The Glory Of Love - Jackie And Roy

Tain't No Use

The Glory Of Love

Jackie And Roy

Produced by Creed Taylor

Cover Photography: Alan Fontaine

Cover Design: Bob Crozier

Engineering: Irv Greenbaum

Recorded March, 1956

ABC- Paramount ABC 120

A Product of AM-PAR RECORD CORP.

Roy Kral: Piano

Milt Hinton: Bass

Barry Galbraith: Guitar

Osie Johnson: Drums

From the back cover: According to all the cliches, it's easier for an actor to project a character who is nothing like himself than to play a role that resembles his own life and personality. This is one of the traditions Jackie and Roy ignore. Having sung their love songs together from 1947 to 1949, they talked themselves into the whole project; got married. In love, with two kids, their romantic duets are more convincing than if they had studied the parts under Lee Strasberg.

Another Jackie and Roy paradox, this one more in line with show business tradition, is the impromptu singing-in-the-shower sound they get with material that by rights should sound pat, precise and beaten to death by the nearly scientific method the two prepare the songs for a record date. Weeks of study, rehearsals, re-arrangements – an approach veering on perfectionism – emerge as simplicity itself. Even stranger, the intense hard work of readying the knock-out performance (which they took 12 hours to get to their liking once they began to record) left the rather-sing-than-eat Krals as happy as any people who hadn't been doing anything but relaxing with a favorite pastime.

Problem #3: What do you call two people who sing ballads and modern love lyrics – who are completely within the jazz idiom – but who sound by turns like semi-classical singers or like modern jazz instrumentalists – who can interpret an idiot's delight "I Love You Real" one minute and the haunting, almost icily beautiful "The Winter Of My Discontent" the next? Obviously, you have to make up new words. Maybe soon, it will be simple enough to describe the inevitable imitators –"how do they sound? Well, kind of like Jackie and Roy." – Marian Taylor

From Billboard: August 25, 1956: Whether this is a "jazz" set, could be argued. However, there is no disputing the musical merit and romantic appeal of the duo's vocalizing. The arrangements are suave and sophisticated with deft jazz touches provided in the background by Barry Galbraith, Milt Hinton and Osie Johnson. The material is fresh, much of it new, the remainder consists of well chosen but little known standards. This LP should have pop as well as jazz, customers as its target. Good sales predicted.

The Glory Of Love

The Best Thing For You

I Love You Real

Could You Use Me?

Miz Margret

Love Is Sweeping The Country

You Inspire Me

Looking At You

Where Did The Gentleman Go?

Let's Get Away From It All

Tain't No Use

The Winter Of My Discontent

This Love Of Mine - Jack Jones

 

Angel Eyes

This Love Of Mine

Jack Jones

Bobby Hammack and His Orchestra

Produced by Voyle Gilmore

Capitol Records T 1274

1959

From the back cover: Born in 1938, Jack's leanings toward a career in the entertainment field actually started at the very beginning, for his parents are both famous stars of stage and screen: Irene Hervey and Allan Jones. And so singing and acting came naturally. All through his years at University High School in West Los Angeles, Jack was tops on the popularity list, starring on the baseball and track teams and playing leading roles in student productions.

Since graduation in 1956, Jack has been polishing his singing, acting and dancing techniques with serious study. He launched his professional career in 1957, joining his father for an act which they broke in a club in Elko, Nevada. (A parody version of Allan's signature piece, The Donkey Serenade, was invariably a show stopper.) Booking for Jones and Jones followed at the Thunderbird in Las Vegas and at the Statler Hotel in Los Angeles. And is was during this time that Jack first came to the attention of Capitol Records, cutting several singles, and now this full-length album.

Early in 1959, Jack earned his first album credits, co-starring with Jo Morrow in "Juke Box Rhythm"; and he has made his mark on television with numerous guest appearances on top variety shows, including those of Steve Allen, Patti Page and Dick Clark.

