspired me in person. I flipped out when I heard him at the Three Duces. I listened to Coleman Hawkins records like Body and Soul, and I used to dig Lee Konitz and Stan Getz. Then I started to go more for players like Rollins and Coltrane. As far as I remember, flute jazz was more or less my own affinity for it and the influence of what I'd been hearing from saxophone players. I think it was just more or less my own type of transformation of saxophone things, plus, of course, the flutistic things. And I just felt naturally putting those two things together.

Despite having passed through the reed sections of big bands led by Tommy Dorsey, Shep Fields, Boyd Raeburn and Don Redman, the larger ensemble was not where Sam's head and heart were. "I always felt that most of my background was in the small group. The big band sideman thing was something that I passed through, but that wasn't my predominant influence. The big band era was either dead or in the process of dying, so I just got in on the tail end and got some of that experience. (Sam was born on December 6,  1930.) I was always attracted to the smaller groups and of course I liked Benny Goodman and Artie Shaw because I was impressed with the clarinet, but when bebop came in I was young enough to feel that that was the direction to go in. It seemed like a natural thing, just like people today going into rock."

Sam currently resides in California, but during the '50s his base of operations was New York City. The decade and the location were both good to Sam. He began leading his own down beat Critics Poll. "It seemed like wherever I played the flute it was a tremendous commercial success. The audiences liked the novelty of it and also the fact that I had an affinity for it. I was doing a bit more in that period because I had some albums out, and I was able to get work and a few studio bones here and there."

Towards the end of the decade, however, the row of the working jazzman was becoming tougher to hoe, so Sam accepted an offer to join the Buddy Rich band for a State Department sponsored world tour. Upon returning to the States in 1961, Sam decided to investigate the climate in the Los Angeles area, where brother Abe had found a comfortable niche for himself. "I didn't think I'd stay here. I was kind of a slowish period in New York, so I stayed out here with my brother awhile, and before you know it I've been  here seventeen years!"

During those seventeen years Sam has managed to pay his own freight, but things haven't been as rosy as some publicity blurbs make out. "It's really a misconception to think that I really became successful in the studio, Vegas or Tahoe scene. I went to Vegas from here with Red Norvo, because I never really got into the studio too strong. That's how I got introduced to Vegas and Tahoe, and I spent some years back and forth. It always seemed like there wasn't much happening in L.A. at the time. Out of the whole city there were maybe four clubs, and they had imported groups or just a given night or two for some of the local people. There wasn't an opportunity to work steady in town unless you got into the studios. I don't think I ever intended to be a studio musician. It was like a supplement, you know, if I could make some money that way. I even entertain thoughts of going back to New York. It's kind of hard economically trying to play the music you dig and make some money at it. Art is one thing, but business is something else."

Recently, however, the light at the end of the tunnel for Sam Most, improvising artist, had been growing brighter. "Don Schlitten) was interested enough to give me a chance to come out of isolation, so that kind of started it." Flute Flight is Sam's second release on Xanadu (Mostly Flute, Xanadu 133, was the first), and Sam is now the proud recipient of a National Endowment for the Arts grant for performance as well. After hearing this album listeners will readily understand why Sam was selected. He has not stood still over the years. "A lot of things I did in the '50s – oh, they're okay, but I don't want to listen to them. They're something in the past, and I hope I'm growing. I keep trying to grow. I think you can still tell it's me, but my style and feelings change as I get older. You get either more mature or wiser or whatever just from continuing to listen and grow personally and trying to perfect your art."

The Humming Blues
It Might As Well Be Spring
Flying Down To Rio
Sagittarian Samba
Last Night When We Were Young
It Happened In Monterey
Am I Blue

Thursday, January 28, 2021

A Tropical Affair - Pedro Garcia



A Tropical Affair
Pedro Garcia and his Del Prado Orchestra
Photo: Bob Witt
Latin American Dance Pot-Pourri
A Study In High Fidelity Sound
Audio Fidelity AFLP 1842

Con El Pi Pi Ri Pau
Que Murmuren
Samba De Las Orquidus
Muneauita Linda
Begin The Beguine
Samba Versalles

Songs Of The Cowboy


A Cowboy's Dream

Songs Of The Cowboy
Design Records SDLP-625/SDLP-189
Pickwick International, Inc.

