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Friday, November 26, 2021

Scobey & Clancy Raid The Juke Box - Bob Scobey & Clancy Hayes


Yellow Dog Blues

Scobey & Clancy Raid The Juke Box
Bob Scobey's Frisco Band
Vocals by Clancy Hayes
Photo and Cover Photo by William Claxton
California Records M-1501


Bob Scobey - Trumpet
Clancy Hayes - Banjo & Vocals
Put Brown - Clarinet
Jack Buck & Doug Skinner - Trombones
Stan Wrightsman - Piano
Bob Short - String Bass & Tuba
Dave Black - Drums

From the back cover: Here in one album is a grand haul from the nation's juke-boxes, the top hits of 1957 played in the easy swinging jazz style which has made Bob Scobey, Frisco Jazz Band one of the name combos in the entertainment world. Clancy Hayes' happy-go-lucky vocals add just the right note to complete a listenable, danceable forty-minute program.

Bye Bye Love
Singing The Blues
Yellow Dog Blues
Round And Round
All Shook Up
Love Letters In The Sand
C.C. Rider
So Rare
Blueberry Hill
Don't Forbid Me

Thursday, November 25, 2021

Refreshing Melodies - Alvino Rey


The Haven Of Rest

Refreshing Melodies
Featuring Alvino Rey of The King Family
At the Console Guitar
With The Ralph Carmichael Orchestra
Sacred LPS-76002

From the back cover: Hardly a Saturday night goes by but what millions of people throughout America are thrilled to the exciting guitar playing  by Alvino Rey of the "Kind Family Show". Playing the console guitar, an instrument he invented and perfected over many years, Alvino is considered one of the world's great guitarists. Besides being a popular recording and studio musician, Alvino is also a respected classical guitarist, having recently spent an entire summer in Spain studying the renowned Andre Segovia.

The King Family is the true American Family. Thirty-seven brothers, sisters, aunts, uncles, and cousins that can sing together, and in tune, makes them especially unique – in any country! Here is a family united by love: lover for God, love for their country, love for their families, and genuine love and concern for their fellowmen. It is not unusual, then, that a family such as this would convey this love to the rest of the world, even on a network television show. Each "King Family Show" features a patriotic or religious song honestly sung with deep sincerity. The lyric of their closing theme: There is beauty all around when there's love at home, couldn't be truer than with the King Family.

A secret device of Alvino Rey was to do a religious recording of hymns and gospel songs that meant much to him, and I imagine, a good many others would agree with his choice! Working closely with his long time friend, Ralph Carmichael and his orchestra, they have united their talents into a beautifully warm and relaxing album guaranteed to be a source of inspiration for many years to come. Alvino's favorites, The Old Rugged Cross, The Haven Of Rest, and The Way Of The Cross Leads Home, will surely be your favorites after one hearing. Relax and listen! I known you'll enjoy it. – Fred Bock

What A Friend We Have In Jesus
Cleanse Me
The Way Of The Cross
Near The Cross
I Love Hime
The Old Rugged Cross
In The Garden
Aloha Oe
My Home Sweet Home
The Haven Of Rest
Now The Day Is Over

Outdoor Songs For Indoor Days - Big Jon Arthur


The E. I. O. Song

Outdoor Songs For Indoor Days
Big John Arthur and The "No School Today" Cast
Vocalion VL 3714
A Product Of Decca Records

The Teddy Bear Picnic
At The Teddy Bear's Birthday Party
The E. I. O. Song
Barnacle Bill The Sailor
The "Who Is It" Song
Litte Red Caboose
I'm Popeye The Sailor Man
Three Little Fishes (Itty Bitty Poo)
I Can't  Spell Schenectady 
The Little Red Fox (N'Ya N'Ya Ya Can't Catch Me)
The Little Train Who Said Ah-Choo
Cincinnati Dancing Pig

Tuesday, November 23, 2021

Give Me You - Roslyn Kind


The Shape Of Things To Come

Give Me You
Roslyn Kind
Arranged and Conducted by Lee Holdridge & *Pete Dino
Produced by Ernie Altschuler and Pierre G. Maheu
Recording Engineers: Jim Crotty, Paul Goodman and John Woram
Recorded in RCA's Studio B, New York City
RCA Stereo LSP-4138

From the back cover: It's rare to find a girl of eighteen who has already made up her mind concerning the shape of her future. It's even rarer that this same girl already possesses, at the very dawn of her career, a talent as fully developed and mature as one would expect of a thoroughly seasoned and experienced professional. Nevertheless, here is such a girl. Her name is Roslyn Kind.

