Cloud 7 - Tony Bennett

 

Give Me The Simple Life

Cloud 7

Tony Bennett

Featuring Chuck Wayne

Columbia Record Productions

Special Products - Special Reissue CL 621

1955

Personnel:

Guitar - Chuck Wayne

Trumpet - Charles Panely

Piano - Harvey Leonard

Sax - Davey Schildkraut & Caesar DiMauro

Drums - Ed Shaughnessy

Bass - Clyde Lombardi

From the back cover: From the moment of his debut on records, Tony Bennett has had the magic touch that has hailed his listeners out to Cloud 7 with a single release. An audition record of Boulevard Of Broken Dreams won him an immediate contract with Columbia Records, and a new version of this old favorite served as his first release. Now, a revival of an old song by a new singer rarely makes much of a stir, but while Tony's record was only a moderate hit, measured against his later smashes, it was sensationally successful when those factors are considered. His next impression was made with Because Of You, which sailed easily past the million-record mark, followed in close order by Cold, Cold Heart, Rags To Riches and Stranger In Paradise, all of which rang the same gong. In 1951, the first year of Tony's popularity, he won no less than seventeen awards, including "The Cash Box" Award as 'best male vocalist,' which was ample testimony to his popularity on the juke boxes. He has done equally well ever since, and in 1954 won the "Make Believe Ballroom" poll as 'best vocalist'.

This is an unusual spot for a would-be artist to find himself in. Tony started out to become a commercial artist, studying at the High School of Industrial Arts after early training in Astoria, NY, grade schools. After graduation, however, he was called into service, where his distinctive singing style won him invitations to sing with army bands. He was so warmly received that he decided to abandon one form of art for another, and upon receiving his discharge, he attended the American Theater Wing's professional school for veterans. A series of bookings in local night clubs followed, with occasional radio programs, and his first big break came when Bob Hope caught Tony's act and invited him to appear with him during an engagement at the Paramount Theater. Shortly thereafter he made the demonstration record, and his career began in earnest.

I Fall In Love Too Easily

My Baby Just Cares For Me

My Heart Tells Me

Old Devil Moon

Love Letters

My Reverie 

Give Me The Simple Life

While The Music Plays On

I Can't Believe That You're In Love With Me

Darn That Dream

The Beat Of My Heart - Tony Bennett

 

Just One Of Those Things

The Beat Of My Heart

Tony Bennett

With Chico Hamilton, Jo Jones, Billy Exiner, Art Blakey, Candio and Sabu

Chico Hamilton appears by courtesy of World Pacific Records

Art Blakey appears by courtesy of Bethlehem Records

Devised and Produced by Tony Bennett and Ralph Sharon

Photo: Ben Rose

Columbia Records CL 10709

1957

Personnel:

Ralph Sharon: Piano, Arranger and Conductor

Lazy Afternoon; Crazy Rhythm; The Beat Of My Heart / Chico Hamilton, drums; John Pisano, guitar; James Bond, bass

Lullaby Of Broadway; Blues In The Night; Army Air Corps Song / Jo Jones, drums; Eddie Costa, vibes; Eddie Safranski, bass; Kai Winding, James Dahl, Robert Alexander, Ziskind Leib, trombones

Let's Face The Music And Dance; Love For Sale; So Beats My Heart For You; Let There Be Love / Billy Exiner, Candido, Sabu, drums; Herbie Mann, Robert Jasper, William Slapin, Vincent Vittorio, Spencer Sinatra, flutes

Let's Begin; Just One Of Those Things / Art Blakey, drums; Ralph Sharon, piano, Al Cohn, tenor sax; Nat Adderley, trumpet; Milt Hinton, bass

Let's Begin

Lullaby Of Broadway

Let There Be Love

Army Air Corps Song

Crazy Rhythm

The Beat Of My Heart

So Beats My Heart For You

Blues In The Night

Lazy Afternoon

Let's Face The Music And Dance

Just One Of Those Things

Manhattan Spiritual - Sandy Nelson

 

Peter Gunn

Manhattan Spiritual

Sandy Nelson

Producer: Ted Glasser

Arranger: Al Capps

Engineer: Dert Agudelo

Cover Photography: Ivan Nagy

Recorded at Liberty Studios, Hollywood, California

Imperial Records STEREO LP-12439

1969

From the back cover: This album was made for those who remember the swinging days of the big band sound, when Glenn Miller, Woody Herman, Tex Beneke and The Dorsey Bros. were in full swing.

