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Saturday, September 11, 2021

Bolero - Ferrante & Teicher


La Valse

Ferrante & Teicher
Previously released asThe Artistry Of Ferrante & Teicher
Album Design: ARW Productions, Inc.
ABC-Paramount ABC 560

From the back cover: Arthur Ferrante and Louis Teicher are both graduated of New York CIty's famed Juilliard School Of Music, where they met, and where they both later served on the faculty. In October, 1947, the two pianists performed with the Toledo Symphony Orchestra, and reaction was so favorable that three months later they began the permanent performing association that has brought them to their present-day towering stature in the world of music.

La Valse
Debussy Nocturnes/Nuages
Ravel Mother Goose Suite (Ma Mere I'Oye)/Pavane De La Belle Au Bois Dormant
Petit Poucet
Laideronnette, Imperatrice Des Pagodes
Les Entretiens De La Belle Et De La Bete
Le Jardin Féerique

Friday, September 10, 2021

Bolero - Charles Munch

Prelude To The Afternoon Of A Faun

Afternoon Of A Faun Rapsodie 
La Valse
Charles Munch
Boston Symphony Orchestra
Cover: Dave Hecht
RCA Victor LM-1984 RED SEAL

Debussy - Prelude To The Afternoon Of A Faun
Ravel - Rapsodie Espagnole
Ravel - Bolero
Ravel - La Vale (Choreographic Poem for Orchestra)

Scheherazade, Op. 35 - Pierre Monteux


The Sea And The Vessel Of Sinbad

Scheherazad, Op. 35
Conductor: Pierre Monteux
The London Symphony Orchestra
Solo Violin: Hugh Maguire
Cover Jewelry by The Persian Shop
RCA Victor LM-2208
Recorded in England

The Sea And The Vessel Of Sinbad
The Tale Of The Prince Kalender
The Young Prince And The Young Princess
Festival At Bagdad
The Sea
The Vessel Is Wrecked

Ellington Uptown - Duke Ellington


The Mooche

Ellington Uptown
Duke Ellington and His Orchestra
Columbia  "Originator Of The Modern Long Playing Record" ML 4639


Saxophones: Paul Gansalves, Harry Carney, Jimmy Hamilton, Russell Procope & Hilton Jefferson
Trumpets: William Anderson, Clark Terry, Willie Cook & Ray Nance
Trombones: Juan Tizol, Quentin Jackson & Britt Woodman
Drums: Louis Bellson
Bass: Wendell Marshall
Piano: Billy Strayhorn & Duke Ellington

From the back cover: The most important date in the Ellington chronology is December 4, 1927, when he and his then-new orchestra opened at the old Cotton Club in Harlem. At the time, Paul Whiteman was the King Of Jazz (sic), and to the extent that Whiteman represented popular music, originality gasped for breath in what essentially was a pseudo-symphonic treatment of the business man's bounce. A lot of brilliant musicians evolved from this atmosphere, somehow, and if any single focus can take the credit for the evolution, it would be Duke Ellington's orchestra. An audience which couldn't quite accept the roughness of Bessie Smith or an Armstrong at the time was nevertheless ready to toss out the front-porch ballads and the dormitory novelties, and the blast of fresh air which Ellington and his men let in was a revelation. So caustic a critic as the late Constant Lambert was willing to cede Ellington an important place in the music of the Twenties, and subsequent writers have been no less generous. Since 1927 the Ellington orchestra has changed radically, and so has popular music, both influencing the other. The evidence of that change, and an exciting summation of it, is contained in this program. It remains only the listener to absorb and enjoy it, surely one of the most agreeable pastimes available anywhere.

From Billboard - April 11, 1953: For many, many Ellington fans this will be most welcome package. It's the new Ellington crew doing some new material and a couple of the old Ellinton favorites in new style. Material includes "Skin Deep," with Louis Bellson; "The Mooche," "Take The A Train," with a vocal by Betty Roche; "Perdido," and "A Tone Parallel To Harlem." It's delightful and a treat for sore ears.

