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Saturday, October 16, 2021

Satori - Lee Konitz



Lee Konitz
Produced by Dick Katz
Art Direction: Phil Carroll
Cover Photo: Tavia Mladinch
Engineer: Elvin Campbell
Recorded at CI Recording, New York City - September 30, 1974
Milestone M-9060
Distributed by Fantasy Records


Lee Konitz - Alto Sax
Martial Solal - Piano (Electric Piano on Sometime Ago)
David Holland - Bass
Jack DeJohnette - Drums (courtesy of Prestige Records)
Dick Katz - Electric Piano (Satori only)

"Satori may be defined as an intuitive looking into the nature of things, in contradistinction to the analytics  or logical understanding of it." – D. T. Suzuki - Zen Buddhism

Just Friends
Green Dolphin Street
Sometime Ago
What's New
Free Blues

Friday, October 15, 2021

Woody Herman Recorded Live


Dr. Wong's Bag

Woody Herman
The Herman Herd Recorded Live
By Arrangement with Mercury Record Productions Inc.

The Good Life
What Kind Of Fool Am I?
Everybody Loves Somebody
Just Squeeze Me (But Don't Tease Me)
Dr. Wong's Bag
Dear John C
Wa-Wa Blues
The Things We Said Today
Bedroom Eyes

A Salute To The Great Band Leaders - Oscar Clinton


I Talk To The Trees

A Salute To The Great Band Leaders
Played by Oscar Clinton and His Orchestra
Spinorama Records M-27 (M-3142)

Spellbound - Al Goodman
So Rare - Jimmy Dorsey
Yellow Rose Of Texas - Mitch Miller
Manhattan Spiritual - Reg Owen
La Paloma - Billy Vaughn
Green Sleeves - Montavani
Moonlight Serenade - Glenn Miller
I Talk To The Trees - Edmundo Ros
Habanera - Eddie Maynard
Auld Lang Syne - Guy Lombardo
Getting Sentimental Over You - Tommy Dorsey

Witchcraft - Chris Connor


Baltimore Oriole

Chris Connor
Arrangements by Richard Wess
Cover Photo: Erich Locker
Cover Design: Marvin Israel
Supervision: Nesubi Ertegun and Ahmet Ertegun
Recording Engineers: Earle Brown, Frank Abbey and Johnny Cue
Atlantic 8032


On Witchcraft, I Hear The Music Now, Like A Woman and You Don't Know What Love Is, Chris Connor is accompanied by Jimmy Nottingham, Bernie Privin, Bernie Glow and Ernie Royal, trumpets; Frank Rebak, Morton Bullman, Chauncey Welsch and Bob Alexander, trombones; George Berg, Phil Bodner, Jerry Sanfino, Al Klink and Romeo Penque, saxes; Hank Jones, piano; Mundell Love, guitar; Milt Hinton, bass; Dom Lamond and Sol Gubin, drums; Phil Kraus, percussion; Bobby Rosengarden,   bongos.

On I'll Never Be Free, Come Rain Or Come Shine, How Little We Know and Just In Time, Chris Connor is accompanied by: Joe Cabot, Doc Severinsen, Bernie Privin and Bernie Glow, trumpets; Morton Bullman, Chauncey Welsch, Bob Alexander and Bob Ascher, trombones; George Berg, Hymie Shorter, Romeo Penque, Jerry Sanfino and Phil Bodner, saxes; Hank Jones, piano, Mundell Lowe, guitar, Milt Hinton, bass; Don Lamond, drums.

On The Lady Sings The Blues, When Sunny Gets Blue, Baltimore Oriole and Skyscraper Blues, Chris Connor is accompanied by George Berg, sax & flute, Phil Bodner, sax, flute and English horn; Fred Klein and Jim Buffington, French horns; Gene Orloff, Tony Bambino, Hinda Barnett, Felix Giglio, Harry Lookofsky, David Montagu, Max Cabn, Arnold Eidus, Harry Katzman, Leo Kruczek, Max Ceppos and Joseph Marlin, violins; Isadore Zir and Henry Pakaln, violas; Maurice Brown and Sidney Edwards, cellos; Sol Gubin, vibes and bells; Hank Jones, piano; Mundell Lowe, guitar, Milt Hinton, bass; Osie Johnson, drums.

