Search Manic Mark's Blog

Friday, October 22, 2021

My Love - Percy Faith


Viva Vivaldi

My Love
Percy Faith
Produced by Ted Glasser
Arranged and Conducted by Percy Faith
With thanks to Kim Richmond and Charles Anderson
Engineer: Ray Gerhardt
Recorded at A&M Studios in Hollywood
Front Cover Photo: McGowan/Hagiwara
Back Cover Photo: Brain Hennessey
Design: Anne Garner
Columbia KC 32380

My Love
You Are The Sunshine Of My Life
The Twelfth Of Never
Pillow Talk
And I Love Her So
The Night The Lights Went Out In Georgia
Killing Me Softly With Her Song
Viva Vivaldi

The Medicine Man For The Blues - Ted Lewis

I Got A Woman, Crazy For Me, She's Funny That Way

The Medicine Man For The Blues
Ted Lewis and His Orchestra
Vocal Choruses by Ted Lewis
Decca Records DL 8322

From the back cover: Ted Lewis started life as Theodore Friedman, of Circleville, Ohio, where – as a youngster – he was indelibly impressed by the dramatic gyrations of the drum major of the town's brass band. He spent years emulating the dashing gestures of the drum major – first practicing with a cane and, later, with the clarinet he had chosen to play. Probably more than any other single influence, that small-boy fascination helped Ted to formulate his strutting, purposely melodramatic stage personality of the future.

Ted's first "professional engagement" was in an early movie-house, one of those 125-seater Nickelodeons which played three shows daily for the fantastic admission fee of five cents. It was called the Electric Theatre, although it was actually more a store room next to a barber shop on Circleville's South Main Street. All the music was supplied by an old fashioned phonograph until the manager decided to add some live talent to he entertainment venture. He hired a youth named Theodore Friedman, whose father ran a clothing store up the street, to play clarinet and sing songs. To the manager's – and Theodore's – amazement, the patrons clapped louder for the live talent than for the celluloid heroes and heroines.

Encouraged  by this first success, young Theodore went on to a partnership with a singing comedian named Eddie Lewis. They were to share equal billing as "Lewis & Friedman" on the marquee of the small vaudeville house where they were to make their debut as a team, but the manager didn't quite have room for the billing so he changed it arbitrarily to "Lewis & Lewis," Thus, Ted Lewis' stage name was born.

Branching out on his own, Ted learned his highly competitive trade the hard way – via the sink-or-swim school of tent-shows, carnivals, burlesque, and cheap vaudeville, to the big-time circuits of New York. Ted realized early that, to succeed, an entertainer had to have a style – a distinctive something that nobody else had. Using his drum major flourishes with cane of clarinet as a starting point, he developed a footlight personality that was to become one of the most imitated in show business. Organizing a jazz orchestra, Ted would address his audiences from the stage in an intimate and friendly way; he would "talk" songs or "act" songs, rather than strictly sing them. He would be melodramatic – but always with a tongue-in-cheek twinkle in his eyes which made people laugh with him rather than at him. He became a master of modern minstrelsy, supplementing the music of his band with a manner that radiated magnetism.

It was in 1917 that Ted acquired his most famous "prop" – the battered top hat with which people always associate him. He won it in a crap game... in New York's famous Rector's, from a Negro cabbie named Mississippi whose exploits were legend along the Great White Way. Nine presidents – Theodore Roosevelt, William H. Taft, Woodrow Wilson, Warren G. Harding, Calvin Coolidge, Herbert Hoover, Franklin D. Roosevelt, Harry S. Truman and Dwight D. Eisenhower, and one king, George V of England – have watched Ted manipulate his top hat. Ten years later that hat got a silver lining - sliver silk - when two composers wrote a song which they felt was perfect for Lewis' style. Ted lined the hat to fit the lyric "Wear A Hat With A Silver Lining," and the song soon became as closely identified with the entertainer as the hat.