Graduating from high school in June 1968, Roslyn quickly cleared her mind of matters academic to begin a singing career. This album was recorded just two months later and was released in January, coincidental with her first professional appearance – at the hungry i in San Francisco.

Give Me You
The Fool On The Hill
Summer Tree
It You Must Leave My Life
Can I Stop The Rain
It's A Beautiful Day*
Who Am I?
A Modern Day Version Of Love
It Was Only A Dream
I Own The World
The Shape Of Things To Come

The Famous 1938 Carnegie Hall Jazz Concert - Volume II - Benny Goodman


Sing Sing Sing

Benny Goodman Carnegie Hall Jazz Concert
Volume II
Columbia ML 4359


Clarinet: Benny Goodman
Alto Sax: Hymie Scherzte & George Koenig
Tenor Sax: Babe Russin, Arthur Rollini & Buck Clayton
Trumpet: Harry James, Ziggy Elman, Cootie Williams & Gordon Griffin
Trombone: Vernon Brown & Red Ballard
Drums: Gene Krupa
Guitar: Allan Reuss & Freddy Green
Piano: Jess Stacy, Count Basie, Teddy Wilson
Bass: Harry Goodman & Walter Page
Vibraphone: Lionel Hampton
Cornet: Bobby Hacket
Soprano and Alto Sax: Johnny Hodges
Baritone Sax: Harry Carney
Vocal & Trumpet: Martha Tilton

From the back cover: The first intimation I had that there might be such a thing as a concert by Benny Goodman's band in Carnegie Hall came one December afternoon in  1937. I was on a journalistic mission to Gerald Goode, press chief for S. Hurok, when he excused himself to answer the phone. After absorbing the information form the other end, he closed off the mouthpiece and said: "What would he think of a concert by Benny Goodman's band in Carnegie?"

One fact was firmly settled at the outset. The concert would consist of the Goodman band and allied talent only. There would be no special "compositions" for the occasion. The musicians in this kind of music, were the thing, and so it would remain. The regular book built by Fletcher Henderson, Joe Mundy, Edgar Simpson, etc., which had built Goodman's reputation – or vice versa – would suffice. For a little freshness, Henderson was asked to do a couple of standard tunes (Dick Rodgers' Blue Room come in time to be used) and Edgar Sampson – whose Stompin' At The Savoy was a by-word with Goodman fans  – was asked to bring around a few things.

The idea for the historical "Twenty Years Of Jazz" was I am afraid, mine. I apologize for it because it probably caused more trouble in listening to old records and copying off arrangements than it was worth. However, it brought out that family of feeling that all good jazz musicians have for their celebrated predecessors, permitting a backward look at such landmarks of the popular  music field as the Original Dixieland Band, Bix Beiderbecke, Ted Lewis, Louis Armstrong and the perennial Duke Ellington.

With these elements of the program defined, the rest was easy. The trio would have a spot, and then the quartet with Hampton. Nothing could follow this but intermission, and it did. (Goodman as asked the day before: "How long an intermission do you want?" "I dunno," he replied, "How much does Toscanini have?") In the second half, there would be arrangements of tunes by Berlin and Rodgers, some of the recorded specialties of the band – Swingtime In The Rockies, Loch Lomond and a current hit, Bei Mir Best Du Schon, leading to an inescapable conclusion with Sing Sing Sing which had become, by this time, a tradition, a ritual, even an act. I don't suppose that Louis Prima, who wrote the tune, was around Carnegie Hall that night. It is not often that Back or Beethoven are rewarded, in Carnegie Hall, with the hush that settled on the crowded auditorium as Jess Stacy plowed a furrow – wide, deep and distinctive – through five choruses of it.

