Afrikaan Beat - Bert Kaempfert

 

Where Flamingos Fly

Afrikaan Beat

Bert Kaempfert and His Orchestra

Design/Photography: Graphic Directions, Inc.

Columbia Record Club Exclusive

Polydor SPH 37556

CBS Direct Marketing Services

1967

Afrikaan Beat

Dancing In The Dark

Moonglow

Where Flamingos Fly

Stardust

Pony Violins

Solitude

Cherokee

Trumpet In The Night

Where Or When

Bert's Tune

Just As Much As Ever

Cinema Holiday - Rudolph Statler

 

Lioness Beat

Cineman Holiday

Rudolph Statler Orchestra

Wyncote W-9210

Georgie Girl

Theme From Grand Prix

Edelweiss 

Lioness Beat

Kuianga Kill

Theme For Guitar

Picadilly Theme

The Race Theme

Swiss Sounds

Funky

Grass Grows Free

Beyond The Tree

Midnight Cowboy - Hugo Winterhalter

 

Theme From Midnight Cowboy

Midnight Cowboy

Hugo Winterhalter Orchestra

Musico Stereo Records MDS 1029

1970

Theme From Midnight Cowboy

Love Theme From Romeo And Juliet

Mac Arthur Park

Theme From Elvira Madigan

Theme From Margaret 

Winds In Autumn

Glad For You Sad For Me

Theme From Pop

Jean

Harlem Blues

Hank! - Hank Thompson

 

Don't Get Around Much Anymore

Hank!

America's No. 1 Western Dance Band

Hank Thompson

And His Brazos Valley Boys

Cover Photo by Schulke, Black Star

Capitol Records T826

1957

From Billboard - May 20, 1957: Considered by many the outstanding band in the country field, this album may be regarded as solid, standard merchandise. It is well recorded, very danceable, and there are vocals for each selection. Latter include pop and country standards, and Hank Thompson originals. Included are "Someone Can Steal Your Love From Me," "String Of Pearls," "Don't Get Around Much Anymore." Quite a pop appeal in the material, obviously. Excellent sound.

Hang Your Head And Cry

String Of Pearls

The Gypsy

You'll Be The One

Don't Be That Way

Ole Napoleon 

I Don't Want To Know

Prosperity Special 

Someone Can Steal You From Me

Don't Look Now

Across The Alley From The Alamo

Don't Get Around Much Anymore

Essence - John Lewis

Another Encounter

Essence

John Lewis Plays The Compositions And Arrangements Of Gary McFarland

Arrranger-Conductor: Gary McFarland

Recording Engineers: Tom Dowd & Phil Iehle

Cover: Stranislaw Zagorski

Supervision: Nesuhi Ertegun & Tom Dowd

Atlantic 1425

1964

From the back cover: John Lewis is a creator of sounds. His aural sensitivity, which reaches us through The Modern Jazz Quartet of which he is musical director, may be likened to the personalized sound of the inimitable Duke Ellington orchestra. Just as Ellington utilizes the colorful sonorities of Harry Carney, Johnny Hodges and other distinguished jazzmen, John Lewis weaves the MJQ's unique sound around the genius of Milt Jackson, Percy Heath and Connie Kay. Today, the unmistakeable timbre of the MJQ is a household word in jazz and pianist-composer John Lewis is responsible for this remarkable aural refinement. Lewis' musical activities are not confined to the MJQ alone. Besides making numerous recordings composing for film and the ballet, and founding "Orchestra USA", whose repertoire ranges from the blues and baroque music to avant-garde jazz and serial music, John Lewis also encourages talent. When Gary McFarland was a newcomer to the jazz world in 1959, one of the few people who encouraged him was John Lewis.

West Coast-born vibraphonist Gary McFarland came to New York by way of Boston, where he studied at the Berlee School Of Music and wrote his first big band arrangements for the Herb Pomeroy Orchestra. He also attended the School Of Jazz in Lenox, Mass. of which John Lewis was director. Now an established young composer-arranger living in New York, Gary McFarland has had his works performed and recorded by large and small groups under his direction as well as such stars as Gerry Mulligan, Stan Getz and Johnny Hodges, to name a few.

