Rhumba Festival - Plymouth Rhumba Orchestra

 

Rhumba Festival

Rhumba Festical

Plymouth Rhumba Orchestra 

Plymouth P-12-93

False Love

Cielito Lindo

Boogie Woogie Bongo Man

La Paloma

Mi Passion

Blue Rhumba

Besos Ardiente

Rhumba Rhapsody

Rhumba Serenade

Chiracha

Ay-Ay-Ay

El Chembera

The Incredible Montoya Presents Porrina De Badajoz

 

Media Granaina

The Incredible Montoya Presents

Porrina De Badajoz

Flamenco

Recorded in Spain, April 25, 1958

RCA Victor LPM-1878

1959

From the back cover: In the Spring of 1958 Carlos Montoya journeyed to Spain for the express purpose of recording with the finest artists of the flamenco tradition. The first album resulting from this project was Flamenco Festival (RCA Victor LPM-1713) for which Montoya assembled a group of Spanish gypsies. It is a perfect example of the uninhibited approach in both dancing and singing – a veritable gypsy "jam session."

For this album Montoya wanted to bring to his American audiences a real "find" in the more serious field of caste flamenco. The Montoya name and reputation opened all doors to him in Spanish artistic circles and the best singers were eager to record with him. Yet among the many candidates, one fellow-gypsy was outstanding as an original personality who had kept the purity of flamenco style. This was Porrina de Badajoz.

Porrina, who is now the rage among aficionados, was born to a poor gypsy family in the town of Badajoz in southern Spain. His mother still lives there in the simple way they always lived. Porrina made his debut at Madrid's Teatro Pavon in the show "La Copa Andaluza." He has since been featured in the company of Conchita Piquer and has toured throughout Spain, creating a devoted public wherever he went. True to the highest gypsy tradition, he is self-taught with an endless gift for improvisation.

When Porrina first made his debut he had to learn the lyrics of the show on the same day it opened. This album was made in much the same way. Two days before Montoya was to return to America, Porrina arrived in Madrid, from the "feria" at Seville. The recording was cut the following day. That it was a happy collaboration is underlined by Porrina's statement that he had never sung so well as to Montoya's music.

From Billboard - April 6, 1959: Fascinating album of Flamenco music. The truly Spanish style singing by Montoya discovery, Porrina de Badajo, is accompanied by the incomparable guitarist himself. Exciting performances in pure Flamenco tradition. Excellent buy for the genre. Colorful and attractive cover should encourage sales.

Alegrias

Tarantas

Tango

Sevillano - Tientos (Que Le Pase Lo Que A Mi)

Cuatro Jacas Castafias - Fandango / Bulerias

Seguiriyas

Media Granaina

Si Mi Gloria Eres Tu - Fandango

Angelitos Negros - Zambra

Solen

Songs Of Tragedy - Hank Snow

 

Old Rover

Songs Of Tragedy

Hank Snow

Produced by Chet Akins

Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee

Recording Engineer: Tommy Strong

RCA Victor LSP-2901

1964

From the back cover: It's been several years since Hank Snow's When Tragedy Struck (RCA Victor LPM-1861), and "topping" that outstanding album has perplexed this colorful songster ever since. Resourcefully, he has added one more "ballad of tragedy" at a time, often testing them on personal appearances to be sure each measures up to the standard established by the previous collection. The "survivors" of those testing performances are what you hear here.

Hank' Song Of Tragedy tell of very personal misfortunes under a variety  of emotional circumstances – such as wartime (Mother I Thank You For The Bible You Gave) and prison (The Prisoner's Dream). Tug at your heart they surely will, just as they have stirred audiences for generations; for these songs are far from new, and they fully qualify as great, enduring folk music.

Hank Snow first struck out on his own as a cabin boy on a freighter bucking the big waves off his native Nova Scotia. He's a born adventurer whose way of life has changed little over the years despite his show business success. He thrives on new places, new people, and being as constantly as possible on the move. And everywhere they know him, they love him. Hank's twelve days in Japan this past spring were "a sensation, exclamation point, exclamation point," to quote Tsuneo Nagano, executive director of RCA Victor Artists Corp., Tokyo.