Skin Deep
The Mooche
Take The "A" Train
A Tone Parallel To Harlem

They're Playing Our Song - Ralph Flanagan



They're Playing Our Song
Ralph Flanagan and His Orchestra
Cover Photography: Phil Howard
IR Imperial Records LP-9052 HIGH FIDELITY

From the back cover: A word about the maestro and the music between these cover. Though he started on the piano much later than most child prodigies, (Flanagan pounded a keyboard for the first time at 17) much of his talent was perhaps instilled by having a home environment in which music played an important role. Ralph's mother was a pianist and organist; at the age of 21 Ralph found himself as the pianist for the great Sammy Kaye band. Following his years of military service, Ralph went to work for Perry Como as staff arranger, and opened with his much heralded band on the ides of March (15) 1950.

Flanagan's drawing power on the road set records that haven't been equalled yet. He still holds the top mark for New York City's Hotel Statler, and in addition, holds similar attendance records at more than 100 other ballrooms and locations throughout the country. He copped every dance popularity poll for two years running; The Billboard, Motion Picture Daily, Downbeat and Metronome. His records and album sales were second only to Glenn Miller among all dance bands of all-time.

All Of Me
Sail Among Slivery Moon
Up A Lazy River
April Love
April Love
Lisbon Antiqua
Secret Love
Who's Sorry Now
It Had To Be You

Music For Expectant Fathers - Fontanna


Sweet And Lovely

Music For Expectant Fathers
Fontanna And His Orchestra
Remington/Masterseal 33-1911 & 1912

Little Man, You've Had A Busy Day
Exactly Like You
My Baby's Coming Home
Sweet And Lovely
When My Baby Smiles At Me
More Than You Know
I Only Have Eyes For You
Brahm's Lullaby

Thursday, September 9, 2021

In Times Like These - Gene McDaniels



In Times Like These
Gene McDaniels
Arranged and Conducted by Johnny Mann Liberty
Producer: Felix Slatkin
Engineer: Bunny Robyn
Cover Design: Pate/Francis & Associates
Cover Photograph: Garrett Howard, Inc.
Liberty Records, Inc. STEREO LST 7146

This copy was issued on a deep blue translucent vinyl disc.

From the back cover: Gene McDaniels' background is an ideal one for an aspiring vocalist. the son of a minister, he was born in Omaha, Nebraska in 1935 and was exposed to group and solo singing at an early age. While still in his teens he traveled around the country with a gospel quartet which was invariably well received. From gospel music to jazz is an extremely short step and Gene found himself moving in that direction. Growing as he has from the very roots of jazz, it is not surprising that Gene's vocal style should show a jazz influence. Rather than limiting his approach, however, this influence merely provides a spring-board for creative phrasing and experimentation.

From Billboard - May 30, 1960: McDaniels sings a group of nostalgic ballads with gentle effectiveness and rich tenderness. Selections include "It Might As Well Be Spring," "Gone With The Wind," "The Sound Of Music," "Love Is Here To Stay," etc.

In Times Like These Love Is Here To Stay
When I Fall In Love
Like Someone In Love
Next Spring
Look For The Silver Lining
The River And I
It Might As Well Be Spring
Look To Your Heart
The Sound Of Music
Gone With The Wind

The Most Happy Piano - Erroll Garner


Passing Through

The Most Happy Piano
Erroll Garner
Columbia Records CL 939

From the back cover: After an afternoon like that I felt sure Erroll was going to be alright. But the proof had to come at the keyboard, and this album is it. (Or part of the 97 minutes of it, anyway.) As Erroll reeled off one good take after another, with no preparation, it quickly became apparent that this was the old Erroll, all right. The happiest piano in all the world.

Seldom has the "Garner rock" been better defined than in the highly personal Girl Of My Dreams, But Not For Me, a classic Gershwin ballad, is taken at an unexpected "up" tempo, with a Latinesque offbeat first chorus. Erroll picks the tempo up even more in Passing Through, an original with a slightly minor but nevertheless thoroughly happy cast. Time On My Hands slows down to another typical Garner sound: the insinuating, tip-toe exposition of a fine melody, followed by a series of imaginative inventions on one of the greatest Garner first choruses on record.