All six selections in this album were composed and arranged by Gary McFarland, and they feature the sensitive piano playing of John Lewis all the way. However, it is interesting to note that the orchestra is not used to provide simple accompaniments. On the contrary, the soloist and the orchestra are fused together in one over-all tonal landscape. Gary McFarland is extremely conscious of tone colors. The varied textures he utilizes provide an underlying blanket to the flowing melodic lines which are usually tinged with a little sadness and nostalgia. – Arif Mardin

From Billboard - January 23, 1965: This is the stuff that fine jazz is made of: the compositions and arrangements of Gary McFarland and the piano delineation of John Lewis. McFarland's work helps bring out the best in Lewis and the pianist with the aid of an understanding orchestra bring out the best in McFarland.

Hopeful Encounter

Tillamook Two

Night Float

Notions

Another Encounter

Wish Me Well

On Hopefull Encounter, Notions & Wish Me Well, the personnel is" John Lewis - piano, Nick Travis, Lewis Mucci and Freddie Hubbard - Trumpets; Mike Zwerin - Trombone; Bob Swisshelm and Bob Northern - French Horns; Don Butterfield - Tuba; Billy Bean - Guitar; Richard Davis - Bass and Connie Kay - Drums

On Tilliamook Two and Another Encounter, the personnel is: John Lewis - Piano; Harold Jones - Flute; Eric Dolphy - Alto Flute; Phil Woods - Clarinet; William Arrowsmith - Oboe; Loren Glickman - Bassoon; Don Stewart - Bassett Horn; Gene Allen - Baritone Sax; Jim Hall - Guitar; Richard Davis - Bass and Connie Kay - Drums

On Night Float, the personnel is: John Lewis - Piano; Eric Dolphy - Alto Sax; Benny Golson - Tenor Sax; Jimmy Giuffre - Baritone Sax; Herb Pomeroy - Trumpet; Gunther Schuller - French Horn; Jim Hall - Guitar; Gorge Duvivier - Bass and Connie Kay - Drums

The trumpet solo on Notions is by Freddie Hubbard 

We Get Requests - Oscar Peterson

 

My One And Only Love

We Get Requests

The Oscar Peterson Trio

Produced by Jim Davis

Director of Engineering: Val Valentine

Recording Engineer: Bob Simpson

Verve V-8606

1965

From the back cover: We Get Requests is a perfect example of Oscar Peterson's remarkable two-sided appeal. Technically, the album is filled with above-average melodies development and solid rhythmic blend, while the repertoire is a crowd-pleaser. On this LP the listener is treated to a tasteful mixing of current pop tunes, standards and originals.

It is this quality of variety, especially with the inclusion of recent popular favorites, that best exemplifies the We Get Requests theme of this album. Oscar Peterson has played and continues to play requests in his appearances at clubs around the country, night spots like Basin Street East, in New York City, and the London House in Chicago. Of course, he's no barroom player, and will politely turn down that drunk at table number 10 asking for Melancholy Baby, but any reasonable request, made in the spirit of friendliness and mutual respect, is usually honored.

In recent months, Oscar reports that the trio has been asked to play any number of hit tunes – the fact that he considered them worth playing and presenting in this album – says a lot for the improving quality of today's popular taste. Recent hits that get the unique Peterson treatment in this album are the fine Johnny Mercer-Henry Mancini tune Days Of Wine And Roses; the Barbra Streisand song from the Broadway Funny Girl, People; the Stan Getz-Asturd Gilberto hit, The Girl From Ipanema and the lovely Antonio Carlos Jobim tune Corcovado, which is listed here with its English language title as well, Quiet Nights OF Quiet Stars.

Along with standard Have You Met Miss Jones? and My One And Only Love, there are tunes by the Modern Jazz Quartet's John Lewis, D. & E., a Snuff Smith original, Time And Again and an original by the pianist himself, Goodbye, J. D. You might say this latter composition is a salute to a working associate for it is dedicated to Oscar's Verve a. & r. producer, Jim Davis.

As in his other Verve albums, pianist Peterson is surrounded by his regular working combo, two of the finest professional musicians on their respective instruments playing today, bassist Ray Brown and drummer Ed Thigpen. Each contributes immeasurably to the total excellence of this album.

Quiet Nights Of Quiet Star (Corcovado)

The Days Of Wine And Roses

My One And Only Love

People

Have You Met Miss Jones?

You Look Good To Me

The Girl From Ipanema

D. & E. 

Time And Again

Goodbye J. D.

Dee-licious! - Lenny Dee

 

Tarragona

Dee-licious!