Jack considers himself fortunate in having the instrumental backing of pianist-conductor-arranger Bobby Hammack though-out this album. Indeed, the Hammack way with these songs is a feat of musical wizardry: lush and dreamy with strings, exciting with brass and rhythm – whatever fits the meaning and the mood.

From Billboard - November 30, 1959: After a few efforts, this is the initial LP by a lad whose work augurs a strong potential. Jack Jones is the son of former stars Allan Jones and Irene Hervey, and he has been playing nitery dates with his dad in Las Vegas and Los Angeles. He shows a feeling for swinging rhythm, an ability to project his personality and a pleasing way of styling a ballad. Strong backing by Bobby Hammack's ork.

This Love Of Mine

This Could Be The Start Of Something 

Where Can I Go Without You?

Angel Eyes

With You On My Mind

I Don't Know Enough About You

I'm A Fool To Want You

To Whom It May Concern

Show Me The Way To Get Out Of This World

Impossible

What Would I Do

We'll Be Together Again

Can't Get Started With You - Jackie Paris

 

Heart Of Gold

Can't Get Started With You

Featuring Jackie Paris

Cover Photo: Herman Leonard

Wing Jazz MGW-60004

1956

From the back cover: This is Jackie's first LP on Wing. Auspicious though the debut is, we don't expect him to be a stranger to everyone any more than we expect the wonderful mood of these performances to come as a complete surprise; for Jackie, though only 29 years old, is no stranger to success and recognition. 

Originally well known as a singing guitarist (he hasn't played much in recent years) Jacke\ie was discovered by the Mills Brothers, who helped him to get his first job. Then the Army called, and after two years service he was mustered out in 1946, studied guitar at the Scott School and became a singer and instrumentalist with many of the combos that were dotted along with the busy 52nd Street of the late 1940s. Aside from several months on tour as vocalist with the Lionel Hampton band in 1949-50, Jackie has been working night clubs as a single most of the time since then. In 1953 he won the Down Beat critics' poll as the best new male singer of the year.

That Jackie has always been admired and respected by musicians and critics may be attributed to the sincerity and lack of affection in his style, and to the  retention of true jazz roots in his work, even in the most effectively tender of love songs. In case you think that the term "jazz singer" and "ballad singer" may seem contradictory, it might be appropriate to quote a few lines from a column Leonard Feather wrote a few months ago in Down Beat on this subject.

"What, if anything, is a jazz singer? Even Al Jolson laid claim to this ever-abused title. Since the qualities that earn acclaim for instrumental poll-winners are their rhythmic, melodic and harmonic talent for improvisation, one could assume that the jazz singers are those who come closest to bringing these qualities to bear on a performance that is tied down to a prescribed set of lyrics qualities that are, for that reason, hard to instill into anything but a bop, scat or other wordless vocal. Or the jazz singers would be those whose lyrics many be set, but whose melodies are as flexible as the blues; or whose tonal quality has something akin to the sounds we like to think as jazz tunes.

"By these standards... the only real jazz singers to be discovered in pop-jazz circles during the last few years have been Jackie Paris, Helen Merrill, Carmen McRae and Joe Williams."

Listen to the way Jackie sings the great songs he chose for his Wing debut and you'll see what these comments mean, and how true it is that Jackie belongs in this elite minority.

The records owe some of their success, too, to the role played by Manny Albam as arranger and conductor. Manny, who has written for countless name bands, assembled an unusual accompaniment for Jackie. On November 28, 1955, when There Will Never Be Another  You, Indiana, and Wrap Your Troubles In Dreams were recorded, he used a five-man saxophone section – Sam Markowitz and Hal McKusick on altos, Frankie Socolow and Ed Wasserman on tenors, Al Epstein on baritone – and a rhythm section with Bill Triglia on piano, Barry Galbraith on guitar, Milt Hinton on bass and Osie Johnson on drums. On November 29 and 30 the orchestra consisted of five-piece string section, Janet Putnam on Harp, the rhythm section, and Romeo Penque. The versatile Mr. Penque plays oboe, English horn, alto flute, and, in Heart Of Gold, a rare instrument known as the contrabass clarinet that adds no little to the colorful tones of the background effects.

