Hugh O'Brain - TV's Wyatt Earp Sings

 

Pale Horse

Hugh O'Brain

TV's Wyatt Earp Sings

ABC-Paramount ABC-204

1957

From the back cover: Generally regarded as among the most versatile actors in motion pictures and television today, it seems remarkably strange that Hugh O'Brian has harbored no particular ambition nor had he nurtured a burning desire for a career as a thespian. Like the famed Western pioneer he so successfully portrays in his regular television series. Marshal Wyatt Earp. Hugh's early hopes were to follow a legal career. Fortunately, talent holds a cherished place in the esteem and affection of millions of fans throughout the entire country.

Born in Rochester, New York, Hugh led somewhat of a nomadic existence throughout his early years, attending the New Trier High School in Winnetka, Illnois, then the Kemper Military School in Missouri and, finally, the University of Cincinnati, where he majored in political science and minored in English. Always a leader, the lad's most active extracurricular interests in high school and college were student government and, of course, athletics. Completing his high school course in 3 1/2 years, Hugh was well enough engrossed in his college work when he enlisted in the Marine Corps for a four-year hitch in 1943. This was following the lead of his father, who had retired from the Corps as a Captain. At 18, then, Hugh became the youngest drill instructor in the history of the Marine Corps! In 1945, he was awarded a fleet appointment to the Naval Academy at Annapolis, but suddenly decided that his initial hopes to become a lawyer outweighed a military career. Accordingly, he finished his hitch, came to California with his family and prepared to enter Yale in the Fall of 1948.

It was just about this time that Fate intervened in the form of an invitation for Hugh to join a Little Theatre group to assume one of the leading roles when the original actor for the part fell ill. Accepting the invitation, the ex-Marine was pleasingly surprised to note the unanimous critical approval and reviews, and was convinced to continue acting rather than return to college. Within a few months, he joined a much larger Little Theatre group, playing leading roles in a series of ten plays, receiving both professional and public accolade. This led to his being engaged as an apprentice in Summer Stock at Santa Barbara, where the talented youngster appeared with such stellar players as Martha Scott, Wendell Corey, Sylvia Sidney and Edna Best. At the end of the season, Hugh had had an enviable background of training and was considered well-equipped to assume almost any job.

His next move was to secure a wholesale clothing license and to go to work selling men's clothing by sample out of a suitcase. At night, he continued his acting by performing, gratis, in the first live television shows presented on the west coast. During the day, Hugh made it a point to concentrate his solicitations for clothes orders in the area frequented by actors, agents, directors an producers, and, as he had hoped, it was in this way that he met a leading agent who thought highly enough of the enterprising young actor to arrange an interview with the famed actress-producer, Ida Lupino. After the innumerable tests and interviews, Miss Lupino indicated that she was greatly pleased with his ability, and Hugh O'Brian began his screen career with her production company.

In 1951, Hugh was signed by Universal-International Studios, where he played leading roles in eighteen pictures over a period of three years, leaving in 1954 to become a free-lance actor. He appeared in three major productions for 20th Century Fox, and became much sought after by independent producers and directors. To further his now well-rounded experience, Hugh was happy to accept the offer from Loretta Young to star in a number of her television presentations, with roles running a gamut from comedy to heavy drama.

It was just about this time that the producers of the ABC-TV series, "The Life And Legend Of Wyatt Earp," were conducting their search for an actor to play the leading role. It was Stuart Lake, the creator of the Wyatt Earp series – and a friend of the true-life Earp, who was impressed with Hugh O'Brian startling resemblance to Wyatt Earp as a young man and Lake insisted that O'Brian was the "only man for the role." With his speed and agility, stemming from his athletic participations in such sports as football, basketball, tennis, golf, wrestling, swimming, tack and field and bicycling, Hugh had more than his looks and acting ability to qualify him for the part. With the uncanny speed associated with Wyatt Earp's legendary exploits, Hugh's studying dancing (durning his experimental years in dramatics) to develop grace and freedom of movement stood him in good stead during his test for the role of one of the greatest figures in American history in the matter of law enforcement.