For many years, no Lewis performance was complete without the appearance of Charles "Snowball" Whittier, better known as Ted Lewis' shadow. Ted discovered Charlie when the latter was working as an usher at the Orpheum Theatre in Los Angeles. The young colored lad has an unusual gift for mimicry and a natural wit. One night Ted caught him imitating his stage mannerisms in front of a delighted audience. Ted and Charlie – Lewis and his shadow – remained together for sixteen years, until Whittier elected to try his luck solo. Since then Ted's shadow has been Elroy Peace, who imitates the famous entertainer quite as uncannily as Charlie did.

From Billboard - July 21, 1956: The label will revive many misty-eyed memories with this collection of throwbacks to another, and triumphal day, in show business. Lewis has had the best of them, in vaudeville houses and clubs everywhere, eating out of his hand, and here are some of the tunes he did it with, from originals slicing. Sound here can't compare with today's hi-fi etchings, but part of the charm lies right there. Some of the best tunes are "When My Baby Smiles At me," "Just Around The Corner," "Good Night," "Down In The Old Church Aisle,"etc. Appeal of the material tied in with an eye-catching cover should make this good inventory. Competing package, released this week on the Unique label, duplicates five of the selections but the older clique of fans will likely want both packages.

When My Baby Smiles At Me
I Got A Woman, Crazy For Me, She's Funny That Way
I'm The Medicine Man For The Blues
The Old St. Louis Blues
Jazz Me Blues
Tiger Rag
Wear A Hat With A Silver Lining
Just Around The Corner
Down The Old Church Aisle 
The Sweetheart Of Sigma Chi
Three O'Clock In The Morning
Good Night

Her Side Of It All


Little Girl Blue - Renee Raff

It Was A Very Good Year - Della Reese

Her Side Of It All
2-Record Set
WJG Productions
Produced with the courtesy and kind corporation of 
ABC/Dunhill Records
Audio/Fidelity Records
Phonogram, Inc.
GNP/Crescendo Records Concept

Record 1
Her Justified Pride

Make Your Own Kind Of Music - Mama Cass Elliot
I Gotta Be Me - Della Reese
As Long As He Needs Me - June Valli
You're Gonna Hear From Me - Chris Connor
An Affair To Remember - Dinah Washington
You Don't Own Me - Leslie Gore
It Was A Very Good Year - Della Reese

Side Two
Her Ups

Love Is A Many Splendored Thing - Dinah Washington
Precious And Few
What A Diff'rence A Day Makes - Dinah Washington
My Funny Valentine - June Valli
All The Things You Are - Phyllis McGuire
For Once In My Life - Della Reese

Record 2
Her Needs And Desires

Little Girl Blue - Renee Raff
If He Walked Into My Life - June Valli
The Way Of Love
Free Again - Les Baxter Orchestra & Chorus
Mad About The Boy - Renee Raff
Who Can I Turn To - Della Reese

Side Two
Her Downs

What Now My Love? - Della Reese
Goin' Out Of My Head - Chris Conner
Cry Me A River - Dinah Washington
Until It's Time For You To Go - Barbara McNair
The First Time Ever I Saw Your Face
Didn't We - Barbara McNair

Thursday, October 21, 2021

What Do You Know About Love - Della Reese


Something I Dreamed Last Night

What Do You Know About Love
Della Reese
Orchestra Conducted by Reg Owen (through the courtesy of Palette Records)
Produced by Marty Palitz
Cover Design: Sy Leichman
Photograph: Charles Varon
Jubilee Records 1109
A Product of Jay-Gee Record Co., Inc.
A Division of Cosnat Corp.

From the back cover: Della's narration is sung in twelve chapters. Each chapter is a story all its own, a song all its own. There are questions. There are answers. Most of the songs have been heard before. They have  been treated and told as each singer has felt them. The title song is sung here for the first time. The next 10 songs are standards. The subject is brought to a close in this album on a recent statement written by Gordon Jenkins.

Della Reese recorded What Do You Know About Love? in Brussels. She was making her first appearance at the famed London Palladium, then flew to the Continent. The famed Reg Owen conducted. The arrangements point up the poignancy of her reading. The background of blues, of gospel, of torch, of understanding is clearly evident

Della was born in Detroit. She sang in the Gospels with Mahalia Jackson and Clara Ward. She worked with Erskine Hawkins and Jimmy Hamilton. She majored in psychology at Wayne University. She sings with great conviction, intelligence, emotion and the ability to communicate her message.

