Down To Earth - Ramsey Lewis

 

Soul Mist

Down To Earth

The Ramsey Lewis Trio

Plays Music From The Soil

The Ramsey Lewis Trio appears by arrangement with Argo Records

Supervision: Jack Tracy

Cover Photography and Design: Leroy Winbush

Recorded at Tel-Mar Recording studios in Chicago, Nov. 6 and Dec. 4, 1958

Mercury SR 80029

1959

Personnel:

Piano: Ramsey Lewis

Bass: El Dee Young

Drums: Red Holt

From the back cover: Most "trios" are really nothing of the sort. They usually consist of a piano soloist who hires a bassist and drummer to keep time for hime and gives each of them one solo to mollify their egos.

The Ramsey Lewis Trio is the genuine article.

It is made up of three men, each of whom has a vital role in contributing to the overall sound and feeling of the group. Should any one of them leave, the organization would take on an entirely different musical appearance and would be virtually unrecognizable save for some obvious surface qualities.

This is the course that Lewis, El Dee Young, and Red Holt have chosen to follow ever since they decided they wanted to play together late in 1956. They worked a series of Chicago night clubs for more than two years, always polishing, honing, and patting the group into the unified entity they sought before going out on the road at the beginning of 1959 for a successful opening in New York at Birdland.

For a time the influence of the Modern Jazz Quartet could strongly be heard in the performances of Ramsey, El Dee and Red. The group in fact subtitled itself "The Gentle Men Of Jazz." Their Music was quiet, under firm control, and swung softly.

But gradually the group began to undergo a change. There was a constriction implied in the "Gentle Men" cognomen that kept them from digging in and snarling should they feel like it.

And so when this album was being plotted, the first point established was that there was to be no holds barred. The trio could play exactly as it wished on the material selected and forget about gentleness.

Dark Eyes

Come Back To Sorrento

Soul Mist

John Henry

Greensleeves

We Blue It

Sometimes I Feel Like A Motherless Child

Suzanne

Billy Boy

Decisions

Pearl Bailey Sings The Cole Porter Songbook

 

I've Got You Under My Skin

Pearl Bailey 

Sings The Cole Porter Songbook

Album Design: Forlenza Venosa Associates

Roulette Records SR 59052

I've Got You Under My Skin

Love For Sale

Never Give Anything Away

Nobody's Chasin' Me

Mr. & Mrs. Fitch

I Hate Men

Josephine

I Loved Him

Always True To You Darling In My Fashion

The Laziest Gal In Town

Swing Sessions - Eiji Kitamura

 

Avalon

Swing Sessions

Eiji Kitamura and His All Stars

Producer: Fumimaru Kawashima

Musical Director: Hiroshi Isaka

Engineer: Eiji Uchinuma

Technical Coordinator: Takeo Niimi

Lathe Operation: Mitsuo Yamaguchi

Lathe Operators: Shizuo Nomiyama & Kohei Nakamura

Disc Plating & Pressing: Record Division, Victor Company of Japan, Ltd.

Recording Date: April 21, 1978

Recording Location: Iruma City Auditorium, Saitama Pref., Japan

Recording Supervisor: Terry Isono

Album Releasing Coordinator: Yutaka Horikoshi

Album Cover Design: Katsuhiko Iida

Front Cover Photo: Yasuhisa Yoneda

Other Photos: Masami Hotta

Liner Notes Translation: David Ball, FLC Inc.

Crisis  Service: Ichiro Okuno, President, RVC Corp.

A production of RVC Corporation, 1-7-8 Shibuya Tokyo 150 Japan:

affiliated with RCA Records and Victor Company of Japan

STEREO Limited Direct-To-Disc Edition

RCA RDCE-10 STEREO (JPL 1-1349)

Personnel: 

Eiji Kitamura: Clarinet

Lchiro Masuda: Vibraphone

Yoshitaka Akimitsu: Piano

Yukio Ikezawa: Bass

Hiroshi Sunaga: Drums

Judy Anton: Vocal

From the jacket notes: 

Eiji Kitamura (cl) was born in 1929. As an undergraduate at Keio University in Tokyo he devoted himself to clarinet playing. His hobby is fishing an listening to Japanese classical comic stories. He electrified the audience at the 20th Anniversary Jam Session of the famous Monterey Jazz Festival held on the West Coast of U.S., in September 1977. To the Japanese jazz press which traditionally tends to favor modern jazz, Kitamura's participation caused a sensation. He had made a deep impression on his fans through his rich playing on his regular TV program, and by taking part in this world famous event, he made a giant leap into prominence. 