Lenny Dee

Organ Solos With Rhythm Accompaniment

Hi-Fi Organ Solos With A Beat

Decca Records DL 8275

1956

From the back cover: Lennie Dee can do absolutely anything with the organ – including many things which have never been attempted. He can make it sing and dance, wail and weep, swing and sway, pulse and pound – he can almost make it sit up and beg. The only thing he can not do with it is to make it sound dull. His preceding albums, "Dee-lightful" (DL 8114) and "Dee-lirious" (DL 8165) have won listeners throughout the nation – this new collection is issued in response to a continuing demand.

Lennie Dee was not always an organist. At seven he was playing the  banjo. Then, in Illinois and in Florida, he studied the piano-accordion. They the Navy took him – he was on an aircraft carrier route between the West Coast and Japan. With a G.I. bill he enrolled at the Conservatory of Chicago, and it was there that he had his first lesson on an organ. It did not take him long to learn that he had found his natural instrument. He landed bookings as some of the most prominent hotels in the south. He began to vary his style, to feature original ideas and novel rhythms. He was heard on a weekly network and, during an engagement at Nashville's Plantation Club, he signed a contract with Decca Records.

From Billboard - June 2, 1956: Lenny Dee, with two successful albums behind him, comes thru with another happy, rollicking series of offerings. The lad shows much imagination in tunes like "Stompin' At The Savoy," "Honky Tonk Train Blues," "Jersey Bounce" and "Hawaiian War Chant." An organ can be a multihued, versatile instrument and Dee definitely makes it speak up. Of the increasing number of organ packages available, this is among the best.

Delicious 

Fan Tango

Stompin' At The Savoy

Diane

Honky Tonk Train Blues

Alabamy Bound

Tarragona

At Sundown

Jersey Bounce

Hawaiian War Chant

What Is This Thing Called Love?

Toot Toot Tootsie Goodbye

From A Whisper To A Scream - Esther Williams

To Lay Down Beside You

From A Whisper To A Scream

Esther Williams

Arranged and Conducted by Pee Wee Ellis

Rhythm Arrangement on "Til My Back Ain't Got No Bone," "Your Love Is So Doggone Good," "Scarred Knees"  by Jack Wilson

String Arrangements on "Home Is Where The Hatred Is," "From A Whisper To A Scream," "To Lay Down Beside You," "That's All Right With Me," "Baby, I'm For Real" by Don Sebesky

Recorded at Van Gelder Studios

Engineer: Rude Van Gelder

Recorded December, 1971

Kudu Records KU-05

A Division Of Creed Taylor, Inc.

Produced for CTI Records by Creed Taylor 

Personnel: 

Bass - Gordon Edwards

Drums - Bernard Purdie

Percussion - Airto Moreira

Guitar - Cornell Dupree & Eric Gale

Trumpet & Flugelhorn - John Eckert & John Catchen

Organ & Piano - Richard Tee

Trombone - Sam Burtis & Dick Griffin

Alto Saxophone - Hank Crawford

Tenor Saxophone & Flute - Frank Vicari

Baritone Saxophone & Flute - David Liebman

Violin - Michael Comins, Max Hollander, Leo Kahn, Charles Libove, Guy Lumia, Max Pllikoff, Alvin Rogers, Alvin Rogers, Paul Winter, Jack Zade

Viola - Harold Coletta & Harry Zaratzian

Cello - Charles McCracken & Alan Sherman

Harp - Margaret Ross

Vocal - Joshie Armstead, Hilda Harris, Barbara Massey, Louis St. Louis, Tasha Thomas

Home Is Where The Hatred Is

From A Whisper To A Scream

To Lay Down Beside You

That's All Right With Me

'Til My Back Ain't Got No Bone

Sweet Touch Of Love

Baby, I'm For Real

Your Love Is So Doggone Good

Scarred Knees 

The Wide Open Spaces - Pete King

 

Twilight On The Trail

The Wide Open Spaces

Pete King Orchestra And Chorale

KAPP Records KL-1306

1963

The Wide Open Spaces

Riders In The Sky - Vocal: Bill Lee

Green Fields

Don't Fence Me In

Bonanza 

Twilight On The Trail - Vocal: Bill Lee

Cool Water

Boots And Saddle - Vocal: Jimmy Joyce

High Noon

Wagon Wheels - Vocal: Thurl Ravenscroft

Tumbling Tumbleweeds

The Last Round-Up