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Friday, October 29, 2021

Velvet Is The Beat - John Cacavas


The Sweetest Sounds

Velvet Is The Beat
Conducted By John Cacavas
A&R Director: Louis Brunelli
Recorded by Phil Ramone
Publication Director: Carl Miller
Associate Producers: Harry Sulkin & Peter Woolery
Pressing: Sonic Recording Company
Printing & Fabrication: Harrison Color Process
Gallery STEREO GS6201


Saxophones - Jerome Richardson, Ray Beckenstein, Sam Markowitz, Arthur Kaplan/Selden Powell (Alternating) & Danny Bank
Trumpets - Irv Markowitz, Joe Wilder, Burt Collins & Bernie Glow/Mel Davis (Alternating)
Trombones - Chauncey Welsch, Eddie Bert & Tony Studd
Piano - Hank Jones
Bass - Russ Savakus
Drums - Mel Lewis
Bass Guitar - Artie Ryerson
Guitars - Barry Galbraith & Allen Hanion

From Billboard - August 13, 1966: Cacavas gives these old standards a fresh treatment as he combines smooth brassy arrangements with a punchy, bouncy beat. A very tasty package.

Speak Low
The Party's Over
Old Devil Moon
I Concentrate On You
The Sweetest Sounds
That Was The Week That Was
Try To Remember
Bunny Lake Is Missing
Do I Hear A Waltz
Wish You Were Here
Dancing Days
The 3rd Man Theme

Ros On Broadway - Edmundo Ros


So In Love

Ros On Broadway
Edmundo Ros and His Orchestra
From Edmundo Ros' Club, London
Cover Photo: Hans Wild
Decca Records LK 4264

I Could Have Danced All Night
Some Enchanted Evening
Stranger In Paradise
June Is Bustin' Out All Over
I Whistle A Happy Tune
Hernando's Hideaway
Almost Like Being In Love
I Love Paris
I Talk To The Trees
I've Never Been In Love Before
So In Love

The Teddy Bear's Picnic


The Bear Went Over The Mountain

The Teddy Bear's Picnic
Songs We All Like
With Full Cast And Orchestra
Cricket Records C-31 (10-inch 78)
Pickwick Sales Corporation

The Teddy Bear's Picnic
Bix Brent and The 4 Cricketones with Orchestra
Produced by Roy Freeman

Songs We All Like
The Bear Went Over The Mountain
A-Hunting We Will Go
The 4 Cricketones with Orchestra
Arranged by Clark McClelland

Songs For Young Lovers - Frank Sinatra


Violets For Your Furs

Songs For Young Lovers
Frank Sinatra
Orchestra by Nelson Riddle
Cover: Rothschild photo by Ken Veeder
Capitol Records H488 (10-inch LP)

Funny Valentine
The Girl Next Door
A Foggy Day
Like Someone In Love
I Get A Kick Out Of You
Little Girl Blue
They Can't Take That Away From Me
Violets For Your Furs

Swing Easy - Frank Sinatra


Get Happy

Swing Easy
With Frank Sinatra
Orchestra Conducted by Nelson Riddle
Capitol Records H529 (10-inch LP)

From Billboard - August 7, 1954: Frank Sinatra could have another winner with this sparkling new set. Unlike his last album, which contained smooth, pretty love songs, this new album features a group of uptempo standards played in breezy fashion by the Nelson Riddle crew. The "comeback kid" sings them with all the personality and feeling he can project, and that's saying a lot. He socks them over as tho he means every word, and sells them with all the old-time Sinatra charm. He's sure to re-charm his many old fans, and gain a lot of new ones with this release. "Just One Of Those Things," "Sunday," "Wrap Your Troubles In Dreams," and "All Of Me," and the others are handed the fine Sinatra treatment here. Dealers should make out well with this set from now thru the fall.