From Billboard - November 30, 1957: A fine new album  by Chris Connor that should gas her many, many fans. The thrush is featured here on an outstanding group of pop tunes, including such wonderful items as "Witchcraft," "I'll Never Be Free," "Baltimore Oriole," and "Like A Woman." And she sings then with the style and taste that mark all of her work. The arrangements by Dick Wess swing too. A strong new slicing by the thrush with a most exciting cover.

I'll Never Be Free
The Lady Sings The Blues
Come Rain Or Come Shine
When Sunny Gets The Blues
How Little We Know
I Hear The Music Now
Baltimore Oriole
Just In Time
Like A Woman
Skyscraper Blues
You Don't Know What Love Is

Adventures Of The Heart - Frank Sinatra



Adventures Of The Heart
Frank Sinatra
Photograph: Don Snyder
Columbia Records CL 953

From Billboard - March 9, 1957: Columbia is releasing another package of old sides, sliced by the Voice a few years ago. Sinatra wasn't in as good voice then, and backing lacks zing of his present LP's, but fans will want to add this to their collections, and jock can augment their Sinatra programming line-up with such selections as "Nevertheless," "I Gould Write A Book," and "I Guess I'll Have To Dream The Rest."

I Guess I'll Have To Dream The Best
If Only She'd Look My Way
Love Me
We Kiss In The Shadow
I Am Loved
Take My Love
I Could Write A Book
Mad About You
It's Only A Paper Moon

Terra Nova - Robin Kenyatta


Terra Nova

Terra Nova
Robin Kenyatta
Produced by Michael Cuscuna
The horn arrangement on Terra Nova is by Jonas Gwangwa
Need Your Love So Bad & Touch were recorded at The Hit Factory, New York, N.Y. in April, 1973
Recording Engineer: Harry Maslin
All other selections were recorded at Dynamic Recording Studios, Kingston, Jamaica, West Indies in March 1973
Recording Engineer: Carlton Lee
Percussion and horn overdubs recorded in Atlantic Recording Studios, New York, N.Y., and The Hit Factory, New York, N.Y.
Recording Engineers: Harry Maslin, Jimmy Douglass and Joel Kerr
Mixed at Atlantic Recording Studios, New York, N.Y.
Re-mis Engineer: Jimmy Douglas
Photography: Giuseppe G. Pino
Atlantic SD 1644

From Billboard: October 13, 1973: What a mass to find a jazz LP which makes the reggae come alive in a very legitimate manner. Much of this LP was cut in Kingston, Jamaica and the opening cut. "Temptation Took Control Of Me (And I Fell)" starts things off on a bouncy, lets groove together mood. Alto-soprano saxman Kenyatta also scores with some simple blues tinged material like "Need Your Love So Bad" and "Island Shakedown," But the emphasis on this small group situation is to work with reggae. and for the African instrumentalist, this could easily be the LP to break him big. It could also be the first instrumental LP to make reggae the broad appeal music it deserves to be. It's really that good an LP and one only hopes that the powers at Atlantic will take the time to bring this LP to people's attention. The marriage of jazz techniques with the Jamaican rhythm is perfect. This is the best damn reggae/jazz LP to  be released in the U.S. There is enough legit jazz blowing to satisfy jazz buffs with the added spice of a dancing, hip swaying rhythm to entice hardcore soul stirrers.