Ichiro Masuda (vib) is the leading vibes player. Before becoming a jazzman, he was a proponent of Hawaiian music and had a group, the Coconut Islanders and it was then that he became interested in the electric guitar. Masuda has also been a well-known audio critic 20 years. He was born in 1933. He was already working as a professional while still an undergraduate of Meiji University in Tokyo.

Yoshitaka Akimitsu (p) is the leading swing piano player, but he has not made many recordings with Kitamura. This was because Kitamura first recorded with Day Wilson, although he knew Akimitsu. He was born in 1929. As an undergraduate of Musahino Music University in Tokyo, he devoted himself to jazz, working under Shin Matsumoto and Misao Ikeda. He was the leading player in the Rhythm Aces and also performed widely with his combo.

Ikuo Ikezawa (b) is a senior member of Kitamura's regular group. At a time when Kitamura's group was not so famous as today, Masuda and Ikezawa most often accompanied Kitamura on local tours. He was born in 1931. A graduate of Meiji University. He has been with Kitamura for the past 20 years. His hobby is baseball and drinking cold sake. He is a fashionable dresser and on the recording day he wore a brown shirt and beige pants.

Hiroshi Sunaga (ds) is the 2nd bandsman of the Kitamura group. He also favors brown color but with a downtown taste. He was born in 1932, and he turns professional when he was still a student at Musashino Music University in Tokyo. Later, as one of the members of a big band called Blue Coats he established a reputation as the leading drummer. There is no one his equal in swing music. His hobby is fishing and listening to comic stories. He is very keen on developing talent among the younger generation, and Yuki Haraguchi of Seishi Okumura's Quartet was his first pupil.

Judy Anton (v) adds a special charm to the album. She was born in U.S.A. on March 18th, 1949. Her mother is a singer and her father was big band fan, in particular, of Benny Goodman. She came to Japan with her father, a professor who came to teach at Tokyo and Kyoto University. She studied at Aoyama University, Notre Dame Women's College, and Waseda University. She has once worked as a TV personality when she met Yuzuru Sera, a jazz pianist, who encouraged her to take up singing. She has developed as a leading singing talent with her feeling that her roots are indeed in the country of her birth. Her favorite singers are Mildred Bailey and Martha Tilton.

Avalon

Body And Soul

I Hadn't Anyone Till You

Memories Of You

Shine

Petiti Fleur

What A Little Moonlight Can Do

Good-Bye

Pete Kelly At Home - Jack Webb - Pete Kelly's Big 7

 

Sweet Eloise

Pete Kelly At Home

Jack Webb

Pete Kelly's Big 7

RCA Victor LPM-1413

1957

Personnel:

Trumpet: Dick Cathcart

Trombone: Abe Lincoln

Clarinet: Matty Matlock

Saxophone: Jack Chaney

Piano: Ray Sherman

Bass: Jud DeNaut

Guitar & Banjo: George Van Epps

Drums: Nick Fatool

From the back cover: The last time Pete Kelly's Big 7 cut an album it was a Sunday. There's a rumor jazz was set back a generation. This time it was done Saturday night – a jazzman's Saturday night, which means nobody goes home until Sunday. And nobody did.

The only formal thing about the album is that it's on tape. Otherwise, it follows the same pat formula jazz has always known, from Storyville down, to wit: pretty much what you make it.

Somebody asked me one day at lunch to list the twelve songs Pete Kelly and the group might do at home. I did. Next thing, we were in Ray Heindorf's living room in Encino and it seemed like this was the only musical place in the world to me.

If Pete Kelly was ever at home, this was home – with Mother to boot. Besides being a palace, Ray's living room has tonal characteristics of sheer magnificence. Plus his taping an playback gear. The sum: Outer Space.

The boys began playing at six p.m. And, with one exception, they didn't stop until Ray's rooster came in for a chorus about dawn the next day. The exception was a boatload of pastrami and pickles, on a raft of rye. It was expressed up Ventura Boulevard by Wolfie's Delicatessen about midnight to keep the crew from caving in.

If the songs here are unforgettable, to me the session that put them in this album is more so. It reminded me of the day, almost too long ago, when 35th and Calument in Chicago was the center of the universe. And when the boys got set at 35th and Calumet, it was just a case of every tub on its own bottom.

The riders are the same who brought in the Pete Kelly's Blues album, except that Jack Chaney pinch-hits for Eddie Miller on tenor and Abe Lincoln takes over the slide for Elmer "Moe" Schneider on trombone. They are a gang who know P.K. since his radio days and they haven't let him down yet.

