Manhattan Bandstand - Richard Maltby

 

The Rockin' Ghost

Manhattan Bandstand

Richard Maltby and His Orchestra

Arranged and Conducted by Richard Maltby

Produced and Directed by Herman Diaz, Jr.

Photo by Wendy Hilty

Recording Engineer: Fred Elsasser

Recorded at Webster Hall in New York on August 28 and September 10, 1956

VIK LX-1068

A Product of Radio Corporation Of America

1957

From the back cover: A glance at his background shows that the band business is no novelty to Richard Maltby. Born June 26, 1914 in Chicago, the youngest of five sons, he played cornet in the school band, studied music at Northwestern University and soon was on tour with the bands of Little Jack Little, Roger Pryor, Bob Strong and whoever else needed a good trumpet player and arranger in the middle and late 1930s.

As it must to all traveling musicians, the time came when Maltby had to decide in favor of home-cooked meals. As staff arranger for WBBM in Chicago he wrote for everything from symphonies to choral groups. On the outside, he composed Six Flats Unfurnished, which became a best-selling Benny Goodman record. Discovered by Paul Whiteman, he was placed with a network as conductor-arranger and moved to New York in 1945. He backed singers on countless record dates, wrote and conducted for radio and TV shows. Finally, after 15 years behind the scenes, he made the big move: "On May 30, 1955," he recalls, "I played my first in-person date as a dance band leader."

Success has  been his constant companion since that night. At such band-blase spots as Manhattan's Hotel Statler the Maltby men have impressed thousands of listeners and dancers. On records, as this set amply demonstrates, the band shows Dick's personal way with both standard tunes and originals. – Leonard Feather

Manhatten Bandstand

Just You, Just Me

I See Your Face Before Me

The Rockin' Ghost

Ballad For Two Altos

Long Island Fling

Manhatten Serenade

Tara's Theme

Blue Moon

Forlorn Horn Blues

Three Blind Cats

Lover Come Back to Me

The Rockin' Chair Lady - Mildred Bailey

 

Born To Be Blue

The Rocking (Rockin') Chair Lady

A Mildred Bailey Memorial

Cover Design: Peter S. Verity

Portrait: Caroline Austin

Photography" Peter Ogden

Oriole Records Limited RM 196

1963

Mildred Bailey accompanied by: 

* Eddie Sauter's Orchestra - A big band including Ellis Larkins (pno); Al Hall (bs); Specs Powell (dms). Recorded in New York

** Ellis Larkin's Orchestra - Iriving "Mousie" Randolph (tpt); Henderson Chamgers (ten); Hank D'Amico (clt); Ellis Larkins (pno); Barry Galbraith (gtr): Beverley Peer (bs); Jimmy Crawford (dms). Recorded in New York City, October 18, 1946

*** Ellis Larkin's Trio - Ellis Larkins (pno); Barry Galbraith (gtr); Beverley Peers (bs). Recorded October 18, 1946 or early 1947.

From the back cover: Mildred Bailey was born Mildred Rinker in the town of Tekoa, Washington, in the year 1907. Her brother, Al, was one-third of the original Paul Whiteman Rhythm Boys team with Harry Barris and Bing Crosby. It was as a result of this connection that she left the music publishers where she worked and joined Paul Whiteman in 1929 as one of the first girl band vocalists. She stayed with Whiteman for some years, during which time she married Red Norvo who was at one time part of the Whiteman aggregation. While still with the "King Of Jazz" she became known beyond a jazz audience and accepted by a wide public mainly as a result of her first record hit – Rockin' Chair – made with a contingent from the band in 1932. The tune later became her radio theme, and gave her the nickname "The Rockin' Chair Lady".

Between 1936 and 1939, at the height of the Swing era, she and Red Norvo, both having left Whiteman in 1934, jointly led a band as "Mr. and Mrs. Swing" with Eddie Sauter as their chief arranger. In later years she worked mainly as a solo act, but she remained friendly with Norvo and occasionally worked with him, even after they were divorced in 1947. She died an an untimely death at the age of 44 in 1951. – Chris When.

In Love In Vain *

It's A Woman's Prerogative *

I'll Close My Eyes **

Me And The Blues **

At Sundown ***

Love Come Back To Me ***

Born To Be Blue ***

You Started Something ***

Can't We Be Friends? ***

All That Glitters *

In My Style - Jane Morgan

 

My Heart Belongs To Daddy

In My Style...

