Crown Prince Of Country Music - Johnny Sea

 

Loneliness

Johnny Sea

Crown Prince Of Country Music

Country & Western Series

Guest Star Records G 1479

Nobody's Darling

Loneliness

My Time To Cry

Mr. And Mississippi

Frankie And Johnny

I Love You

A Man In Love

I Can't Hardly Wait

Blue Arizona Moon

Rattlin' Daddy

Kenton '76 - Stan Kenton

 

Tiburon

Kenton '76

Stan Kenton

Producer: Robert Curnow

Cover Photo: Serge Seymour

Linder Photos: Serge Seymour, Jurgen Wiechmann

Graphics: INK Studio

Engineer: Murray Allen

Recorded, December 3, 4, 5, 1976

Universal Studios, Chicago, Illinois 

dbx equipment courtesy of the dbx corporation

Creative World Records STEREO ST 1076

Personnel:

Reeds: Terry Layne (as), Roy Reynolds, Dan Salmansian (ts), Alan Yankee, Greg Smith (bs). All doubled on flutes.

Trumpets: John Warner, Joy Sollenberger, Steve Campos, Jim Oatts, Tim Hagans

Trombones: Dick Shearer, Dave Keim, Mike Egan (t-bs), Alan Morrissey (b-tb)

Rhythm: Stan Kenton, Piano; Dave Stone, Accoustic and Electric Bass; Gary Hobbs, Drums; Ramon Lopez, Congas and Auxiliary Percussion

Time For A Change

Composed and arranged by Hank Levy

Soloist: Roy Reynolds

Send In The Clowns

Composed by Stephen Sondheim

Arranged by Dave Barduhn

Soloists: Stan Kenton, John Warner

Tiburon

Composed and arranged by Bill Holman

Soloists: Tim Hagans, Steve Kompis

My Funny Valentine

Composed by Richard Rogers

Arranged by Dave Barduhn

Soloists: Tim Hagans, Stan Kenton

Decoupage

Composed and arranged by Hank Levy

Soloist: Greg Smith

A Smith Named Greg

Composed and arranged by Hank Levy

Soloists: Greg Smith

Samba De Haps

Composed and arranged by Mark Taylor

Soloists: Terry Layne, Tim Haggans

Stolen Goods - Dr. Teleny

 

The People, Yes

Stolen Goods

Gems Lifted From The Masters

The Outrageous Dr. Teleney's Incredible Plugged-In Orchestra

Executive Producer: R. Peter Munves

Produced by Ken Howard and Alan Blaikley

Recording Engineers: Roger Cameron, Sam Stellato, Jack Adelman

RCA Quadra Disc ARD1-0015

1972

The People, Yes

Ludwig's Gig

Wild Turkey

Rhapsody From Hunger

Schbert And Stripes Forever

Superjoy

Johanna Sebastian Rock

Wolfgang Wigs Out

Power Play

King Of Kings

Broadway Blockbusters - Stanley Black

 

Somethin's Coming

Broadway Blockbusters

Stanley Black conducting The London Festival Orchestra and Chorus

Producer: Tony D'Amato

Engineer: Arthur Lilley

Phase 4 Stereo

London SP 44088

1966

There's No Business Like Show Business from "There's No Business Like Show Business"

There Is Nothing Like A Dame from "South Pacific"

C'est Magnifique from "Can-Can"

Big D from "Most Happy Fella"

Hey, Look Me Over from "Wildcat"

Everything's Coming Up Roses from "Gypsy"

Somethin's Coming from "West Side Story"

Consider Yourself from "Oliver"

Standing On The Corner from "Most Happy Fella"

Lawn, I'm On My Way from "Porgy And Bess"

Hello, Dolly from "Hello Dolly"

Flamenco Guitar - Carlos Montoya

 

Zambra

Flamenco Guitar

Carlos Montoya

ABC-Paramount ABC-157

1957

From the back cover: Carlos Montoya, the small quiet man from whom flows the bursting passion of flamenco, he and his music are mirror images, inseparable and complementary. The nephew of another famous flamenco guitarist, he was already beginning to receive recognition in his own right as a child of eight. His youth was spent playing and learning in the "cafe cantantes" in and around Madrid, adding, bit by bit, his own expressive genius to the collective body of flamenco folklore. During his career, he has been accompanist to several of the great flamenco dancers of our time, among them La Argentina, Vicente Escudero and Argentinita. With the outbreak of World War II, Montoya found himself in New York, which is now his home. He have become an American citizen, is married, and the father of two sons.

Huelva

Guajiras

Zapateao

Alone Y Verdial

Zambra

Rondena

Cafe De Chinitas

Variaciones De Cadiz

Wish You Were Here, Buddy - Pay Boone

 

Wish You Were Here, Buddy

Wish You Were Here, Buddy

Pat Boone

Produced by Randy Wood

"Wish You Were Here, Buddy" and "Just A Little Bit Of Rain" produced by Randy Wood and Nick Venet

Arranged by Ernie Freeman,* Charles Green,** Jimmie Haskell,*** H. B. Barnum****

Engineer: Hank Cicalo

Dot Records DLP 25764

1966

Wish You Were Here, Buddy*

You Win Again***

Five Miles From Home***

It's Me***

Don't Let The Blues Make You Bad***

It's Me***

Don't Let The Blues Make You Bad***

A Million And One****

Someone Before Me**

Just A Little Bit Of Rain*

Lyin' Woman***

You Ain't No Better Than Me***

You Don't Need Me Anymore***

For Musicians Only - Stan Getz, Dizzy Gillespie & Sonny Stitt

 

Be Bop

For Musicians Only

Dizzy Gillespie - Stan Getz - Sonny Stitt

Art Director: Sheldon Marks

Verve Clef Series Hi-Fi MGV-8198

Personnel: 

