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Saturday, December 4, 2021

Popular Favorites By Stan Kenton



Popular Favorites By Stan Kenton
Capitol Records T421

September Song
Love For Sale
Jump For Joy
Harlem Nocture

Tangos - Fred Astaire


Fuegoes Artificiales

Prefect For Dancing
Produced and prepared under the direction of the Fred Astaire Dance Studios
Cover Photo by David Hecht
RCA Victor LPM-1068

Blue Tango - Hugo Winterhalter and His Orchestra
Derecho Viejo - Emil Coleman and His Orchestra
La Cumparsita - Emil Coleman and His Orchestra
Cuando Llora La Milonga - Emil Coleman and His Orchestra
Inspiracion - Emil Coleman and His Orchestra
Nostalgia - Emil Coleman and His Orchestra
Ecstasy Tango - The Three Suns
Caminito - Emil Coleman and His Orchestra
A Media Luz - Emil Coleman and His Orchestra
Adios, Muchachos - Emil Coleman and His Orchestra
Contra Luz - Jaun D'Arienzo and His Orchestra
Fuegoes Artificiales - Jaun D'Arienzo and His Orchestra

Bing Sings Whilst Bergman Swings


Nice Work If You Can Get It

Bing Sings Whilst Bergman Swings
Verve Records MGV-2020

From the back cover: By now, more than a quarter of a century has passed since the voice and the face of Harry Lillis "Bing" Crosby eased themselves snugly into the American consciousness. With this voice and face fitting together so agreeably the years have brought Crosby a curious position. He has become, as one critic phrased it, "a member of American royalty." There's a grain of truth in the observation since in our Republic we maintain no royalty  and as a result the more lasting celebrities must serve as crowned heads. In a harrowers sense, however, Crosby is less royalty than he is a kind of jug-eared, mellow-lunged Everyman set to song.

Of the two theories, Crosby himself yields more readily to the latter. In his autobiography, entitled "Call Me Lucky," Crosby expressed it this way: "I think that every man who sees one of my movies or who listens to my records or who hears me on the radio believes firmly that he sings as well as I do, especially when he sings in the bathroom shower. It's no trick for him to believe this because I have none of the mannerisms of a trained singer and I have very little voice. If I've achieved any success as a warbler it's because I've managed to keep the kind of naturalness in my style, my phrasing and my mannerisms which any Joe Doakes possess..."

For All his self-depreciation, Crosby's commoners is an illusion which punctures easily. Imitators of the Crosby sound can be found everywhere but on one yet sounds exactly like him. Joe Doakes – you and me – we have confidence in our bathroom baritones and we imagine we sound like Bing; actually we all sound like Joe Doakes. There is only one Bing Crosby and – the time has come now to face the issue squarely – he happens to be that unique, awesome creature, an artist. That is to say, an artist with no humbling ol' Frog in the Throat, as Billy Rose called him, as many things – genial troubadour, light comedian, glibly learned conferenciar, man about sports, even, in the last decade or so, an actor who can walk off with one Oscar (for "Goin' My Way") and very nearly cop another (for "Country Girl"). The races has been a slow one. Somewhere between the early 1930s (when Bing was singing "Mississippi Mud" with the Rhythm Boys) and the present we began to take this crooner less and less for granted. He does deserve some gratitude for single-handily making the word "crooner" less calculated to peel the skin. But never before, to my knowledge, has Bing Crosby ever won recognition for what he is, an artist. Perhaps we have waited too long.

Still, the word "artist" and Bing Crosby clasp hands only with a suspicious uneasiness. But then, the popular entertainer has been facing this dilemma since Shakespeare's day – when can the popular entertainer claim the mantle of artist" When do we dare cross the bridge? And yet this bridge for popularity with mere talent to popularity with art has been crossed before with no loss to anyone – no loss at all to the entertainer and for the public a gain of deeper awareness and a more profound appreciation of the entertainer's stature. As a parallel to Crosby, in American literature there is the bridge-crossing example of Ring Lardner, who wrote sardonic fables about ballplayers and was immensely popular. Lardner became an artist when the critics, in a flash of awe, suddenly discovered he actually was one – and everybody said then that they knew it all the time. Ring Lardner, Walt Disney, Cantinflas, Fred Astaire, Babe Ruth, Brando – not ordinary men, not merely popular entertainers, but artist.