Still regarded as one of show-business's most eligible bachelors, Hugh hardly has time, these days, to concentrate on any romantic campaign. What with the "Wyatt Earp" series still continuing its amazing ratings week after week, the constant offers for him to appear as a guest star on other television programs, his personal endeavor in working with the Thalians, the actor's group devoted to helping mentally disturbed children (and Hugh is the first president of the Thalians), it would be hardly likely that O'Brian would be able to devote the time and attention to a home as he would like. Moreover, with the results of this album, it would be a safe bet to assume that much of Hugh O'Brian's future schedules will be taken up with recording. Listen to this new facet of O'Brian versatility, and see if you don't approve.

About Ken Darby

Ten of the songs included in this album are the product of the fertile musical resource of Ken Darby, for years considered to be one of the foremost vocal directors in Hollywood. Besides composing the music for the TV series, "The Life And Legend Of Wyatt Earp," Mr. Darby is kept constantly busy with his famed Ken Darby Chorus and arranging for many of the top-budgeted motion pictures to come out of the film capitol. Beginning with "The Wizard Of Oz" in 1939, his credits include a number of Walt Disney feature productions, including "Song Of The South," and more than sixty-five 20th Century-Fox musical productions, most recent of which were: River Of No Return: and "Bus Stop," both starring Marilyn Monroe; "Bernardine," which marked the screen debut of Pat Boone; and "An Affair To Remember," starring Cary Grant and Deborah Kerr. Mr. Darby is distinguished as a recipient of filmdom's highest honor, the award of the Academy Of Motion Picture Arts And Sciences for his work, as associate musical director with Alfred Newman, in scoring the music for "The King And I.'

A member of ASCAP since 1946, Ken Darby has written the music and/or lyrics for a great many songs, the first of which was his musical setting for the poem, "Twas The Night Before Christmas."

Mr. Darby receives sole credit for the music and lyrics on six of the selections contained herein, and has collaborated on four others. One of these, "I'm Walkin' Away," contains the first writing effort of Hugh O'Brian Sings, himself.

An affable good-natured personality, Mr. Darby is intensely devoted to his work, and is insistent upon sharing whatever credit should be given in the acclaim of his finished works. Of the project, "Hugh O'Brian Sings," he says.

"This album is a result of long hours of rehearsing and consideration of you, the listener. Both Hugh and I hope you will find in it something new and fresh in both song and singing style. We both want to thank all who helped us so generously with their time and talents. We also wish to acknowledge, gratefully, the cooperation and assistance of the producers of "The Life And Legend Of Wyatt Earp," Mr. Robert Fisk and Mr. Lou Edelman.

From Billboard - September 16, 1957: TV's Wyatt Earp is shrewdly showcased in his LP debut, via excellent backing and production, and wise selection of material – all in the folksy or western groove. O'Brian Sings should appeal to both his young fans and his older admirers. Package is backed by heavy personal promotional push by the video star.

Legend Of Wyatt Earp

The Bushwhacker Country

Down In The Meadow

The Buntline Special 

Roll Out The Wagon

Same To You

Pale Horse

One Silver Dollar

Don't Move

On Boot Hill

Timothy (I Came To Town)

I'm Walin' Away

Firehouse Five Plus Two Goes To Sea

Between The Devil And The Deep Blue Sea

Firehouse Five Plus Two

Goes To Sea

Produced by Lester Koenig

Sound Supervision by Roy DuNann

Recorded at the Good Time Jazz studio in Los Angeles by Roy DuNann and Howard Holzer

Good Time Jazz S 10028

Produced by Contemporary Records, Inc.

1957

Firehouse Five Plus Two

Goes To Sea

Good Times Jazz LAG12150

A Division of Vogue (London SW3, England)

Personnel: 

Ward Kimbell - Trombone

Danny Alguire - Trumpet

George Probert - Fish Horn (Soprano Sax)

Frank Thomas - Piano

Dick Robert - Banjo

Ralph Ball or George Bruns - Tuba

Eddie Forrest - Drums

About the cover: Never do men do things by halves, the FH5 put to sea literally for the cover shot. For the nautically minded, their course is due South from the California coast at Malibu. From L to R: Roberts, Forrest, Thomas, Bruns, Probert, Alguire, Kimball. The intrepid photographer is Peter James Samerjan, with art direction by Robert Guidi/Tri-Arts.

