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Saturday, March 4, 2023

Flute N' Alto - Bud Shank

 

Jubilation

Flute N' Alto
Bud Shank
A Richard Bock Production
Cover Design by Ted Poyser
All Photos by William Clayton
World-Pacific Records WP-1286
1960

From the back cover: Bud Shank (flute & alto)

Bud Shank is a musician with a distinctive and readily recognizable way with his horn. He not only stays within the range of his horn but seems to find it easy to execute his ideas with alto, baritone or flute. You'll hear alto saxophone and C flute during the playing of this album.

I recorded a telephone conversation with the men who appear on this record and extracted a few questions and answers for this text. 

Bud Shank was born in Dayton, Ohio. Educated in the East he came West to receive his first recognition with the Charlie Barnet band. Following a year with Barnet he joined the Kenton band to play the lead book from the chair next to Art Pepper's. The two and one-half years Bud worked with Kenton correspond roughly with Pepper's period of widespread acclaim and Bud was greatly influenced by Pepper's style and sound. When Pepper left the Los Angeles jazz scene the so called "West Coast Jazz School Of Music" was in the process of forming around the men from the Kenton, Herman and Barnet bands, for the most part. With Pepper out of town and the increasing interest in Bud's playing he became the heir apparent.

Bud set about to satisfy those who expected a logical extension of the Pepper sound while, at the same time, building his confidence, technique and individual sound. The change in Bud's playing began as he worked with many different men from various parts of the country during his stay at the Lighthouse. His recent album with Bill Perkins gave many people a recorded example of the turning point in Bud's thinking. This album gives jazz lovers a preview of things to be expected of Bud Shank in years to come.

Q: I think I hear a different sound and approach. What's the reason?
A: I think it's getting out on my own. It's all mental. I'm playing more now the way I've always wanted to play.

Q: Do you believe you're thinking along the Perk and Zoot line, maybe?
A: Oh, yeah. I don't have other things influencing me and I feel freer than I ever felt. I play more the way I want without pressures from anyone.

Q: Meaning guys in the business or record people?
A: Guys I'm working with and also on the record dates and things like that.

Q: Who picked the tunes for the date?
A: I did.

Q: Who did the arrangements?
A: Coop did his two tunes and Claude did "Do Nothin' 'Til You Hear From Me," and "Nocturne," which he wrote, I did "Nature Boy."

Q: Who do yo dig playing alto?
A: That's hard to say – everybody, Lee and Art and well, Bird, naturally.

Q: Who would you say influenced you most when you were beginning to play?
A: Prez.

That last answer probably tells us more than might be obvious at first glance. You'll hear, perhaps, a little more of the currently fashionable tenor saxophone attack in Bud's music now.

Claude Williamson (Piano)

I've have known Claude Williamson since his army days. Claude was born in Brattleboro, Vermont. He worked with the Barnet band before his army service, recording with Barnet an excellent Many Albam score titled "Claude Reigns." He has recorded a surprising amount of music with a great many groups. Since his return from the army Claude has worked extensively in the studios, at concerts and the Lighthouse.

Probably every young pianist in the 1940s felt the influence of Bud Powell. Claude felt it and profited by it. It now appears that the increased demands made of modern pianist today will broaden their thinking even as Claude's scope has expanded during the past years. 

Claude now uses his great facility within a looser, more flexible framework, not so shackled with the pre-conceived musical notions of the past decade.

Q: I think I hear a lot more of your left hand now. What do you feel?
A: Since I left the Lighthouse I'm beginning to really find myself – more with this group. I've been trying to keep my left hand busier.

Q: How do you like the instrumentation?
A: I like very much  working with the quartet.

Q: Which of the tunes from the date do you like?
A: I like "Do Nothin'" and "Walking'."

Q: "Bag Of Blues: has an unusual sound. What is it?
A: It's not really a blues tune. It's a 32 bar tune. It's in D flat and the thing that makes it sound different is that the progressions are quite unorthodox. Very unusual progression in the first eight and the bridge too.

Claude's talent and serious approach to music guarantees us many exciting years of hearing and enjoying the ever evolving Williamson style.