But, moreover, it was made for those who missed out on that exciting period of music. For it will take you on a trip – a trip backwards in time, a reincarnation of yesterday, but completely today in its style and concept.

Sandy Nelson, a today's musician, has put today's sound and rhythm into yesterday's music and brought it to the contemporary listener in a completely new and exciting way. So let yourself fell the excitement of the past as you listen to the music of Sandy Nelson today! – Al Capps.

Manhattan Spiritual 

So Rare

Peter Gunn

In The Mood

Woodchopper' Ball

Moonlight Serenade

Let There Be Drums And Brass

Big Noise From Winnetka 

(Every time They Play The) Sabre Dance

The Stripper

Leap Frog

Caravan

Songs For The Jet Set - Tony Bennett

 

Song Of The Jet

If I Ruled The World

Tony Bennett

Songs For The Jet Set

Produced by Ernie Altschuler

Arranged and Conducted by Don Costa

With The Ralph Sharon Trio and The Will Bronson Singers

Featuring Al Cohn on tenor sax

Cover Photo of Tony Bennett by Don Hunstein

Aerial Photo courtesy Pan American Airways

Columbia Records CL 2343

1965

The Ralph Sharon Trio:

Ralph Sharon - Piano

Hal Gaylor - Bass

Billy Exiner - Drums

From Billboard - May 8, 1965: Another winning, cleverly conceived program. Opening with an intriguing Jobim tune, "Samba do Aviao," he segues into as the day Bart Howard wrote it. The Bennett voice on this and a Peggy Lee and Cy Coleman tune, "Then Was Then And Now Is Now," is impossible to top, especially with Don Costa providing the backing.

Song Of The Jet (Samba do Aviao)

Carlos Lyra - Guitar

Elcio Milito - Drums

Al Cohn - Tenor Sax

From "Copacabana Palace"

Fly Me To The Moon (In Other Words)

Al Cohn - Tenor Sax

How Insensitive 

Al Cohn - Tenor Sax

If I Ruled The World

From "Pickwick"

Love Scene

Take The Moment

From "Do I Hear A Waltz?"

Then Was Then And Now Is Now

Sweet Lorraine

Joe Marsala - Clarinet

Bobby Hackett - Ukulele

The Right To Love

Watch What Happens

From "The Umbrellas Of Cherbourg"

All My Tomorrows

From "Hole In My Head"

Two By Two

Berlioz - Symphonie Fantastique • Op. 14 - Andre Vandernoot

 

Berlioz

Symphonie Fantastique • Op. 14

L'Orchestre National

Andre Vandernoot

Originated and Produced by Enoch Light

Associate Producers: Julie Klages & Robert Byrne

Art Director: Charles E. Murphy

Recording Chief: Robert Fine

Mastering: George Piros

Cover Art from a print by Gaber Peterdi

Stereo 35MM - Command Classics CC 11009 SD

1962

Gaber Peterdi was born in Budapest in 1915. He was given his first one man show at the Ernst Museum in Budapest in 1930 and shortly thereafter was awarded the coveted Prix de Rome for painting. In 1933 Peterdi began his apprenticeship in the art of print-making under the demanding tutelage of Stanley William Hayter at Atelier 17 in Paris.

Mr. Peterdi is the recipient of many honors and awards. His work is represented at the Museum of Modern Art, New York; The Metropolitan Museum, New York; and more than 80 other fine museums throughout the world. He is presently teaching at Yale University, New Haven, Connecticut.