Just One Of Those Things
I'm Gonna Sit Right Down And Write Myself A Letter
Warp Your Troubles In Dreams
Taking A Chance On Love
Jeepers Creepers
Get Happy
All Of Me

Thursday, October 28, 2021

Brazil Once Again - Herbie Mann


Cry Of Love

Brazil - Once Again
Herbie Mann
Produced by Herbie Mann
Arrangements by Pat Rebillot
Cover Photography: Michael Soluri
Back Liner Photography: Joel Brodsky
Design & Art Direction: Paula Bisacca
Recorded and Mixed at Atlantic Recording Studios, New York, New York
Recording and Mixing Engineers: Jimmy Douglas and Lew Hahn
Atlantic SD 19169


Herbie Mann - Flute
Pat Rebillot - Keyboards
Tony Levin - Bass
Rick Marotta - Drums
Jeff Mironov - Guitar
Amaury Tristao - Acoustic Guitar & Percussion
Rubins Bassini & Dom Um Ramao - Percussion

Oh How I Want To Love  You
Dingue Li Bangue
Lugar Comum (Common Place)
O Meu Amor Chorou (Cry Of Love)

Wednesday, October 27, 2021

In A Mellowtone - Duke Ellington


Main Stem

In A Mellotone
Duke Ellington and His Orchestra
Photo by Robert Parent
RCA Victor LPM-1364

From the back cover: It is generally agreed among many musicians and almost all critics that the single, most sustained creative period of Ellington-the-instrumentalist-through-his-orchestra occurred between 1940-44. It should be made clear that there were many important productive Ellington orchestral experiences before and since these four years, but if any one chronological slice were to be chosen as containing the most continually satisfying achievements of Ellington-the-leader-writer, it would be 1940-44. And unfortunately, there was a recording band from August 1942, to November 1944.

The record of this particular period remains astonishing in the absorbing consistency of most of the works by Ellington (and also Strayhorn) and in the fused, fluent, powerful, relaxed and, in short, magnificent level of execution by the band as a whole, and by its soloists individually.

This is the personnel of the band as of early 1940: 

Trumpets - Wallace Jones, Cootie Williams & Rex Stewart
Trombones - Joe Nanton, Juan Tizol & Lawrence Brown
Clarinet - Barney Bigard
Saxophones - Otto Hardwick, Johnny Hodges, altos; Ben Webster, tenor; Harry Carney, baritone
Rhythm Section - Fred Guy, guitar; Sonny Greer, drums; Jimmy Blanton, bass; Duke Ellington, piano

From Billboard - December 29, 1956: Here's a fine collectors' item, which should chalk up an impressive sales record as well as plenty of deejay spins. Album spotlights Ellington's wonderful band of 1940, '41 and '42, and includes such all-time great Ellingtonia as "Take The "A" Train," "I Got It Bad" with Ivy Anderson, and "In A Mellotone." Impressive mood-photo of the Duke on the cover is eye-catching display plus.

Take The "A" Train - February 13, 1941
A Portrait Of Bert Williams - May 28, 1940
Main Stem - June 26, 1942
Just A-Setting And A-Rockin' - June 5, 1941
I Got It Bad And That Ain't Good (Ivie Anderson) - June 26, 1941
Perdido - January 21, 1942
Blue Serge - February 13, 1941
The Flaming Sword - October 17, 1940
In A Mellotone - September 5, 1940
Cotton Tail - May 4, 1940
I Don't Know What Kind Of Blue I Got (Herb Jeffries) - December 2, 1941
Rumpus In Richmond - June 22, 1949
All Too Soon - July 22, 1940
Sepia Panorama - July 24, 1940
Rocks In My Bed - September 26, 1942
What Am I Here For? - February 26, 1942

Gather 'Round - The Tarriers


One Note Samba

Gather 'Round
The Tarriers
Decca Records DL 4538

From the back cover: Part of the explanation, of course, lies in the truly impressive musicianship they encompass – individually and as a group.

There's Clarence ("Coop") Cooper – he of the haunting voice who once was featured soloist with the famed Hampton Choir, and has subsequently graced so many radio and TV shows. There's young Eric Weissberg – Juilliard School alumnus and banjo-player par excellence. There's Marshall Brickman – triple-threat man with the bass, guitar, and fiddle.