Jackie Paris, as you might suspect after reading the composer credits on the label, is friendly with the Fisher family and very partial to their songs. Whispering Grass was Doris Fisher's first hit song, written in collaboration with her father, the late Fred Fisher, in 1942; Doris collaborated with Allan Roberts on That Ole Devil Called Love and her brother, Marvin Fisher, wrote Heart Of Gold and Cloudy Morning.

There Will Never Be Another You

Heaven Can Wait

Strange

The Ole Devil Called Love

Whispering Grass, Don't Tell The Trees

Heart Of Gold

I Can't Get Started

Indiana

Cloudy Morning

Wrap Your Trouble In Dreams

Good Night My Love

Sunny And Blue - Sunny Gale

 

Mad About The Boy

Sunny And Blue

Sunny Gale

Ralph Burns and His Orchestra

RCA Victor LPM 1277

1956

From the back cover: Born in Clayton, New Jersey, Sunny was brought up in Philadelphia. In the same block lived a young man who was also determined to become a singer. His name was Eddie Fisher. The two careers crossed early. Sunny met, or heard the name of Eddie Fisher, in practically every radio studio in Philly. When she would audition for a children's radio program it was always Eddie who got a job, a pat on the back, and a paycheck. But Sunny didn't give up. While Eddie sand on the air and won every vocal contest that came his way, Sunny sang at weddings, banquets, on trucks at street dances, at block parties, and at school. For high school assembly there was never any question as to who would sing The Star Spangled Banner. It was always Sunny Gale.

At the age of sixteen, Sunny's singing in the finals of a Miss Philadelphia contest brought her numerous nightclub offers. She accepted, and for five years she toured the Philly nightclub circuit. These were years of training and preparation fo the Big Break – is one should come. It came in the person of Hal McIntyre who hired Sunny as his vocalist.

Today Sunny attributes much of her success to her band training with McIntyre. Comments Miss Gale: "Every real pop singer has sung with a band. It teaches you all the tricks."

Tricks? Not really. Sunny Gale doesn't need them. She is a young and enthusiastic entertainer who sings a good song exactly the way she feels it should be sung – directly, with clarity, with verve and with meaning.

Wrap Your Troubles In Dreams

The Man I Love

East Of The Sun And West Of The Moon

Ain't Misbehavin'

Happiness Is A Thing Called Joe

Lover Man

On The Sunny Side Of The Street

It Got I Bad (And That Ain't Good)

He's Funny That Way

Don't Take Your Love From Me

Mad About The Boy

I Can't Believe That You're In Love With Me

Sunny Gale And Jazz Orchestra

My Last Affair

Sunny Gale And Jazz Orchestra 

Spilt disc with Jane Froman tracks featured on side 2

Royale 18123 - 10 inch disc

Sunny Gale

Wheel Of Fortune

My Last Affair

Music Makin' Mamma From Memphis, Tenn.

Do You Care

Jane Froman

Poet And Peasant

Saluta Pestch

Anita's Dance

Danza Dell Ore

Dance Date With Les Brown

 

Medley 1

Your Dance Date With Les Brown

And His Band Of Renown

Columbia Records CL 6123 - 10 inch disc

1950

Medley No. 1: A Foggy Day, Easy To Love, Drifting And Dreaming, Ebony Rhapsody

Medley No. 2: 'S Wonderful, I Could Write A Book, Cabin In The Sky, Tico Tico

Mildred Bailey Sings

 

Lover Come Back To Me

Mildred Bailey Sings

Cover Illustration: Stephen Haas

Royale VLP 6078 - 10 Inch Disc

1951

Can't We Be Friends

Lover Come Back To Me

Me And The Blues

Born To  Be Blue

Me And The Blues

When We're Alone

Penthouse Serenade

All Of Me

At Sundown

I'll Close My Eyes