From Billboard - November 9, 1959: Della Reese's current singles hit on Victor should give this package added sales and spin appeal. Effective mood photo of canary is carried on the cover. Moving vocal performance on such wistful standards as "I'm Nobody's Baby," "I Never Knew," "I'm Thru With You," "I Got It Bad," etc.

What Do You Know About Love?
When I Fall In Love
Something I Dreamed Last Night
I Got It Bad
I'll Never Be The Same
You Better Go Now
I'm Nobody's Baby
I Never Knew
I Thought Of You Last Night
You Don't Know What Love Is
I'm Thru With Love
That's All There Is

Rainbows Over Paradise - Bud Tutmarc


Sands Of Waikiki

Rainbows Over Paradise
Bub Tutmarc
Hawaiian Steel Guitar with Pua Almeida's Moana Serenaders
Engineer: William A. Pykomen
Dot Records DLP 3759

From the back cover: Bub Tutmarc, well-known steel guitarist, was a protege of the late great Sol Hopii, "King Of The Steel Guitar." His sound and style are an echo of the master, and many islanders feel that Bud's playing constitutes an almost uncanny re-incarnation of Hopii. This album was recorded in Honolulu, with Pau Almeida's Mona Serenaders – fixtures at the beautiful Moana Hotel for many years. Almeida and his group are also featured stars of the world-renowned radio program "Hawaii Calls."

My Island Rendezvous 
Sweet Someon
Sands Of Waikiki
Beyond The Reef
It Is Hard TO Say Goodbye
Rainbows Over Paradise
Sweet Leilani
White Ginger Blossoms
I Wish They Didn't Mean Goodbye
I Will Remember You
Lahanina Luna
Kaulana O Hilo Hanakahi

Wednesday, October 20, 2021

Line Studies - Gaburo / Basson Sonata - Cascarino - Etler / String Quartet - Lieberson


Romeo Cascarino

Line Studies - Gaburo
Bassoon Sonata - Cascarino
Bassoon Sonata - Etler
String Quartet - Lieberson
Modern American Music Series
Produced by Howard Scott and Thomas Z. Shepard
Cover Art: Mariska Karasz
Columbia Masterworks AMS 6421

Romeo Cascarino: Sonata for Bassoon and Piano
Sol Schoenbach, Bassoonist & Romeo Casarino, Pianist

Goddard Lieberson: String Quartet (1938)
The Galimir Quartet (Felix Galimir & Marvin Morgenstern, Violists; Samuel Rhodes, Violist, Charles Mc Cracken, Cellist)

Kenneth Gaburo: Line Studies
Walter Trampler, Violist, Julius Baker, Flutist; David Glazer, Clarinetist; Erwin L. Price, Trombonist

Alvin Etler: Sonata for Bassoon and Piano 
Sol Schoenbach, Bassoonist; Joseph Levine, Pianist

From the back cover: Romeo Cascarino was born in Philadelphia in 1922. From the ages of eight to eighteen he was self-taught in every facet of music. Then followed two years of study with Paul Nordoff and a summer with Aaron Copland. In 1945, while still in the Army, he won a prize in the George Gershwin Memorial Contest for his orchestra piece Spring Festival, and in 1948 he received a Guggenheim fellowship, which was renewed in 1949.

Mr. Cascarino's ballet Bambi was performed in 1952 by the Chalfin Dance Group and The Philadelphia Orchestra under the direction of Alexander Hilsberg. Another ballet, Pygmalion, was given its world premiere, in a concert version, by the Royal Philharmonic of London under the direction of Ferdinand Live. This work has since  been recorded by the Norddeutsches Radio Orchestra and staged by the Philadelphia Civic Ballet in 1959. In 1960 the New Orleans Symphony Orchestra commissioned and performed an orchestral work, The Arcadian Land, Alexander Hilsberg conducting. At present the composer is working on the orchestra of his three-act Opera Cross and Crown.