To this array of talents The Tarriers have added a priceless ingredient that is uniquely theirs; an interpretive "feeling" for folk music that cloaks a song in infectious good humor or a sensitive emotional delivery.

From Billboard - May 30, 1964: These are not the Tarriers of old,  but the new and still good, and this is a well-balanced program of tracks, nearly like a night club performance, combining folk, novelty and ever a guitar duet on two sambas.

San Francisco Bay Blues
   (Canto Delle Mondine) (My Little Pony) from film "Bitter Rice"
Crawdad Song
My Ramblin' Rose
   Solo by Clarence Cooper
   Mandolin and Banjo Duet by Eric Weissberg and Marshall Brickman
Pick A Bale Of Cotton
   Arranged and Adapted by Clarence Cooper, Erik Darling & Bob Carey
My Name Is Morgan But It Ain't J. P.
Little Boxes
   Solo by Marshall Brickman
Manha De Carnaval - One Note Samba
  Bossa Nova - Guitar Duet by Eric Weissberg & Marshall Brickman
Long Time Man
Come In This House

Tuesday, October 26, 2021

Hello Amigos - The Ames Brothers


Tres Palabras

Hello Amigos
The Ames Brothers
Orchestra under the direction of Juan Esquivel
Vocal Arrangements by Al Semola
Produced by Herman Diaz, Jr.
Photo: Wendy Hilty
Cover Props courtesy Phonix Pan American Imports
Recording Engineer: Ray Hall
Recorded at Webster Hall, New York City
RCA Victor LSP-2100

From Billboard - February 29, 1960: This famous foursome presents an album of songs representative of the great music which springs from the Spanish-speaking world.

Quizás, Quizás, Quizás 
Besame Mucho
Tres Palabras
Adios Mariquita Linda
Me Lo Dijo Adela
Tu Solo Tu
La Ultima Noche
Cancion Mixteca
Lisboa Antiqua

Count Basie Swings & Tony Bennett Sings


I've Grown Accustomed To Her Face

Basie / Bennett
Count Basie and His Orchestra Swings
Tony Bennett Sings
Produced by Teddy Reig
Roulette R 25072

Life Is A Song
Plenty Of Money 
Jeepers Creepers
Are You Havin' Any Fun
Anything Goes
Strike Up The Band
I've Grown Accustomed To Her Face
Poor Little Rich Girl
Growing Pains
I Guess I'll Have To Change My Plans

Red Norvo & His All Stars


Dance Of The Octopus

Honeysuckle Rose

Red Norvo & His All Stars
Epic LG 3128

From the back cover: Red Norvo was the first jazzman to play the xylophone, and as such, the first jazz musician to make an "odd" instrument swing. Throughout the years, under the classification of miscellaneous instruments in the Downbeat and Metronome polls, his name has always been among the top few. This has been due to the fact that he has always continued to evolve in style and concept.

The numbers on this record are definitive of Red Norvo on xylophone in the early 1930s of a great era in jazz, Swing. He was then unique pioneer of a unique instrument in jazz, and a swing band leader who was continually involved in the making of jazz music of his time, playing with the best musicians of each period. The personnel of these records include the biggest names of the early Swing era: Benny Goodman, Jimmy Dorsey, Bunny Berigan, Artie Shaw, Gene Krupa, Teddy Wilson, Charlie Barnet, Jack Jenney, Chu Berry, Dick McDonough, all poll-leaders on their respective instruments.

Later, Red was to employ great instrumentalists of the modern era, and used Charlie Parker, Dizzy Gillespie, Jimmy Raney, Charley Mingus and others on record and club dates.

Today, the vibraphone (Red switched to the amplified instrument in 1943) is still listed under "miscellaneous" instruments, and despite its numerous exponents, Red Norvo remains very near the top of the list. Following his early and inventive lead, we find Lionel Hampton and Tyree Glenn (from the Swing era) and Milt Jackson, Teddy Clarles and many others (in the modern era).