Chuck Flores (drums)

I met Chuck Flores just a few days after he joined the Woody Herman band. Chuck had studied with Shelly Manne for about a year before taking to the road. During the year he studied with Shelly he worked with several groups in Los Angeles and his home city of Orange, a Los Angeles suburb. When Ike Carpenter's band worked during this period Chuck worked with it.

In replacing Joe McDonald with Woody Herman, Chuck climbed into what might be considered the hottest drumming chair in the nation. Few things bring out authoritative positions of musicians and critics as rapidly as questions regarding the proper selection of a right man for the job. Woody Herman chose teen-ager Chuck Flores as the man for the important opening. Chuck probably has more drive and endurance, for his size, than any drummer since Dave Tough. He proved himself so capable that he remained with Herman throughout the band's second Capitol recording contract. Chuck worked with the big band and the octet in Las Vegas. He has recorded with Dick Collins, Nat Pierce, Claude Williamson's trio and Cy Touff's octet and quintet.

From the Herdsmen he received his nick-name "Wetback" and much of the experience and musical philosophy you will hear demonstrated during the playing off this album.

Q: How do you like the way you sound on the record?
A: Well, you know you hardly ever make an album where you are completely pleased. Some of those things we played back sounded good. Don't know how I'll dig them later.

Q: Do you like the small group compared to the big band?
A: Oh! Yeah. It's really a ball.

Q: You studied with Shelly for a while, would you consider him the major influence in your playing?
A: No, I think Art Blakey and Tiny Kahn and Max, of course.

Chuck Flores, is one of the bright young men in music. His work with men of long experience has taught him things few musicians his age have an opportunity to learn.

It may be safely said that you will hear much more from Chuck Flores.

Don Prell (bass)

I have just met Don Prell, a Los Angeles born bassist. You may be hearing him for the first time during the playing of the numbers in this album. Don has had considerable classical training and experience. He worked two seasons with the Utah Symphony before reverting to jazz playing exclusively. The exacting demands of classical works, in some phases of playing, show through in Don's jazz work. For example, you will find Don's intonation excellent. and he does not over-use the lower register of his instrument as a few of the lesser schooled bassist have been accused of doing.

Q: Do you believe that you benefitted from your symphony work?
A: Oh, yes. It was wonderful experience.

Q: Do you like sumphony work or do you prefer the freedom of jazz?
A: I like to play jazz.

Q: Who would you say influenced you most in your playing?
A: Oh, I don't know – Pettiford, I guess.

Q: How much do you like the album?
A: Very much.

Q: What sort of bass do you use?
A: I don't know. I paid $15 for it and it was in pieces when I bought it. I put it back together, you know.

Q: $15? Did you use it in the symphony?
A: Sure.

There couldn't have been a funnier note on which to conclude the telephone conversations.

I leave the music to speak for itself as I have tired to allow the musicians to speak for themselves. They seem to be a happy group of players and timekeepers. I hope you enjoy the record. – Pay Henry

Jubilation
Bag Of Blues
Nature Boy
Don Nothin' Till You Hear From Me
A Night In Tunisia
Polka Dots And Moonbeams
Jive At Five
Noctune For Flute
Walkin'

Excitement Unlimited - Charlie Shavers

 

Minor Blues

Excitement Unlimited
Charlie Shavers
Produced by Dave Cavanaugh and Bill Miller
Cover Photo/Capitol Photo Studio: George Benson
Recorded in Capitol's New York City studios on February 20, 21 and 22, 1963
Recording Engineer: Johnny Cue
Capitol Records T1883

Personnel: 

Bass - Tommy Bryant
Drums - Oliver Jackson
Guitar - George Barnes (courtesy of Columbia Records, Inc.)
Piano - Bruce Martin
Alto Sax - Jerome Richardson (courtesy of United Artists Records, Inc.)
Tenor Sax - Budd Johnson (courtesy of Argo Records)
Trombone - Billy Byers