Jane Morgan

Cover Photo: Henry Parker

Produced by Manny Kellem

Epic LN 24166

1965

From the back cover: A graduate of New York City's famed Juilliard School of Music, Jane Morgan had originally planned to become an operatic soprano. While working her way through Juilliard singing with an orchestra in a local nightclub, Jane decided to turn from classical to popular music. An offer to appear at a top club in Paris prompted her to make another wise decision, and she was off to Paris to star at the Club des Champs Elysees. As her popularity grew in France, offers poured in from all over the Continent, and Jane starred in theaters and supper clubs in Rome, Madrid, Cannes, London and Monte Carlo. At that point, American audiences began clamoring for her to come home. Repeating her European triumphs on her first cross-country tour, she appeared in every major hotel and club throughout the United States and Canada. Jane Morgan became an established international celebrity.

In addition to concerts, recordings and club dates Jane has starred in the musicals "Kiss Me Kate," "Can-Can," "Gentlemen Prefer Blondes," "The King and I" and "Lady in the Dark." She appears often on the television shows of Ed Sullivan, Perry Como, Andy Williams, Jimmy Dean and Jack Benny, and on the "Hollywood Palace" and "Tonight" shows.

From Billboard - September 4, 1965: For her Epic Records album debut the distinctive Miss Morgan interprets song hits of other female vocalists in her own commanding style. From Mary Martin's classic "My Heart Belongs To Daddy" to Petula Clark's hit "Downtown," the Morgan versatility and personality are exceptional.

Side By Side

My Coloring Book

I'm Sorry

My Heart Belongs To Daddy

You Belong To Me

Till I Waltz Again With You

Fascination

Downtown

People (from "Funny Girl")

Why Don't You Believe Me

We'll Sing In The Sunshine

Old Cape Cod

Lonesome Gal - Lurlean Hunter

 

Alone Together

Lonesome Gal

Lurlean Hunter

With Al Nevins and His Orchestra

Concertmaster: Harry Lookofsky

Arrangements by Marion Evans and Quincy Jones

RCA Victor LPM-1151

1956

From the back cover: Lurlean Hunter has a gift for anonymity that would frustrate the pen of a Hemingway. Possessed of a set of vocal cords capable of producing musical magic, it's the same vocal equipment that becomes strangely muted when it comes to blowing her own horn.

What she admires to is a birth date in the last twenties in Clarksdale, Miss., a move at age two months to Chicago's South Side, and a singer career that spans a decade of ups and downs in a struggle for a share of the spotlight in an era of girl singers and more girl singers.

Her career started on a dimly lit stage in Chicago's storied Club DeLisa, where Lurlean wailed above the din of "jumped up" combos. She advanced from that to vocalist on production numbers, recruiting a small but faithful band of followers in the two-and-a-half-year process.

She next moved across town to Howard Street's Club Silhouette, where Northwestern University students borrowed identification cards to spend weekends listening to Herbie Fields and "discovering" the knock-out talents of newcomer, Lurlean Hunter.

Popularity quickly growing, Miss Hunter did a stint at the Blue Note on a bill that sported George Shearing, where she acquired the inaccurate, although innocuous, title "jazz singer."

A series of club dates in and around the Windy City culminated in two years at the Streamliner where she added still more loyal followers. From the noise of that jazz spa she gyrated near-North to the intimate confines of the smart Black Orchid.

Two months at the Orchid and Lurlean moved further North on Bush Street to a subterranean cellar called the Cloister Inn where jazz has  been known to hang its hat in an on-again off-again way. To the dingy, smoke-filled room below the glitter of Rush Street's neons, Lurlean sand her songs.

Not a jazz singer really, or a "song stylist," Lurlean is unique among singers of our day. Never honestly classified, hers is a voice and style that can hush a boisterous Cloister crowd with a  low and throaty ballad, or raise the joint's decibel rating twenty-five percent with an up-beat rendition of a Pop standard tune.

Friendly, vocally articulate and intensely warm in personality, Lurlean Hunter is a "singer's singer" with a swinging talent that ordinary mortals can enjoy.

From Billboard - January 14, 1956: Miss Hunter long touted by jazz artists who have played Chicago, make her disk debut at long last and proves to be a richly endowed pop vocalist, but with little disk-selling personality. The standards in this set, including such as "Alone Together," "But Not For Me," etc., are arranged in conventional pop fashion, and as such lack collector appeal. The cover, carrying a striking Lena Horne-type three-quarters face shot, all stimulate some sales interest.