From Billboard - August 15, 1964: With 28 years recording experience (all with RCA) and a collection of top songs about personal misfortunes, you have a combination that cannot  help winning even more fans and popularity for Hank Snow. "The Prisoner's Song," "The Color Song" and "Walking The Last Mile" are examples to prove the point.

The Prisoner's Song

The Color Song

The Answer To Little Blossom

There's A Star Spangled Banner Waving Somewhere

Walking The Last Mile

Old Rover 

The Prisoner's Dream

Put Your Arms Around Me

You Little Band Of Gold

Rocking Alone In An Old Rocking Chair

Mother I Thank You For The Bible You Gave

Little Joe

Don Gibson With Spanish Guitars

 

Maria Elena

Don Gibson

With Spanish Guitars

Vocal accompaniment by The Jordanaires

Produced by Chet Atkins

Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee

Recording Engineer: Jim Malloy

RCA Victor LSP-3594

1966

Blues In My Mind

Maria Elena

Making Believe

Just Call Me Lonesome

Vaya con Dios

Once A Day

I Can't Tell My Heart That

With You Love On My Mind

My Friends Are Gonna Be Strangers

Somebody Loves You Darlin'

Don't You Ever Get Tired (Of Hurting Me)

A Stranger To Me

All-Time Dance Favorites - Eddie Layton & Buddy Morrow

Stardust/Emaline/Sweet Lorraine

A Collection Of 33 All-Time Dance Favorites

Eddie Layton & Buddy Morrow

Mercury Records SR 60764

1963

Medley: Does Your Heart Beat For Me / For Me And My Gal / It Must Be True / Pardon Me Pretty Baby

Medley: One Morning In May / Reaching For A Star / Lonesome And Sorry / Idaho

Medley: All My Love / Serenade In The Night / Serenata

Medley: The Greatest Mistake Of My Life / I'm Drowning My Sorrows / Just A Girl That Men Forget / Hard Boiled Rose

Medley: Hey, Mr. Banjo / Who's Sorry Now / Ma (He's Making Eyes At Me) / My Honey's Lovin' Arms

Medley: Don't Worry 'Bout Me / Solitude / Moonglow

Medley: Don't Cry My Love (The Faithful Hussar) / Girl Of My Dreams / Red Roses For A Blue Lady / How Come You Do Me Like You Do

Medley: Billy / When My Sugar Walks Down The Street / Diga Diga Doo / When You're Smiling (The Whole World Smiles With You)

The Voices Of Walter Schumann

 

Holiday For Stings

The Voices Of Walter Schumann

Capitol Records T297

Dream

I'm Always Chasing Rainbows

For All We Know

Fools Rush In

Taking A Chance On Love

Love

Summertime

Moonglow

When Your Love Has Gone

April In Paris

Far Above Cayuga's Waters

Holiday For Strings

Satin Doll - Billy Maxted

 

Snowfall

Billy Maxted's Satin Doll

Arranger: Billy Maxted

Producer: Jack Tracy

Art Direction: Woody Woodward

Cover Photography: Peter Whorf

Engineer: Mac Emerman, Criteria Sound, Miami, Florida

Manhattan Jazz Band Plays Big Band Hits!

Liberty LST-7492

1967

Personnel:

Billy Maxted - Piano and Leader

Bon Yance, Trumpet

Dave Culp - Trumpet

Richy Nelson - Trombone

Joe Barafuldi - Clarinet

Ron Nespo - Bass

John Von Ohlen - Drums

Eager Beaver

Shiny Stockings

Stealin' Apples 

A String Of Pearls

Four Or Five Times

Snowfall

Satin Doll

When The Summer Is Gone (How I'll Miss You)

John Silver

Nightmare

Pompton Turnpike

I've Heard That Song Before

The Art Of Tatum - Art Tatum

 

Love Me

The Art Of Tatum

Piano Solos

Art Tatum

Decca Records DL 8715

1958

From the back cover: The first true jazz virtuoso, Tatum essayed interest in music at thirteen. His family encouraged him to take music lessons. Starting on violin, Art changed over to piano after a short while, and found the instrument more compatible to his musical needs. At 18, (1928) he initiated his professional career with a radio show over station WSPD in his home town, Toledo, Ohio.