Mr. Cascarino is head of the department of composition of Combs College of Music and was given an honorary Doctorate by that college in 1960. In addition to his activities as composer and teacher, he has done orchestral transcriptions and arrangements for many record companies. His published works include the Basoon Sonata recorded here (Arrow Music Press). Blades of Grass for English horn, strings  and harp (Lyra Music Edition), and Fanfare and March for symphonic band (Theodore Presser Co.).

The Bassoon Sonata had its inception while Mr. Cascarino was in the Army in 1942. There he met fellow soldier, Sol Schoenbach, the bassoonist virtuoso who was later to become first bassoonist with The Philadelphia Orchestra. Schoenbach asked him to write a short piece for piano and bassoon but also its lovely "singing" quality. The composer made sketches for the sonata while in the army but finished it in 1947, after his discharge. In writing the music, he remarks. "I had no intention of conveying a story or describing a scene. My only aim was to evoke a pastoral mood."

Goddard Lieberson was born in Hanley, Stafforshire, England in 1911 and has been a resident of the United States since 1915. He studied with George McKay at the University of Washington in Seattle, later receiving a scholarship to The Eastman School of Music in Rochester, New York, where he studied with Bernard Rogers. He earned pocket money by reviewing concerts for a Rochester newspaper, often writing a full Sunday page and contributing caricatures as well – all for the munificent sum of ten dollars a week. In 1936 he settled in New York and became a contributing editor to The International Cyclopedia of Music and Musicians. Three years later he joined Columbia Records as a musical director, then became director of Columbia's Masterworks and Educational Departments; later he was appointed Executive Lieberson has exercised a vital influence on the music of our time. Himself a composer – the wide variety of twentieth century music in the Columbia catalog eloquently attests to this. And when the definitive history of the American Musical Theater comes to be written. Goddard Lieberson's name will figure prominently. From their first sketchy piano run-throughs to the final out-of-town openings, such classical musicals as South Pacific, My Fair Lady and West Side Story have been watched over and encouraged by him, and he personally supervises Columbia's original cast recordings.

Mr. Lieberson has had little time to devote to compositions since assuming the crowded schedule of a recording executive. But in his early and mid-twenties he produced a considerable list of compositions, including incidental music for Alice In Wonderland (1936); Yellow Poodle, ballet in two acts (1937); Five Modern Painters, orchestral suite (1929); Two Chassidic Dancers (1929); Tango for Piano and Orchestra (1937); Symphony (1937); Three Chinese Poems, for mixed voices a cappella (1936). Suite for twenty instruments (1928); Complaints of the Young (1932) and Nine Melodies (1933), both for piano; and a number of songs to texts by Ezra Pound, James Joyce and others. He has also written articles for New York newspaper, contributed to music journals and encyclopedias, and published a novel, Three for Bedroom C.

The String Quartet was composed in 1938 and is dedicated to Dimitri Mitropoulos. It is in three movements, Allegro, Allegro vivace and Adagio. The incisive thrust and tart harmony of the opening Allegro are occasionally relieved by a more lyric vein. The second movement, a new application of the classic scherzo pattern, in brief, lithe and witty. The slow finale is an atmospheric, somber piece in song form; its main motif, a nostalgic three-note figure, returns with increased eloquence after a middle section containing some agitated violin harmonics.

If this quartet William Schuman has written, "Goddard Lieberson's great success as an executive in the field of music can easily obscure the fact that all his activities stem from his being a creative artist The release of his youthful string quartet is conclusive testimony to a technical mastery of composition skills and to the searching musical mind that has been applied over the years to so many facets of art and with such notable results."

Kenneth Gaburo was born in Raritan New Jersey in 1926. He holds the degree M.M. form The Eastman School of Music. Mr. Gaburo has been the recipient of numerous grants and awards for his music, including the George Gershwin Memorial Award. The Sigma Alpha lot American Music Award, The Tanglewood Orchestra Award. During 1954-5 he held a Fulbright fellowship to Italy, where he studied composition with Goffredo Petrassi. His works in the fields of opera, orchestral, chamber, and solo music are frequently performed. Early in April his Elegy will be premiered with the New York Philharmonic under Bernstein. Last summer Mr. Gaburo held a University of Illinois grant to begin the composition of a Trilogy of One-Act Operas. He has frequently written for the theater, including the music for the 1957 Festival Play, Tiger Rag.