From Wikipedia: In 1958, Hunter sued RCA Record Division after it used her image and her name on the cover of its "Lonesome Gal" record album (LPM-1151, 1956). The suit in United States District Court, Southern District of California, alleged "unfair competition, infringement of trade name, unfair business practices, unjust enrichment and invasion of the right of privacy." The court acknowledged that the album contained the song "Lonesome Gal", and that the use of one song's title for an album's title was common practice in the recording industry. However, it ruled in Hunter's favor on the basis that she was the first person to "adopt and establish the name Lonesome Gal as a personality" and that name was exclusively associated with her. Damages of $22,500 were awarded to Hunter, and the company was ordered to destroy all material containing Hunter's likeness in conjunction with "Lonesome Gal".

Lonesome Gal

Alone Together

It's You Or No One

You Don't Know What Love Is

You Make Me Feel So Young

My Heart And I Decided

It Never Entered My Mind

You'd Be So Nice To Come Home To

Brief Encounter

A Stranger In Town

But Not For Me

On Green Dolphin Street

Felicia Sanders At The Blue Angel

 

Baby, Did You Hear?

Felicia Sanders At The Blue Angel

Columbia Records CL 654

1955

From the back cover: Also from the back cover: I remember that afternoon, and the impressions she made on Herbert Jacoby and Max Gordon, the two gentlemen who run the Blue Angel as a hobby and as an excuse for never going home at night. She showed up in a plain little blue street dress with a small white Peter Pan collar. Above that was the alert, calm, but slightly amused face she still wears, and above that was the wonderful cascade of slightly astonished curly black hair that remains one of her trademarks. She didn't look exactly like a nightclub singer that afternoon, but she sounded like one, and despite her chirp of protest that she didn't have an evening dress to her name, she went to work there the very next day, and in the very same dress. Both she and it were a hit. 

Miss Sander's Background Musicians

Irving Joesph, the ringleader of the trio of musicians who supply the music for Felicia Sanders words, is a pianist of note – he is an alumnus, for instance, of the Art Mooney and Tommy Dorsey bands, and he has accompanied Lena Horne – as well as an arranger. He belongs to the new school of musicians who believe that a classical background is essential for anyone who wants to arrange music on his own hook. What he has written for Miss Sanders is interesting, not to say entertaining, in itself without ever intruding on the thought and mood she is conveying.

Norm Jeffries, who is on drums in this album, spends most of his evenings in Chez Paree, one of Chicago's biggest night spots, where he works with many of the country's most famous performers. In his time, he has done duty with several of the tops bands.

Red Callender, the album's bassist, operated in California. He used to have a group of his own, and he had backed quiet a few famous jazz singers. He does a great deal of recording work, and now and then, say his friends, he shows up in symphonic organizations, playing not only the bass but the tuba.

Come Rain Or Come Shine

Speaking Of Love

If I Love Again

It Might As Well Be Spring

I Wanna Be Loved

Baby - Did You Hear?

Something Cool

My Funny Valentine

You Make Me Feel So Young

When The World Was Young 

Old Devil Moon

The Song From Moulin Rouge

How Did He Look? - Joan Merrill

 

My Old Flame

How Did He Look?

Joan Merrill

With Vocal and Instrumental Group

Arrangements by Marty Gold and Billy Mure

Photo by Lester Krauss

Westminster WP 6086

1958

From the back cover: Joan Merrill has been starred in many of America's most famous night spots – the Copacabana in New York, the Thunderbird Hotel in Las Vegas, Chez Paree in Chicago, the Blue Room in the Hotel Roosevelt in New Orleans, the Golden Shores in Miami Beach, and dozens of others. For a year she was featured vocalist on the Edgar Bergen-Charlie McCarthy radio show, she has played in vaudeville in such great theaters as the Paramount in New York and the Chicago Theater in Chicago, and has appeared in movies for 20th Century Fox, Columbia, and RKO-Radio. On TV Miss Merrill has been featured several times on the Ed Sullivan Show and she has appeared as guest artist on many other television shows.

Columnists, critics, and public have acclaimed Joan Merrill as America's foremost song stylist. Walter Winchell, writing about torch singing, said: "And what about the best of them all at that sort of thing – Joan Merrill's heartbreaking torchanting of How Did He Look?"

Also from the back cover: "We want Joan, we want Joan!" That was the cry at a hometown affair which I attended a few years ago. As a new resident of the community at the time, I asked: "Joan who?" "Why Joan Merrill, of course; she sings you know," was the reply I got.

