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Friday, January 14, 2022

Just Arrived! - The Pilgrims


He Was My Brother

Just Arrived!
The Pilgrims
An Exciting New Group On The Folk Scene 
Produced by Tom Wilson
Musical Director: Jeff Chase
Cover Photo: Henry Parker
Columbia Special Products
Special Archives Series 
CSRP 9033

From the back cover: Who are The Pilgrims? Where are they from? What have they done? The Pilgrims consist of Angeline Butler, soprano, Robert Guillaume, tenor, and Millard Williams, baritone.

Angeline Butler is the oldest daughter in a family of six girls. Her father is a "backwoods country" minister in East Over, S.C., where Miss Butler was raised. Angeline was graduated from Fisk University in Nashville and continued her studies at the Juilliard School of Music on a two-year scholarship.

She has been active on the civil rights movement for several years and was one of the first to demonstrate in Southern sit-down protests. Miss Butler has appeared on several important nationally televised news programs concerned with "the Movement." The past year she has appeared as a soloist with the Buster Davis Singers on the "Bell Telephone Hour."

Robert Guillaume is from St. Louis, Mo., and was graduated from St. Louis University. He joined the well-known Daramu Players in Cleveland and performed in musical comedies and opera. He toured the world in 1959 as a cast member of the Broadway musical "Free And Easy."

A year later he starred in Langston Hughes' "Tambourines To Glory." He has been featured in "Fly The Blackbird," "Dwamina," and in Katherine Dunham's "Bambouche." In May 1964, he portrayed the choice role of Sportin' Life in a revival of Gershwin's Porgy And Bess" at New York's City Center. He has been a member of the Robert de Cormier Singers and has performed with them in concerts and on television. He has soloed on the "Tonight" Show.

Millard Williams is a native of Bermuda, where he was reared and was a student of the violin. He attended the Royal Conservatory of Music in Toronto, Canada. Upon graduation he appeared on CBC radio shows and at the Canadian National Exhibition, an outdoor theater. He toured the United States and Canada as a member of the Leonard de Paur Infantry Chorus.

The Martha Baird Rockefeller Scholarship afforded him the opportunity to study music in Europe. He subsequently became a member of England's Birmingham Repertory Company, a legitimate theater group. He has had his own radio show featuring his own vocal quartet on the BBC in London.

Since his return to the United States he has soloed at Carnegie Hall and at Town Hall, and has performed frequently in City Center musicals. For the past two years he has been a member of the Metropolitan Opera Studio and of the Metropolitan's chorus. – Linda Solomon

From Billboard - November 7, 1964: Mark the Pilgrims as a folk group to watch. In a field already overcrowded, this young trio brings a fresh style to their work even though it's rooted in the old-fashion singing tradition. The songs are attractively arranged and run the gamut from gospel that's stepped with traditional religious feeling to topical material of the civil rights nature. With proper push and exposure The Pilgrims should go far.

Sunbeams In The Morning
He Was My Brother
In Tarrytown
Plenty Of Good Room
Honey Bee
Four Strong Winds
Don't You Wanna Hear
Three Little Worms
Cotton Fields 
Two Little Birds
Weep Mary, Weep
Erev Shel Shoshanim
Get Right Church 
Three Wise Men, Wise Men Three

Hello Young Lovers - Richard Maltby


You And The Night And The Music

Hello Young Lovers
Richard Maltby and His Orchestra
Special Archives Series
Columbia Special Products
Columbia Records CSRP 8151

From the back cover: The youngest of Mr. Maltby's five boys received his indoctrination into the underworld night life as a member of Fritz Miller's dance band when he was 16. His introduction to music-making came much earlier. Dick received his first taste of being a band-leader at the age of ten when he tooted a Montgomery Ward cornet in the grade school orchestra at Crandon School in the Chicago suburb of Evanston. (He "led" the orchestra in marching out of school at noon.) By the time he'd reached eighth grade, he'd written his first arrangement: a glorious bit of three-part harmony for saxophones on that all time hit, I Love You Truly. Then came the high school years when the Maltby living room was transformed into a regular after-school rehearsal hall for Dick's own five-piece ensemble. Then came Fritz Miller, a period at Chicago's Royal Frolica Club and then Dick packed his wife, baby son and dog into the family's Model A Ford to start touring the country as a trumpeter with Little Jack Little.