Matty Matlock is back on clarinet, blowing like the days at the Jam Club on 52nd Street, but with a refinement; he puffed a piccolo for the "Dixie" bit. The cornet is Dick Cathcart (who else?), an old Air Force pal of min whose expression and comment in brass are flawless. Lincoln on trombone emancipates about every note in the dictionary. Chaney's tenor comes through with some of the loveliest inflections ever played. Ray Sherman learned the alphabet on the family's piano at the College Inn in the old jazz days. George Van Eps plays guitar and banjo and they just stay played. Nick Fatool's drums and Jud DeNaut's bass give the unified attack a gusto which is not lost in the precision parts. Matlock and Cathcart arranged. – Jack Webb

Over There

Manday

They Can't Take That Away From Me

Collegiate 

Sweet Eloise

O Solo Mio

La Cucaracha 

Do You Know What It Means Miss Orleans

Dixie

You Came Along (Out Of Nowhere)

Old Pigeon-Toed Joad

Fight On (for Old S. C.)

Solo Mood - Paul Weston

 

Body And Soul

Solo Mood

Hi-Fi From Hollywood

Paul Weston and His Music From Hollywood

Columbia Records CL 879

1956

Featuring: Joe Howard, Matty Matlock, Babe Russin, George Van Epps, Clyde Hurley, Paul Smith, Eddie Miller, Bill Schaefer, Barney Kessel, Stanley Wrightsman, Ted Nash & Ziggy Elman

From the back cover: The extraordinary success of Paul Weston's "Mood For 12" collection (on LP CL 693 or Extended Play set B-525) was the basis of this new garland of fine popular songs. His initial experiment in this direction succeeded musically, with the critics, and with the public, and moreover proved Paul's idea that mood music could still have a distinct character and flavor along with its well-known soothing qualities. With that in mind, he rounded up twelve of the finest soloists working on the west coast, gave them superior songs and accompaniments, and set them to work at their own improvisations. Anyone who has heard the excellent results will know what to expect in this new presentation, and those who missed it should hurry out and rectify that error.

Paul Weston was among the first arranger-conductors to present the fine old songs in ear-caressing arrangements, and has had notable success with his ideas. Among other factors that contributed to his present eminence was the constant presence of a soft ideal for listening or dancing, thus pleasing two groups at once. Another was his uncanny knack for the right song – lovely ballads that never attained full popularity, or others that had become displaced by newer songs. But now he uses the same frame-work to present, in addition to the songs, some of the finest soloists this country boasts, and to give a new dimension to the music through the contrast of a variety of solo instruments and a variety of individual approaches.

Rockin' Chair: Trombone solo by Joe Howard. A member of the original Stan Kenton orchestra, he has also appeared as soloist in a concert conducted by Igor Stravinsky, and has played with Woody Herman, Ray Noble and Artie Shaw

A Foggy Day: Clarinet solo by Matty Matlock, one of the most active studio men in California, playing regularly for the movies, television and records. He started with the Beasley Smith orchestra, joined Bed Pollack in 1930, and in 1935 helped organize the Bob Crosby orchestra, with seven other musicians.

Body And Soul: Tenor Sax solo by Babe Russin, another perennial in California studio groups. Earlier, he was star soloist with Benny Goodman, Glenn Miller, Tommy Dorsey and Jimmy Dorsey in the great days of swing.

Sweet Lorraine: Guitar solo by George Van Epps, recently featured in the movie "Pete Kelly's Blues." A busy free-lance artist since 1936, he played with the Smith-Ballew orchestra in 1929, later joined such other orchestras as those of Benny Goodman, Freddy Martin and Ray Noble.

When It's Sleepy Time Down South: Trumpet solo by Clyde Hurley, another alumnus of the Ben Pollack group. Having played with Glenn Miller, Tommy Dorsey and Artie Shaw, he played with the MGM Studio Orchestra for six years, and is currently on the staff of NBC.

Lullaby In Rhythm: Piano solo by Paul Smith, who appears through the courtesy of Capitol Records. Best known as the leader of the Paul Smith Trio, one of the coast's most popular groups, he as also been heard with Tommy Dorsey and Les Paul.

A Hundred Years From Today: Tenor Sax solo by Eddie Miller, star soloist with Bob Crosby and his Orchestra from 1935 to 1943. Currently he is heard on television and has done staff work at the 20th Century Fox Studios.

Dancing On The Ceiling: Trombone solo by Bill Schaefer. Starting with the Francis Craig Group, he then worked for Ray Noble and is now busy with recording and television assignments.