Piped across the board on NBC Blue Network, the 15 minute program helped Tatum to a reputation that would mushroom to fantastic proportions before long. In addition to his radio work, Art worked in clubs, and often frequented 'after hours' spots where he felt free, and could play as he pleased.

In 1932, he joined singer Adelaide Hall as her accompanist, and came to New York for the first time. His first recordings and a succession of appearances around town, notably at the Onyx Club, were catalytic to engendering great interest in the pianist.

A period spent in Chicago followed (1935). Already a legend, musicians passing through, as well as native 'Windy City' players, filled The Three Deuces to hear the piano man who Fats Waller felt was of 'god-like' proportions.

In 1937, Tatum worked in Hollywood; in 1938, he toured Britain briefly, playing a series of music hall engagements; and in 1941, The Art Tatum Trio was born. With Tiny Grimes, guitar; and Slam Stewart, bass; Art became a major commercial attraction along New York's "Swing Street" – 52nd Street.

Fascinating interplay, and whirlwind Tatum gave the group an identity, musical stature. However, a tendency to a commercial brand of humor, lapses in taste, and what some writers considered (rightfully so) a constricted Tatum, made for reservations in certain quarters.

With the turn in public and trade interest to the boppers, "modernism", in general, in the late forties, Tatum went into a temporary eclipse. This is somewhat humorous in the light of the fact that Tatum was one of the direction-givers for the modernists.

The return to favor of the 'mainstream' artist in the early 'fifties brought Tatum back to the forefront. Unfortunately, the time left for "the big man' was short. Living life to the hilt had already affected his health. Warned by doctors to slow down, he heeded them with half an ear. Soon his playing began to suffer.

By mid-October of 1956, Tatum found it increasingly difficult to play at length. One evening during a night-club engagement, fatigue took hold, and he found he could not continue after the second set. Cancelling out the rest of that engagement, the pianist returned to his home in Los Angeles to rest, hoping to return to action as soon as he came to himself. This never happened.

On November 4, 1956, Tatum was hospitalized; on November 10, he was dead. Like many of the giants of jazz, life was comparatively short (46 years), but the legacy left behind was large and lasting.

This collection with the exceptions of "I Would Do Anything For You," cut by the trio – Slam Stewart, bass: Tiny Grimes, guitar; on January 5, 1944, and "Indiana," etched on June 26th, 1940 (solo), was recorded in Los Angeles on February 22, 1940. This is Tatum in his "middle period," the most fruitful, creative period of his career.

The much discussed interpretations of classical pieces – "Hunoresque" and "Elegie" – speak well for Tatum's inclination to do the unconventional in a striking manner. The former, most notably for striking contrasts, apt development of relatively banal material, the pyrotechnics, leave this writer aghast.

"Get Happy" is Tatum 'the flying orchestra'; the wideness of his conception and technical facility permitting incorporation of a variety of elements; his extraordinary imagination and harmonic sense creating a feeling of modernity years ahead of its time. And "Cocktails For Two", the fully investigated ballad, illustrative of a restless bu organized talent.

These, and the rest of the selections in this set delineate a talent of mammoth proportions. An unusual feeling for dynamics is underlined throughout; his feeling for musical color belies an almost complete blindness; his redressing of selections in almost new vestments  by vital utilization of variations is quite unforgettable. – Burt Kroall

From Billboard - May 26, 1958: Many jazz buffs will be interested in this re-release of piano solos by the late, great Art Tatum during his most fruitful era, the early 1940s. All but one of the selections was written by Tatum in 1940, with the other written in 1944 with his trio, Slam Stewart on bass and Tiny Grimes on guitar. The selections demonstrate the amazing inventiveness of Tatum on such selections as "Elegia," "Humoresque," "Sweet Lorrian," "Get Happy," and other standards.

Elegie

Humoresque

Sweet Lorraine

Get Happy

Moonglow

Indiana

Lullaby Of The Leaves

Tiger Rag

Cocktails For Two

Emaline

Love Me

I Would Do Anything For You