In the modern era, the ranks of the "miscellaneous" instrument have been augmented: French horn, flute, bongo, bass trumpet, baritone and bass saxes, etc. These have all become relatively standard instruments in jazz. But in the earlier days of jazz, Red's xylophone was practically unique as an "odd instrument".

Keneth (Red) Norville (Norvo) was born in Beardstown, Illinois on March 31st, 1908. He was one of a number of children in his family to take piano lessons, but the lessons didn't take. At the age of 15, a chance meeting with a xylophone at a friend's house did take. He started to fool around on the instrument and never stopped; he became the first musical exponent of the "odd" instrument.

In 1925, when Red was 17, he made his debut in vaudeville, the standard outlet for proficient talent on xylophone. It was completely a novelty instrument at the time, with hands chock-full of mallets ripping off the Lone Ranger movement of the William Tell Overture while feet did a tap dance. Red had the whole routine down pat, including the taps, and eventually he branched out, doing a guest act with dance bands throughout the mid-west. He worked with Victor Young and Ben Bernie.

In those days, the next professional step was radio and Red took that step, joining the NBC staff (1928-30). He next joined Paul Whiteman's Orchestra in 1930 and stayed on through 1934 when he left to organize his first big band. He had his own bands until 1944. It was during this period that he was married to Mildred Bailey, The Rockin' Chair Lady, one of the great jazz vocalists. They fronted the bands with Red throughout most of those years.

Later, Red played with the Benny Goodman Sextet (1944), and then the resurgent Woody Herman Herd. In 1950, he finally settled in California to front small groups that gave his light touch sound on the vibraphone its maximum scope and effect, usually blended with electric guitar. Ultimately, it is this trained delicacy that is at the service of every nuance in his playing of the vibraphone today.

And it is Red's musicianship and sound that so distinguish him. Despite his showman beginnings, he has always remained very much the musician.

In this record, Honeysuckle Rose is most typical of the Swing era; it represents the small band Swing of the Swing-band eara. There is insistent riffing and Swing paraphrase of the melody to pulsate the solos of Red, Johnny Mince, Jack Jenney, Chu Berry, Georgie Van Eps and Teddy Wilson. Significantly, behind Van Eps' guitar solos, there is unison, paraphrase riff played by Teddy on piano and Red on xylophone – very modern

Most indicative of the musically role that Red has played throughout his career, and perhaps the most avant-garde records of his whole career are two included here: Dance Of The Octopus and In A Mist (the classic by Bix Beiderbecke – he recorded it on piano). These two records are the first modern jazz quartet records ever made. There was no drummer, the rhythm section consisting of guitar and bass. The melody instruments are bass clarinet (Benny Goodman) and marimba (Red). The marimba can be said to be the bridge instrument between the xylophone and vibraphone. The quiet impressionism of the quartet sound, and the concept of group expression was then a far cry from the brute Swing of soloists sections and bands of the Swing era. And it was Red who conceived this approach, with Benny Goodman on bass clarinet.

Personnel: Various Red Norvo Combos

8 April, 1933 - Hole In The Wall & Knockin' On Wood

Red Norvo - Xylophone
Jimmy Dorsey - Clarinet
Fulton McGrath - Piano
Dick McDonough - Guitar
Artie Bernstein - Bass

21 November 1933 - In  A Mist & Dance Of The Octopus

Red Norvo - Marimba
Benny Goodman - Bass Clarinet
Dick McDonough - Guitar
Artie Bernstein - Bass

26 September and 4 October 1934 - The Night Is Blue, Old Fashioned Love, I Surrender Dear & Tomboy

Red Norvo - Xylophone 
Jack Jenney - Trombone
Artie Shaw - Clarinet
Charlie Barnet - Tenor Sax
Teddy Wilson - Piano
Bobby Johnson - Guitar
Hank Wayland - Bass
Bill Gussak - Drums

25 January 1935 - Blues In E Flat, Honeysuckle Rose, Bughouse & With All My Heart And Soul

Red Norvo - Xylophone
Jack Jenney - Trombone
Johnny Mince - Clarinet
Chu Berry - Tenor Sax
Teddy Wilson - Piano
George Van Eps - Guitar 
Artie Bernstein - Bass
Gene Krupa - Drums