It may be a little more than coincidence that while Lardner's major influence was Mark Twain, it was Bing's inevitably good fortune to be influenced by Louis Armstrong and Bix Beiderbecke, two of America's more conspicuously vital giants of the trumpet. The coincidence grows more interesting, however, when you remember that the three of them – Mark Twain, Louis, Bix – were all products of the Mississippi River culture, the American heartland. If Larder was, after Twain, the "most American" of our writers the voice of Harry Lillis Crosby is the most American of any singer's. This voice of Bing Crosby reflects America with poignant accuracy to foreigners and Americans alike and one reason might just be the very same Mississippi heartland echoes of Satchmo and Bix (and Mark Twain as well; one imagines Huckleberry Finn on his raft singing and the voice of Bing Crosby floating out over the Mississippi).

Our idolatries, in Whitney Balliett's phase, are often "either presumptuous of too late." There is no presumptuousness in calling Bing Crosby an artist and it is not too late for, after all, haven't we known it all the time?

Now, as for this album, which is Crosby's first on Verve imprint, it is also his first with such a thoroughly modern, swinging orchestra in accompaniment. The songs, moreover, are among those rare few that Bing has never before recorded, Buddy Bregman orchestrated the songs, conducted a hand-picked group of Hollywood's foremost musicians and – most important – conceived the idea in the first place. Although it is quite a musical package – muscular and tender, driving and romantic, pulsating and lyrical. For Bing Crosby, the artist, it is a somewhat different treatment to add to the many already on record and, as you will hear, an ingeniously varied and durable one.

From Billboard - October 20, 1956: This is Bing's first album on Verve, and he draws support from a modern, swinging group of musicians. The package contains a list of great tunes which Bing never recorded before; reason enough to make this attractive to the faithful. Tunes include "Mountain Greenery," "Blue Room," "Have You Met Miss Jones" and other great ones, most dating from the golden age of show music. Bregman orchestrated the songs brightly, and Bing sings them with his casual charm and technical perfection.

The Song Is You
Mountain Greenery
Check To Cheek
'Deed I Do
Heat Wave
The Blue Room
Have You Met Miss Jones?
I've Got Five Dollars
They All Laughed 
Nice Work If You Can Get It
September In The Rain
Jeepers Creepers

Thursday, December 2, 2021

David Rose - In A Mellow Mood - Vol. 1


Melody In F (Fontana)

In A Mellow Mood (from the back cover)
Memories Are Made Of These (disc label title)
David Rose - Vol.1
David Rose and His Orchestra - Side 1
Fontana and His Orchestra - Side 2
Palace M-614

I'll Take Romance
What Is There To Say
One Love
I'll Be Seeing You
Brahm's Lullaby
Melody In F
Chant Sana Parole
Songs My Mother Taught Me
Salut d'Amour
Santa Lucia

Gershwin's Porky And Bess - Leontyne Price & William Warfield


There's A Boat Dat's Leavin' Soon For New York

Great Scenes From Gershwin's Porgy And Bess
Leontyne Price & William Warfield
Conductor: McHenry Boatwright & Skitch Henderson (Skitch Henderson appears through the courtesy of Columbia Records)
Produced by Richard Mohr
RCA Victor Orchestra and Chorus
Chorus Director: Lenoard de Paur
RCA Victor Red Seal STEREO LSC-2679

From the inside cover: Leontyne Price was gaining recognition as a superb interpreter of contemporary music during the months she was winning acclaim as Bess. The producers of Porgy and Bess arranged schedules to allow her to sing a number of recitals both here and abroad. Finally, in May 1954, she left the company and that fall made her formal New York debut.

Her ascent to the pinnacle of her profession was swift and studded with triumphs in the opera houses of San Francisco, Vienna and Chicago, at La Scala, Covent Garden, Salzburg and finally at the Metropolitan Opera where she made her debut in January 1961. The ultimate seal of success was stamped on her meteoric rise when she opened the Met's 1961-62 season as the star of Puccini's The Girl Of The Golden West.

" the rarefied craft of acting with the voice alone, she has few, – if any – equal's wrote a leading magazine.

William Warfield, one of today's great vocal artists, had made a highly successful New York debut, his first tour of Australia, and had been featured as Joe in MGM's Show Boat before starring in Porgy and Bess. His portrayal of the humble cripple was acclaimed in Europe and gain in New York during the 1961 revival. He toured Europe for our State Department again in 1955 as soloist with the Philadelphia Orchestra on its first Continental tour. The following year he made his third such trip – a recital tour through Africa, the Near East and Western Europe. In 1958 concerts took Warfield around the world twice. In between these tours as a cultural emissary, the baritone has won acclaim in countless concerts and recitals throughout the Americas and Europe, as De Lawd in the television production of Green Pastures, and as featured artist in recent Casals Festivals.