"Line Studies," he writes, "represents my most advanced conception of tone row compositional procedure to date. Essentially the twelve-tone series is imagined as a linear body of interdependent factors; a single series of tones, each of which occupies a fixed unalterable position in the sequence.

"Flexibility and variety is achieved through emphasis of tones as they follow series sequence or through spatial arrangements of the fixed series, rather than through the more traditional re-arrangement of this series itself. The formal and structural elements are determined by systematic transposition of the series.

"Each title reflects an essential technique used to create a particular type of line out of a single series of fixed tones. They may be basically defined as follows: (1) Projection, (the initial primitive series as a single line); (2) Displacement, (spatial arrangement of fixed series); (4) Density, (lines with harmonic emphasis); (5) Expansion, (the series as a simultaneous definition of the total space offered by the instruments). "Line Studies is scored for flute, clarinet, viola and trombone.

Alvin Etler. Midwesterner by birth and New Englander by adoption, spent the earlier years of his creative life pursuing the dual aim which he considers an absolute prerequisite to creative power; dependable technical control on the one hand and direct communicative approach on the other. More recently he as felt free to wrestle positively with his concept of one of music's crying needs in our time: the integration of recent aesthetic and inventive attitudes into the mainstream of musical practice.

An oboist himself, a large portion of his output makes one of woodwind media. There are a number of works for winds with other instruments, in addition to two woodwind quintets, a concerto for violins with wind quintet, and a concerto for wind quintet and orchestra.

A recipient of some of the usual grants and commissions, his career embraces performing and teaching as well as composing. He is presently a member of the music faculty at Smith College. 

The Sonata for Bassoon and Piano was composed in 1951. It is the first in a projected series of sonatas for all the instruments. Others have followed sporadically: Clarinet (1952), Oboe (1952), Cello (1956) and Viola (1959). All are with piano except the last, which employs the harpsichord.

Alvin Etler has described the Bassoon Sonata as follows:

"Though the work has a few potentially anxious moments for the performers, it is not intended for virtuoso display. It aims quite simply at player-listener enjoyment. The special qualities of the various registers of the bassoon are exploited to the full, as is the considerable expressive range of the instruments. Considerations of balance have influenced the style of piano writing, which is kept reasonably light. Melodic directness and simplicity are the touchstones, while stylistic novelty is secondary.

"The first of the four movements is a free fantasia emphasizing the interplay of extended melodic tones. The second is a sonata in which the piano first expounds the principal material. The third movement is marked by lyricism projected by the bassoon, while the finale plays with recurring theme.

"The literature for the bassoon is not extensive, and it is a source of satisfaction to me most bassoonists whom I met welcome this addition."

Romeo Cascarino 
Sonata For Bassoon And Piano
I.   Allegretto Moderato
II.  Andante Cantabile 
III. Allegretto Giocoso

Goddard Lieberson 
String Quartet (1938)
I.   Allegro
II.  AllegroVivace
III. Adagio

Kenneth Gaburo 
Line Studies

Alvin Etler
Sonata For Bassoon And Piano
I.   Moderately Slow
II.  Fast
III. Slow
IV. Fast

Oklahoma - Words And Music



Rodgers And Hammerstein's 
Words And Music
Lloyd Hann, Irene Cummings, Deed Patrick, James Cassidy and The Don Ralke Chorus
Music by Richard Rodgers
Book and Lyrics by Oscar Hammerstein II
Music Arranged and Conducted  by Thomas M. Davis and Hans Hagan
Cover Photography: Ken Whitmore
Art Direction & Production: Florette Bihari
Crown Records CST 106

From the back cover: Lloyd Hanna, who sings Curley here, was a naval pilot in World War II and after returning graduated from UCLA. Having won the Atwater Kent Auditions in 1951 he went to Italy to study singing. His Italian debut was at the Teatro Nuovo in Milan in La Traviata. La Beheme and Pagliacci followed by Madame butterfly in Rome. He was the guest artist at the Milan World Fair singing Opera and Concerts ending with three performances at the Opera House in Venice. Recently he's been heard in La Boheme, Marriage of Figaro and Cinderella, as well as appearances in the famous Hollywood Bowl.