From the back cover: An estimated million dollars worth of bookings have been turned down by the FH5 during the past few years because the band is a spare-time activity. Their work at Disney has kept them from picking up on such attractive recent offers as a month at Las Vegas at $12,000 weekly. Instead they reaming close to home, making week-end appearances at concerts, street dances, firemen's balls (Bakersfield, San Diego for 3,800 dancers), charities and benefits (Tennessee Ernie's Pea Pickers' Ball, Junior Philharmonic of Pasadena), parties (Air Research, Occidental Life Insurance, Co.), for jazz organizations (Dixieland Club of Phoenix, Arizona, Laguna Jazz Festival), TV (Lawrence Welk, ABC Stars of Jazz), and even the opening of a supermarket (in Buena Park), when Ward stopped the band in the middle of a tune at precisely 5:30 so the crowd could watch Sputnik go by.

Speaking of Sputnik, Ward's major work at Disney during the past few years has been in the outer space department, where he has played an important role in producing, writing and directing such pioneering productions as Man In Space, which showed in 1955, how a satellite could be put into orbit; Tomorrow The Moon, depicting how a trip to around the moon could be made; and most recently, Mars And Beyond, a speculation about life on other planets. For the Mars film, Ward composed an extraordinary section of the score, using electronic sounds to create a breath-taking background for an animated sequence showing possible forms life might take on Mars.

Pianist Frank Thomas, who's been with Disney since 1934, heading a unit as an Animation Director for most of that time, is completing two-and-a-half years of intensive work on the new cartoon feature, Sleeping Beauty. Danny Alguire, the trumpet-playing ex-fingerprint expert, who has been with the FH5 since 1949, and fish-hornist George Probert, of Kid Ory and Bob Scobey bands joined the Disney organization as assistant directors in 1955, and are both on Sleeping Beauty. Dick Roberts, GTJ's internationally hailed Banjo King, and first banjoist with the FH5 in recent years, is often to be found at Disney, with either his banjo or guitar, recording a sound track. Eddie Forrest, who took over on drums when press of studio work benched Jim MacDonald, has been on call with the Disney studio orchestra since 1940. He also handles sound effects for the Mickey Mouse Club TV shows.

The FH5's original bass man was Disney screenwriter Ed Penner. Ed was so ardent an FH5er, he learned to play tuba for the FH5's second session. (Up to then he played bass sax.) Ed's death, November 10, 1956, was a heavy loss for the band, for he was not only a fellow musician, but a colleague at the studio, and a good friend. Ed's first replacement was ex-Turk Murphyite, Ralph Ball, who plays on three of the 12 sides in this album. Later, the extraordinary George Bruns found time to work with the band. Probably the most dexterous tubaist in jazz, George is a musical natural who also plays first-rate trombone, trumpet, clarinet, piano, drums and string bass. He was the trombonist with the Castle Jazz Band, tubaist with Turk Murphy and since 1955 has been composing film and TV scores for Disney. He made his mark as a composer with The Ballad Of Davy Crockett, and among many other productions, has scored the Andy Burnett TV series, Kimball's new Mars And Beyond, and the forthcoming Sleeping Beauty. – Lester Koenig - December 3, 1957

By The Beautiful Sea

When My Dreamboat Come Home

Minnie The Mermaid

Over The Waves

A Sailboat In The Moonlight

On The Good Ship Lollipop

Peoria

Asleep In The Der

She Was Just A Sailor's Sweetheart

Between The Devil And The Deep Blue Sea

Red Sails At Sunset

Anchors Aweigh

Ron Hudson In Concert

 

El Condor Pasa

Rod Hudson In Concert

Recording Engineer: Robert (RAM) Mills

Photographs: E. A. Schaefer

Cover Portrait: Dian Hudson

Maya

From the back cover: Rod Hudson, the son of Nazarene Missionaries, has already received accolades as a concert guitarist. He completed his first album of popular songs in September of 1970 and now this second album of classical and Spanish pieces.