Autumn In New York: Guitar solo by Barney Kessel, appearing through the courtesy of Contemporary Records. He has been heard with Benny Goodman, Artie Shaw, Charlie Parker, Oscar Peterson and Norman Granz, in addition to free-lance radio and motion picture work.

Honeysuckle Rose: Piano solo by Stanley Wrightsman, who is also heard of Columbia Records as a member of the Rampart Street Paraders. Universal and Warner Bros. are among the studios for which he has worked in films.

You Are Too Beautiful: Alto sax solo by Ted Nash; noted for his high-note playing. For years the star alto sax soloist with Les Brown, he has lately settled in Hollywood for film and television work.

The One I Love: Trumpet solo by Ziggy Elman, enduringly famous for the composition and performance of And The Angels Sing with Benny Goodman. He has also played with the Tommy Dorsey orchestra and led his own group for recording and dance dates.

The Best Of Arthur Prysock - Number 2

 

Fly Me To The Moon

The Best Of Arthur Prysock

Number 2

Produced by Hy Weiss

Director of Engineering: Val Valentin

Cover Art: Ralph Keefe

Cover Design: Acy R. Lehman

Verve STEREO V/V6-5038

1967

From the back cover: Randall's Island, August 12, 1967, saw and heard a jazz concert notable for two impressive features: an audience who ranged in age from teenagers to well beyond middle age; and the long, enthusiastic, sincere ovation they gave to a singer whose style reached out to all of them. It is the magic of Arthur Prysock to cut across age groups – to have something personal to communicate to the young who have barely had time to discover him, to the fortunate older who have had time to be enchanted by the intimate warmth of that beautiful baritone delivery.

Full Moon And Empty Arms - Arranged and Conducted by Mort Garson)

My Funny Valentine - Arranged and Conducted by Mort Garson)

In The Still Of The Night - Arranged and Conducted by Mort Garson)

Let It Be Me - (Arranged and Conducted by Charlie Calello)

Fly Me To The Moon - (Arranged and Conducted by Herb Gordy)

Let There Be Love - Arranged and Conducted by Mort Garson)

The Very Thought Of You

I Just Want To Make Love To You

For Your Love - Arranged and Conducted by Mort Garson)

All Or Nothing At All - (Arranged and Conducted by Johnny Richards)

He - Arranged and Conducted by Mort Garson)

Hollywood Sessions - HS-099

 

Disco Truck Wash

Americanism

Cheer Up

Hollywood Sessions

Sunrise Records, Inc.

HS-099

1986

So Close - Jimmy Aronis

So You Think Love Is A Game - Avis D. Stafford

The Pay I Receive - Lydia Thibodeau

Picture Of My Dad - Birtie L. Douglas

Some Other Time - Edna (Eddy) H. Vail

Truck Wash - Joseph Pate

The Ladies Man - David J. Nesler

Freedom In The Forest - Freedom Everywhere - Muriel Daniels

Second Nature Blues - Faye Halveson & Fabio Turchetti

Americanism - Alex Nwigbo

Cheer Up - William V. Whittington

Yes - Barbara Rosser

My Honky Tonk Girl - Arthur J. Scharinger

Don't Take Me For A Ride - S. M. Ndeley

It's Just Like Paradise - Marie Emerson

Electric Flowers - Ivan Tcherepnin

 

Overture / The Ghost Violin

Electric Flowers

Music Of Ivan Tcherepnin

Composer-Supervise Recording

Produced by Carter Harman

Associate Producer: Carolyn Sachs

Art Director: Judith Lerner

Cover: Judith Lerner

Drawing by Edward Lear from "The Complete Nonsense Of Edward Lear" Dover Publications, Inc., N.Y. 1951

CRI - Composers Recording, Inc.

CRI SD 467

1982

From the back cover: Ivan Tcherepnin (b. 1943, Paris) comes from a family of Russian musicians. He grew up in Chicago, where he received early training in music from his father, composer Alexander Tcherepnin, and his pianist mother, Ming. He graduated from Harvard University, where his principal teacher was Leon Kirchner, and taught at the San Francisco Conservatory and Stanford University before being named an assistant professor of music and director of the electronic music program at Harvard. He is active in the U.S. and Europe as a conductor and performer of his own compositions. In his live-electronic work, Ivan has been aided by his brother, Serge, who since 1970 has designed and constructed an impressive array of devices used in Ivan's performances.