In the years since he barnstormed the country playing for dancers under the baton of Little Jack Little, Dick Maltby has covered every phase of the conducting-arranging business there is to cover. As staff arranger at WBBM in Chicago, he wrote everything from background music for dramatic shows to fanfares for commercials. In his spare time, he squeezed in extra-curricular compositions such as the big Benny Goodman classic, Six Flats Unfurnished, not to mention special clarinet-and-symphony arrangements used in concert appearances by both Goodman and Artie Shaw. Transferring his base of musical operations to New York in 1945, he started his own musical series on radio while, in a multitude of record sessions, he provided the orchestral backing for a dozen or so of the nation's top vocalists. (One noteworthy example: Sarah Vaughan's memorable It's Magic.) There were jazz transcriptions, the best-selling St. Louis Blues Mambo and then an attack of homesickness for the music of his barnstorming-at-dances days. Says Dick: "There seemed suddenly to be a revival of interest in young people for dancing and I wanted to be a part of it." The success of Maltby's dance albums resulted in so many requests to see the band in action that in 1955, Dick organized a traveling band and hit the road again. He's been at it ever since.

There've been some changes since the days when Dick played his first college dates with Little Jack Little. The traveling Maltby group tours via station wagons, sedans and a huge truck-van for wardrobe, library, instruments, etc. The baby who barnstormed in the Model A is now a Senior at Yale. But there are some things which haven't changed. Mrs. Maltby still troupes with her husband when he takes to the road; the college kids still love to dance; and Dick Maltby still loves to play for them.

There Will Never Be Another You
You And The Night And The Music
Fools Rush In
The Touch Of Your Lips
It's A Pity To Say Goodnight
A Lovely Way To Spend An Evening
Hello, Young Lovers
Let's Fall In Love
The Night Is Young And You're So Beautiful
You Are My Lucky Star
I'll Get By
Stay As Sweet As You Are

Invitation - Art Van Damme & The Singers Unlimited


We Could Be Flying

Art Van Damme & The Singers Unlimited
Produced by Hans Georg Brunner-Schwer
Vocal Arrangements: Gene Puerling
Instrumental Arrangements: Les Hooper (except "Ecstasy" by H. Jones)
Recorded June '73 at MPS-Studio, Villingen
Recorded and mixed by H. G. Brunner-Schwer assistance Willi Fruth
Cover Design: Heinz Bahr
Front Cover Photos: H. Bahr
Back Cover Photos: Hans Harzheim, Peter Shelton


The Singers Unlimited

Gene Puerling
Don Shelton
Len Dresslar
Bonnie Herman

The Art Van Damme Quintet

Art Van Damme - Accordion
Sigi Schwab - Guitar
Heribert Thusek - Vibes
Eberhard Weber - Bass
Charly Antolini - Drums

Spring Is Here
But Beautiful
We Could Be Flying
Violets For Your Furs
Let There Be Love
My One And Only Love
Good Bye

Dilo (Ugh!) - Perez Prado


Monitor Mambo

Dilo (Ugh!)
Perez Prado and His Orchestra
Produced by Herman Diaz, Jr.
RCA Victor LPM-1883

From the back cover: Perez Prado waves the only vocal baton in music.

The urgent, bellicose grunts that appear like punctuation marks in all Prado performances are no haphazard outbursts. These grunts are Prado conducting his orchestra in his own unique and fantastically effective way.

To the uninitiated ear, the Cuban bandleader seems to be roaring out, "Ugh!" But actually he is saying "Dilo!" – a Spanish word meaning "Say it!" or, in the context in which Prado uses it, "Give out!"

So, with his guttural cry of "Dilo!", he urges the brass section to "Give out!", he coaxes the saxophones to "Say it!" and he exhorts a trumpet soloist to make his horn rise and shine.

But Prado's "Dilo!" is more than a conductor's tool. In Prado's throat, it becomes a part of the number. It provides accents, it produces a shock that bursts a pool of calmness, and it sets the emotional tone that is an extremely important element in the excitement of Prado's music. No other conductor but Toscanini has been as forceful and inseparable a part of the music produced by the men under him as Prado.