Erroll, of course, is a man who can strut sitting down. He can also parade from a piano bench without leaving it, as Alexander's Ragtime Band demonstrates. Another highly unusual Garner performance is Full Moon and Empty Arms, in which the familiar Rachnanioff concerto theme is given a fast-paced treatment that is more Erroll than Sergei. His own Mambo 207 is a jolly little theme that grows considerably under Erroll's caressing care. The Way Back Blues is not only a remembrance of the origins of jazz, but its unique sound – with Specs hauling out a tambourine after a while – has all the joy of a rent party social in full blast, Ol' Man River is roaring Garner, all stops out, with touches contributed by his sidemen (Al Hall, in one release, imitates one of Erroll's pet left-hand patterns) and a final, vocalist-style strut-off at the finish. It amounts to a pronouncement that Erroll's back.

And everybody's happy about it. In the months since Erroll's complete recovery, he has enjoyed a continuing tide of public success in areas well beyond the usual jazz fandom. Even in the jazz field, a re-evaluation of Erroll has been taking place, perhaps best typified  by Jack Tracy's editorial in the November 14 (1956) issue of Down Beat, which closed with these paragraphs:

"It came upon me almost as a surprise recently to find how much I have been taking Garner for granted. His talent has risen to, and stayed at, such a consistently high level for a decade now, it is sometimes difficult to realize that during a whole era of change and turmoil in jazz, he has not only kept pace with it, but he has grown within it to such an extent that his style has been an influence on countless other pianists.

"He has been influential without sacrificing an inimitable concern for the humorous aspects of life. The communicative warmth inherent in his playing is genuine, not the product of pseudo-intensity serving as a facade for lack of emotional depth. He can be sincerely, meaningfully intense or delightfully giddy. He is refreshingly unique at all times.

"His years as an unrewarded jazz giant have passed. His popularity today, as a jazz pianist and a popular recording artist, is indicative of his basically sound approach to music. As an uncompromisingly honest, creative musician, Garner has served jazz wisely and well."

From Billboard - February 9, 1957: Erroll Garner, one of the staples of the jazz piano, is still growing as an artist. Jazzophile and pop piano customers' listening to these versions of "Alexander's Ragtime Band," "Time On My Hands," "Girl Of My Dreams," etc. will again conclude that for individuality, freshness and what might be called musical wit – Garner is a tremendous talent. This package is must inventory for good jazz shops.

Girl Of My Dreams
But Not For Me
Passing Through
Time On My Hands
Alexander's Ragtime Band
Full Moon And Empty Arms
Mambo 207
The Way Back Blues
Ol' Man River

Wednesday, September 8, 2021

Dream A Little Dream Of Me - Wayne King


Harlem Nocturne

Dream A Little Dream Of Me
Wayne King 
His Saxophone and Orchestra
Produced  by Harry Meyerson
Arranged by Wayne Robinson
Decca Records DL 75070

(You Are) My Way Of Life
Harlem Nocturne
Dream A Little Dream Of Me
Look To The Rainbow
Second Hand Rose
By The Time I Get To Phoenix
As Long As He Needs Me
Tomorrow Is Today
House Of Cards (Chateau De Cartes)

Brubeck In Amsterdam - Dave Brubeck


They Say I Look Like God

Burbeck In Amsterdam
The Dave Brubeck Quartet
Recorded At The Concertgebouw, Amsterdam, Holland
Recorded December 3, 1962
Columbia CS 9897


Piano: Dave Brubeck
Alto Sax: Paul Desmond
Bass: Gene Wright
Drums: Joe Morello

From the back cover: The Quartet's concert in Amsterdam had gone down in my memory as a happy experience. I knew CBS had recorded it,  but the tapes had gone into the vaults and had subsequently been almost forgotten. Paul would occasionally ask, "What ever happened to the tapes of that good concert in Amsterdam? We were recording so many albums in those days, it was hard to keep track.