Flores Musicales calls for oboe, psaltry and violin, all of whose sounds are processed and transformed (sometimes imperceptibly, sometimes radically) by a veritable armada of electronic modules. The work received its first performance on November 29, 1979, at Boston University.

Also from the back cover: The performers on Flores Musicales are all soloists in their own right. Peggy Pearson is a member of the Emmanuel Wind Quintet, winner of the 1981 Naumburg competition, and teaches at Wellesley and the Longy School Of Music; Wilma Smith, a native of the Fiji Islands, is first violinist of the Lydian Quartet and has been concert master of the Harvard Chamber Orchestra. Marion Dry began music studies after graduating from Harvard. She has been a soloist in the Boston area and across the country and is a successful voice teacher. Jean-Pierre Dautricourt earned his Ph.D. in composition at Harvard and teaches at the University of California at Riverside, where he also directs the electronic music studio.

Five Songs was commissioned by WFMT-FM in Chicago as part of a project initiated by author/ critic Karen Monson on the twentieth-century art song. The premier took place in March, 1979, on WFMT, with Marion Dry as soloist. A review of the work in Chicago Magazine noted that "The songs' format and texts explore the border zone between sense and nonsense, truth and deception, comedy and tragedy... the area in between categories, where life mostly takes place."

Flores Musicales (1980)

Overture (P'tite P'tite)

The Ghost Violin

Grand Fire Music

Concatenations

Peggy Pearson, oboist; William Smith, violinist; Ivan Tcherepnin, psaltery and organ player, electronic processor

Five Songs (1979) for voice, flute and digital and tape delay with associated electronics

Do-Mi

Apres le Do-Mi

Pfft!

Queues

After The Queues (Tales)

Marion Dry, contralto; Jean-Pierre Dautricourt, flutist; Ivan Tcherephin, electronic processor

The Inspiration I Feel - Herbie Mann

 

Drown In My Own Tears

The Inspiration I Feel

Herbie Mann

Arranged and Conducted by William Fischer

Produced by Nesuhi Ertegun & Joel Dorn

Album Design: Haig Adishian

Cover Portrait: Dimitrie Berea

Recording Engineer: Adrian Barber

Atlantic STEREO SD 1513

1968

From the back cover: 

Ray Charles

After a long night 

In the slow quiet of an early day 

There is only one thing.

I don't want to hear surface

but center.

Ray Charles

Above all – I believe him

He is – the inspiration I feel

– Herbie Mann

Lonely Avenue

Drown In My Own Tears

Sticks and Stones

I Got A Woman

Come Rain Or Come Shine

Georgia On My Mind

Stan Getz With Guest Artist Laurindo Almeida

 

Maracatu-Too

Stan Getz With Guest Laurindo Almeida

Laurindo Almeida appears through the courtesy of Capitol Records, Inc.

Produced by Creed Taylor

Cover Design: Acy R. Lehma

Cover Art: Alberta Hutchinson AKM

Director Of Engineering: Val Valentine

Recorded At Webster Hall, March, 1963

Verve V6-8665

1966

Personnel:

Stan Getz - Tenor Sax

Laurindo Almeida - Guitar

George Duvivier - Bass

Edison Machado, Jose Soorez & Dave Bailey - Drums

Luiz Parga & Jose Paulo - Latin Rhythm

From Billboard - December 3, 1966: Another winner for Stand Getz. With Laurindo Almeida (guitar) an a superb group of Latin specialists, the popular saxophonist surges through six swinging Brazilian tracks. Attractively packaged an beautifully produced, this album should do very well in the pop-jazz market.

Minina Moca (Young Lady)

Once Again (Outra Vez)

Winter Moon

Do What You Do, Do

Samba, Da Samba (Sahra's Samba)

Maracatu-Too

Coming 'Round The Mountain - Dorothy Shay

 

Say That We're Sweethearts Again

Coming 'Round The Mountain 

Dorothy Shay

The Park Avenue Hillbilly

Harmony HL 7017

A Product Of Columbia Records

1957

Feudin' And Fightin'

Say That We're Sweethearts Again

Mountain Gal

Efficiency 

Flat River, Missouri

Joan Of Arkansaw

Pure As The Driven Snow

Why Don't Someone Marry Mary Anne

No Ring On Her Finger

Since Mother Was A Girl

A Night In Las Vegas - Mary Kaye Trio

 

Get Out Of Town

A Night In Las Vegas

With The Mary Kaye Trio

Vocal With Instrumental Accompaniment

Decca Records DL 8238

1956

From the back cover: Mary Kaye made her debut at a carnival in St. Louis. She as all of three years old and she swayed seductively in a baby-like grass skirt, while her brothers, Norman, an oldster of six, strummed a ukulele. Their father, who had moved his family from Detroit, stood outside and told skeptical customers about the authentic Hawaiian review inside the tent. For the next six years the young Kayes were kept busy in class during the day, doing homework and rehearsing after school, and trouping all over St. Louis in the evenings, winning prizes in almost every theatrical and radio amateur contest in the area.