Well, that was all yesterday. A chilly, January yesterday, which somehow seems warm and inviting because twelve years have passed, along with a war and some shattering upheavals in the world. But it wasn't warm outside Carnegie Hall that night as a picture in a contemporary paper, showing an overcoat, begloved line of prospective standees, attests. Inside, the hall vibrated. Seats had been gone for days, of course, but one of those last minute rushes had set in, when all New York had decided that this was the place it wanted to be on the night of this particular January 16. The boxes were full of important squatters, and a jury-box had been erected on stage to care for the overflow. Tension tightened as the orchestra filed in, and it snapped with applause as Goodman, in tails, strode in, clarinet in hand, bowed, and counted off Don't Be That Way.

Next day, contemplating the diverse reviews, the interested editorial opinions in the Times and Herald-Tribune, someone said to Goodman, "It's too damned bad somebody didn't make a record of this whole thing." He smiled and said: "Somebody did." Incredulously, I heard those "takes" (relayed to the CBS Studios from a single overhead mike from Carnegie Hall) and relived the experience detailed above. Thereafter, one set was destined for the Library of Congress, the other – who knows? Twelves years passed, and the whole thing was but a memory, when the other set turned up in a closet of the Goodman home a few months ago. Daughter Rachel came upon it and asked: "Daddy, what's this?" Daddy took a look, and wisely decided to have it transferred to tape before listening again. So has been preserved, in a representative way, one of the authentic documents in American musical history, a verbatim report in the accents of those who where present, on "The Night of January 16, 1938." – Irving Kolodin

Quartet: I Got Rhythm
Blue Skies
Loch Lomond
Blue Room
Swingtim In The Rockies
Bei Mir Bist Du Schon
Trio: China Bay
Quartet: Stomping' At The Savoy
Quartet: Dizzy Spells
Sing Sing Sing
Encore: Big John's Special 

Heavenly Lover - Teresa Brewer



Heavenly Lover
Teresa Brewer
Orchestra and Chorus Directed by Dick Jacobs
Coral True Fidelity STEREO
Coral CRL 757297
Coral Records, Inc., A Subsidiary of MCA, Inc.

Heavenly Lover
The Rain Falls On Ev'rybody
The One Rose
Saturday Dance
63 Sailors In Grand Central Station
Bye Bye Baby Goodbye
Fair Weather Sweetheart
The Hula Hoop Song
Chain Of Friendship
Pickle Up A Doodle
I Think The World Of You

I Enjoy Being A Girl - Barbara McNair


I Enjoy Being A Girl

I Enjoy Being A Girl
Barbara McNair
Arranged and Conducted by Ralph Carmichael
Produced by Jimmy Hilliard 
Recording Engineer: Lowell Frank
Cover Photo by Tommy Mitchell
Liner Photo by Ken Kim
Warner Bros. W 1541

On The Other Side Of The Tracks
Irman La Douce
The Best Is Yet To Come
The Friendliest Thing
Hi-Lili, Hi-Lo
If I Had A Hammer
On Second Thought 
My Love Is A Wanderer
From Lonesome Me
I'll Build A Stairway To Paradise
If Love Ain't There
I Enjoy Being A Girl

Monday, November 22, 2021

Off Into A Black Thing - Lionel Hampton


Off Into A Black Thing

Off Into A Black Thing
Lionel Hampton
Album Design: N. B. Ward Assoc. - Carl Napoletano
Art Director/Lettering Design: Harve Kossoff
Brunswick Record Corporation BL 7-54213

Off Into A Black Thing
Shut Your Mouth
Funky Chicken
Loving You
I Found Sunshine
One Man Band
For Once In My Life

At The Cinema - Buddy Collette


The Shrike

At The Cinema
Buddy Collette and His Swinging Shepherds
Orchestra Conducted and Directed by Pete Rugolo
Mercury Records MG 20447

From the back cover: In this set of songs and themes from 11 Hollywood Flickers, Collette's "Swinging Shepherds" (Bud Shank, Paul Horn and Harry Klee) combine with the leader to produce by pen assorted flutes one of the freshest albums of movie tunes to come along in a month of cliche-ridden Sundays.

