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Saturday, October 9, 2021

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

Friday, October 8, 2021

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

Thursday, October 7, 2021

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)

Wednesday, October 6, 2021

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

Tuesday, October 5, 2021

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

Monday, October 4, 2021

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

The Hot Ones - 11 Of The Greatest Names In Jazz

 

This Can't Be Love

The Hot Ones
11 Of The Greatest Names In Jazz
Available exclusively through your Johnson Sea Horse dealer
Photo: 90 H.P. V-4 Golden Meteor
Columbia Special Products CSP 107

Lover - Gene Krupa
Four Brothers - Woody Herman
Just In Time - Carmen McRae
Tiger Rag - Eddie Condon
Two O'Clock Jump - Harry James
Jumpin' At The Woodside - Count Basie and Duke Ellington
How High The Moon - Lionel Hampton
Hey, Look Me Over - The Dukes Of Dixieland
This Can't Be Love - Dave Brubeck
A Lot Of Livin' To Do - Buddy Greco

Jackpot! - Woody Herman

 

Wailing Wall

Jackpot!
Woody Herman
All tunes recorded on December 1, 1955
Capitol Records T748'

Personnel:

Woody Herman, clarinet and leader, is the young old timer of jazz. A clarinet and sax man, he dates back to the Tom Gerun and Isham Jones bands of the early thirties and his successive Herds have made modern jazz history.

Dick Collins, trumpet, Seattle born, raised in San Francisco, one of the great lead trumpeters in jazz and a veteran of the Charlie Barnet, Stan Kenton, and Billy May bands, is also an arranger of talent

Cy Touff, one of the few bass trumpeters in jazz, had been with Charlie Ventura, the New York City Opera Company and Shorty Sherlock before joining Herman in 1953. Chicago born, he attended Texas A&M and the Chicago Musical College.

Richie Kamuca, tenor sax, is from Philadelphia and has been featured with Stan Kenton and Woody Herman from the past four years.

Norman Pockrandt, piano, is from Chicago by way of Detroit and used to play with Charlie Spivak and Jerry Wald.

Monte Budwig, bass, was born in Nebraska but raised in California and has played with the Red Norvo Trio, the Stan Getz and Chet Baker Quartets and other West Coast groups.

Chuck Flores, drums, is from Souther California, is nicknamed "Wetback," and is a protege and former pupil of Shelly Manne. He worked with Shorty Rogers and Maynard Ferguson prior to joining Woody in 1954 and his pet hate in music – get this – is "long drum solos!"

From the back cover: It's like that with music. Sometimes you try and try and nothing exciting happens. And then another time, you hit the right combination and the results is pure joy– a musical Jackpot!

It was like that with this band. In the autumn of 1955 Woody Herman broke up his big band and took a small, eight-piece group into the Riviera Hotel in Las Vegas. "I went into it with much misgiving," Woody says, "When you're with a big band, you're used to a lot of horns and when you don't have them, there's a feeling of emptiness. So it was strange at first."

"But after the first three or four weeks, I became completely intrigued with the group. Everything fell into place just right and it was exciting. In fact, it was the first time in years I felt like playing. Because of the small group. I had to play. In a big band it was just spots... eight bars here, eight bars there. But this got me off my rusty dusty. Of course it was also the first time in years I could hear myself and I almost found I could be interested in what I was playing!"

"Seriously, though, the group was terrifically exciting to play with. It had the old time spirit with modern thoughts. We received lots of encouragement in Las Vegas, too. There are thousands of musicians there, you know, and we worked with the graveyard shift. They were all visitor. Even the Lombardos when they were in Las Vegas, were in every night to hear us, en masse. I got a kick out of it, but some of the boys wondered if we were going in the right direction!"

"We originally wanted to record the band just as it was at Las Vegas, but it wasn't possible to work it out and so we cut it in the Capitol Studios in Hollywood. I was a bit worried that we couldn't capture the same great sound in a studio but when we heard the tests, the guys and I were all completely gassed. The sound was just wonderful and it really duplicated the spirit and feel of the group.

From Billboard - August 25, 1956: This is the Herman Octet that worked, Las Vegas in the late 1955. Group has the flavor of the big Herman band, but naturally features more solos by such as Dick Collins, Cy Touff, Richie Kamuca and Woody himself. Good-humored, swinging fare with a modern tone, and with showmanship. Not too much original jazz here, but the sound is commercial. Jocks will like Touff's "Wailing Wall." Eight selections in all.

920 Special 
Bags' Other Groove
Broadway
Jumping' At The Woodside
The Boot
Wailing Wall
Bass Face
Junior