Temptation Took Control Of Me (And I Fell)
Need Your Love So Bad
Terra Nova
You Are The Sunshine Of My Life
Freedom Jazz Dance
Mother Earth (Provides For Me)
Island Shakedown

Wednesday, October 13, 2021

After Theatre Memories Of Broadway - Addison Bailey


Sweet Thursdays

After-Theatre Memories Of Broadway
Featuring Addison Bailey At The Piano
Epic LN 3284

My Fair Lady

Wouldn't It Be Loverly
On The Street Where You Live
The Rain In Spain
I'm An Ordinary Man
I've Grown Accustomed To Her Face
I Could Have Danced All Night
With A Little Luck

Pipe Dream

All At Once You Love Her
The Next Time It Happens
Sweet Thursday
Everybody's Got A Home
Suzy Is A Good Thing
The Man I Used To Know

The Red Poppy & Caucasian Sketches - Anatole Fistoulari


The Red Poppy

Gliere - The Red Poppy (Excerpts) 
Ippolitov-Ivanov - Caucasian Sketches, Op. 10
Anatole Fistoulari conducting the London Philharmonic Orchestra
Recorded in England
RCA Victor LM-2133

From Billboard - October 12, 1957: Excellent recording enhances good versions of colorful Russian scores which rely on exotic flavor. "Caucasian Sketches" are not strange to record and "Red Poppy" has been done well before, but present package will show strengths. Attractive cover.

Gliere - The Red Poppy (Excerpts)
Heroic Dance of the Cool\ie
Scene and Dance with the Golden Fingers
Chinese Maidens' Dance
Waltz Russian Sailors' Dance

Ippolitov-Ivanov - Caucasian Sketches, Op. 10
In a Mountain Pass
In the Village
In the Mosque
Procession of the Sirdar

Brazil Blues - Herbie Mann



Brazil Blues
Herbie Mann
Producer: Alan Douglas
Sound: Bill Schwartau
Photographer: Chuck Stewart
Perviously issued under UAJ 15009 & SS 18020
United Artist Records STEREO UAS 5636


Flute: Herbie Mann
Guitar: Billy Dean
Conga: Carlos (Potato) Valdez
Drums: Willie Bobo
Vibes: Haygood Hardy
Marimba: Dave Pike
Bass: Bill Salter
Tambourine: Jose de Paula
Maracas: Carmen Costa

Minha Saudade
B. N. Blues
One Note Samba
Me Faz Recorar

Freddy Cannon Sings Happy Shades Of Blue


Blue Skies

Freddy Cannon
Sings Happy Shades Of Blue
Frank Slay and His Orchestra
Produced by Frank Slay and Bob Crewe
Arrangements: Frank Slay, Bob Crewe and Sid Bass
Recording Engineer: George Schowerer
Swan Records SWAN 504

From Billboard - October 31, 1960: The exuberant rock and roller warbles cheerfully on a group of tunes with the word "blue" in their titles. His fans should like the package. Selections include "My Blue Heaven," "Alice Blue Gown" and "Old Piano Roll Blues,"

Five Foot Two, Eyes Of Blue
My Blue Heaven
Blue Suede Shoes
Blue Skies
Lavender Blue
Blue Plate Special 
Bye Bye Blues
Alice Blue Gown
The House Of Blue Lights
The Old Piano Roll Blues
The Blacksmith Blues
Happy Shades Of Blues

Voices In Song And Percussion - Hall Mooney


Sing Sing Sing

Voices In Song And Percussion
Hal Mooney with Vocal Chorus
Arranged and Conducted by Hal Mooney
Artist & Repertoire: Bob Shad
Original Recording Engineers: Earle Brown & John Cue
Re-Recording Engineer: Earle Brown
Mastering: Hal Diepold
Liner Notes: Nat Hentoff
Album Coordination: Arpena Spargo
Album Design: Murray Stien
Typography: The Composing Room, Inc.
Recorded July 5, 11, 1960

Personnel and Instrumentation

Woodwinds - Piccolo, Flutes, Oboe, Alto Tenor and Baritone Saxophone, Clarinet:
Stan Webb
Walter Levinsky
Rome Penque
Abraham Richman
Phil Bodner

Melvin Davis
Ernie Royal
Clark Terry
Irv Markowitz
Bernard Glow
James Nottingham
Carl Severinsen

Chauncey Welsch
Mervin Gold
Charles Small
Dick Hixon

Barry Galbraith

Milt Hinton

Drums and Percussion - Vibraphones, Xylophones, Bongos, Tympani, Tambourine, Bells, Temple Blocks, Scratchers:
Osie Johnson
Bob Rosengarden
George Devens
Eddie Costa