When Mary and Norman reached their early teens the duo became a trio. With their father, a former swimming champion, they became the Royal Hawaiians. While specializing in Island music, they began to introduce more and more hit songs into their act and were becoming a popular organization when, in 1943, Norman went into the Army. His place was taken by an accordionist Frankie Ross (born Diagio Ross Salvatore Blogna) and, when father Kaye left the group he was replaced by a young bass player, Julie Pursley.

Two years later there was another switch, Norman got out of the service and Julie got into the army. Norman rejoined the group, now known as the Mary Kaye Trio, and when Julie returned to civilian life, Julie was signed out as road manager for the trio. A year later he and Mary were married; they now have a son.

As might be gathered from the foregoing data, the group is a tightly knit family affair. Norman is the most versatile musician of the organization. Besides possessing a large and mellow baritone, he performs on a wide variety of instruments, including the trombone, vibraharp, piano, bass, guitar, alto horn and. of course, the ukulele, which he has played ever since he was old enough to hold one. He is also the composer of about one hundred tunes. Frankie Ross not only provides the comedy for the act but is expert at the accordion. Mary is a virtuoso on the Spanish Guitar and is a singer who has developed a style distinctively her own. Together they are a trio who have become one of the country's most versatile and exciting groups.

From Billboard - April 21, 1956: This group has chalked up a measure of success on the Las Vegas circuit and it's one of the few outfits that get over a good portion of the "in person" excitement on a disk. The arrangements of fine standards have drive, class and sophistication. Miss Kaye's own vocal stylings, not unlike the work of Kay Thompson, gets the spotlight, but plenty is heard from accordionist and comedy and Frankie Ross and the gal's baritone brother, Norman, who also takes a lick on a number of instrumentals. The modern harmonies and unusual vocal gimmicks add ups to listening excitement.

Get Happy

They Didn't Believe Me

The Lonesome Road

Little Girl Blue

And About The Boy

Get Out Of Town with Jud Conlon's Rhythmaires 

Bewitched

I'll Remember April

Wagon Wheels with Jud Conlon's Rhythmaires 

My Funny Valentine

April In Paris

Good-Bye

Once In Each Life - The Gunter Kallmann Chorus

 

Where's The Playground Susie

Once In Each Life

The Gunter Kallmann

Cover Photo: Joel Brodsky

Art Direction: David E. Krieger

And N. P. Production by Norrie Paramor

Polydor ST 93179

1969

Good Morning Starshine - Arranged and Conducted by Mike Vickers

Galveston - Arranged and Conducted by Johnny Arthey

Happy Heart - Arranged and Conducted by Nick Ingman

Once In Each Life - Arranged and Conducted by Bernard Ebbinghouse

Windmills Of Your Mind - Arranged and Conducted by Johnny Arthey

Love Theme From Romeo And Juliet - Arranged and Conducted by Bernard Ebbinghouse

Where's The Playground Susie - Arranged and Conducted by Mike Vickers

Aquarius - Arranged and Conducted by Johnny Arthey

Just A Dream - Arranged and Conducted by Bernard Ebbinghouse

Feelin' Groovy - Arranged and Conducted by Mike Vickers

By The Time I Get To Phoenix Arranged and Conducted by Mike Vickers

Goodbye - Arranged and Conducted by Nick Ingman

Fever & Smoke - The Three Suns

 

Like Young

Fever & Smoke

The Three Suns

Produced by Nevins-Kirshner

Arrangements by Charles Albertine

Recorded in RCA Victor's Studio A, New York City

Recording Engineers: Ernest Oelrich and Bob Simpson

Exotic "Percussion" Swing

RCA Victor LPM-2310 & LSP-2310

1961

From the back cover: Triple the explosion, and you have the amazing versatility of the Three Suns in their latest explosion of music, Fever and Smoke

Here we have another masterful mixture of magical music brewed with the accustomed artistry of the Suns, and stirred, simmered and flavored to the boiling point by the magic touch of Producers Nevins-Kirshner.

Side One starts off with a blast of heat in a sensuously throbbing version of Fever, setting both the mood and the climate of the entire album. Sleep Walk is a stroll through a magic inferno, and the Chinese gong in the incendiary Tequila is tongue-in-cheek music at its best.