Ron's parents, Rev. and Mrs. James Hudson lived in Oklahoma at the time he was born, but when he was seven years old the family moved to Nicaragua for a year and then to Guatemala where he lived until the age of seventeen.

The school system was quite different there and he received most of his elementary and high school education through a correspondence course. His parents tutored him in these courses as well as in music. He soon learned to play several musical instruments, but the one he enjoyed playing most was the guitar.

After he graduated from high school, he came to the United States to attend Bethany Nazarene College where he majored in Spanish and minored in Music. While attending BNC he had the opportunity to study under Juan Serrano, one of the world's outstanding Flamenco guitarists. After college graduation, Ron took post graduate studies at the University of Texas in Austin.

In October of 1970, Ron presented a concert at Rice University in Houston. It was attended  by the Honorable Stella Cheesman, President of the Institute of Hispanic Culture and Consul General of Guatemala. She was so impressed with his artistic abilities that the Institute decided to sponsor him on a nationwide tour. Since that time he has performed at numerous colleges and universities throughout the United States. In 1971, he was awarded the Keith Jackson award for talented performers and has just completed a successful tour of Spain.

Soleares

Bouree

Gavotte

Recuerdos de la Alhambra

Guajiras

El Condor Pasa

Lute Piece of the Renaissance

Jesu, Joy Of Man's Desiring

Malaguena

Ave Maria

De los Alamos Vengo, Madre

Zorba The Greek

Bulerias

The Blues - Pete Fountain

 

Blue Fountain

The Blues

Pete Fountain

Clarinet Solos with Orchestra Directed by Charles Bud Dant

Coral Stereo CRL 757284

1959

From the back cover: Pete Fountain is back in jazz where he belongs. The clarinetist from New Orleans has returned home "to swing a little," as he engagingly put it." and live the life that I know best."

Though grateful for the exposure and recognition accorded him while the swinging member of the Lawrence Welk TV family, it became progressively apparent to Fountain, during his two-year tenure with the Welk organization, that the association could not be a lasting one. "I guess champagne and bourbon don't mix," he told a writer from Down Beat Magazine.

"Environment plays a large role in a person's development," say certain influential members of the psychiatric fraternity. Fountain's life story is wholly in harmony with this idea. Jazz has been a part of his experience almost as far back as he can remember. His Dad was a jazz musician; jazz was a frequent subject of conversation among friends, and the sound of this music, a constant feature in and around the Fountain home. As you know, New Orleans has always had more than its share of jazz, being one of the chief centers, cradles if you will, of "our" music. Elements peculiar to jazz and jazz performance were/are to be found there without really looking.

Considering the situation in which Fountain was born and bred, it was almost inevitable that he select an instrument basic to the more traditional forms of jazz. At 12, he began his study of the clarinet – a full-time job ever since – with Mr. Allesandro of the New Orleans Symphony. For nearly seven years, Fountain played and studied before working his first professional job. It was a rather affecting experience. Pete replaced his idol, Irving Fazola, at the strip joint, the night of his death.

"I had to lie about my age," Pete told an interviewer. "After a little while the management found out and fired me, so I started gigging around the city, anywhere I could work."

With the exception of a few trips to Chicago to work at Jazz Limited and the Blue Note, Pete stayed close to home. He worked with a number of New Orleans traditional units, and was quite happy with his lot. In 1957, Welk beckoned and this relationship that would thrust the clarinetist into the commercial big time began. It ended in 1959, and Down Beat most succinctly expressed the reason: "Jazz is jazz, and square is square, and never the twain shall meet."

Prior to returning to New Orleans to open his own jazz club. The Bateau Lounge on Bourbon Street, Pete cut this album, in itself an emancipation proclamation. He obtained men that he respects and calls "the Hollywood studio elite"; all of whom feel jazz strongly, are flexible, and in the same tradition/swing idiom as Fountain.