Not the least intriguing aspect of Prado's musical war cry is how he manages to make "Dilo!" sound like "Ugh!" The exact technique is his own secret, but it would appear to the analytic ear that he accomplishes the transition by removing the vowels and the consonants from the word before exhaling.

But whether it comes out "Ugh!", "Dilo!" or "Say it!", his men know that it means "Give out!" And because they respond by giving out with all they've got, they produce the exhilarating, pulse-quickening music that is always expected from the ebullient Perez Prado – Watson Wylie

Why Wait
A Lo Loco
Cuban Rock
Lonely (No Se Que Hacer)
Leyenda Mexicana (Legend Of Mexico)
Pampa (Adios Pampa Mia)
Cose Cose Cose
Monitor Mambo
Pretty Doll
Back Bay Shuffle

Country And Eastern - Ed Henry


Bomb The Moon

Country And Eastern
Ed Henry
Produced by Ed Labunsky
Cover Photo: Frank Lerner
Cover Design: Michael Mendel
Epic Records LN 24249

From the back cover: Take one young man, 29 years of age, brought up in Cincinnati. His father is a well-known serious composer. His mother is a painter.

Give the young man a background of various jobs while growing up such as: pin boy, disc jacket (glad to see he went straight); singing wrangler in Bandera, Texas; elevator operator (in common with Roger Miller); newspaper boy; on a construction crew; advertising copywriter (glad to see he went straight); credit investigator; nightclub comic. Furthermore, his credits include writing a musical at 18, and while in college writing serious poetry for the literary magazine, while at the same time managing a few singers. Recently on a television quiz program called "I Guess" he walked away with over $4,200. He has written industrial shows for such major companies as General Electric, B.F. Goodrich, Lipton Tea and Quaker Oats, plus music and lyrics for many well-known singing commercials. – Chris Lane, WJJD, Chicago.

From Billboard - June 17, 1967: Ed Henry is a country boy but he's no rube. He know what the score is and he tells it in his own songs with a wry approach that blends laughter and truth. There's a lot of Roger Miller in Henry but enough of his own identity comes through to give this newcomer a chance for a big score.

That's When I Guessed
Was Your Wife With Another Man Last Night
Mr. Sincere
Cigarette Ashes
Happy Misery
It It's For Me, I'm Not Here
Mother Of Pearl
The Ties That Bind
Bomb The Moon
Memories Don't Mean That Much To Me

Thursday, January 13, 2022

Wave - Antonio Carlos Jobim



Antonio Carlos Jobim
Produced by Creed Taylor
Cover Photographs by Pete Turner
Album Design by Sam Antupit
Recored at Van Gelder Studios
Engineer: Rudy Van Gelder
Recorded May 22, 23, 24 and June 15, 1967
A&M Records CTI 


Claus Ogerman

Bernard Elchen
Lewis Eley
Paul Gershman
Emanuel Green
Louis Haber
Julius Held
Leo Kruczek
Harry Lookofsky
Joseph Malignaggi
Gene Orloff
Raoul Poliakin
Irving Spice
Louis Stone

Abe Kessler
Charles McCracken
George Ricci
Harvey Shaprio

Ron Carter

Domum Romao
Bobby Rosengarden
Claudio Ston

French Horn:
Joseph Singer

Flutes & Piccolo:
Ray Beckenstein
Romeo Penque
Jerome Richardson

Urbie Green
Jimmy Cleveland

Piano & Guitar & Harpsichord:
Antonio Carlos Jobim

From the inside cover: Jobim's music is basically an offshoot of traditional Brazilian forms and its introduction to this country has produced popular hits as well as some imposingly successful jazz albums. On this LP, Jobim plays piano or guitar on all numbers except Antiqua, on which he plays harpsichord for the first time on records. His one vocal – Lamento – is in Portuguese and is characterized by a unique and plaintive lyrical quality. Incidentally, Jobim wrote Lamento with Vinicius de Moraes, who is considered, with Jobim, the co-founder of Bossa Nova.

The inspiration for these songs comes from everyday life (The Red Blouse, Dialogo, for example) and, with one exception, the songs are all Brazil-oriented. The exception is Mojave, a number spawned when Jobim had his first view of our Mojave Desert.