Blues In E Flat
Honeysuckle Rose
The Night Is Blue
Hole In The Wall
Dance Of The Octopus
In A Mist
Old Fashioned Love
I Surrender, Dear
Knockin' On Wood
With All My Heart And Soul

Two-Beat Bash - Tony Parenti's Aces & Dixieland Rhythm Kings


In The Good Old Summertime

Dirty Bottom Stomp

Two-Beat Bash
Tony Parenti's Aces
Dixieland Rhythm Kings
Jazztone Society J 1273

From the back cover: Tony Parenti's Aces

Two months and two days after, and less than two miles away from the birth of Louis Armstrong, appeared a baby whose parents named him Tony. Originally trained to play legitimate clarinet in a large orchestra, young Tony mastered and has ever since retained the pure, round natural tones of his instrument, a sound by the way, typical of the playing of many New Orleans clarinetists. But at the age of fourteen the jazz bug bit him and he went to work on the riverboats and in the New Orleans clubs. More than a dozen years later, after most of the other top jazz stars had left New Orleans, Tony went to New York where for twenty year he worked in studio and pit bands, seldom blowing much jazz. But then, after the war, he renewed his jazz career, playing at Condon's and Jimmy Ryan's and in all of Gotham's better-known two beat bistros.

Working in the same league with Tony has been Henry "Red" Allen, a huge man with a warm expressive face and a trumpet sound to match. Allen, a true New Orleans veteran, played with the legendary Excelsior Band, with Fate Marable's riverboat outfit, with King Oliver, Luis Russell, Fletcher Henderson and Louis Armstrong. Also a leader of his own well-known group in the early forties. Red has  been one of jazzdom's major but least heralded trumpet influences, with the late Bunny Berigan the most famous of his disciples.

Forty-five years-old, Texas-born Tyree Gleen is the youngest member of the Aces. A veteran of numerous swing bands, including Duke Ellington's, Cab Calloway's Benny Carter's and Don Redman's, his all-round mastery of the trombone permits him to blow almost any style, including the traditional tail-gate horn he plays on ensembles.

Hank Duncan is a familiar sight to two-beat lovers who inhabit the Greenwich Village dixieland spots, and who have heard him play intermission piano at Nick's for many years. His playing similar in many ways to that of Joe Sullivan, has been heard previously on records with New Orleans stars King Oliver and Sidney Bechet.

Bassist Milt Hinton, already familiar to most jazz toners (his most recent appearance was on The Big Challenge with Cootie Wiliams and Rex Stewart), comes from Vicksburg, Mississippi, not too far from New Orleans. His early jazz work centered in Chicago, where he played in a trio with the famed New Orleans drummer, Zuffy Singleton. Later he worked with Basie, Armstrong, Goodman, Jackie Gleason and countless recording groups, and is currently the most sought-after bassist on the New York scene.

George Wettling has styled his drumming after that of his idol, the great New Orleans rhythm man, Baby Dodds. Basically a two-beat man, George has interspersed his appearances with top dixielanders via some lengthy stays in the bands of Artie Shaw, Paul Whiteman, Red Norvo, Bunny Berigan and many others.

Dixieland Rhythm Kings

Contrasting in age and experience with the all-star musicians of Parenti's group are the young, eager, well-integrated Dixieland Rhythm Kings. This is a group of companion youngsters which have been organized, with numerous personnel changes, for about ten years. Unswervingly dedicated to the earliest forms of traditional jazz, these two-beaters have resurrected many of the New Orleans classics and perform them with a vitality reminiscent of the spirit of the early Jazz Greats.

Leader Gene May, who plays a rocking tuba, and trombonist Charlie Sonnanstine, the band's most regular members, have been playing together since they were youngsters. The latter, who also played in Lu Watter's well-known traditional jazz band, blows in the manner of Kid Ory and Turk Murphy.