From Billboard - April 7, 1962: With over 20 versions of this colorful classic in the catalog, this one has what it takes to get a substantial share of the business. The fine French orchestra captures the flavor of the Gallic masterpiece in a broadly played, unhurried interpretation. Outstanding reproduction and silent surfaces additionally serve to make this an exceptional release of an ever popular work.

Bennett & Basie

 

Poor Little Rich Girl

Bennet & Basie

Tony Bennett & Count Basie

Produced by Teddy Reig

Roulette R 25231

1963

From the back cover: The band's power bursts through "Poor Little Rich Girl" in a solid-stepping climax following a vocal distinguished for its clipped inflection of the affable lyric and a warm open-trumpet solo by Thad Jones. The power of the Basie rhythm section, and especially Freddie Green on guitar and Eddie Jones on bass, is displayed in "Growing Pains." This tender saga of adolescent awareness of adolescence is supported only by rhythm and flute (Frank Wess) – giving the whole thing a pleasant poignancy, which the song and Tony's singing thoroughly deserve. – Barry Ulanov

Strike Up The Band

I Guess I'll Have To Change My Plans

Chicago 

With Plenty Of Money And You

Anything Goes

Life Is A Song

I've Grown Accustomed To Her Face

Jeepers Creepers

Growing Pains

Poor Little Rich Girl

Are You Havin' Any Fun

Swinging Brass With Oscar Peterson

 

Con Alma

Swinging Brass With The Oscar Peterson Trio

Arrangements and Orchestra Conducted by Russell Garcia

Cover Art: John Altoonas

Art Direction: Merie Shore

Verve Records MG VS-6119

1960

From the back cover: When Oscar Peterson was a young student he practiced the piano for three hours before lunch, five hours between lunch and dinner, then again from 7:30 until his mother decided the rest of the family needed some sleep. The desire to improve, to find new ideas, new channels of expression, has never dimmed. With this album Peterson takes yet another step forward in the unique big-band album that is without precedent in his multifunctional recording career.

"This is something that Russ Garcia had been talking about for a long time," says Peterson, "in fact, ever since we worked together on the first album with strings – the one with Buddy De Franco. Russ and I wanted to do a real southing thing with a big, swinging band. We didn't want to do anything complicated, because when things get too involved they tend to bog down, and when you haven't been used to playing with a big band regularly, that could in itself be enough of an inducement to bogging down."

Peterson's fears were unnecessary. Far from indicating any lack of comfort in this setting, the results show that Garcia's writing stimulated him to the point of producing his most energetically exciting set of performances in years.

The musicians selected were not the customary group of somewhat blasé studio veterans, but a young, keen crew that teamed well-known Los Angeles musicians with some fresh faces. As a consequence, the spirit that permeates the performance lifts these sides far above the level of those often produced by jazz musicians with pick-up recording bands.

Most of the arrangements, Oscar points out, are extensions of routines he had already been playing with the Trio. The ingenious integrations of Peterson, Ray Brown and Ed Thigpen into the body of these big band performances reflects credit on both Peterson and Garcia. – Leonard Feather (Author, The Encyclopedia of Jazz)

From Billboard - March 14, 1960: Arranger-conductor Russ Garcia has showcased the Peterson Trio against a big swinging band, and the results are highly effective. Peterson's delicate, tasteful piano solo work provides fine contrast to the "swinging brass." Eminently spinnable. Tunes mainly unfamiliar, include "Con Alma," Cubana Chant," and "Close Your Eyes."

Stockholm Sweetin'

Blues For Big Scotia

Close Your Eyes

Spirit Feel

Cubana Chant

Con Alma

O.P.

Little Pea's Blues

The Broadway Beat - Harold Baker

 

Close Your Eyes

The Broadway Beat

Harold "Shorty" Baker Quartet

King Records KING 608

1959

From the back cover: Born in St. Louis, Missouri, he first entered the orchestra business playing in his brother's group "Winfeld Baker and his St. Louis Crackerjacks." Then, in 1935, he joined Don Redmon and remained until 1938. During this time he worked on arrangements, ideas, technique and style. In 1939, Harold joined Teddy Wilson... where valuable professional training came about. In 1940 he made the jump to Duke Ellington's orchestra.