"We got the right cats," Pete enthusiastically declared during our shoe conversation. "The first session to hear the rest. These sessions weren't like recording dates. They were relaxed. All of them should be that way... The real important thing was to get off the ground right away and swing, and I think we did that."

Asked about his style, the general feel of his solos in the presentation, he replied: "I'm trying to combine Fazola's mellow sound with Benny Goodman's drive. Both of these guys are my idols. Yeah, a mellow sound with drive, that gets it!

"Before I forget, I'd like to say a word about the soloists. Eddie Miller, an old favorite of mine, had the tenor solos: John Best and Conrad Gozzo, the trumpet jazz; Moe Schneider was our trombonist; and the mellophone comments were by young Jackie Coon, a West Coast kid who really breaks it up!"

Mention was made of the man with the iron lips and feather lungs, one Conrad Gozzo, "the daddy" of lead trumpet men, and drummer Jack Sperling who seems to fit any musical clime. And then we spoke of the album concept, how appropriate it was considering the situation.

What better way to celebrate a return to jazz than by cutting an album of blues? Pete selected old ones and has some new ones written. All of them, in performance, are blues in feeling; the majority, blues in form, as well. The arrangements by Bud Dant, Frank Scott, Stan Wrightsman, Art Depew and Mort Corb and uncluttered and swinging, show Pete to advantage, and have an unmistakeable traditional flavor.

What this writer finds most impressive in the relaxation and lack of pretension about the program. Though there is a big band involved here, an easily recognized sense of rapport typical of small band playing permeates these performances. But that is as it should be, for large jazz bands are most commanding when functioning as a great small unit would. As drummer Mel Lewis said while a member of the Stan Kenton band: "When we can get 18 men 'walking' like five, the band is truly swinging."

As for Fountain, himself, I think you'll dig him, for he doesn't try to prove anything with his playing. His only desire is to tell a story through his horn, and most often it is more than ample recompense for the time spent listening – Burt Korall

St. Louis Blues

Blue Foutian

Columbus Stockade Blues

Aunt Hager's Blues 

Lonesome Road

The Memphis Blue

My Inspiration 

Wang Wang Blue

Beale Street Blues

Wabash Blues

Five Point Blues

Bayou Blues

Personnel on: Lonesome Road, Bayou Blues, My Inspiration, Columbus Stockade Blues, Wabash Blues

Trumpets: Mannie Klein, Conrad Gozzo, Art Depew & Shorty Sherock

Trombones: Moe Schneider, William Schaefer, Harold Diner & Peter Lofthouse

Reeds: Jack Dumont, Eddie Miller, Russ Cheever, Babe Russin & William Ulyate

Rhythm: Jack Sperling, drums; Stan Wrightsman, piano & Morty Corb, bass

Personnel on:  St. Louis Blues, Aunt Harger's Blues, Five Point Blues, Beale Street Blues

Trumpets: Ray Lion, Jackie Coon, John Best & Art Depew

Trombones: Same as above 

Reeds: Jack Dumont, Russ Cheever, Eddie Miller, Babe Russin & Chuck Gentry

Rhythm: Same as above.

Side By Side - Pat & Shirley Boone

 

Vaya Con Dios

Side By Side

Pat & Shirley Boone

Orchestra Conducted by Mort Lindsey

Dot DLP 25199

1959

From the back cover: Pat: "By way of introduction, I'd like to present my favorite singer.

Although this is her debut in the world of LP's, Hi-Fi, stereo and telefunken, she's far from being new to the singing game. She warbled with her sisters on their Dad's radio and TV shows and on some single records, too. Their Dad? Red Foley. Shirley and I sang our way through high school, college, five years of marriage and four chillun. She was a smash hit at the Playpen, holds the all time record in the shower and has become known as the Lullabye Lady Of Booneville. Here she makes the transition, albeit temporary, from washing dishes to waxing discs. Hope it sounds as good to you as it does to me."

Shirley: "I never thought it would lead to this.