Trumpeters Carl Helen and Dick Oxtot (the latter gave up his own successful Polecate band to join the Kings) form a spirited two-man team. Clarinetist Bill Napler, associated with Turk Murphy's group on and off through the years, brings back memories of a couple of New Orleans veterans, Omer Simeon and Albert Nicholas. Pianist Eph Resnick (he also plays good trombone, as per his work with Wild Bill Davison on the Singing Trumpets Jazztone record), banjoist Jan Carroll and drummer Ton Hyer complete the group.

Side One

Tony Parenti's Aces

I've Been Working On The Railroad
Frankie And Johnny
Bill Bailey, Won't You Please Come Home
Maryland, My Maryland
In The Good Old Summertime

Side Two

The Dixieland Rhythm Kings

Mama, Don't Low
Sidewalk Blues
Riverside Blues
Buddy's Habits
Over In The Gloryland
Dirty Bottom Stomp
Nobody Knows You When You're Down And Out

Monday, October 25, 2021

Honeymoon In Rio - Carolina Cardoso de Meneses & Orlando Silveria



Honeymoon In Rio
Authentic Brazilian Sambas and Baions
Carolina Cardoso de Meneses & Orland Silveira
Cover Photo of Rio's undeniably impressive Sugar Loaf Mountain, a huge granite cone at the entrance of the city's azure bay, courtesy of Pan-American World Airways
Capitol Records T10038

From the back cover: Carolina Cardoso de Meneses actually picked out melodies on the family piano at 2. As a teenager she became a favorite throughout Brazil broadcasting over Radio Sociedade. Pretty and petite, Carolina later toured Portugal, and today her brilliant piano technique keeps her records constantly among Brazil's best-sellers. She is featured on the sambas in this album.

Accordion virtuoso Orlando Silveria got his start in 1944 playing in Sao Paulo over Radio Difusera at a salary of $40 a month. Now, he is a great Brazilian favorite with his baion orchestra on the "Odeon" record label and via broadcasts over Radio Marink Veiga. He and Carolina were chosen to record for Capitol over scores of other well-regarded Rio artists.

Na Pavuna
Cabeca Inchada
Me Leva Seu Rafael
Cabelos Brancos
Baiao Da Garoa
Atire A Primeira Pedra
Qui Nem Kilo
Com Que Roupa
Asa Branca
E Com Esse Que Eu Vou

Lionel Hampton Apollo Hall Concert 1954


Lover Man

Lionel Hampton Apollo Hall Concert 1954
Lionel Hampton and His Orchestra
Photo: Aram Avakian
Epic LN 3190
A Product of CBS

From the back cover: 'Way back in 1930, the sixteen year old Lionel Hampton attracted attention for his compelling after beat while playing with Louis Armstrong. Since his initial work with Les Hite, Hampton's star has been in the ascendant, and the first great claims came with Benny Goodman turned his famous trio into an even more famous quartet by recruiting Lionel and his vibraphone (between 1930 and 1936, the Hamp made the switch in instruments, to everyone's lasting pleasure). In 1940, Hampton founded his own orchestra, and before long it was one of the most famous in the country. Such top-ranking musicians as Omer Simeon, Chu Berry and Cozy Cole were on the roster, and many others get their start working with this driving band.

"Hamp" himself, however, remains the center of interest, no matter whether he assumes the role of vibraphonist, drummer, two finger pianist, or vocalist. A truly all-round musician. A personality with unbelievable qualities as a rhythm-man, a vibraphone virtuoso of the highest calibre, whose perfect technique not only compels the admiration of both insiders and outsiders, but who also possesses incredible musical gifts. One is struck by this, among other things, the moment he starts improvising, while his style, created in the "swing" era, is timeless – a style as ageless as the hills, with a vigor that is eternal.

In addition to all this, Lionel Hampton has many other qualities. He has no equal as a showman, and he is one of the very, very few who knows that innumerable mass – that completely incalculable entity known as the public – through and through. That, incidentally, is probably the greatest secret of his success.