Since then, Harold Baker has been forgotten as just a member of an orchestra and has become known as Harold "Shorty" Baker... with a style of his own. The trumpet sound he plays couldn't be denied... and had to come to the front. Today, Baker is an individualist, turning out music as he feels it should be portrayed.

Them There Eyes

In A Little Spanish Town

'S Wonderful

If I Had You

Rosetta

After You've Come

Marie

Close Your Eyes

The World Is Waiting For The Sunrise

Love Me Of Leave Me

Cherry

Elgart Au Go-Go - Les & Larry Elgart

Thunder Shake

Elgart Au Go-Go

Les & Larry Elgart

Produced by Ernie Altschuler

Arranged by Charlie Albertine

Cover Photo: Columbia Records Studio - Henry Parker

Columbia STEREO CS 9155

1965

Thunder Shake

Downtown

Meditation (Larry Elgart, soprano sax solo)

Come Rain Or Come Shine

King Of The Road

Jerkin' Around

St. James Infirmary

La Bostella (Viens Danser La Bostella)

Willow Weep For Me

G'Won Train

I Gotta Right To Sing The Blues

The First Man's Theme (Arranged by Marty Manning)

Don't Forget I Still Love You - Bobbi Martin

 

Dear Heart

Don't Forget I Still Love You

Bobbi Martin

Cover Photo: Hal Buksbaum

Coral Records CRL 57472

1965

From the back cover: Unlike many of the popular singers of the day, Bobbi Martin's musical success comes from a strong background of solid, professional training and experience. Hailing from Baltimore, it was only natural that Bobbi would enter show business, for both her parents were professional singers. From the time that Bobbi was in school, she took her singing seriously, seizing every opportunity to perform whenever the occasion presented itself. After graduation from high school in Baltimore, she next set her sights from New York and a full-time try at a show business career. She came to the attention of personal manager Miriam Love, and the rest, as they say, is history.

Miriam groomed her young protege first for night clubs and TV. Bobbi had played to standing-room-only audiences in many of the finest clubs throughout the country, and video audiences have thrilled to her refreshing style in guest appearances on such top-rated TV shows as "The Jackie Gleason Show."

Records were next on the agenda, and Bobbi Martin was seen and heard by Coral Records' A&R executive, Henry Jerome, who recognized the exciting potential of this new young songstress and immediately signed her to an exclusive, long-term Coral recording contract. Now the problem was to find the right song, and Bobbi Martin, and Henry went to work. The result of their quest was "Don't Forget I Still Love You", which launched Bobbi Martin into stardom.

From Billboard - February 6, 1965: Bobbi Martin has just come off a major hit, "Don't Forget I Still Love You." She possesses a warm voice and projects plenty of tenderness and meaning in her vocals. Producer Henry Jerome has given the album a tinge of country flavoring via use of gentle 12-string guitars.

Don't Forget I Still Love You

Someday (You'll Want Me To Want You)

This Love Of Mine

I Can't Stop Loving You

Kiss Me Goodnight

Everybody Loves Somebody

Loving You

We'll Sing In The Sunshine

Anytime

Dear Heart

I'm A Fool (To Go On Loving You)

Billy Daniels At The Stardust, Las Vegas

 

Beat Generation

Billy Daniels 

At The Stardust, Las Vegas

MGM Records E3762

1959

From Billboard - May 4, 1959: One of the great club entertainers of our time, Bill Daniels has so much personality that only a limited amount can be projected via disk. It's enough, however, to convincingly sell such emotional numbers as "Tenderly," "Begin The Beguine," "Temptation," and "Star Dust." The album was recorded at the Stardust in Las Vegas, and the audience reaction is present for those who like realism.

Oh, Lady Be Good!

I Got It Bad (And That Ain't Good)

Tenderly

The Beat Generation

Don't Worry 'Bout Me

Begin The Beguine

Ol' Man River

The Birth Of The Blues

I've A Tendency To Fall In Love

Temptation

Star Dust

Who's Sorry Now?