John W. Bubbles, or, as he is known to followers of vaudeville, just plain Bubbles, was Gershwin's choice to create the role of Sportin' Life. "Many people questioned my choice of a vaudeville performer for an operatic role," wrote Gershwin, "but on the opening night they cheered Bubbles," A vaudevillian for more than forty years, he is still active in show business, not only on the vaudeville circuit but also as a frequent guest on TV's "Tonight" show.

McHenry Boatwright was eductated at the New England Conservatory, taking first a degree in piano and then returning to take one in voice. Launched by a command performance for President Eisenhower and an appearance on the Ed Sullivan show, the baritone made his concert debut with the Philadelphia Orchestra in 1958. Since then he was won acclaim not only in this country but also in the Far East and in Europe, which he toured for the first time in 1961.

Skitch Henderson is equally at home in any type of music, be it Gershwin, Brucker or boogie-woogie;  be it for records, concert or television. At present Henderson, who is Music Director of NBC, is in charge of music for the "Tonight"show. He also composes a great deal for other television shows and is active as a guest conductor with leading symphony orchestras throughout the United States and Canada, in England and on the Continent.

Leonard de Paur has won wide recognition in music, notably as a conductor and arranger. He is probably best known as the founder-director of the de Paur Infantry Chorus which, during the years 1946-57, gave more than one thousand concerts in the United States, Canada, Europe, South America and the Orient. He is currently at work on a recorded anthology of America Negro folk music and is organizing a tour with the newly formed de Paur Chorus

From Billboard - September 21, 1963: One of the most exciting albums in Victor's fall release. Price and Warfield are at the top of their powers in an intense realization of this history-making Gershwin score. Supporting roles are dramatically portrayed by John W. Bubbles ("Sportin' Life) and McHenry Boatwright (Crown). Skitch Henderson conducts.

Act I
A Woman Is Some Thing
Gone, Gone, Gone

Act II
I Got Plenty Of Nuttin'
Bess, You Is My Woman
It Ain't Necessarily So
What You Want Wid Bess?
I Loves You, Porgy

There's A Boat Dat's Leavin' Soon For New York
Oh Bess, Oh Where's My Bess
Oh Lawn, I'm On My Way

77 Sunset Strip - Warren Barker


Caper At The Coffee House

77 Sunset Strip
Music From This Year's Most Popular New TV Show
Musical Direction: Warren Barker in association with Warner Bros. Star Instrumentalists
Produced by Warner Bros. for the ABC-TV Network
Warner Bros. Records W 1289

77 Sunset Strip
Late At Bailey's Pad
I Get A Kick Out Of You
Cleo's Theme
Caper At The Coffee House
You Took Advantage Of Me
77 Sunset Strip Cha Cha
Kookie's Caper
The Stu Bailey Blues
Lover Night On The Strip
If I Could Be With You
Swingin' On The Strip

Wednesday, December 1, 2021

Piano Moods - Colortone


Valse Oubliee

Piano Mood
16 Of The Best Love Keyboard Treasures
Jeanne Therrien at the Keyboard
Colortone C33-4919

Marche Militaire 
La Cinquantanine
Blue Danube
Dancing Doll
Song Of India
The Minute Waltz
Waltz In C-Sharp
Valse Oubliee
Sonata In C Major
Prelude In G Major
Prelude In A Minor
Prelude In D Minor

The Firehouse Five Story, Vol. 2 - The Firehouse Five Plus Two


St. Louis Blues

The Firehouse Five Plus Two
Good Time Jazz
The Firehouse Five Story, Vol. 2
Cover Illustration & Design: Le Gouillon
Recorded under the supervision of Lester Koenig 
Good Time Jazz Records L-12011

These selections were previously issued by GTJ on ten-inch, long-playing records L-2 & L-6 (1953). They have been remastered and reprocessed in 1955 using latest audio-engineering techniques for improved quality

From the back cover: Not since the Original Dixieland Jazz Band made its startling impact upon the national consciousness in 1917 has there been anything like the Firehouse Five Plus Two. During 1950 their phenomenal success was one of the outstanding events in the popular music world. By the years end the FH5 was a national institution, a household phrase, and quite possibly America's favorite jazz band.