Irene Cummings makes her recording debut as Lurie in this version of Oklahoma... and has Elixa in "My Fair Lady" for CROWN RECORDS. A native of California her most recent triumph were as Museta in "La Boheme" with the Charles Wagner Opera Company, Gilda in "Rigoletto", Hanzel and Gretel under the direction of Carmen Dragon. Concerts with John Charles Thomas, plus many TV and Radio appearances have kept her busy for the past couple of years. Miss Cummings made a successful appearance in the lead of Menotti's "The Telephone" in addition to the title role in "Lucia" and Despina in "Cosi Fan Tutte". Her great talent is most evident in this recording of "Oklahoma".

Oh What A Beautiful Morning
I Cain't Say No
People Will Say We're In Love
The Surrey With A Fringe On Top
Kansas City
Out Of My Dreams

Tuesday, October 19, 2021

Top Pops - Frankie Carle


Please Mr. Sun

Wish You Were Here

Top Pops
Frankie Carle with Rhythm Accompaniment
RCA Victor Recors LPM 3024 & LPM 3098 (10-inch LP)

From the back cover of Vol. 1: Frankie Carle is a well-established standard himself. The only thing spectacular about his career is the fame that has followed the years of obscure drudgery during which he was "learning by doing" all the tricks in the expert musician's bag of tricks. Mastery like Frankie's of keyboard, orchestra, and music comes only after many years of experience, and Frankie has plenty of them – just about forty, in fact.

It's a big head start, if your want to be a musician, to have one in the family. As a boy in his native Providence, R. I., Frankie had a musical uncle, Nicholas Colangelo, thoroughly trained in European conservatories, who was only too glad to teach his nephew. The catch was, the nephew wanted none of it, thank you – he wanted to be a boxer. But eventually parental persuasion and perhaps his own changing inclinations led him to study piano with Uncle Nick. He made fast progress, so fast that he had his first music job when he was nine and wrote his first song – for Frankie is a first-rate composer of pop music – when he was thirteen.

In his teens and twenties he has a variety of music jobs al over New England, and played with some of the best sidemen of the day. His rise to fame really began in 1939, when he joined Horace Heidt's band as solo pianist and, later, co-leader. It was during his five years with Heidt that his name as a composer spread. His "Sunrise Serenade," a smash hit in '39, was only one of a series of great Carle tunes, including "Lover's Lullaby," "Oh, What It Seemed To Be," "Deep In Your Eyes," and "Blue Fantasy."

He went out in '43 with his own band, opening at one of the country's biggest hotel spots, the New York Statler. He caught on at once and skyrocketed into the top bracket of fandoms elite. A star ever since on radio, TV, in night spots and hotels, he's achieved his most phenomenal success on records, of which more than fifty million have been sold.

From the back cover of Vol. 2: Volume I of "Top Pops" by Frankie Carle was frankly an experiment. RCA Victor believed that you'd like to have a collection of your current favorites played for dancing and just listening by one of your favorite artist. The success of Volume I showed you agreed.

Frankie Carle is an old hand at giving a new tune the distinctive touch that accentuates its best points. He's been doing it for a good many years – for nearly ten years with his own orchestra, and before that as star piano soloist with Horace Heidt's and other big name banks. Frankie has been on his own as a band leader, radio and recording artist for nearly a decade, but he's had twice as many years' experience in the music field working for other leaders. He came to national attention while working for Heidt, not only as a pianist and assistant leader, but as a composer as well. "Sunrise Serenade," a steady favorite since its fist success in 1939, is only one of Frankie's compositions.

Frankie has had the advantage both of thorough training as a classical pianist under his uncle, Nicholas Colagelo, in his native Providence, R.I., and of practical experience as a popular pianist with a series of bands, notably Ed McEnelly's and Mal Hallett's. In his early years as a musician, he worked with such famous jazz musicians as Gene Krupa, Jack Teagarden, Jack Jenny and Toots Mondello. Frankie learned his jazz partially at its source.