He toured Europe in 1953, a tour which proved to be the most sensational event of its kind in the annals of music. All pervious attendance records were smashed overnight, and no matter whether he was playing in calmer Scandinavia or in the most temperamental Southern countries , Lionel Hampton had his audiences completely in his power, from the very first to the very last note, and the very first to the very last beat. He began his second European tour on the 28th October 1954, which was even more successful than the previous occasion, when he carried everything before him. Stop for a moment to think of bassist Peter Bradie, whose supple fingers pluck the four-strings with such unerring accuracy, and drummer Wilford Eddleton – next to "Hamp" himself, one of the great driving forces in the orchestra – who, together with Bradie, forms an excellent duo. Then there is veteran "Hamptonist" William Macket on his guitar, the absolute epitome of tranquility, not only one of the greatest rhythmists, but also an inspiring soloist, whose choice of chords too, possesses a unique charm of its own. Next on the list is the versatile alto-saxophonist Robert Plater and pianist Dwike Mitchell, who can only be termed a sensation. You could go on like this, for every single one of the musicians in the orchestra possesses special qualities, many of which defy description. All the same, one always lands up, however, exactly where one started – with the heart and soul of the orchestra, that inexhaustible fountain of energy, band leader Lionel Hampton.

How High The Moon
Lover Man
Midnight Sun
Love Is Here To Stay
The Nearness Of You
Vibe Boogie
Flying Home

Jan Scobey Presents A Tribute To The Immortal Bob Scobey


Birth Of The Blues

Jan Scoby Presents A Tribute To The Immortal Bob Scobey
The Happy Sounds Of Jan Scobey and Her Dixie Cats
Jansco Records - Desplaines, Illinois

From the back cover: Jan Scobey - Leader and vocalist, was born in Chicago Illinois in 1935. Schooled in an orphanage, her main interests were music and home economics. Jan feels her first introduction to show business started in 1955 when she completed her Finishing School Training and began modeling. In 1956 she was one of the Top Models in Kansas City. She started her career in show business as pantomimist on the show TOP TUNE TIME on KCMO, Kansas City. After a thirteen week run, she returned to Chicago and joined the Gaslight Club. A few years later Jan met and married the last and great jazz trumpeter and band leader, Bob Scobey. They were married but a year and a half when she and the world lost one of its truly great artists. While they were married, Jan had continued with vocal training and also managed behind the scenes of Bob's band. After nearly five years of knowing Bob, loving him, and listening to his music she had been driven to strive to bring you the HAPPIEST music she knows. "DIXIELAND" And so she continues on... with her group known as the HAPPY SOUNDS OF JAN SCOBEY AND HER DIXIE CATS.

Also from the back cover: I would like to thank the fine artists who so ably accompanied me on this recording. They each offered a jazz chorus that will get you swinging every time. Edgar "Jug" Berger, clarinetist, has been with the Dixie Cats, almost a year now. "Jug" has played with such famous personalities as Miff Mole, Danny Alvin, Freddie Masters and Georg Brunis. Jimmy Johnson, one of the top bassist in the country is featured on his finder bass in Ain't Misbehavin'. Jimmy was with the Fabulous Treniers some seven years before joining Bob Scobey's band. Jim Beebe on trombone was also a member of Scobey's band for three years and recently enjoyed a long engagement at the Showboat here in Chicago, heading his own jazz band. Dick Oakley you will remember played with the original Salt City Six for four years and has entertained many fans while appearing in Bill Reinhardt's famous Jazz Band. Dick's big sounding trumpet pours out in Doctor Jazz. Bob Cousins, formerly with the Dukes Of Dixieland, Salt City Six and Bobby Hackett is rated as Chicago's finest drummer. His uncanny sense of time and clever techniques are applauded by many jazz buffs. Eddie Higgins, piano, is noted for his fingering agility. This you will hear on the record, however, I suggest you see him in person sometime. His fingers just glide over the keys swinging every time. Eddie Has appeared with the Duke Of Dixieland, and the exciting Dave Remington Band.