They kept their enthusiasm high through a series of strenuous professional engagements which found them playing for almost every imaginable kind of audience. The year began with a New Year's dance for the Carson City (Nevada) Volunteer Fire Departement. Back in Hollywood, their Monday nights at the Mocambo, on the Sunset Strip, became nationally famous, partly because of the many movie stars (Ginger Rogers, Ann Miller, Lucille Ball, Judy Garland, Barbara Stanwyck, etc.) who danced at their Charleston contests. These Monday nights continued for the better part of the year, with almost everyone in show business coming in to hear them.

Among their first and best friends was Bing Crosby, who had known them from their Beverly Cavern days. Bing invited them to play for his Pebble Beach Golf Tournament in January, and then asked them to his CBS Chesterfield radio program in February. They were responsible for an avalanche of fan mail, and came back for four more guest appearances during the year.

The movie colony took them up, Louella Parsons had them on her Sunday broadcast, they played at swank Ocean House in Santa Monica, and Charlie Farrell's exclusive Racquet Club in Palm Springs. Ed Wynn invited them to be guest on his Camel TV show in April. Through the summer they packed the Mocambo Monday nights; reservations had to be made two weeks in advance. In June and July they did two movies: Republic's Hit Parade of 1951 and MGM's Grounds For Marriage.

In the Fall they repeated their hit performance of the preceding year for Frank Bull & Gene Norman's famous Dixieland Jubilee at the Shrine Auditorium before almost 6,000 cheering fans. In October the National Broadcasting Company flew them to White Sulphur Springs, West Virginia, en route, for a Milton Berle TV show, and a personal appearance on Martin Block's WNEW Make Believe Ballroom.

Christmas Day they appeared on Walt Disney's One Hour in Wonderland over the whole NBC-TV network, and played their version of Jingle Bells, which had been a hit record of the holiday season. TO start 1951 off in their own spectacular way, they became the first jazz band to play in Pasadena's Rose Bowl Parade on New Year's Day before an audience estimated at two and a half million people!

It is difficult to believe they managed to play as often as then did (an average of three times a week), and keep the band a spare-time hobby. Yet, during all this busy year, Ward, Clarke, Ed and Frank were hard at work for Walt Disney, completing Alice In Wonderland. All four had still other interests. Ward expanded his fleet of antique cars with a 1911 Seagrave hook & ladder, and a 1910 Maxwell for use as a Chief's car in parades. His paintings were seen in half a dozen exhibitions. Clarke was busy with his experimental theater work. Frank built a modern house and learned dozens of classic piano rags. Ed wrote a play and continued breeding his champion French Bulldogs.

Harper did art designing for several movies (including The Thing at RKO), painted covers for Colliers and other leading magazines, taught at Los Angeles art school, and began a new career as a movie actor. Monte and Danny, the two professional musicians in the band, were in demand for outside jobs, and found time to venture out into the business world, Monte into real estate and Danny into wholesale photograph record distribution.

In Movie terms, we dissolve" to 1952, and a group of very tired firemen who find it increasingly difficult to maintain the fiction they are performing solely for their own pleasure. After playing a dance concert or night club till 2 a.m., it was pretty tough to be at a desk or drawing table at 8 a.m. They tried to confine their playing to weekends, but their wives and children took a dim view of even that.

One day Frank Thomas sent Ward an inter-office memo: "We are supposed to be playing jazz for fun. When it stops being fun, we ought to stop playing." A band meeting was called and the decision was unanimous: the recording session of May 1952 (at which When You Wore A Tulip, Lonesome Railroad Blues & Runnin' Wild were made) was to be their last public until they felt like playing again. Knowing that, the band really enjoyed the date, and played with remarkable spirit and drive.

On a job, in a club or at a dance, after playing a particularly wild set, Ward used to step panting to the house mike and gasp, "We're gonna take a rest!" Now, with the record session behind them, Ward's announcement that the band was going to "take a rest" for a long time created a sensation in the music business. To the amazement of the booking agency which handled them, Ward flatly turned down job after job.

This was one of the few instances in the history of jazz and popular music where a band as successful as the FH5 refused offers estimated conservatively as in excess of $100,000 because they'd rather have some time to work at their regular jobs, attend PTA and cub scout meetings, go fishing, or catch up on their sleep. During their vacation, whey they were resting, they worked at Disney on Peter Pan, The Lady And The Tramp and Sleeping Beauty. Ward also directed and produced Melody, the 1st Cinemascope cartoon. Harper was busy designing submarines for 20 Thousand Leagues Under The Sea and trains for The Great Locomotive Chase.