When I recently rediscovered and played the tapes, the circumstances of the recording came back to me. Our original concert in Amsterdam had been cancelled, because Holland was in mourning after the death of Queen Wilhelmina. The only time our concert could be rescheduled while we were in Europe was to announce a midnight concert, beginning the moment the official mourning period ended. I was skeptical.

"Sunday midnight? Who's going to come to a concert when he has to go to work early in the morning? Nobody will show up!"

The Dutch promoter assured me, "They'll come." And they did.

I've always said that the audience was the fifth member of the Quartet – the unknown ingredient whose presence can tip the balance from just another concert to an experience that's unique. The tone of this particular audience at the Concertgebouw acted as a catalyst that caused each of us to react; and as we reacted, they responded, creating a spiraling effect of tension and release. I think the musical experience has meaning for more than just those of us who happened to be at the Concertgebouw past midnight. At least, that's why, after being kept under wraps for almost six years, this album is now being released. – Dave Burbeck

Since Love Had Its Way
King For A Day
The Real Ambassador
They Say I Look Like God
Dizzy Ditty
Cultural Exchange
Good Reviews
Brandenburg Gate

From The Hot Afternoon - Paul Desmond


Faithful  Brother

Paul Desmond: 
From The Hot Afternoon
Arranged by Don Sebesky
Produced by Creed Taylor - CTI
Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded June 24, 25; August 13, 14, 1969
A&M Records STEREO A&M SP-9-3024


Alto Sax: Paul Desmond
Bass: Ron Carter
Drums: Airto Moreira
Percussion: Jack Jennings, Airto Moreira & Stan Webb, Jr.
Guitar: Doria Ferreira plays on all selections but Circles, Martha & Romao, Crystal Illusions. Edu Lobo plays guitar on these songs.
Violin: Lewis Eley, Paul Gershman, George Ockner, Eugene Orloff, Raoul Poliakin, Matthew Raimondi, Sylvan Shulman& Avram Weiss
Cello: Charles McCracken & George Ricci
Harp: Margaret Ross
Keyboard Instruments: Patrick Rebillot
Flute/Alto Flute: Don Hammonds, Hubert Laws & Stan Webb, Jr.
Sax/Clarinet/Oboe: Phil Bodner & George Marge
French Horn: James Buffington
Bass Trombone: Paul Faulise
Trumpet/Flugelhorn: Mark Markowitz & Marvin Stamm
Vocal: Edu Lobo & Wanda De Sah

Martha & Romao
Faithful Brother
Crystal Illusions 
To Say Goodbye
From The Hot Afternoon
Canto Latino
Gira Girou

Now - Astrud Gilberto


Take It Easy My Brother Charlie

Astrud Gilberto
Produced by Astrud Gilberto
Associated Producer: David Jordan
Arranged by Eumir Deodato
Cover & Liner Photos: Nick La Sorsa
Album Design: Fred Stark
Recorded at Blue Rock Studio, N.Y.C.
Engineer: Eduardo Korvin
Mixing Engineers: Eduardo Korvin & David Jordan
Album Concept: Boo Frazier
Executive Supervision: Terry Philips
Perception Records, Inc. PLP 29


Keyboards: Mike Longo & Eumir Deodato
Electric Guitar: Al Gaffa
Acoustic Guitar: Eumir Deodato
Bass: Bob Cranshaw, Patrick Adams & Ron Carter
Percussion: Airto Moreira
Drums: Mickey Rocker & Bill Cobham, Jr.
Background Vocals: Astrud Gilberto, Eumir Deodato, Nick La Sorsa & Maria Helena Toledo

Ziggy Ziggy Za
Make Love To Me
Touching You
Take It Easy My Brother Charlie
Where Have You Been?
General Da Banda
Daybreak (Walk Out On Yesterday

Tuesday, September 7, 2021

Joe Bushkin Piano And Rhythm


Le Secret

Joe Bushkin
Piano And Rhythm and Other Jazz
Royale 18118 (10 inch disk)

Noting against Joe Bushkin... but the "other jazz" included on this disc as filler (Hot Violin) by "budget" label Royale, in my opinion, is more worth posting as a sample.