Gene Autry
Back In The Saddle Again
Riding Down The Canyon

Smiley Burnette
Red River Valley

Eddie Dean
A Cowboy's Dream
Street Of Laredo

Foy Willing 
Cool Water
Shortin' Bread

Bradley Kincaid
The Blue Tail Fly
Legend Of Robin Red Breast

Wednesday, January 27, 2021

An Evening In Paris - Henri Dumas


La Mer

An Evening In Paris
Henri Dumas and His Orchestra
Photo: George Pickow - Three Lions
Design DLP 119

La Mer
A Paris
C'est Si Bon
Fantasie De Chansons Enfantines
Un Jour, Tu Verras
I Love Paris
La Vie En Rose
Place Pigalle
Fantasie De Chansons Enfantines
Mademoiselle De Paris

Romeo And Juliet - Jackie Gleason


Yesterday, When I Was Young

Romeo And Juliet
A Theme For Lovers
Jackie Gleason
Produced by Dick Jones
Orchestrations: George Williams
Recording Engineer: Bob Arnold
Recored at Criteria Studios, Miami, Florida
Capitol Records ST-398

Back Cover Photo: The Great One (Jackie Gleason) with Don Goldie

Also from the back cover: The soloist merits a special word. Far and away the most celebrated big band of the 1920's and 30's was the aggregation of the King Of Jazz, Paul Whiteman, and among its star-studded collections of musicians, for 15 years, was a fine trumpet man best known as "Goldie." Playing the trumpet solos in Jackie's album in Goldie's son, Don Goldie, himself a musician of stature who follows in his famous father's footsteps as a trumpeter of taste, skill and warmly individual sound.

For Once In My Life
Moment To Moment
By The Time I Get To Phoenix
Embassy Waltz From "My Fair Lady"
Love Theme From "Romeo and Juliet"
Didn't We
Yesterday, When I was Young
Quentin's Theme from ABC-TV's "Dark Shadows"
This Guy's In Love With You

Tuesday, January 26, 2021

Shout! Shout! - Ernie Maresca


Mary Jane

Shout! Shout!
Knock Yourself Out
Ernie Maresca
Produced by Mark Holtzman
Seville SV 77001

From the back cover: In the words and music, Ernie Maresca is an uncanny phenomenon. A couple of years ago, Ernie stood on the sidelines of show business watching new stars skyrocket to success. Deep down inside, he felt the longing that goes with talent. He knew he could write the melodies and lyrics of hit songs. Ernie was positive that with a little recognition as a song-writer, fame and fortune would come to any singer who recorded his material. In no time at all, this dream became a reality. Ernie Maresca's hits orbited the earth like a Mercury Seven capsule. "A Lover's Prayer," "Runaround," "No One Knows," "the Wanderer," "Runaround Sue," "Lovers Who Wander," and many others, helped Dion, The Belmonts, The Regents, and Nino and the Ebbtides to the red carpet of stardom.

Right in the middle of all this excitement Ernie and Tom Bogdany, a neighborhood buddy, got the idea for a follow-up to the Twist called "Shout! Shout! (Knock Yourself Out). To Seville Records Artist and Repertoire-man Marv Holtzman they came! Ernie's demonstration was exciting! Within a week Ernie had cut it and the rest is history. To the top of the charts it zoomed and as a result, Ernie Maresca is in the world-wide demand as one of America's top teen-age singing attractions

From Billboard - July 28, 1962: The kids should really find this one a winner. The album features the singer's recent smash and 11 other potent tracks by the lad. Maresco figures in as writer on all the titles, and the album supply some great swinging sounds that are solid for the teen trade. "Subway Blues," "They Don't Know," "Mary Jane," "Down On The Beach" and "I Don't Know Why" are some of the representative tracks.

Shout! Shout! (Knock Yourself Out)
Some Day You'll Change Your Ways
They Don't Known
I Don't Know 
I Don't Know Why
Down On The Beach
Crying Like A Baby Over You
Mary Jane
What A Good Is Living
How I Cry
I'm Gonna Make It Somehow
Subway Blues
Can't Forget About You

Color Me A Rainbow - Color Concepts For Early Childhood

Color Me Clever

Color Me A Rainbow
Color Concepts For Early Childhood
Melody House Recordings MH-80

Come And Make A Rainbow
Written by Jerry Caspell
Sung by Jerry Caspell
Post Elementary 6th Grade Chorus, Oklahoma City, Oklahoma
Director: Kathlyn Reynolds

Color and Shapes

Color Me Clever
Music by Jerry Caspell
Words by Sharron Lucky
Sung by Jerry Caspell