Did I know she sang? After many a long year of being a Joan Merrill fan, I finally met her that night. And since that time we've become good friends. So much so, that in cahoots with Joan's everlovin' – Tex Seeger – we began a campaign to convince Joan that she should record an album; that her voice is richer, fuller, and mellower than ever; that she's singing with more feeling and heart than ever before; and that there is a market today for quality songs and artists who can sing them.

Well, Joan's husband, Tex, is a mighty persuasive attorney and I have a little background in salesmanship; so we finally convinced Joan that she should make this album. Then began the long months of searching for the right material – Joan is as careful and meticulous in the selection of songs as milady is in finding a dress that will be different, individually suited, and just right for the occasion – months of rehearsal; months of finding such top-flight arranges as Billy Mure and Marty Gold, who would be capable of adapting the carefully chosen evergreens to Joan's style and the mood of the album; and finally choosing the right Merrill Mood. Quite obviously all is not just grabbing a handful of sheet music and viola – an album.

After months and months, and with Westminster convinced that here was a blend of everything worthy of their reputation and of what the public expects of them, it was time for recording. I attended one of the sessions, as I have many others by other artists, and it was a joy and a revelation to see and hear a true artist at work. It was a thrill to hear cold-hearted, hard-boiled musicians come up to Joan after the sessions and say: "MAN, that was the greatest, the most"; especially since Joan Merrill is quite a WOMAN!

 – Jerry Marshal - WMGM Record Room

From Billboard - May 19, 1958: Miss Merrill (remembered for her hit of several years ago, "How Did He Look") sings a group of poignant standards in feelingful style. Lush backing by Marty Gold and Billy Mure. Selections include the title tune, "My Old Flame," "Am I Blue," etc. Jocks with hause frau audiences dig the canary. With exposure – this might be a sleeper.

Sentimental Journey

How Did He Look?

Me And My Shadow

They Can't Take That Away From Me

Don't Worry 'Bout Me

Am I Blue?

My Old Flame

These Foolish Things 

Mis You

You're Driving Me Crazy!

I'm Thru With Love

All Alone

Songs For Swingin' Sellers - Peter Sellers

 

The Contemporary Scene – 2

Songs For Swingin' Sellers

Peter Sellers

With Irene Handling's

Musical Direction by Ron Goodwin

Recording Produced by George Martin

Photo: Ken Palmer

Parlophone Long Playing PMC 1111

E.M.I. Recods Limited

Made and Printed in Great Britain

1959

You Keep Me Swingin'

So Little Time

The Contemporary Scene – 1

   Lord Badminton's Memoirs

   The Critics

My Old Dutch

The Contemporary Scene – 2 (T.V. Today)

   Face To Face

   In A Free State

Puttin' On The Smile

Common Entrance

I Haven't Told Her, She Hasn't Told Me (But We Know It Just The Same)

Shadows On The Grass

Wouldn't It Be Lovely

We'll Let You Know

Peter Sellers Sings Gershwin

Porgy And Bess Suite - The Flower Drum Song - Suzanne Auber

 

It Ain't Necessarily So

Porgy And Bess Suite
The Flower Drum Song
Suzanne Auber and The Broadway Orchestra
Chorus and Vocalists
Cover Model: Carol Haney
Rondo-lette 943
1959

Summertime

A Woman Is A Sometime Thing

There's A Boat Leaving For New York

I Got Plenty O' Nuttin'

Bess, You Is My Woman Now

It Ain't Necessarily So

Overture

A Hundred Million Miracles

I Enjoy Being A Girl

Chop Suey

Love Look Away

Finale

More Amor - Eydie Gorme

 

Mas Amor

More Amor

Eydie Gorme & The Trio Los Panchos

Produced by Pete Rosaly

Production Consultant: Ken Greengrass

Cover Photo: Columbia Records Photo Studio - Henry Parker

Columbia Records CS 9176

1965

From Billboard - August 14, 1965: Following the success of their first album, "Amor," the winning combination of Gorme and the Trio encore with an even more exciting package of lush latin American love songs. The unique Gorme talent is expanded as she collaborates with husband Steve Lawrence on a tune titled "Mas Amor" which is a highlight in the LP.