Claus Ogerman is a personal and professional friend of Jobim's. Among the musicians Ogerman leads Domum Romao and Claudio Slon, two of Brazil's best young drummers; Ron Carter, Miles Davis's bassist; and Bobby Rosengarden, whose percussion displays on the Tonight Show have brought him considerable renown. The two trombonists are Jimmy Cleveland and Urbie Green; Green's solos are heard on almost every track. The orchestration is diverse and imaginative – Dialogo, for example, is a duet between Green's trombone and Romeo Penque's bass flute. And one must single out again the percussionists for their aptitude and experience. Claudio Slon, the driving force in this album, has worked with Walter Wanderley, who recorded Summer Samba; Domum Romao with with Astrid Gilberto; Bobby Rosengarden, though North American, has made the percussion aspect of Brazilian music a personal hobby and has become one of this country's leading authorities on it.

I find Jobim's treatment of his material inventive and almost incredibly versatile. Robert Benchley once said of Larry Hart's lyrics that there were unmistakeable signs that Hart had given the matter some thought. Jobim has given what you hear an awful lot of thought. – George Frazier IV

The Red Blouse
Look To The Sky
Captain Bacardi

Mimi Warren "Pop" The Classics


Frenetic Frederic

Mimi Warren "Pops" The Classics
Cover Art: Burt Goldblatt
Jubilee Records LP-1018

From the back cover: Mimi Warren, beautiful and talented pianist, was born in New York City and began studying the piano as a child. She displayed such remarkable ability that she was awarded a scholarship and fellowship to the famed Juilliard School of Music, majoring in the classics. Because of her outstanding talent as a scholar, she was asked to join the faculty after graduation. In addition to her teaching chores at the school, Mimi decided to try her hand at playing professionally and accepted an engagement at the Mermaid Room of New York's Park Sheraton Hotel. It was there that she got the idea of swinging the classics and after a supposed two-week engagement that stretched out to two years, the owners suggested that she form her own trio. Mimi took the suggestion and after resigning from her teaching job at Juilliard, she returned to the Mermaid Room with a truly outstanding trio. 

Mimi kept her original idea of swinging the classics and it went over even bigger than before.

The Mimi Warren Trio have gone on to playing the finest hotels, supper clubs and niteries throughout the country.

On these sides Mimi has more than capable backing with Abie Baker on bass and Bob Livingston on drums. Abie Baker goes back to the early days of Blanche Calloway, Claude Hopkins and Osie Alston at New York's famed Roseland Ballroom. He also arranged extensively for Al Donahue, Ted Lewis and Raymond Scott. Bob Livingston worked with the usual complement of name bands but gets his biggest kicks being the percussion section of the Mimi Warren Trio.

From Billboard - January 28, 1956: Mimi Warren, who has worked extensively in clubs and niteries offering her pop versions of the classics, has put a selection of them on wax. Altho this type of rep doesn't seem to offer the greatest chance to show off piano-wise, the musical parodies will no doubt have an appeal. Grieg, Chopin, Liszt, Schubert, Schumann and Rachmaninoff are some of the greats whose work get a modernizing treatment here.

Rhumba Concerto
Frenetic Frederic
Marching Thru Schubert
Falling Star
Minuet In Swing
Rhumba Hungarian
Blue Moonlight
Cha Cha Guitar
Turkish Jubilee
Prelude Penseroso
Merengue Anitra
Dixie Doodles
Levelin' With Schumann

Ernest Tubb's Golden Favorites


I'll Get Along Somehow

Ernest Tubb's Golden Favorites
Ernest Tubb and His Texas Troubadours 
Decca Records DL 74118

I'll Get Along Somehow
Slipping Around
Filipino Baby
When The World Has Turned You Down
Have You Ever Been Lonely (Have You Ever Been Blue)
There's A Little Bit Of Everything In Texas
Walking The Floor Over You
Driftwood On The River
There's Nothing More To Say
Rainbow At Midnight
I'll Always Be Glad To Take You Back
Let's Say Goodbye Like We Said Hello (In A Friendly Sort Of Way)