Rainbow Ritual

Color Mixmaster

March Of The Colors

Color Concoctions

Color Rhymes

Color Riddles

The Three Little Piglets Playlet

Hide And Go Seek

The Colors Of Nature
Written and sung by the music students of Kathlyn Reynolds at Wiley Post Elementary School, Oklahoma City, Oklahoma

Colors Poem by Larry Hillhouse 

Dinosaur Rock - Michele Valeri & Michael Stein


Tyrannosaurus Rex

Dinosaur Rock
Performed by Michele Valeri and Michael Stein
Cover Illustration: Kenneth Smith
The album is dedicated to Florence Mendelow Stein & Nettie and Hugo Valeri
All songs arranged and produced by Michael & Michele
Narrated by Jerry Terheyden
Photos: Paul A. Powers
Recording Engineer: R.B.
Tape Editor: Jayne Reby
Recorded at Track Recorders - Silver Spring, MD
Special thanks to Worth Rowley
Caedmon TC 1739

From the back cover: Michele Valeri is a singer, songwriter and children's entertainer. Her years of teaching and performing have brought her to every kind of stage – from elementary school auditoriums to the Smithsonian Institution, the Kennedy Center for the Performing Arts and the White House. She has produced, composed and performed two award-winning children's records; the second, Mi Casa Es Su Casa, was placed on the Parent's Choice Magazine list of best records for 1981 and featured on Good Morning America. She is presently the Artist in Residence for the Community Service Division of the Wolf Trap Foundation.

Michael Stein, actor, musician and singer/songwriter, has performed in many different areas of the entertainment world. As a teenager, he played the role of Peter in the original Broadway cast of Jesus Christ Superstar. After performing in Dude, another Broadway show, he toured in Tommy, the rock opera by The Who. He has also performed at the White House, Wolf Trap, the Smithsonian Institution and the Kennedy Center for the Performing Arts. Presently, Michael spends his time writing, recording and performing all styles of music. He is the father of two little boys, Jacob and Justing, who critique all of his material.

The Band is composed of Guitar: Pete Kennedy, Rhythm Guitar: Michael Stein, Piano:  Jon Carroll, Bass: Bryan Smith, Drums: Robbie Magruder

The Dinosaur Song by Michele & Bob Devlin
  Vocals: Michele & Michael
  Bob Devlin & Marc Spiegel

Professor Jones by Michele & Michael
  Pedal Steel: Jeff Agnew
  Vocal: Michael

Dinosaur Rock by Worth Rowley, Michele & Michael
  Vocal: Michele
  Chorus: Michael & Jon Carroll

Stella Stegosaurus by Michele
  Tuba: Marty "Tuba" Erickson
  Chorus: Michael, Seth Carlson & Jennifer Jones

The Sauropod Swing by Michele & Michael
  Vocalized Trumpet: Michele
  Vocals: Michele & Michael
Tyrannosaurus Rex buy Michele
  Vocals: Michele & Michael

The Tiny Little Babies & The Great Big Momma by Michele
  Fiddle: Michael
  Vocals: Michael

Leapin' Lizards by Michael & Michele
  Banjo: Bill Emerson
  Mandolin: Akira Otsuka
  Bass: Bill Smith
  Guitar & Fiddle: Michael
  Vocals: Michele & Michael

Where Did Everybody Go? by Michele & Michael 
  Piano: Patti Clements
  Guitar & Bass: Pete Kennedy
  Fiddle: Michael
  Vocals: Michele & Michael

We All Came From The Sea by Michele & Michael
  Guitar & Fiddle: Michael 
  Bass: Bryan Smith
  Concertina: Greg Artzner
  Vocals: Gordon Hawkins, Seth Carlson & Jennifer Johns
  Last Chorus: Gordon & Michele
    The Carlsons: Seth, Nancy & Bob
    The Johns: Jennifer & Martha
    The Steins: Michael, Kelly, Jacob & Justin
    The Petteways: Al, Patti, Sarah & Julia

Monday, January 25, 2021

What's It All About - Sammy Hall Singers


What's It All About

What's It All About
Sammy Hall Singers
Produced by Joel E. Gentry
Recorded: DBM Studios - Nashville
Engineer: Ben Hall
Photographer: Jimmy Moore
Artist: Carl Cartee
Christian Folk FCS-1972 STEREO

What's It All About
Jesus Is A Soul Man
The Old Rugged Cross
Had It Not Been
If I Had But One Life To Live
The Most He Had To Offer Me
Try A Little Kindness
Eternal Flame
Jesus Is Coming Soon