Vereda Tropical (Tropical Trail)

Cuatro Vidas (Four Lives)

No Te Vayas Sin Mi (Don't Leave Without Me)

Mas Amor (More Love)

Desesperadamente (Desperately)

Guitarra Romana (Roman Guitar)

Oracion Caribe (Caribbean Prayer)

Flores Negras (Black Flowers)

Mala Noche (Evil Night)

Luna Lunera (Bright Moon)

Nochecita (Little Night)

Chris - Chris Connor

 

Lush Life

Chris

Chris Connor

Bethlehem Records BCP 56

Groups accompanying Chris Connor are as follows:

Sy Oliver and His Orchestra - Side 1: Bands 2, 3, 4 (hand written note: 11/17 - 18/53)

The Ellis Larkins Trio - Side 1: Bands 1, 5, 6 (hand written note: 8/9-11/54)

The Vinnie Burke Quartet - Side 2 Bands 1, 2 (hand written note: 8/21/54)

The Ralph Sharon Group - Side 2 Bands 3, 4, 5, 6 (hand written note: 4/55)

The Ralph Sharon Group Personnel:

Ralph Sharon - Piano

Herbie Mann - Flute

Kai Winding - Trombone

Milt Hinton - Bass

Joe Puma - Guitar

J. J. Johnson - Trombone

Osie Johnson  Drums

From the back cover: She's (Connor) had this very individual sound from the very beginning of her professional career with the bands of Claude Thornhill, Stan Kenton and up through her first, and subsequent, record dates as a featured singer (for Bethlehem, of course). She has as evidenced by the varied tracks on this record, retained this sound during the course of her career; her style has developed, her approach has become more individual, and her technique surer, yet, because of her fresh sound, there's never any doubt on any of these selections that it's Chris Connor to whom we are listening.

She was well on her way to maturity as a singer and an artist when she recorded her first date for Bethlehem – the "Everything I Love", "Miser's Serenade' and "Indian Summer" that appear on this record, amongst others. The music for the big band used on this session was arranged and conducted by Sy Oliver. Her subsequent record dates with such accompaniment as The Ellis Larkins Trio, The Vinnie Burke Quartet, J.J. Johnson and Kai Winding, Ralph Sharon and Herbie Mann are all represented. – Joseph P. Muranyi

All About Ronnie

Miser's Serenade

Everything I Love

Indian Summer

I Hear Music

Come Back To Sorrento

Out Of This World

Lush Life

From This Moment On

A Good Man Is A Seldom Thing

Don't Wait Up For Me

In Other Words

When A Man Loves A Woman - Percy Sledge

 

Love Me Like You Mean It

When A Man Loves A Woman

Percy Sledge

Cover Photo: Nick Samardge

Cover Design: Haig Adishian

Back Liner Photo: Ray Campbell

Supervision: Quin Ivy & Marlin Greene

Atlantic SD 8125

1966

From the back cover: Percy Sledge, who is 25 years old, has been singing since he was 15. He always wanted to be a professional singer, and worked towards this goal as he grew up in his home town of Leighton, Alabama. About five years ago he turned professional and soon was singing with a group called The Esquires Combo, working in Alabama and Mississippi, and over the past few years they spent many weekends playing at fraternity parties on the campus of Ole Miss.

A few months ago, at a friend's suggestion, Percy dropped in to see Quin Ivy at Ivy's Tune Tower Record Shop in Sheffield, Ala. Ivy, an astute judge of singers after many years as a disc jockey (WMPS, Memphis; WKDA, Nashville, and WLAY, Muscle Shoals, Ala.) listened to him sing, flipped over When A Man Loves A Woman, and decided to record him immediately. Ivy and Martin Greene (guitarist and recording man) joined forces to supervise Percy Sledge's session at Ivy's Norala Sound Studios in Sheffield. (Greene ever played guitar on the session.) No need to comment on how that session turned out – it was a sensational success for Percy Sledge, Quin Ivy and Marlin Greene.

This first album by Percy Sledge contains a powerful collection of soul songs in the warm, moving style that has brought Percy Sledge both fame and fortune. – Bob Rolontz

From Billboard - May 8, 1966: "When A Man Loves A Woman," is currently among the top 10 singles, skyrocketed Sledge to national prominence and is featured in this debut album for the talented soul singer. Other outstanding blues numbers are "Love Makes The World Go Round" and "Love Me Like You Mean It,"

When A Man Loves A Woman

My Adorable One

Put A Little Lovin' On Me

Love Me All The Way

When She Touches Me (Nothing Else Matters)

You're Pouring Water On A Drowning Man

Thief In The Night

You Fooled Me

Love Makes The World Go Round

Success

Love Me Like You Mean It

Chicago Jazz - Muggsy Spanier

 