Just because I came to all his record sessions, joined in with the group singers and sometimes hummer over his shoulder while he sang. Pat got the goofy idea I'd like to make a record. It was the farthest thing from my mind, even though we've always had such fun singing together, ever since our first date. Well, anyway, my hubby twisted my arm ever so gently and I gave in, purely as a favor to him, you understand. But I'm glad he thought of it, and I hope you enjoy the songs. We had a great time singing them."

Side By Side

Tumbling Tumbleweeds

Let Me Call You Sweetheart

Sentimental ME

I'll Never Be Free

Vaya Con Dios

Melody Of Love

You Can't Be True

Dear

My Happiness

Now Is The Hour

Drifting And Dreaming

Let The Rest Of The World Go By

To Each His Own - Frankie Laine

 

I Found You

To Each His Own

Frankie Laine

Produced by Bob Thiele

Cover Design: Robert Flynn/Viceroy

Liner Design: Joe Lebow

Engineer: Eddie Brackett

ABC Records ABC/S-628

1968

From Billboard - February 17, 1968: Frankie Laine is riding high these days with such material as the title song and other top numbers, especially the oldies, which are in this album. Laine sounds like his old self in "I've Got A Right To Cry," but shows he can also sing newer songs such as "Green, Green Grass Of Home" effectively. "Meet Me Half Way" is another gem.

To Each His Own

Green, Green Grass Of Home - Arranged and Conducted by Peter DeAngelis

I Wish I Had Someone Like You - Arranged and Conducted by Ian Smith & Ray Barr

You Always Hurt The One You Love - Arranged and Conducted by Peter DeAngelis

I Found You - Arranged and Conducted by Ray Barr

Laughing On The Outside (Crying On The Inside) - Arranged and Conducted by Peter DeAngelis

I'm Happy To Hear You're Sorry Arranged and Conducted by Peter DeAngelis

It Don't Mean A Thing To Me - Arranged and Conducted by Ian Smith & Ray Barr

I've Got A Right To Cry - Arranged and Conducted by Peter DeAngelis

I Need You - Arranged & Conducted by Ian Smith & Ray Barr

Meet Me Halfway - Arranged and Conducted by Ray Barr

I Don't Want To Set The World On Fire - Arranged and Conducted by Ian Smith & Ray Barr

Doodle-oo-doo-doo - Del Reeves

Ole Romeo

Doodle-oo-doo-doo

Del Reeves

Produced by Kelso Herston

United Artists Records UAL 3458

1965

From Billboard - November 20, 1965: "Ole Romeo" is a song with a humorous sort sort of charm, fast becoming a Del Reeves trade-mark plus a discotheque sound that should get this album much airplay on radio stations across the nation. But the crazy tune of "Women Do Funny Things To Me" will probably be the big sales leader, as this is his latest single release and it's bound for the country charts.

Women Do Funny Things To Me

A Little Bit Of Heaven

The Love Buy

Green, Green Grass Of Home

Birds Eye View

Ole Romeo

My Half Of Our Past

Engine, Engine Number Nine

Little Highball

Down In The Boondocks

Mama's Little Jewel

The Must Be The Bottom

Kostelanetz Conducts - Andre Kostelanetz

 

Stormy Weather

Kostelanetz Conducts

Andre Kostelanetz and His Orchestra

Columbia Records CL 786

Stardust 

Blues In The Night

St. Louis Blues

Manhattan Serenade

Sophisticated Lady

Solitude

Mood Indigo

Stormy Weather

When Day Is Done

Jazz Wave, Ltd. - On Tour

 

Finale

On Tour

Jazz Wave, Ltd.