The Gene Lowell Singers:
Peggy Powers
Miriam Workman
Gretchen Rhoads
Marilyn Jackson
Elise Bretton
Lillian Clark
Jerry Clark
Jerry Duanne
Steve Steck
Gene Steck
Alan Sokoloff
Dick Williams
Ed Lindstrom
David Vogel
Gene Lowell

Sing Sing Sing
Softly As In A Morning Sunrise
Chinatown My Chinatown
For You
Shuffle Off To Buffalo
Lullaby Of Birdland
Donkey Serenade
Sometimes I'm Happy
Blue Heaven 
Love For Sale

In The Mood - Ernie Fields


Christopher Columbus

In The Mood
Ernie Fields and His Orchestra
Produced by Rendezvous Records
Arranged and Supervised by Record Master, Inc.
Arrangements by Earl Palmer, Plas Johnson, Jr. & Rene Hall
Cover & Back Liner Design: Garrett-Howard, Inc.
Rendezvous Records M-1309

From the back cover: The magic beat and the exciting arrangement of Ernie Fields' recording of "In The Mood" made it one of the most successful and longest lasting hits of 1959 and, as a result, captured the heart and the feet of dancers all across the nation.

This thrilling "new sound" with its infectious tempo has catapulted Ernie Fields into a position of national prominence and he was recently honored by placing high in Cashbox Magazine's 1959 Poll for the "Best Pop Orchestra." Currently riding the crest of popularity in this country, the record is now rapidly becoming a bit hit all over the world.

An accomplished musician, Ernie plays trombone besides fronting the orchestra. He surrounds himself with some of the finest musicians available and he takes pride in allowing each individual to display his versatility.

In addition to a busy schedule of dance hops, where excited fans ask for more and more, the orchestra has been featured on the Dick Clark Show and regularly tours Service Bases, Campuses, Nightclubs and Theaters from Coast-to-Coast. – Dick Miller

From Billboard - February 15, 1960: Ernie Fields has a big hit with his single "In The Mood," and this album can also enjoy sales success. Styled in the same groove, it spotlights vital, rocking instrumental treatments of some great standards, and rhythmic originals. Included are the title tune, plus "Tuxedo Junctionk" "Volare Cha Cha," "Raunchy," and "Christopher Columbus."

Hony Tonk
Tuxedo Junction 
Volare Cha Cha
My Prayer
Knocked Out
In The Mood
The Dipsy Doodle
Tea For Two Cha Cha
It's All In The Game
The Boot
Christopher Columbus

Concierto - Jim Hall


The Answer Is Yes

Jim Hall
Musical Direction by Don Sebesky
Produced by Creed Taylor
Cover Photograph by Pete Turner
Liner Illustration by Thomas B. Allen
Album Design by Bob Ciano
CTI 6060 S1
CTI Records - A Division of Creed Taylor, Inc.
Distributed by Motown Record Corp.


Jim Hall - Guitar
Rolland Hanna - Piano
Ron Carter - Bass
Steve Gadd - Drums
Chet Baker - Trumpet
Paul Desmond - Alto Saxophone

You'd Be So Nice To Come Home To (Cole Porter)
Two's Blues (Jim Hall)
The Answer Is Yes (Jane Hall)

Side Two
Concierto De Aranjuez (Joaquin Rodrigo)
Arranged by Don Sebesky
Recorded at Van Gelder Studios
Rudy Van Gelder, Engineer
Recorded April, 1975

Monday, October 11, 2021

Songs For Hip Lovers - Woody Herman


Alone Together

Song For Hip Lovers
Woody Herman
Cover Photo: Garrett and Howard
Art Direction: Sheldon Marks
Verve MGV-2069