Dizzy Gillespie - Trumpet

Stan Getz - Tenor Sax

Sonny Stitt - Alto Sax

John Lewis - Piano

Herb Ellis - Guitar

Ray Brown - Bass

Stan Levey - Drums

From the back cover: There are few who will deny the Stan Getz, Sonny Stitt and Dizzy Gillespie are among the peers of their profession. Internationally recognized as the top tenor sax man of the 1950s, Stan Getz has continued to sow the musical seeds that reap rewards. Though it's not generally known, Getz started as a musician on bass, later switching to bassoon, and finally to sax. Historically, he's worked with more name bands and great musicians than other his age (30), numbering among them Jack Teagarden, Dale Jones, Bob Chester, Stan Kenton, Herbie Fields, Buddy Morrow, Benny Goodman and Jimmy Dorsey. It was during his service with the Woody Herman band in 1947 though, that Herman's "Four Brothers" sound was formed, the "Brothers" being Getz, Serge Chaloff, Zoot Sims and Herbie Steward (later Al Cohn). Getz is today recognized as one of the first post-war musicians to set a style that has largely been copied and cartooned  by many other fine musicians.

Sonny Stitt is a veteran disciple of the modernist school, starting with Dizzy in 1946. He's known far and wide as the possessor of great drive, superb individuality and excellent taste in his work. A winner of the Esquire New Star Award in 1947, Stitt has since continued to rate among the upper rung in all music polls. He's equally at home on tenor, baritone or alto sax, though it's alto that he favors in the main and which is heard in this album.

What can be said about Gillespie the truthfully hasn't bee said before? Despite the fact that both Gillespie and Charlie Parker are argued about as the progenitors of modern jazz, it's generally recognized that each was interdependent upon the other in shaping the sounds of the new musical era. Gillespie's trumpet style  hasn't been cartooned simply because it can't be. A well schooled musician, a fine arranger, Gillespie began developing what was later to be known as bop as far back as his work with the swinging Mercer Ellington and Cab Calloway bands in 1939. It wasn't until 1945 however, after working with Benny Carter and Ella Fitzgerald, Charley Barnet, Lucky Millinder, John Kirby and later the big Billy Eckstien band of 1945, that Gillespie and bop began to be a household word. His influence on the sphere of music has been profound and much of the credit for bringing jazz to its present state as an international tour de force can be attributed to him.

Be Bop

We

Dark Eyes

Lover Come Back to Me

The Blues Every Which Way - Memphis Slim & Willie Dixon

 

Home To Mama

The Blues Every Which Way

Memphis Slim (vocals & piano) and Willie Dixon (vocals & bass)

Cover: Joe Cardellio

Art Direction: Merle Shore

Verve STEREO V6-3007

1961

From the back cover: Memphis Slim is a huge (six feet, six inches), city-wise blues bard who also plays powerful piano. Slim performs with an implacable authority, an authority that come from his thorough command of the blues, every which way. Born Peter Chatman in Memphis on September 3, 1915, he as sixteen when he started getting paid for telling about the blues. The most important stage of Memphis' apprenticeship started in 1939 when he met Big Bill Boroonzy in Chicago. Memphis sounded very much like Roosevelt Sykes in those days, and Bill lectured him on the need to find his own way. Memphis did, helped considerably by the experience he gained working with Bill for several years. Since then, Memphis has continued to be based in Chicago; but he's roamed through the South, appeared in concert in the North and in Europe; and is now also a manager. His primary client as of this writing is, in fact, Roosevelt Sykes. Memphis also has written – The Comeback and Every Day – were widely popularized by Joe Williams and the Count Basie band.

Willie Dixon, bassist and blues singer, is not as tall as Memphis, but he's considerably wider. Willie comes from the fertile blues country of Vicksburg, Mississippi. Dixon first became immersed in the blues by osmosis while hearing the singing of his family and friends as he worked on a farm. In 1936, Dixon came to Chicago. He worked as a butcher, messenger, restaurant cook, and laborer. He also tired boxing, winning the heavy-weight division in the Golden Gloves tournament in 1937 under the name of James Dixon (James being his middle name), and later turning professional for a while. Gradually, he went into music full-time, working as a sideman with several of the fiercer blues combos, including that of Muddy Waters. He also wrote for Muddy, Little Walter and other blues shouters. Dixon too has been a manager; and in recent years, he has worked often with Memphis Slim in such rooms as the Gate Of Horn in Chicago, the Village Gate in New York, and the Ash Grove in Los Angeles.

From Billboard - April 24, 1961: A fine blues package. Some of the vocals are by Memphis Slim, some by Dixon and there's Memphis Slim's wonderful blues piano, with Dixon on bass. The recording is excellent with bright, clear sound. A highlight is "Rub My Root," with vocal by Dixon. Other sides are "Choo Choo," "John Henry," etc.

Choo Choo - Vocal by Memphis Slim

4 O'Clock Boogie

Rub My Root - Vocal by Willie Dixon

C Rocker

Home To Mama - Vocal by Willie Dixon

Shaky - Vocal by Willie Dixon

After Hours

One More Time - Vocal by Willie Dixon

John Henry  - Vocal by Memphis Slim

How Howdy - Vocal by Willie Dixon

Lush And Latin - Freddy Martin

 

Bernie's Tune

Lush And Latin

Freddy Martin and His Orchestra

In A happy-go-Latin album of South American rhythms for listening and dancing

Capitol Records T998

1958

Poinciana

Miami Beach Rhumba

Love Letters

Bernie's Tune

Tea For Two

Malaguena

Prisionero Del Mar

Walter Winchell Rhumba

It Began In Havana

Take The "A" Train

Autumn Leaves

In A Little Spanish Town