But in the Fall of 1953, the old urge to play returned, and so the boys dug out the fireboats. To be sure they kept their amateur standing, they decided to concentrate on entertaining in Army, Navy and Veterans Hospitals. Ward appears on Here's To Veterans, the VA broadcast carried by almost every station in the country. Rehearsals started for a coast-to-coast TV show, and they signed a new long term recording contract with GTJ. During 1954 and 1955 they played when the spirit moved them, usually confining their activities to Friday or Saturday nights. They are still the despair of the professional booking agents, turning down lucrative jobs and accepting those they think might be fun: college and high school dances, fire department parties, the Los Angeles Art Directors' frolic, and the annual Dixieland Jubilee in Los Angeles. And, for the first few weeks after the opening, they played weekends at Disneyland. Now, once again, their lunch hours at the studio are filled with two-beat, and the phone at the Kimball house keeps ringing with offers. The word is out, and the FH5 is off on the latest chapter of their remarkable story.

Also from the back cover:

Frankie & Johnny, St. Louis Blues, Down Where The Sun Goes Down & Copenhagen were recorded at Radio Recorders' Studio B in Hollywood, Calif., July 20, 1950 with Ward Kimball, trombone; Danny Alguire, trumpet; Clarke Mallery, clarinet; Frank Thomas, piano; Harper Goff, banjo; Ed Penner tuba; Monte Mountjoy, drums. Lowell Frank was the recording engineer. The loud scream which starts Frankie & Johnny is Harper's ida of how Johnny sounded when Frankie shot him. On St. Lousi Blues Ward is responsible for that police whistle and cry of "La Rhumba". Sweet Georgia Brown is another in their Charleston series with a vocal in the style of Paul Whiteman's Rhythm Boys of the '20s. Harper does the vo-do-do-de-o stuff, and the off-beat cymbal is struck (and choked) by Ward.

12 Street Rag & Wabash Blues were recorded at RCA Victor's Studio in Hollywood, Calif., Oct. 7, 1950 with the same personnel. Seth Perkins was the recording engineer.

Sobbin' Blues, Sweet Georgia Brown & Lonesome Mama Blues were recorded at Radio Recorders' Studio B in Hollywood, Calif., March 9, 1951 with the same personnel. Val Valentin was the recording engineer.

Firechief Rag, Just A Stomp At Twilight, Who Walks In When I Walk Out were recorded at Capitol Records' Melrose Studio A, June 12, 1951 with the same personnel except Dick Roberts replaced Harper Goff on banjo. Roy Duann was the recording engineer. Frank pumps an old camp-meeting organ on Twilight and the gadget which makes the "marching men" on Who Walks In comes from the Walt Disney Studio's arsenal of sound effects. – Lester Koenig, October 31, 1955

Frankie And Johnny
Sweet Georgia Brown
Sobbin' Blues
Just A Stomp At Twilight 
Down Where The Sun Goes Down
St. Louis Blues
12th Street Rag
Wabash Blues
Firechief Rag
Lonesome Mama Blues
Who Walks In When I Walk Out

Champagne Music For Dancing - Dean Lester


Bubbles In The Wine

Champagne Music For Dancing
Dean Lester
Cover Photography: Ron Vogle
Cover Assembly: Hobco Arts
Crown Records CLP 5088

Bubbles In The Wine
Hey Mr. Banjo
In A Little Spanish Town
This Night For Love
Lichtensteiner Polka
Clarinet Polka
The Poor People Of Paris
Time's Ending Now
La Ronde

Swing You Lovers - Keely Smith


All Or Nothing At All

Swing, You Lovers
Keely Smith
Arranged and Conducted by Gerald Dolin
Dot Records DLP 3265

Swing, You Lovers
I Love To Love
I Love You
If I Could Be With You
Hello, Young Lovers
All Or Nothing At All
All Night Long
Talk To Me
Everybody Loves A Lover
They Say It's Wonderful
At Long Last Love

With You In Mind - Marian McPartland


Black Is The Color

With You In Mind
Marian McPartland
Cover Photo: Ed Cornachio
Recorded in New York City in January and February 1957
Capitol Records T895


Piano: Marian McPartland
Strings: Max Cahn, George Ricci, Arnold Eidur & Isadore Zir
Harp: Margaret Ross
Drums: Bill Britto
Bass: James Johnson & James Campbell (alternating)

From the back cover: To everyone who has been lucky enough to hear Marian McPartland and her trio at New York's Hickory House or at other leading nightclubs, and to the many more who have heard her in three previous Capitol recordings – here is a fresh new album of her unique stylings. Assisting Marian in creating these striking vignettes is her usual ensemble of drums and bass; the added individual coloration in this album is provided by harp and string quartet.