St. James Infirmary Blues

Chicago Jazz

Muggsy Spanier

Design: Reid Miles

Photo: Emerick Bronson

RKO Records ULP-130

1958

From the back cover: Leading his group in typical hard-hitting, breezy style, Muggsy Spanier marches through such jazz standards as "The Darktown Strutter's Ball, "When The Saints Go Marching In", "Jazz Me Blues" and "Ja-Da", providing the inimitable tones and beat that he has been perfecting during his forty-year career. For Muggsy Spanier plays the cornet as only an artist who has lived and breathed the sound of jazz all his life can play it. As a young boy, Muggsy listened avidly to the records of Mamie Smith, Bessie Smith and the Original Dixieland Jazz Band. When he was 14, he heard King Oliver's band for the first time. Muggsy knew that what he wanted to do most in life was play like King Oliver. He spent every hour he could filling in his life completely with the sound of Oliver's music by hanging around the bandstand at the Royal Gardens and anywhere else Oliver played. Then one night this Irish kid, born Francis Joseph Spanier, was permitted to sit in and play with the band, a thrill he was never to forget in all the years to follow – even when he went on to play with all the great bands.

Muggsy developed his style with many of the illustrious bands of show business – the musicians who were producing the music the people wanted to hear – The Dorsey Brothers, Benny Goodman, Fats Waller, George Brunis, and Ted Lewis, to name a few. Muggsy went on to become a great featured soloist and to lead his own band, as he does in this album. Each member of this band is an expert on his own particular instrument... Red Richards on piano, Joe Barufaldi on clarinet, Bill Johnson on trombone, Cy Nelson on bass and Billy Gaeto on drums. Joining in with Muggsy on the cornet, they belt out the selections with consummate skill, vigor and spirit.

The Darktown Strutter's Ball

St. James Infirmary Blues

When The Saints Go Marching In

Jazz Me Blues

Tin Roof Blues

Muskrat Ramble

Panama

At The Jazz Band Ball

Sugar

Ja-Da

Some Day, Sweetheart

South

Sinatra's Swingin' Session

 

Blue Moon

Sinatra's Swingin' Session

Frank Sinatra

In His Best Swinging Mood

Nelson Riddle and His Orchestra

Produced by Dave Cavanaugh

Capitol Records SW1491

1961

When You're Smiling

Blue Moon

S'posin'

It All Depends On You

It's Only A Paper Moon

My Blue Heaven

Should I

September In The Rain

Always

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

I Concentrate On You

You Do Something To Me

One Night In Monte Carlo - Guy Lupar

 

There's Danger In Your Eyes

One Night In Monte Carlo

Guy Lupar (Luypaerts) and His Orchestra

RCA Victor LPM-1304

1956

From the back cover: With its twenty thousand inhabitants, Monaco plays host to about one-and-one half million visitors a year, which based on comparative populations, is somewhat comparable to the United States entertaining five times as many people as there are on earth. Those were the latest statistics available, but Monaco's tourist business has probably gone way up since The Royal Wedding of 1956.

Guy Luypaerts, who recorded these sided in Europe, is one of the most promising composers, arrangers and conductors on the Continent. He was born in Paris some forty years ago of Belgian parents. His father played in a Brussels brass band and today is Guy's copyist on all scores. Raised in a milieu of musicians, painters and writers, Guy showed early talent as a pianist and won a fine reputation for musicianship in Paris night clubs before moving on to become one of the most popular guest conductors of radio stations in Paris, Luxembourg, Brussle, Hamburg and Stockholm.

There's Danger In Your Eyes

Mam'selle

Bistro

The Blue Riviera

It All Began With You

If You Love Me

My Lost Melody

The Gallant Tango

Two Loves Have I

Monte Carlo Melody

I Kiss Your Hand Madame

Carnavalesca

Get On Up And Get Away - The Esquires

 

Things Won't Be The Same

Get On Up And Get Away

The Esquires

Producer: "A Bill Sheppard Production

Arranger: Tom Tom

Collage and Cover Design: Burt Goldblatt

Engineer: Gerry De Clercq

Recorded at Universal Recording Studios - Chicago, IL

Bunky Record BM 300

A Division of Scepter Records

1967

From the back cover: The Esquires from Milwaukee – four young men aged from 20 to 25 – have to their credit "Get On Up"... the hippest record of the year. Milwaukee, known fro its demonstrations led by Father Groppi who got on up and did something, gets credit as the home of The Esquires. Stalwarts in the music industry are still scratching their heads in amazement wondering where and how this group got their "sound."