Edgewater Beach
New Orleans Butterfly
Doggin' The Gutter
Le Secret
Poupee Valsante
The Raymond Overture
The Light Cavalry

Monday, September 6, 2021

Happy Session - Benny Goodman


Having A Ball

Happy Session
Benny Goodman and His Orchestra
Featuring Andre Previn and Russ Freeman
Produced by Park Recording Company
Columbia Records CS 8129


Clarinet: Benny Goodman
Piano: Andre Previn, Russ Freeman
Bass: George Duvivier, Milt Hinton (replaces on Happy Session Blues) and Leroy Vinnegar
Guitar: Barney Kessel, Turk Van Lake
Saxophones: Herb Geller, James Sands, Bob Wilber, Babe Clark, Pepper Adams
Trumpets: John Frosk, Allen Smith, Erment Perry, Benny Ventura
Trombones: Rex Peer, Hale Rood, Buster Cooper

Andre Previn, Shelly Manne and Barney Kessel appear through the courtesy of Contemporary Records.

From the back cover: One of the results of a success as tremendous as Goodman's was in the 1930s is the difficulty of presenting anything new to a public which wants to hear the dozens of Goodman classics over and over again. But Benny has always been searching for new songs, new players, new arrangers, and has rarely performed without presenting something or someone new. Last year during his European tour, culminating in his famous appearance at the Brussels Fair, recorded by Columbia in two volumes called Benny In Brussels (CS 8075, CS 8076) he discovered a young composer-arranger named Bobby Gutesha, a Yugoslavian now living in Germany. Four examples of this new talent are included in this album. Benny also commissioned Andre Previn to write a piece for his Brussels debut, and that too is included.

Benny's respect for Andre Previn as a pianist has been growing the several years while Goodman was on the East Coast and Previn on the West Coast. During a recent visit to Hollywood Goodman called Previn and arranged for the musical meeting he had been looking forward to, and the quintet sides they mad also included Barrey Kessel, who plays and sings (?) some wonderful choruses. For the East Coast sessions Benny called Russ Freeman, one of those rare pianists who, like Basie and Claude Thornhill, seem to play only the perfect notes at the perfect time. Drummer Shelly Manne was a West Coast visitor to the East Coast sessions in the album and another musician whom geography has prevented from joining Goodman before. The rest of the band, some like George Duvivier, veterans of other Goodman sessions (and most new to Benny's listeners), gathered to "try out some new things." Maybe they didn't know a microphone was turned on. I'm glad it was.

From Billboard - April 4, 1959: Ring the bells and chime the cymbals for Benny is back with a modern jazz group and jazz ork and some standards and Goodman and the men play well together. The new jazz quintet features such names as P. Adams, R. Freeman, S. Manne, H. Geller and B. Wilber. The arrangements are by Previn, Bobby Gutesha from Yugoslavia, plus the old Eddie Sauter arrangement of "Clarinet a la King." Sound is only fair, but Goodman may gain new fans with this stereo set.

Happy Session Blues
You'd Be So Nice To Come Home To
King And Me
Indian Summer
What A Diff'rence A Day Made
Batunga Train
Having A Ball
Clarinet a la King
Macedonia Lullaby
Diga Diga Doo

Sunday, September 5, 2021

Bacharach Baroque - The Renaissance


Raindrops Keep Falling On My Head

Bacharach Baroque
The Renaissance
All Compositions by Burt Bacharach and Hal David
Producer: Garrett Music Enterprises by "Snuff" Garrett
Arrangements: Al Capps
Album Design: Ken Kim
Recorded at Devonshire Studios - North Hollywood
Engineer: Greg Venable
Ranwood Records, Inc. STEREO RLS8084

I'll Never Fall In Love Again
(They Long To Be) Close To You
Raindrops Keep Falling On My Head
Want The World Needs Now
Always Something To Remind Me
Blue On Blue
I Say A Little Prayer
The Look Of Love
Walk On By
Do You Know The Way To San Jose?