An uninitiated listener might at first mistake Marian's euphonious band of jazz for a rather superior form of background music – but not for long. To catch a bar or two of her superlative piano phrasings is to listen, and to keep on listening, to what is obviously once-in-a-blue-moon music.

From Billboard - October 28, 1957: This package takes Miss McPartland further than ever from the jazz scene as her piano is accompanied by four strings and a harp in addition to the regular rhythm backing. Songs are all of the soft, moody school – "Little Girl Blue," "Black Is the Color," "Love Walked In," etc. – a selection which fits a nice mood groove even tho it doesn't allow for the sharp piano vitality present in earlier sets. As a mood set, however, this can do a moderate share of business.

Love Walked In
I Remember You
Autumn Nocture
Fur Elise
Black Is The Color
This Is New
Little Girl Blue
With You In Mind
After All
A Ship Without A Sail

Tuesday, November 30, 2021

The Searchers No. 4


He's Got No Love

The Searchers No. 4
Produced by Tony Hatch
KAPP KL-1449

You Can't Lie To A Liar
Goodbye My Love
Don't Know Why
Does She Really Care For Me
So Far Away
I'll Be Doggone
Each Time
Til I Met You
I'm Your Loving Man
Be My Baby
Four Strong Winds
He's Got No Love

Trombone Jazz Samba - Bob Brookmeyer


A Felicidade

Trombone Jazz Samba
Bob Brookmeyer / Bossa Nova
Produced by Creed Taylor
Cover Design by John Murello
Cover Photograph by Carl Fischer of Brass Mural at La Fonda Del Sol Restaurant, N.Y.
Recording Engineer: Phil Ramone
Supervisor of Engineering: Val Valentin
Recorded in New York City, August 21 & 23, September 14, 1962 
Verve V-8498


Trombone & Piano: Bob Brookmeyer
Guitar: Jim Hall & Jimmy Raney
Vibes: Gary McFarland
Lating Drums: Willie Bobo
Cabassa: Carmen Costa
Tambourine: Jose Paulo

From the inside cover: Jazz with a "Spanish tinge" has existed from before Jelly Roll Morton up to and beyond Chano Pozo. The current accent of the "bossa nova," however, is unprecedented in terms of the numbers of listeners who have been drawn to this fusion of jazz and Latin idioms. Essentially, the "bossa nova" is an advanced, more subtle, more flowing samba with heightened syncopation and jazz-influence harmonies. The most effective stimulus to its American popularity so far had been the Stan Getz-Charlie Byrd Jazz Samba celebration (Verve V/V6-8432). Now, another distinctively lyrical and melodically resourceful instrumentalist, Bob Brookmeyer, has demonstrated viable and just plain enjoyable the "bossa nova." is.

Samba De Orfeu
Manha De Carnival
Blues Bossa Nova
Qual E O Po
A Felicidade
Mutiny On The Bounty (Main Theme)
Chara Tua Tristeza
Col. Bogey Bossa Nova

Shorty Rogers Meets Tarzan


Tarzanic Suite

Shorty Rogers Meets Tarzan
Music From The Metro-Goldwyn - Mayer Picture "Tarzan, The Ape Man"
Produced by Jesse Kaye
Photograph: Shorty Rogers and Denny Miller, star of M-G-M's "Tarzan, The Ape Man"
Cover Photograph by Garrett-Howard, Inc., Hollywood
Composed and Conducted by Shorty Rogers
MGM E3798


Trumpets: Al Porcino, Buddy Childers, Don Fagerquist & Ollie Mitchell
Trombones: Harry Betts, Frank Rosolino, Bob Enevoldsen & Marshall Cram
Saxes: Bud Shank, Bill Perkins, Bob Cooper, Bill Holman, Chuck Gentry & Bill Hood
Drums: Frank Capp, Modesto Duran, Carlos Rosario, Chico Guerrero & Chach Gonzalez
Piano: Pete Jolly
Bass: Joe Mondragon & Buddy Clark
Leader and Arranger: Shorty Rogers