From the back cover: Woody has always had deep (oh, so very deep) roots in jazz and no matter how popular the "pop" song that Woody does, the jazz feeling still cuts through and the time is there, because Woody can swing, and I mean really swing! In line with these antecedents, I felt it not only advisable but appropriate that we use some jazz voices with Woody, and so you will hear, among others, on the big band sides, Bill Harris on trombone, Charlie Shavers on trumpet, Jo Jones on drums, Lou Stein on piano, Milt Hinton on bass and Billy Bauer on guitar. On the small combo sides the soloists were: Harry Edison, trumpet, Ben Webster, tenor sax, and with occasional solo contributions by Jimmie Rowles on piano and Barney Kessel on guitar. The rest of the rhythm section included Joe Mondragon on bass, and Larry Bunker on drums. – Norman Granz

Makin' Whoopee
I Won't Dance
I Guess I'll Have To Change My Plans
Willow Weep For Me
Moon Song
Can't We Be Friends
Comes Love
Ev'rything I've Got
Alone Together
Bidin' My Time
Isn't This A Lovely day

Francis Albert Sinatra & Antonio Carlos Jobim


Quiet Nights Of Quiet Stars

Francis Albert Sinatra & Antonio Carlos Jobim
Produced by Sonny Burke
Co-produced by Ray Gilbert
Arranged and Conducted by Claus Ogerman
Cover Photo: John Bryson
Art Direction: Ed Thrasher
Engineer: Lee Herschberg
Reprise 1021

From the back cover: During playback, Sinatra leans on the conductor's vacant podium. The only parts of him you see just popped white cuffs and worry lines in his brow. He's Worry personified, like he's in the lat reel of "The Greatest Birth Ever Given."

Around him circle the rest. They circle, too, listens to the playback.

Grown men do not cry. They instead put on faces gauged to be intent. They too listen hard, as if half way through someone whispers buried treasure clues.

It's over. Sinatra walks away. "Next tune," he says.

Around him, the circle. Half-stammering, half-silent, because they can't think up a phrase of praise that's truly the topper.

Except for Jobim.

He walks up to Sinatra. A peculiar walk, like he's got gum on one sole. He puts his arm around Sinatra. He hugs Sinatra. Both men smile. Jobim turns out to look at the circle around them. His face alight, proud of his singer. His face triumphant. as if to say, and all along, you thought he was Italian. – Stan Cornyn

The Girl From Ipanema
Change Partners
Quiet Nights Of Quiet Stars
If You Never Come To Me
Now Insensitive 
I Concentrate On You
Baubles, Bangles and Beads
Once I Loved

Big Band Blues - Ted Heath


Blues In The Night

Big Band Blues
Ted Heath and His Music
Stereophonic London Records PS 172


Keith Christie - Trombone
Ronnie Chamberlain - Soprano Sax
Henry Mackenzie - Clarinet
Eddie Blair - Trumpet 
Bob Efford - Tenor Sax
Stan Tracey - Piano 
Don Lusher - Trombone

From the back cover: Ted Heath entered the music world 45 years ago when his father taught him the tenor horn. At seven Ted was playing in band contests and at 12 he switched to the trombone. Returning from service in World War I, Ted had a couple of lean years till his luck changed and Jack Hylton gave him a job. After this Ted worked his way through most of Britain's top bands and held the trombone chair on many record sessions with top American stars.

In 1942 Ted became fired with the idea of having a band of his own. It all came about when he heard Glenn Miller's American Band of the AEF, then stationed in Britain. The forceful swing and full-bodied brass sound so fascinated him that he became determined to form a band which would play the kind of music he believed in. 

Ted Heath and his Music were heard for the first time on a BBC broadcast in 1942, but not until the war ended could Ted really think about building up a regular orchestra. In 1945 the American trumpet player and arranger, Toots Camarata came to Britain as musical director of the film "London Town." Camarata commissioned Heath to provide the music for the film and in this way the band achieved a degree of permanence. When the film was completed Ted Heath's orchestra began touring and broadcasting regularly.

A small but fanatical following quickly sprang up; the band started coming top in the polls run by British musical papers; yet the music was still too advanced for most of the general public. But Ted refused to compromise; he preferred to wait for the public to catch up with his ideas. That they have now done so is reflected in the present day sales of Ted Heath's records and the crowds which flock to see the band whenever it appears. And Ted Heath's music is just as popular on this side of the Atlantic as it is in Britain, as proved by the heavy demand for his records in the United States and the enormous success of his two American tours.