Swinging With Her Nibs - Georgia Gibbs


Lonesome Road

Swinging With Her Nibs
Georgia Gibbs
Arranger & Conductor: Glen Osser
Mercury Records MG 20170


Piano: Buddy Weed
Guitar: Tony Mottola
Drums: Jimmie Crawford
Bass: Arnold Fishkind

From Billboard - November 24, 1956: Thrush sings a dozen standards in her own particular style for great sound value. Backing by such swingsters as Glenn Osser, Brady Weed, Tony Mottola, Jimmie Crawford and Arnold Fishkind adds zest to a top performance. This is a package that's bound to please Her Nibs' fans and stores should note it accordingly. Practically any band is good for a jock spin.

Deed I Do
I Get A Kick Out Of You
Let's Do It
The One I Love Belongs To Somebody Else
One For My Baby
On The Sunny Side Of The Street
Comes Love
Happiness Is A Thing Called Joe
You've Got To See Mama Ev'ry Night
Lonesome Road
I Got It Bad And That Ain't Good
Wrap You Troubles In Dreams

Wednesday, January 12, 2022

Themes For The "In" Crowd - Percy Faith



Themes For The "In" Crowd
Percy Faith and His Orchestra
Produced by Edward L. Kleban
Cover Photo: Hank Parker/MG from J. S. Inskip, Inc. N.Y., N.Y.
Columbia Records CS 9241

The "In"Crowd
Are You There (With Another Girl)
Let's Hang On
Make It Easy On Yourself
You've Got To Hide Your Love Away
A Lover's Concerto
Here It Comes Again
Thunderball (form "Thunderball")
Everyone's Gone To The Moon
See You Around

Murder Inc. - Irving Joseph


Crime Wave

Murder Inc.
Composed and Conducted by Irving Joseph
Artist & Repertoire: Bob Shad
Original Recording Engineers: John Cue & Earle Brown
Mastering: Victor Brainard
Liner Notes: Saul Kessler
Album Coordination: Arpena Spargo
Album Design: Murray Stein
Record April 8, 1960
Time Series 2000 S/2002


Murder Inc., The Contract, Stool Pigeon, Bad Day In Brooklyn, State's Evidence and Third Degree

Saul Schlinger - Baritone Sax
Phil Bodner - Alto Sax, Clarinet & Alto Flute
Lou Mucci - Trumpet
Tommy Mitchell - Bass Trombone
Dick Hixon - Bass Trombone
Moe Wechsler - Piano
George Duvivier - Piano
Osie Johnson - Drums
Art Ryerson & Barry Galbraith - Guitar
Eddie Costa & George Devens - Percussion

April In Brownsville, Prison Break, Double Cross, Crime Wave, The Big Six and We The Jury

Danny Banks, Baritone Sax
Phil Bodner - Alto Sax, Clarinet & Alto Flute
Jimmy Maxwell - Trumpet
Tommy Mitchell & Dick Hixon - Bass Trombone
Bernie Leighton - Piano
Milt Hinton - Bass
Osie Johnson - Drums
Art Ryerson  & Bucky Pizzarelli - Guitar
Eddie Costa & Phil Kraus - Percussion

Prison Break
State's Evidence 
Third Degree
The Contract
We The Jury
Crime Wave
Stool Pigeon
Bad Day In Brooklyn
Murder Inc.
The Big Six
Double Cross
April In Brownsville

A GalleryOf Gershwin - The First Modern Piano Quartet

Our Love Is Here To Stay

A Gallery Of Gershwin
The First Modern Piano Quartet
Dick Marx, Eddie Costa, Hank Jones & Johnny Costa
Manny Albam and His Orchestra
Coral Records CLR 59102

From the inside jacket: To Coral Records; the arrangers and conductors, Manny Albam (for the ensemble) and Irving Joseph (for the quartet); and the pianist, Dick Marx, Eddie Costa, Hank Jones and Johnny Costa, it became evident that what had to be attempted was a fusion of a number of elements, each of them strikingly sufficient to begin with: Gershwin's superb feeling for melody allied with his equally strong understanding of jazz, the blues and folk music; his concert-orchestral approach and his inclination toward the musical-comedy theatre; his continual search for more modern forms of his natural tendency to express them initially in terms of the piano.