Volume 1

Any Time
Please Mr. Sun
Wheel Of Fortuen
Blue Tango
Be My Life's Companion 
Tulips And Heather
Tell Me Why

Volume 2

Auf Wiederseh'n Sweetheart
Half As Much
Walkin' My Baby Back Home
Wish You Were Here
Somewhere Along The Way

Moonlight Playing Time - Frankie Froba



Moonlight Playing Time
Frankie Froba
Piano Solos with Rhythm Accompaniment
Decca Records DL 5455 (10-inch LP)

From the back cover: Born in New Orleans, Frankie Froba had a boyhood filled with the sound of the burning pianistics that blazed from a hundred early honky-tonks of the old city. A lad with a natural feeling for rhythm and improvisation, Frankie soon took to the hot keyboard like the proverbial duck to water. By the time he was fourteen, he was good enough to land a job in a local spot known as the Jitney Dance Hall.

Having definitely arrived at the decision that music was going to be his bread, butter, and occasional piece of cake, Frankie elected to avail himself of a slightly more staid and standardized bit of musical experience. So he got himself a job playing pipe organ in a local theatre. A small dose of this, however, proved unpleasant for his musical tastes and he called it quits. At sixteen he made the usual pilgrimage of most musical hopefuls: he went to New York City. His first stay was short-lived when he fell ill soon after arriving and, eventually had to return to Louisiana to rest and recuperate. Regaining his health, Frankie joined a jazz group playing at New Orleans' well-known Absinthe House and achieved a reputation for being one of the ablest pianists in a town where the competition was extremely keen.

His trip to New York had not been entirely fruitless, it turned out, for his brief sojourn in several obscure Knickerbocker spots had brought him to the attention of band builder Harold Oxley. Oxley persuaded him to leave Absinthe House and return to Manhattan for a second stab at the big time. It was not long before Frankie clicked with the young leaders whose names were soon to be among Swingdom's greats.

Frankie was with Benny Goodman for a while but left him in 1935 and went to 52nd Street's famous Onyx Club, where he remained for several years. In 1936 he was one of the first musicians to participate in a formal "swing concert" at the Imperial Theatre. He left the Onyx Club to launch his own trio, and, after a string of successful engagements in New York hotel dinning and dancing rooms, culminating in a nine month run at the Victoria Hotel in 1946, the trio departed to Frankie's native Southland, where they achieved new popularity in the sleek bistros of Miami Beach. The popularity continues – and grows. Froba's appeal is not confined to a single mood. It works its spell son the old-times and the young-in-heart – all those who refuse to grow old

Now High The Moon
Blue Moon
(There Ought To Be A) Moonlight Saving Time
Stardust Of The Moon
Moonlight On The Ganges
Moon Over Miami 
It's Only A Paper Moon

Monday, October 18, 2021

Call Of The Midnight Sun - Arthur Lyman


Black Orchid

Call Of The Midnight Sun
Arthur Lyman
Production and Recording: Richard Vaughn
A&R Consultant: John Ramsey
Cover Photography: Richard Garcia, Camera Hawaii
Cover Design: Joe Brahm
An 11-foot Baldwin Artist Concert Grand Piano was used in this recording
HiFi Records, Inc. Life Series ALBUM L1024

From the back cover: This group consists of four of the top musicians and arrangers in the Hawaiian Islands. Arthur Lyman is a virtuosos of the vibes, marimba and bongos, and is responsible for the majority of the arrangements. Allan Soares is a master of the piano, celeste and clavietta. Harold Chang is a percussionist who excels in all things "dramatic," Archie Grant, Jr. plays a great bass, flute, guitar and ukulele.