Recording for Bunky Records (Bill Sheppard), they write many of their own tunes. Their versatility is excellent and their performance is professional.

From Billboard - December 23, 1967: Featuring their hit "Get On Up" and "And Get Away," this LP is first rate and marks the Esquires' album debut. Their interpretations are fresh and they've got an unusual kick that will keep them on top a long time. The group is loaded with originality as writers, too.

And Get Away

Listen To Me

How Was I To Know

Groovin'

Everybody's Laughing

How Could It Be

Get On Up

My Sweet Baby

No Doubt About It

Woman

When I'm Ready

Things Won't Be The Same

Jealous Heart - Connie Francis

 

Everything I Have Is Yours

Jealous Heart

Connie Francis

Cover Photo: John Engsted

Cover Design: Any Lehman

Director Of Engineering: Val Valentine

MGM Records T-90645

1966

From the back cover: Her stature as an entertainer has been recognized throughout the world. Some examples of her global glory are: an award from "Most Programmed Vocalist" – male or female – on the European continent, from Radio Luxembourg; a certificate naming her "Queen Of Popular Music" in Germany' and a trophy pm which is inscribed, in Italian, "Italy's Most Beloved Italian-American Singer."

Her success stems from the 35 million disks that she has sold around the world, but it is not limited to the recording studio. She is in strong and steady demand for appearances on the top-rated television shows and in key night clubs and theaters. Her Metro-Goldwyn-Mayer movies are box-office naturals.

Jealous Heart

If You Ever Get Lonely

Everything I Have Is Yours

If You Ever Change Your Mind

Do I

Fair Weather Lover

Ivory Tower

Once A Day

My Foolish Heart

I'm Falling In Love With You Tonight

Nevertheless

So Long Good Bye

Native New Orleans Jazz - Tony Almerico

 

Farewell Blues

Native New Orleans Jazz

Tony Almerico and His Dixieland Jamboree All Stars

Dot Records DLP 3009

1956

From the back cover: Tony Almerico is one of New Orleans fabulous characters. He has successfully resisted every offer to showcase his band around the country. Without ever leaving New Orleans he has won far flung fame and is credited with having done more than any present day New Orleans native in reviving dixieland jazz.

A revival it was, too, for Almerico formed his dixieland band at a time when even the birthplace of jazz was "going pop". In 1948, a few New Orleans jazzmen noted that, with few exceptions, the local bands "were playing pop stuff". Dixieland jazz was being played on request – that is, at the request of the tourist trade. Out of this picture of New Orleans Jazz Club was organized.

The club's aim was to help perpetuate public interest in dixieland jazz.

The club got together with Almerico and put on Sunday afternoon jazz concerts in New Orlean's Parisian Room, 116 Royal Street. The concerts became an immediate success.

It wasn't long before Dixieland jazz once again became king in the home of jazz. Today, attending the jazz session at the Parisian Room is the big thing of a Sunday afternoon.

In 1955, the mayor of New Orleans, his honor deLesseps Morrison, awarded Almerico the city's Certificate of Merit for restoring dixieland jazz to its own home town. And Almerico's Allstar Band was the first dixieland jazz band ever to appear as guest orchestra at the Summer Pops Concert at the New Orleans Municipal Auditorium.

For the record, the Dixieland Jamboree Allstars were organized on October 3, 1948, with Roy Zimmerman (piano), Joe Loyacano (bass), Frank Frederico (guitar), Tony Almerico (trumpet), Johnny Castaing (drums), Pete Fountain (clarinet), Jack Delaney (trombone) and Sam Dekemel (bugle).

DeKemel is known in music circles as "Sam, the Bugle Man". He blows an old regulation army bugle and out of it come some of the wildest riffs ever. He started using the bugle to attract customers to his waffle wagon thirty five years ago!

One thing certain: the jazz you'll hear when Tony Almerico leads his men at the Parisian Room, jazz session is the real thing – unchanged, unspoiled – The same beat, the same tempo, the same feel that characterized the Original Dixieland Jazz Band and The Memphis Five, and Razz's Band before them.

Bourbon Street Parade

I Want To Be Happy

Farewell Blues

I'm A Ding Dong Daddy From Dumas

How Many Hearts Have You Broken?