No literature existed for four jazz pianos, none certainly for a quartet with a modern orientation. (The First Piano Quartet had played classical, semi-classical and some popular selections – the latter not in a jazz vein, and without orchestration – but that was all.) Half a dozen arrangers insisted that none could be written; even Albam and Joseph were at first reluctant to essay it and then intrigued by the challenge presented to them. Two of the principal problems were the writing of piano parts that would enable the listener to differentiate among the soloists and the selection of soloists whose playing, like that of a string quartet, would be complementary – one man's and another's. Thus, there was kept in mind Dick Marx's lyrical strain, Eddie Costa's bent toward rhythmic figures in the lower registers; Hank Jones' delicate, single-finger style, and Johnny Costa's way with the heavier counter-melodies. As in a chamber group, endless combinations and permutations were devised. The choosing of the songs then became a matter of each man's preferences – those of Albam and Joseph; those of Costas, Marx and Jones.

Albam orchestrated them in a group comprised of the piano quartet surrounded by sixteen strings (violins, violas and cellos), four trumpets, two trombones, two alto and two tenor saxophones alternating on clarinet, and rhythm section of drums, bass and guitar. The result is "A Gallery Of Gershwin." The sense of it is the same that made the novelist John O'Hara say, on Gershwin's death in 1937, "George Gershwin died on July 11, but I don't have to believe it if I don't want to." – Gilbert Millstein.

From Billboard - October 20, 1958: Tho this is not really jazz in the free sense of the word it is nevertheless mighty creamy stuff. The soloists who comprise the quartet are Dick Marx, Eddie Costa, Hank Jones and Johnny Costa. Each has a chance at what might be called disciplined improvising over the big orchestra backing on a flock of great Gershwin items. Stereo-wise the separation element is not played. It's simply a good, big, round sound and it makes for rewarding 3-D listening.

Fascinatin' Rhythm
Love Walked In
Clap Yo' Hands
The Man I Love
Someone To Watch Over Me
Liza, Liza
Bes You Is My Woman
Our Love Is Here To Stay
Somebody Loves You

Tuesday, January 11, 2022

Barrel House Piano - Meade Lux Lewis


Fast "A" Blues

Barrel House Piano
Meade "Lux" Lewis
Tops L1533

From the back cover: The strong influence of Barrelhouse Piano on popular music supports the contention that it is a pure form in jazz – an American idiom. The best Barrelhouse players and Meade Lux Lewis has always ranked high among them, have much to say through their pianos. Their music is honest and forthright, without equivocation or sophistication. It is a means of expression and interwoven with the rhythm and melody to perceive a real and plaintive urgency.

Meade Lux Lewis is an expert ivory-tickler whose rapid fingers, sure from thousands of hours of playing from a sitting or standing position under the most adverse conditions, is said to have worn out 14 uprights in his lifetime, and actually had one of them collapse under him as he played.

In years past Barrelhouse players operated principally in saloons and honky-tonks, pianos were seldom the best, and invariably out of tune for the style of playing was vigorous, calling for all a man's energy. No piano played day after day in that manner could possibly stay in tune. Customers and admires would often sit on the piano through the small hours of the smoky night, and frequently drinks were inadvertently spilled into the action.

This, then was the climate of the Barrelhouse piano player when Meade Lux Lewis came on the scene. He was born in Louisville, Kentucky in 1905. From the beginning, it seems, music was as much part of him as the air he created. You might as well have deprived him of food and drink as to shut him out of melody and rhythm. Jimmie Yantey in Chicago served as his inspiration in becoming a night club pianist. Deserved recognition was not overlong in coming. Meade steadily gathered about him a coterie of enthralled devotees who regarded him as the most.

The old Paramount cable realizing that here was a positive find asked him to record Honky Tonk Train Blues. Its success was immediate and tremendous. It brought him national recognition. His career has been a most exciting and varied one, including, together with Albert Ammons and Pete Johnson many appearances at New York's Cafe Society and the mecca of music itself, Carnegie Hall.