To cool the temperature a bit, the delicate notes of the harpsichord are introduced, in crystal clarity, in Theme from "A Summer Place," but the heat from the blazing Suns cannot be so easily dispelled, and they leave behind them a burning bridge over the River Kwai in a temperature interpretation of the Colonel Bogey March as it has never been before been performed.

Sound-wise, the Suns have added the mallet family, the marimba, the vibraphone, the Salvation Army Drum, kettledrum and all the in-betweens, and surrounded themselves with the rhythm and blues of today 

– Fender bass and the feel to go with it.

Charles Albertine's original compositions – Beyond The Sun And Smoke – and his superlative arrangements again show his creative talent in a new phase.

This unusual package is designed to create excitement, stir emotions and kindle your imagination – so put the record on the turntable, turn up the volume, and control yourself. – Faith Whitehall

From Billboard - April 24, 1961: The boys are in fine "sound" form on this package which blends the fender bass with the mallet family – the marimbas, vibraphone, etc. Colorful, listenable wax with strong appeal for deejays as well as sound fans. Selections include "Sleepwalk," "Tequila," "Fever" and "Like Young."

Fever

Like Young

Theme Form "A Summer Place"

Tequila

Beyond The Sun

Colonel Bogey March

Sleep Walk

Chanson d'amour 

Volare

Misty

Smoke

Rockin' With Milt - Milt Buckner

 

Bernie's Tune

Rockin' With Milt

Milt Buckner At The Organ

Capitol Records T642

1955

From the back cover: The first time Milt Buckner played the Hammond organ it was because there did not seem to be anyone else around to play it. How he plays it because there doesn't seem to be any limit to the number of clubs that want to book a Hammond organist's trio.

Buckner, playing organ and some vibes, is now a solid success on the lounge circuit. He tours most of the eastern cities and towns with drummer Sam Woodyard and tenor saxophonist Danny Turner, and he hasn't had trouble getting a booking since he first went out with a trio in August 1952.

That was just after he left Lionel Hampton. "Doug Duke," Hamp's organist, quit the band in 1950, when I was playing piano," Buckner recalls. "Hamp asked me, 'Can you play organ?' I said I couldn't, but I'd try." Buckner tired.

There wasn't any other organist around to help him, so he figured out the keyboard by himself. In a few week he was ready to play in public.

Some of the places the band was playing had house organs, and Buckner began to play occasionally with the band. He learned to play a few tunes, like Hamp's Boogie Boogie, without mastering the foot pedals. Then Hampton began to rent an organ for him on all their important jobs.

Until he learned how to use the pedals, Buckner had a problem. He couldn't get any volume; often the roaring band would drown him out. His first tentative applications of foot to pedal, resulted in a few catastrophes.

"If we were in A flat, well, I'd know where that was," Buckner said, and I'd get my foot on the right pedal and stay on it, and get the volume okay. Then sometimes, when I didn't expect it the band would quiet down suddenly and I'd be left out there by myself – on the wrong chord."

He had even more trouble when the band went into the Orpheum theater in Los Angeles, where there was a five-mannual Wurlitzer.

"On that thing," Milt said, "it would take three to five seconds for the sound to come out after you pressed the key. Can you imagine trying to swing under those conditions? I went in there every day before the first show, and I stayed a long time after the last one, practicing.

Buckner, born in St. Louis, went to live with an uncle in Detroit at the age of 9, after both his parents died. The uncle sent his nephew to study piano.

When he was 13, he had tasted commercial success – a subbing job for the heady sum of $10 – and was too eager to take the many jobs that were open to a pianist who could read music.

He was in high school, and he says he can still remember "when our band used to go out to Caldwell, Mich., to play weekend jobs – Thursdays to Sundays. We used to play a late dance on Sundays, wearing tuxedoes.

"By the time we had played the job, cleaned up, eaten dinner, and driven 100 miles back to Detroit," Buckner recounted, "it would be just about time for me to go to school. The boys would let me off in front of the school, and I'd spend the whole day in school wearing my tuxedo."

He didn't graduate, but by the time he got into the upper grades, he was working full time.

He spent his teens and early 20s playing with two Detroit bands – Don Cox's and Jimmy Rauschelle's. He joined Cox in 1934, left him for Rauschelle in '35, went back to Cox in '37, returned to Rauschelle in '40 and rejoined Cox in '41.