Volume 1

Produced by Sonny Lester

The 1969 Jazz Wave Ltd. European Concert

The Tour was recorded in December

Art Direction: Frank Gauna

Design: Tony Destefano

Sculpture: Leo Jensen

Photography: Chuck Stewart

Blue Note Solid State Series BST 89905

1970

Personnel

Don't Get Sassy

The Thad Jones-Mel Lewis Orchestra

Thad Jones - Fluegelhorn

Mel Lewis - Drums

Snooky Young - Trumpet

Al Porcino - Trumpet

Danny Moore - Trumpet

Marvin Stamm - Trumpet

Benny Powell - Trombone

Jimmy Knepper - Trombone

Bob Burgess - Trombone

Julian Priester - Trombone

Jerome Richardson - Saxophone

Jerry Dodgion - Saxophone

Pepper Adams - Saxophone

Eddie Daniels - Saxophone

Joe Henderson - Saxophone

Richard Davis - Bass

Roland Hanna - Piano

Reza

Jeremy Steig - Flute

Ron Carter - Bass

Louis Hayes - Drums

Greensleeves 

Kenny Burrell - Guitar

Richard Davis - Bass

Mel Lewis - Drums

Body And Soul

Freddie Hubbard - Trumpet

Roland Hanna - Piano

Ron Carter - Bass

Louis Hayes - Drums

Slow But Sure

Jimmy McGriff - Organ

The Thad Jones - Mel Lewis Orchestra

People

Kenny Burrell - Guitar

Finale

The Thad Jones - Mel Lewis Orchestra

Jeremy Steig

Freddie Hubbard

Jimmy McGriff

Kenny Burrell

From Billboard - October 24, 1970: It's Thad Jones and Mel Lewis and their big band, flute player Jeremy Steig, trumpet player Kenny Burrell all playing separately and together, recorded lie during a European Tour in December last year. The final 16 minute jammies', "Once Around" is exciting, proving by musicianly spirit and audience reaction that jazz ain't dead.

Than Jones/Mel Lewis Orchestra

Don't Get Sassy

Jeremy Steig

Reza

Kenny Burrell

Greensleeves 

Freddie Hubbard

Body And Soul

Jimmy McGriff

Slow But Sure

Kenny Burrell

People - From the musical "Funny Girl"

Thad Jones/Mel Lewis Orchestra with Jeremy Steig, Freddie Hubbard, Jimmy McGriff & Kenny Burrell

Finale

Once Around

Hello, Dolly! - Louis Armstrong

 

Moon River

Hello, Dolly!

Louis Armstrong and The All Stars

Album Produced by Michael Kapp

KAPP KL-1364

1964

Personnel:

Billy Kyle - Piano

Arvell Shaw - Bass

Danny Barcelona - Drums

Joe Darensburg - Clarinet

Big Chief Russell Moore - Trombone

Glen Thompson - Banjo/Guitar

Hello, Dolly

It's Been A Long, Long Time

A Lot Of Livin' To Do

A Kiss To Build A Dream On

Someday

Hey, Look Me Over

I Still Get Jealous

Moon River

Be My Life's Companion

Blueberry Hill

You Are Woman, I Am Man

Jeepers Creepers

The Dixie Rebels Strike Back

 

Saint James Infirmary

The Dixie Rebels Strike Back

With True Dixieland Sound

Originated and Produced by Enoch Light

Command Records RS 801 SD

1959

Cover Art  by Irwin Rosenhouse, who was born in Chicago in 1924 – brought up in Los Angeles. Before coming to New York City to study art he traveled the world as a Merchant Marine. In 1950 Mr. Rosenhouse graduated from Cooper Union Art School. In 1954 he won the Huntington Hartford Foundation Award and in 1955 won the Louis Comfort Tiffany Award. His lithographs, woodcuts, and oils have been exhibited in museums throughout the country and his work is in the permanent collections of museums and libraries. 

In addition to painting, he is at present designing and illustrating on a free-lance basis.

When The Saints Go Marching In

Saint James Infirmary

Dixieland Band

Royal Garden Blues

Tin Roof Blues

Clarinet Marmalade

Hindustan

Basin Street Blues

Panama

That's A-Plenty

Fidgety Feet

South Rampart Street Parade

Basie Greets Barnett - Count Basie & Charlie Barnett

 

I Cried For You

Caravan

Basie Greets Barnett

Count Basie & Charlie Barnett

Camay Records CA 3024

Count Basie - Side One

One O'Clock Jump

I Cried For You

Basie's Conversation

Basie's Boogie

Charlie Barnet - Side Two

Cherokee

Caravan

Andy's Boogie

Skyliner