Six Wheel Chaser
How Long Blues
Someday Sweetheart
Bugle Call Rag
I Ain't Gonna Give Nobody None Of My Jelly Roll
Darktown Strutters Ball
Birth Of The Blues
Tidal Boogie
Mardi Gras Drag
Tisho Mingo Blues
Basin Street Blues
Fast "A" Blues
12th Street Rag
St. Louis Blues

I Can't Resist You - Anna Maria Alberghetti


I Can't Resist You
Anna Maria Alberghetti
Capitol Records T 887

From the back cover: Anna Maria's proven ability to entrance critics and public alike is quite a feat. But then, Miss Alberghetti has never failed to amaze audiences. Born in Italy of an intensely musical family, she had crowds cheering her rendition of the difficult "Caro Nome" from Rigoletto when she was only six. At the ripe old age of 13, Anna Maria had sung in leading music halls all over Europe.

In the 1950s she made her American debut at Carnegie Hall, where her coloratura soprano rated rave reviews. A performance on Ed Sullivan's show was the first of many TV appearances for Miss Alberghetti. Soon she was on her way to Hollywood and roles in such films as Here Comes The Groom and The Stars Are Singing. More recently, she co-starred with Dean Martin in MGM's Ten Thousand Bedrooms.

For this album, Anna Maria has the backing of arranger-conductor Van Alexander, whose work for Gordon MacRae and many other singing stars has won him a top name in the recording field. Here, his sensuous arrangements provide a distinctive background that serves to accentuate the irresistible quality of her voice.

Anna Maria Alberghetti is now 21 years old – and a strinking beauty. The distinctive style in this album doesn't represent a "new" Alberghetti – rather, here is a new facet of a very mature and accomplished performer.

I'm Glad There Is You
They Didn't Believe Me
I Only Have Eyes For You
My One And Only Love
I Can't Resist You
I've Got A Crush On You
I Concentrate On You
Don't Blame Me
With Every Breath I Take
Too Young
I'll See You In My Dreams

The Garbage Collector In Beverly Hills - Irving Taylor

German Car Designers

The Garbage Collector In Beverly Hills
And Other Work Songs For The Odd Job Holder
Composed and Produced by Irving Taylor
Orchestra Conducted by Billy Liebert and Carl Brandt
Cover Photo: Hal Adams
Warner Bros. Records B 1254

The Garbage Collector In Beverly Hills
Hawaiian Worm Raiser
Marriage Counselor In A Turkish Harem
Russian TV Performer
Cab Driver In Venice
Prison Interior Decorator
Honest John Henry
Postman In Paree
Rock And Roll Vocal Coach
Department Store Santa Claus
Cop In A Nudist Colony
German Car Designers

Parts Of Love - Judy Lynn


Angel Of The Morning

Parts Of Love
Judy Lynn
Produced by Jerry Synder
Engineer: Gary Ulmer
Recorded at M.R.I. Studios, Hollywood California
Mastering by Arnie Acosta, Mastering Lab, Hollywood, California
Art Design by Studio Five, Inc.
Supervision by Kenny Myers
Amaret STEREO ST5011

Married To A Memory
The Closest I Ever Came
Angel Of The Morning
I'm His Old Lady
So Natural Is My Love
When The Love Starts To Come
Just To Be Kind
Parts Of Love
1927 Kansas City
Sparrow And The Hawk
Elusive Butterfly

Sunday, January 9, 2022

Our Language Of Love - Wayne King



Our Language Of Love
The Romantic Dance Music Of Wayne King
His Saxophone and His Orchestra
Arrangements by Wayne Robinson
Produced by Harry Meyerson
Decca Records DL 74630

From Billboard - May 29, 1965: There's a basic reason for Wayne King's lasting popularity. It's simply that he plays music with an easy, enjoyable beat that can appeal to all. In addition, he can, as he does here, take such current items as "Dear Heart," "Emily," and "People," and give them a beat that's in tune with the times.

Dear Heart from the Warner Bros. Picture "Dear Heart"
Among My Souvenirs
Our Language Of Love
San Antonio Rose
Everybody Loves Somebody
Emily from the MGM Picture "The Americanization Of Emily"
Embassy Waltz from the Musical Production of "My Fair Lady"
People from the Musical Production "Funny Girl"
Twelfth Street Rag
Lazy River