Satori - Lee Konitz

 

Satori

Satori

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

1975

Personnel:

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

Satori

Sometime Ago

What's New

Hymn

Free Blues

Woody Herman Recorded Live

 

Dr. Wong's Bag

Woody Herman

The Herman Herd Recorded Live

Ambassador

By Arrangement with Mercury Record Productions Inc.

S/98052

1968

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

Witchcraft

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

1959

Personnel:

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.

Witchcraft

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

 

Nevertheless

Adventures Of The Heart

Frank Sinatra

Photograph: Don Snyder

Columbia Records CL 953

1957

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

Nevertheless

We Kiss In The Shadow

I Am Loved

Take My Love

I Could Write A Book

Mad About You

Sorry

Stromboli

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

1973

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)

Touch

Island Shakedown

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

1957

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

 

Copacabana

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

1972

Personnel:

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

Brazil

Copacabana

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

1960

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

TIME STEREO S/2008

Personnel and Instrumentation

Woodwinds - Piccolo, Flutes, Oboe, Alto Tenor and Baritone Saxophone, Clarinet:

Stan Webb

Walter Levinsky

Rome Penque

Abraham Richman

Phil Bodner

Trumpets:

Melvin Davis

Ernie Royal

Clark Terry

Irv Markowitz

Bernard Glow

James Nottingham

Carl Severinsen

Trombones:

Chauncey Welsch

Mervin Gold

Charles Small

Dick Hixon

Guitar:

Barry Galbraith

Bass:

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

Perdido

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

Caravan

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

1960

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

Raunchy 

Tea For Two Cha Cha

It's All In The Game

The Boot

Christopher Columbus

Concierto - Jim Hall

 

The Answer Is Yes

Concierto

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.

1975

Personnel:

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

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

1957

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

Louise

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

1967

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

Dindi

Change Partners

Quiet Nights Of Quiet Stars

Meditation

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

1960

Featuring:

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.

1970

Crackin' Rosie

My Love

Bye Bye Blackbird

Tea And Trumpets

Friends

While The Children Sleep

In Apple Blossom time

Snowbird

Hi-De-Ho (That Old Sweet Roll)

Don't Go

Orange Colored Sky

Fields In Clover - Herbie Fields

 

Skylark

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

F-1011

1959

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

Skylark

Prelude To a Kiss

Deep Purple

Come Back To Sorrento

Harlem Nocturne

Serenade In Blue

Blue Prelude

Stardust