Some time later, Lionel Hampton, who had heard him play several times, asked Buckner to sit in at a rehearsal. When it turned out that the regular pianist's illness was so serious he had to quit the band, Buckner was hired.

He stayed with Hampton seven years and did a great deal of arranging. "I think I wrote about 15 arrangements of Flying Home alone," he says.

When he left the band, it was to form his own group. By now he's developed his trio to the point where he can play virtually any job – a jazz club, commercial lounge, rhythm and blues club, or dance hall.

A good deal of Buckner's popularity may be attributed to his personality. A compact, 5-foot-2 1/2 inch ball of energy, he is a lively figure on any stand. The music fits the personality – it's usually loud, heavily melodic and swinging. Recently, when a patron asked him for Happy Birthday, he responded with such a bright, swinging performance that it delighted even jazz fans in the audience. But Buckner is able to tailor his style of music to the style of the spot he's working... – Bob Fulford (DownBeat)

Lean Baby

Bernie's Tune

Rockin' With Milt

Easy To Love

Blues For Me

Robins Nest

Slaughter On 125the Street

Little Miss Maudlin

Movin' With Mitch

Take The "A" Train

Jazz At The Concertgebouw Amsterdam

Squeeze Me

Jazz At The Concertgebouw

Dutch Swing College Band

Featuring: Neva Raphaello

Philips 625 302 QL

1964

Way Down Yonder In New Orleans

South Rampart Street Parade

The Lonesome Road

Sixty-Nine Blues

Creole Love Call

'Deed I Do

African Queen

When You're Smiling

Squeeze Me

It's All Right With Me

Old Fashioned Love

Jubileum Blues

Buddy's Habits

Way Down Yonder In New Orleans

With All My Love - Manny Albam

 

Soulsville

With All My Love

Manny Albam and His Orchestra

Mercury MG 20325

1958

I Love You

Someone To Watch Over Me

The Touch Of Your Hand

To Be In Love

Easy Living

Our Love Is Here To Stay

They Can't Take That Away From Me

Simple As Love

Love Is The Sweetest Thing

The Very Thought Of You

Soulsville

Porgy And Bess - Diahann Carroll & The Andre Previn Trio

 

What You Want Wie Bess

Porgy And Bess

Diahann Carroll 

And The Andre Previn Trio

Produced and Directed by Jack Lewis

Recording Engineer: Art Becker

Cover Photo: Lester Bookbinder

Cover Design: Paul Bacon

United Artists Records UAL 4021

1959

Personnel:

* Andre Previn, piano; Joe Mondragon, bass; Larry Bunker, drums

** Andre Previn, piano; Keith Mitchell, bass; Frank Capp, drums

*** Andre Previn, piano

From the back cover: Diahann, though barely in her twenties, has long ago made her mark in the world of music. When she was but ten she won a Metropolitan Opera scholarship, for her singing ambitions were apparent early. By the time she as all of eighteen she had abandoned what might have been a career in sociology to appear on the television show, "Chance Of A Lifetime," and stayed for several weeks. This was followed by a booking into the Latin Quarter and other night clubs across the country. Diahann made her Broadway debut as the enchanting Ottilie in the Harold Arlen musical House Of Flowers, where she received the applause of both public and critics. Since then she has been kept busy recording, making TV appearances on such major shows as the Ed Sullivan program, the Steve Allen hour, and the Jack Paar show. All of this in between singing engagements at the finest supper clubs in America and Europe.

Andre is a jack of all trades and master of all. As pianist, arranger,  and conductor he is equally at home in the field of the classics, popular music, and jazz. A prodigy, Andre was hired by a movie studio as an arranger as soon as he had graduated from high school. Ever since he has been busy as an arranger and conductor in films (his most recent conducting was done for the popular Gigi – and of course, Porgy And Bes), in addition to playing with jazz groups and recording. As a jazz pianist, Andre is considered one of the greatest around. And like so many fine musicians his enthusiasm for the music of Gershwin is genuine and perceptive – as is evident in these arrangements. 

From Billboard - March 23, 1959: One of the many, new "Porgy And Bess" packages, this one is interesting for its fresh arrangements and jazz orientation. Pianist-arranger Andre Previn and Miss Carroll's projection infuse the score with brightness. This can garner a good share of the action.

Summertime*

My Man's Gone Now***

I Got Plenty Of Nuttin'**

Porgy, I Is You Woman*

Oh, I Can't Sit Down**

It Ain't Necessarily So*

What You Want Wie Bess**

I Loves You Porgy***

There's Somebody Knockin'*

There's A Boat That's Leavin' Soon For New York**