Hello, Dolly
A Maile Lei For Your Hair
Midnight Sun
Room Without Windows
500 Miles
Black Orchid
Hamabe No Uta
The Girl From Ipanema
Day And Night
Black In The Color Of My True Love's Hair
Get Me To The Church On Time

Alexander The Great - Tommy Alexander


Midnight Sun

Alexander The Great
Tommy Alexander and His Orchestra
Great Band! Great Sound!
Producer: Simon Jackson
Cover Design: Ed Graves
Engineer: John Pallandino
Liberty Records LRP 3008


Trumpets - Clyde Reasinger, Ed Bordenave, Bob Clark & Bob Stiles
Trombones - Dave Wells, Frank Strong, Lew McCreary, Jay Hill
Saxes - Dick Paladino - Lanny Morgan, John Bambridge, Bill Trujillo & Lenny Mitchell
Bass - Arnold Ross
Guitar - Tommy Tedesco
Drums - Sal LaPertche

From the back cover: Alexander The Great! Jazz fans from coast to coast are saying just that about Tommy Alexander and his exciting swinging aggression. Composed of a group of truly fine young musicians, the Tommy Alexander Band is one of the fastest rising new names on the dance band horizon. In a few short years, Alexander's fresh approach to dance music has stamped him as an innovator of note. By combing the best aspects of progressive jazz with an easy, danceable rhythm, Tommy Alexander has created a unique style... a new sound, readily identifiable with a great swinging beat which dancers or listeners find hard to resist. The "Alexander Sound" features four trombones and two baritone saxophones in unison, one octave below the lead trombone. Big, full brass ensemble effects are neatly offset by tenor and alto sax riffs, usually by Bill Trujillo or Lanny Morgan, while trombone solos feature Dave Wells, a mainstay of the Harry James' band of a few years back. These outstanding instrumentalists form the nucleus of the hard-driving Alexander band which got a running start up the ladder of success with it's first recording, "Was That The Human Thing To Do". The collection of standards and originals in Alexander The Great is the result of many one-night stands and cross-country tours by the Tommy Alexander Band. The selections included in this album were among the most-requested numbers "in the book" and are sure to become your favorites too, before many "spins" have been made.

Mad About The Boy
We'll  Be Together Again
I Hadn't Anyone 'Till You
Midnight Sun
Lullaby Of Birdland
Old Devil Moon
Song Is You
All The Things You Are
It Could Happen To You

Sunday, October 17, 2021

Looking Back - Nat King Cole


I Must Be Dreaming

Looking Back
Nat King Cole
Musical Direction by David Cavanaugh
Cover Photo: Capitol Photo Studio - Ken Veeder
These recording were originally produced by Lee Gillette. The new compilation for this single albums with enhanced sound was produced by David Cavanaugh
Capitol Records ST 2361

Time And The River
World In My Arms
Looking Back
Midnight Flyer
I Must Be Dreaming
Is It Better To Have Loved And Lost
Send For Me
Just As Much As Ever
If I May
Sweet Bird Of Youth

South Pacific - Hill Bowen


Bali Ha'i

South Pacific
Hill Bowen Chorus and Orchestra
With Marie Benson, Bryan Johnson, Fred Lucas, Laurie Cornell & Denis Martin
Produced by Ben Selvin
RCA Camden CAS 494

A Cock-Eyed Optimist
Some Enchanted Evening
There Is Nothin' Like A Dame
Bali Ha'i
I'm Gonna Wash That Man Right Outa My Hair
A Wonderful Guy
Younger Than Springtime
Happy Talk
This Nearly Was Mine

The Voice - Frank Sinatra



The Voice
Frank Sinatra
Columbia Records CL 743

From Billboard - November 12, 1955: Frank Sinatra is one of the hottest attractions right now both on singles and in the album field and Columbia should chalk up plenty of sales on this collection of reissues which the crooner recorded a few years ago. The LP includes 12 standards, with Sinatra contribution his usual warm, expressive vocal treatments on "Try A Little Tenderness," "Laura," "I Don't Know Why," "She's Funny That Way," "That Old Black Magic," etc. Deejays have been spinning the original wax for years, and the current reissues should get heavy jockey play. The color cover photo of Sinatra is one of the best portraits ever taken of the singer, and an eye-catching display item.

I Don't Know Why
Try A Little Tenderness
A Ghost Of A Chance
These Foolish Things
She's Funny That Way
Fools Rush In
Over The Rainbow
That Old Black Magic
Spring Is Here