Yes, I can't thank my brothers enough fo helping me to fulfill a dream that is now a reality. A Tribute To the Immortal Bob Scobey - Jan Scobey

Rhythm Saved The World
Varsity Drag
Birth Of The Blues
Bill Bailey
Row, Row, Row
Alexader's Ragtime Band
Doctor Jazz
A Good Man Is Hard To Find
Ain't Misbehavin'
Runnin' Wild

Dixieland Jazz Hits - Various - Colortone Records


Surrender Blues

Dixieland Jazz Hits
New High Fidelity Recordings by many of the Greatest Jazz Musicians including Bobby Byrne, Will Bradley, Rex Stewart, Peanuts Hucko and many others
Colortone Records C 33-4938

Side One

Bobby Byrne - Trombone & Leader
Eddie Safranski - Bass
Pee Wee Erwin - Trumpet
Cliff Leaman - Drums
Peanuts Hucko - Clarinet
Billy Maxted - Piano

When The Saints Go Marching In
Way Down In New Orleans
Basin Street Blues
Victory Blues
Jazz Me Blues
Surrender Blues

Side Two

Bobby Byrne, Pee Wee Erwin - Peanuts Hucko, Billy Maxted, Jack Lesberg, Cliff Leaman, Will Bradley, Rex Stewart, Bud Freeman, Bill Stegmeyer, Louis Stein, Trigger Alpert, Eddie Safranski & Paul Kashian

Royal Garden Blues
That's A-Plenty
Back Home Again In Indiana
Struttin' With Some Barbecue 

Sunday, October 24, 2021

Nobody Does It Like Me - Shirley Bassey


You Are The Sunshine Of My Life

No One Does It Like Me
Shirley Bassey
Produced by George Butler
Musical Consultant: Noel Rogers
Arranged and Conducted by *Gene Page & **Nick Perito
Background Soloist: Benard Ighner "Davy"
Strings & Horns Conducted by Arthur Greenslade & Horace Ott
Engineer: Phil Schier, Recording Plant, Los Angeles
Strings & Horns recorded at Advision Studio - Engineer: Marty Rushent and Morgan Studio - Engineer: Roger Quested
London Remix Engineer: Don Hahn, A&R Recording Studio, New York
Mastering at A&R Recording Studio, New York
Mastering Engineer: Al Brown
Art Direction: Bob Cato
Album Design: Rialewerke
Photography: Bert Stern
United Artists Records UA-LA124-G

Leave Little Room*
When You Smile**
All That Love Went To Waste**
I'm Not Anyone*
Morning In Your Eyes*
The Trouble With Hello Is Goodbye**
Nobody Does It Like Me**
I've Nothing Without You**
You Are The Sunshine Of My Life*

Try A Little Tenderness - Frank Sinatra


Ebb Tide

Try A Little Tenderness
Frank Sinatra
Capitol Records Pickwick Series STEREO SPC-3452

My Blue Heaven
Try A Little Tenderness
Stars Fell On Alabama
Moonlight In Vermont
I Can't Get Started
Paper Doll
September Song
It Never Entered My Mind
Ebb Tide
I Can Read Between The Lines

Brass On Ivory - Henry Mancini & Doc Severinsen


Soldier In The Rain

Brass On Ivory
Henry Mancini - Piano Soloist
Doc Severinsen - Fluegelhorn Soloist
Produced by Joe Reisman
Arrangements: Henry Mancini
Recording Engineer: Mickey Crofford
Recorded in RCA's Music Center of the World, Hollywood, California
RCA Victor STEREO LSP-4629

From Billboard - April 22, 1972: Henry Mancini, Doc Severinsen and producer Joe Reisman made a truly beautiful LP. Mancini on piano and and Severinsen on fluegelhorn offer superlative readings of "Brain's Song," "Misty," "Never My Love and "We've Only Just Begun." The title tune, penned by Mr. Mancini, will receive much easy listening airplay as well as "Dreamsville" from "Peter Gunn."

Brass On Ivory
Brain's Song
Willow Weep For Me
Poor Butterfly
Never My Love
We've Only Just Begun
Soldier In The Rain