From the back cover: Hollywood has produced many adventure stories; but this is the first time a film producer – Al Zimbalist – dared to combine the wild, Afro-Cuban music with the Modern School of Jazz and run this type of music through a motion picture. So often, we have been told that Modern Jazz had much of its origination in the jungles of Africa – never has it been so sharply brought out as is Shorty Rogers' music for this jungle picture. The blend of musical excitement with film excitement is quite apparent to anyone who has seen M-G-M's "Tarzan, The Ape Man," Rogers literally "turned himself loose" in order to accomplish his purpose. He had no precedent to go by; nor did he want any. He lived with the picture for two weeks; then, he went to work on the musical arrangements which were to add much to the value of the motion picture. The music, however, has been specially re-recorded for this album in order to retain the complete themes – which, obviously, was not possible to do when filming scenes of various lengths.

Also from the back cover: Short was born Milton M. Rogers on April 14th in Great Barrington, Massachusetts. He began playing trumpet while a freshman at the High School Of Music and Arts in New York City.

He spent six months in Will Bradley's band during 1942, and was with Red Norvo – now his brother-in-law – until he went into the Army in 1943. Upon his discharge, he joined the Woody Herman band and stayed for two years. He then went to California to study music-theory and composition under Dr. Wesley La Violette. This was followed by an engagement with the Stan Kenton Orchestra as arranger, composer and trumpet player. Later, he arranged for such artists a Nat King Cole, Woody Herman, Billy Eckstine, Charlie Barnet and others.

Shorty Rogers has been a leading influence in building the West Coast into a "prestige" jazz center. Today, the thirty-five year old trumpeter is one of the busiest musician-arrangers on the West Coast. His work ranges all the way from the Classics to Jazz and in all fields, including motion pictures and TV.

M-G-M Records is grateful to RCA Victor for their permission to use Shorty Rogers in this album. RCA Victor Studios in Hollywood were used for these recordings.

The Elephants Wail
Los Barbaros
Paradise Found
Los Primitivos
Tarzanic Suite

Rock And Roll - Hen Gates


Back Bone

Rock And Roll
Hen Gates and His Gaters
Cover: Burt Goldblatt
Plymouth Record Corporation R12-144

Hand Clappin'
Look Out
Hold It
The Creep
Jumping' And Shoutin'
Rockin' And Rollin' Hop
Back Bone
Look And Listen
Bunny Rock
Dear Walk

Monday, November 29, 2021

Restoration Singspiration - A. A. Allen


Walk Around Heaven - Gene Martin

Miracle Vally 10th Anniversary Of Miracle Valley
Camp Meeting No. 2
Restoration Singspiration
A.A. Allen Revivals, Inc.

Glory Glory - Gene Martin and Choir
Walk Around Heaven - Gene Martin
This Is The Day - Nancy Harmon Trio
Packing Up - Nancy Harmon, Gene Martin and Choir
I'm On The Lord's Side - David Davis, Richard Page and David Mangum
There's Going To Be A Fire / Blessed Be The Name Of The Lord - Goldie Haynes
Blessed Assurance - Gene Martin

Listening Pleasure - Van Lynn



Listening Pleasuer
Van Lynn and His Orchestra
Cover Model: Piedra Blanca
Photo: Staff
Decca Records Hi-Fi DL 8066

The Deep Blue Sea
Petit Bolero
Tango Of Flowers
Many Times
Crystal Curios
Bahama Buggy Ride
Flame Of Love

Sentimental Journey - Phil Urso & Bob Banks


Blues To Remember Her By

Sentimental Journey
Phil Urso - Tenor Saxophone & Bob Banks - Organ
Mastering: R. Van Gelder
Production: Ozzie Cadena
Regent Records, Inc. Regent MG-6003