Near You

Big Boy Blue

Woodchopper's Ball

Tail Gate Ramble

Basin Street Blues

I'll Be Glad When You're Dead You Rascal  You

I'm Saving Tonight For You

Boy Meets Girl - Sammy Davis Jr. & Carmen McRae

 

There's A Small Hotel

Boy Meets Girl

Sammy Davis Jr. & Carmen McRae

With Orchestra Directed by Jack Pleis

Vocal Duets

Decca Records DL 8490

1957

Happy To Make Your Acquaintance 

Tea For Two

They Didn't Believe Me

You're The Top

Cheek To Cheek

Baby, It's Cold Outside

People Will Say We're In Love

There's A Small Hotel

A Fine Romance

The Things We Did Last Summer

Two Sleepy People

Who Cares

The Blues And Dixie - Jack Teagarden

 

Basin Street Blues

The Blues And Dixie

Jack Teagarden and His Orchestra

Rondo-lette Longplay A18

From the back cover: Jack Teagarden, one of the greats in the history of jazz, was born in Vernon, Texas, August 20, 1905, son of a piano teacher (mother) and a cornetist (father). His mother started him on piano lessons when he was four years of age and he received a baritone horn and lessons when he was five. However, at seven, young Jack's future instrument came to him as a birthday present – a trombone. His family practically made up a band in itself – his father on trumpet and baritone horn, his sister Norma on the piano, Charlie, his brother, trumpeter, Clois on drums and Jack on the trombone. The boy was extremely good for his age, and was the star of the high school band while he was still in grammar school. By the time he was fifteen, young Teagarden was working in roadhouses and honkeytonks and at sixteen he joined Peck Kelly's band.

He led his own band in Kansas City, working with Doc Toss, Willard Robinson and others. In 1927 he came to New York City and made his first record dates with Sam Lanin, Roger Wolfe and his debut as a recording vocalist on Red Nichols' "After You've Gone," February, 1930. He played with the Ben Pollack Orchestra from 1928 to 1933 and then worked with Mal Hallett and freelanced in New York. He then played with Paul Whiteman from the middle of 1934 until late 1938.

From January, 1939 until 1947 Teagarden toured with his own band. This was never really a financial success, but the band produced some sensational music with some of its members including Charles Spivak, Lee Castle, Ernie Cacetes and Dave Tough. In 1947, bad business forced Teagarden to work with a small combo, until later that year when he joined Louis Armstrong's group remaining until 1951. He then formed his own small band, with which he has since toured successfully.

Teagarden's advent on the jazz scene in the late 1920s brought a new style to both jazz singing and to the trombone – this is a style which defies classification but has caused musicians of every school to give vent to unreserved enthusiasm. Teagarden is noted among musicians for his ability to play for long periods of time under the most taxing conditions with no let up in technique or inspiration. He has been termed the "best trombonist of the day" by Miff Mole and Bill Russo has declared that his is a "jazzman with the facility, range and flexibility of any trombonist of any medium or any time; his influence was essentially responsible for a mature approach to trombone jazz." Teagarden has appeared in several films, among them The Birth Of The Blues with Bing Crosby in 1941 and The Glass Wall.

The Blues

Aunt Hager's Blues 

Royal Garden Blues

Basin Street Blues

Shine

King Porter Stomp

Boogie Woogie

Mighty Lak A Rose

East Of The Sun

China Boy

Hindustan

Stereo Dialogue For Brass - The Stereo Brass Choir

 

Let's Call The Whole Thing Off

Stereo Dialogue For Brass

The Stereo Brass Choir

Musical Event - An Instrumental Romp of Twelve Dialog Songs

The Most Enjoyable In Stereo History!

Cover Photo: Columbia Records Photo Studio - Henry Parker

Columbia Records CS 8290

1960

Anything You Can Do

Would You Like To Take A Walk

You're Just In Love

The Rain In Spain

Thanks For The Memory

Let's Do It

Baby, It's Cold Outside

Two Sleepy People

Love Is A Simple Thing

Wunderbar

Getting To Know You

Let's Call The Whole Thing Off

I Remember - Orrin Tucker & Wee Bonnie Baker

 

Teach Me, Teach Me, Baby

So Tired

I Remember 

Orrin Tucker & Wee Bonnie Baker

The Orrin Tucker Orchestra

Tops Records L 1684

It It True What They Say About Dixie

My Baby Just, Cares For Me

Powder Your Face With Sunshine

Teach Me, Teach Me, Baby

So Tired

Some Of These Days

Side By Side

I'm Gonna Be A Bad Girl

Love Me Or Leave Me

I've Been Waiting For Your Phone Call For 18 Years