From Billboard - January 25, 1960: The familiar Ted Heath big ensemble sound is heard to good effect on this collection of many types of blues. For example, you will hear "St. Louis Blues," "Limehouse Blues," "Blues in the Night," "Tin Roof Blues," "Royal Garden Blues," in the grouping of a dozen tunes. The crisp, clean, neatly recorded stereo sound is all here and for the Heath followers, it's a must.

St. Louis Blues
The Memphis Blues
Blues In The Night
Limehouse Blues
Basin Street Blues
Jazz Me Blues
St. James Infirmary
Tin Roof Blues
It's The Bluest Kind Of Blues My Baby Sings
Honky Tonk Train Blues
A Blues Serenade
Royal Garden Blues

Orange Colored Sky - Bert Kaempfert


While The Children Sleep

Orange Colored Sky
Bert Kaempfert and His Orchestra
Produced by Milt Gabler
Photography: Same Harte
Engineer: Peter Klemt
Recorded in Europe
Decca Stereo DL 75256
Decca Records - A Division of MCA Inc.

Crackin' Rosie
My Love
Bye Bye Blackbird
Tea And Trumpets
While The Children Sleep
In Apple Blossom time
Hi-De-Ho (That Old Sweet Roll)
Don't Go
Orange Colored Sky

Sunday, October 10, 2021

Fields In Clover - Herbie Fields



Fields In Clover
Herbie Fields with His Sextet and Orchestra
Arrangements by Lon Norman
Cover Photograph and Design by Burt Goldblatt
Engineer: Mark Emerman
Recorded at Criteria Recording Company, Biscayne Blvd., Miami, Florida
Fraternity Records - Cincinnati, Ohio

From the back cover: Herbie Fields, 39 years old when he recorded the extra ordinary "Fields In Clover", was wholly absorbed by music from the time he was a kid in New Jersey. At 15 he was playing his first night club date, in a break-your-head joint, when his father and uncle fetched him by the ear right off the stage.

Herbie once told me he had to fake his way into Juilliard School of Music, because he wanted to play saxophone and it wasn't "a recognized instrument." He claimed he was a clarinet player, just to be admitted, but eventually had to learn that instrument in truth. His fingering was all wrong, according to the book, so he eventually started playing notes that weren't there. He was graduated in 1938.

As long ago as 1946-47 Herbie Fields had reached the hollow heights of "pop" success. He received the Metronome Award and the Esquire Silver Award as the nation's top saxophone player.

For the first time he seemed really happy while making this album. All his life, he told me, he had hoped to lift jazz, which he loved, to what he called, for lack of a better word, a "symphonic" level. He wasn't the first jazzman to try. The genius Bix Beiderbecke and others were broken by the effort, and lost. Personally, I think Herbie Fields "made it" – and with an "illegitimate instrument' at that.

I thought Herbie Fields, judged by classical experts, belonged first in Carnegie Hall, then on tour in Europe, where the audiences appreciated greatness in music when they heard it. Herbie's long time agent, Joe Glaser, said he'd book him as soon as the public had heard "Fields In Clover".

Suddenly, September 17, 1958, Herbie Fields cut out from this life at his new home in the north of Date (Miami) County, Florida. He left by choice, saying in a note to his mother: "I have completed my mission in life." – Damon Runyon, Jr.

From Billboard - September 14, 1959: This is the last recording work ever done by saxophonist Herbie Fields. Here, he is heard again for posterity on soprano alto, tenor and baritone sax on a collection of numbers, including "Skylark," "Deep Purple," "Harlem Nocturne" and others. He was a dexterous artist with all four of the instruments as these good recordings – made in Miami – shoe. For fans of the reeds, this can be regraded as a sort of collector's item.

Roses Of Picardy 
Danny Boy
Prelude To a Kiss
Deep Purple
Come Back To Sorrento
Harlem Nocturne
Serenade In Blue
Blue Prelude