From the back cover: Combining the talents of two fine jazz performers, letting them run the gamut of beautiful pop tunes... nay, standard tunes... for several hours and several sessions is an A&R man's ideal. Here we have the ideal result. The wonderful blend of organ and tenor sax in 10 beautiful tunes! Not a Muzak-inspired dull date, but rather the rare combination of jazz and danceable pop that makes great records. Phil Urso has left an indelible stamp on both the world of popular and jazz music that rates him this LP. One of the wailing "Four Brothers" from the Woody Herman 1950 band, Phil is a local Jersey boy who has traveled the circuit from Elliott Lawrence to Woody Herman to Jimmy Dorsey to Birdland and the varying combos of Terry Gibbs, Miles Davis, Oscar Pettiford and Chet Baker. On this set he performs more as a "preacher of pops" than as jazzman. It's like say, Frank Sinatra. Sure he uses jazzman phrasing, sure he can make with changes in the harmonic structure, but when he utilizes only a few of his great powers, and the simplicity of his statements comes through... man that's a rendition!! Same thing here. Both men are well-grounded jazz musicians. Implying their jazz background and utilizing it to enhance melodic treatment rather than distort it, they have created a thing of beauty. Bob Banks is an outstanding pianist, organist and teacher, arranger, composer, leader and accompanist from North Jersey and the New York recording field. Although many of his efforts have appeared under the name "Rhythm and Blues" he is still an outstanding Jazz musician in his own right, besides his other attributes. He has recorded for Savoy Records under his own name with his trio on instrumental hits. Of the 12 tunes heard, only one The Blues, is an original, three are recent pop tunes, and the balance are standards known and loved by American music-lovers for years. Incidental drum accompaniment on several sides is by Red Alcott. – H. Alan Stein

The back cover was apparently not proofed which allowed for the misspelling of "Sax(a)phone" when crediting Phil Urso and the mention of "10 tunes" (which there are) and, later in the copy "12 tunes" including a tune "The Blues" which is a track that does not appear on this set.

Moonlight Serenade
A Woman In Love
11th Hour Melody
Nothing Ever Changes My Love For You
Memories Of  You
They Can't Take That Away From Me
Blue To Remember Her By
My Heart Tells Me
Sentimental Journey

Sunday, November 28, 2021

Golden Horn - Ray Anthony


Golden Horn

Golden Horn
Ray Anthony
Capitol Records T563

From the back cover: Ray has been traveling with dizzying musical speed ever since he began performing professionally. As a youngster with the bands of Al Donahue, Jimmy Dorsey and Glenn Miller, he stacked up enough experience and proficiency to form his own band in the navy. His group toured the wartime Pacific and audiences liked it so well that he decided to form its civilian equivalent – and in 1946 he organized the big bright band he leads today.

Golden Horn
It Ain't Necessarily So
A Trumpeter's Lullaby
Trumpet Sorrento
Taking A Chance On Love
Holiday For Stings
Tango La Paloma
Jeepers Creepers
The Brave Bulls
The Birth Of The Blues

Great Country Gold - Paul Martin


Stop And Smell The Roses

Great Country Gold
Paul Martin
Executive Producers: Shelby S. Singleton, Jr.
Photography: Gayle Allen
Cover Artist: Betty Cherry
Recording Engineer: Leroy Duncan
Recorded at The Singleton Sound Studios - Nashville, Tennessee
Plantation Records STERO PLP-537

Jason's Farm
Easy As Pie
The Cheating Line
I Overlooked An Orchard
Little Band Of Gold
Stop And Smell The Roses
Too Hurt To Fight
She Talked A Lot About Texas
If It Ever Rains Gold
Lead Me Not Into Temptation 
Child Of Poverty
Back Home Again

Crew Cuts Go Long Hair


Mambo And You

Crew Cuts Go Long Hair
Mercury Records MG 20067

Carmen's Boogie
Red Hot Serenade
When When When
Full Set Of Everything
Till The End Of Time
The Urge
Mostly Martha
Tonight Love
I'm Always Chasing Rainbows
Mambo And You
On The Isle Of May

The International Jim Reeves



The International Jim Reeves
Produced by Anita Kerr and Chet Atkins
Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tenessee
Recording Engineer: Tommy Strong
RCA Victor LSP-2704

From the back cover: Twice Jim's transoceanic travel have taken him to Europe. And his position as South Africa's biggest-selling of all recording artists made a two-week visit last year practically a command performance. What's more, the vast English and Dutch population of South Africa so completely took jim to their hearts that his return this year is for the purpose of promoting a motion picture built around him.

After every trip to a foreign land, Jim brings home native songs – South Africa's Afrikaans folk music, the best-loved ballads of Germany and England, favorites of neighboring Canada and exotic Hawaii.

Jim has visited all of the places most of us only dream of. But we can be transported there in a magical, musical way, with the familiar voice that caresses a melody and treats a lyric with such tenderness... the voice of The International Jim Reeves.

Auf Wiederseh'n Sweetheart
The Old Kalahari
(There'll Be Blue Birds Over) The White Cliffs Of Dover
I'm Crying Again
Blue Canadian Rockies
The Hawaiian Wedding Song
Heartbreak In Silhouette
Golden Memories And Silver Tears