Until the release of Buddy Collette's Swinging Shepherds (Mercury MG 36133), the flute in jazz had generally been unitized in solo context. Then came the Shepherds with their unique arrangements for a quartet of flutes, blowing free and off-the-chart modern jazz as the mood dictated.

In this album, where the instrumentation is of such complexity and variability, it would appear worthwhile to list the different voicings and order the solos. Bassist Red Mitchell is present on all the tracks; piano and drums chores were split between Bill Miller and John T. Williams (on piano) and between Shelly Manne and Earl Palmer (on drums). Jim Hall is on guitar.

Colonel Boget & River Kwai March
The Bad And The Beautiful (Love Is For The Very Young)
The Shrike
I Can't Believe That You're In Love With Me
The Trolley Song
Swinging On A Star

Mann In The Morning - Herbie Mann


Nature Boy

Mann In The Morning
Herbie Mann - Flute & Tenor Sax
Recording by Van Gelder
Photo: Bengt H. Malmquist
Status 7136

From the back cover: The flow of American jazzmen overseas, in the past ten years, has not been an overwhelming tide but there have been enough Yankee visitors to European shores, excepting England, to give many continentals a first hand listen to some of America's most prominent jazzmen.

Sweden, the first foreign country to take to modern jazz wholeheartedly (both its listeners and musicians), has been the scene of numerous visits during the 1947-1957 period. Chubby Jackson's sextet started the invasion in 1947, followed by the Dizzy Gillespie orchestra. In the early Fifties, several package shows, Benny Goodman's small group and individuals like Stan Getz played there. In the summer of 1956, Rolf Ericson, the Swedish trumpeter who worked in the United States for a few years, headed two different sets of American musicians on tours of Sweden and the Jay Jay Johnson quintet, Tony Scott and Herbie Mann all made separate appearances in 1957.

It may be remembered that Prestige was the label which first brought the best of the Swedish jazzmen to the American public. Lars Gullin, Bengt Halberg, Ake Persson, Arne Domnerus, Reinhold Svensson, Putte Wickman and Gosta Theselus were will represented in the Prestige 100 series issued on 10-inch LPs. These records are now out of print and have fallen into the collector's dust-bin realm. In re-issuing items from the 10-inch catalog in 12-inch form, the only Swedish jazzmen that appear are in the Clifford Brown Memorial (7055). There, Gullin, Halberg, Persson and Domnerus are heard in the memorable session that they made with Brown and Art Farmer when the two trumpeters visited Stockholm as members of Lionel Hampton' band in 1953.

Although Tommy Flanagan Trio Overseas (7134) was recorded in Stockholm during the Jay Jay Johnson group's stay in 1957, no Sweden musicians are included. Since Herbie Mann went to Sweden as a soloist, it follows that any recording he did was in the company of the local jazzmen. That he was happy not only with Sweden but also its musicians was strongly verbalized by Herb upon his return to the States. He told of the favorable general atmosphere, created by friendliness, warmth and respect, that a jazz musician enters. He had words of praise for the playing of Hallberg, Persson and baritonist Lennart Johnson. The latter two are heard with him in this album. - Ira Gitler

From Billboard - June 9, 1958: Mann is featured on flute and tenor sax with three European groups in this set. It's a nicely balanced set with a fair share of ballads and swingers. Mann has several fairly recent packages on the market, and unknown names that support him in this outing may prove a sales handicap. Artistically, this is among his best efforts. Tunes include "Nature Boy," "Polka Dots and Moonbeams" and "Ow!"

Cherry Point
Hurry Burry
Adam's Theme
Early Morning Blues
Nature Boy
Polka Dots And Moonbeams
I Can't Believe That You're In Love With Me
Song For Ruth