From the back cover: Charlie Shavers, who was born in New York City in 1917, has worked with a god many of the biggest names in jazz over his long and illustrious career in music. He was first heard around the New York area with both Tiny Bradshaw and Lucky Millinder, before beginning his famed association as arranger and trumpet star with the John Kirby group. While still with Kirby in 1944, he also performed with the legendary Raymond Scott Quintet at CBS. In 1945 he joined Tommy Dorsey, and his golden trumpet was a standout feature with that famous band for several more years. In the fifties he played dates with Benny Goodman, formed his own group with Terry Gibbs and Louis Bellson, and visited Europe with the well-known JATP tours. In the sixties he has continued to prove one of the most durable musicians in the business. And, though his flexibility enables him to play all kinds of dates, such as the dixieland-oriented Metropole and the more subdued Embers in New York, Shavers continues to retain his own unmistakable sound and conception – truly a "classic" musician who transcends the many changes in jazz styles.

From Billboard - May 18, 1963: Charlie Shavers' fans will be flipped with this one. Charlie gives his best on several of his originals of recent vintage: "Period Of Adjustment," "Bossa Nova Petite," and others. Also included are the big sound hair raisers, "Undecided," "Minor Blues" and "School Days" where Charlie also takes to singing. There's much in this one for everyone, Shavers buff or not!

Period Of Adjustment
Bossa Nova Petite
I Kid You Not
Undecided
Opus 5
Night In Tunisia
Shiny Stockings
Minor Blues
Tenderly 
School Days
Big Time Blues

Mambo Vol. II - Perez Prado

 

Mambo Kaem

Mambo Vol. II
Perez Prado Y Su Orquesta
Orfeon LP-12-431

Cerezo Rosa
A La Billy May
Mambo Kaem
Rosina
Al Compas Del Mambo
La Nina Popof
Maria Bonita
El Rey Del Ruby
Rico Caliente Y Sabroso
Muchachita
Mambo De La Telefonista
Mambo Del Politecnico

Friday, March 3, 2023

Chet Atkins Picks On The Beatles

 

Things We Said Today

Chet Atkins Picks On The Beatles
Produced by Chet Atkins and Bob Ferguson
Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee
Recording Engineer: Bill Vandevort
Charlie McCoy pictured on back cover on Harmonics on Chet's albums (courtesy of Monument Records)
RCA Victor LPM-3531
1966

From the back cover: I have appreciated Chet Atkins as a musician since long before the tracks on this album were written; in fact, since I was the ripe young age of seventeen. Since then I have lost count of the number of Chet's album I have acquired, but I have not been disappointed with any of them.

For me, the great thing about Mr. Atkins is not the fact that he is capable of playing almost every type of music but the conviction in the way he does it. Whilst listening to Chet Atkins Picks On The Beatles I got the feeling that these songs had been written specifically with Chet in mind. The fact that they were not proves his eminence as an artist – the perfect example being Yesterday. Chet, by himself, gets far more out of this than some of the people known as "class" singers do with a full orchestral arrangement to boot!"

I'll Cry Instead, She's A Woman and Can't buy Me Love, having a country feeling about them, lend themselves perfectly to Chet's own style of picking, which has inspired so many guitarists throughout the world (myself included, but I didn't have enough fingers at the time).

All the other tracks have Chet adding harmonies and harmonics in the least expected places, bringing out that crystal-clear sound of the guitar to his audience's benefit.

One thing remains very clear to me at the end or this LP, and that is why this sleeve note must end here. Chet Atkins did not get to be a great guitarist by writing sleeve notes, but by years of devoted practice on the instrument he so obviously loves. – George Harrison

I Feel Fine
Yesterday
If I Fell
I'll Cry Instead
Things We Said Today
Hard Day's Night 
I'll Follow The Sound
She's A Woman
And I Love Her
Michelle
She Loves You

Travelin' - Chet Atkins

 

Exodus

Travelin' 
Chet Atkins
Smash Hits Direct From His History-Making International Tour
Produced by Anita Kerr
Recorded in RCA Victor's "Nashville Sound" Studio, Nashville, Tennessee
Recording Engineer: Bill Porter and Tommy Strong
RCA Victor LSP-2678
1963

From the back cover: Jets roar in and out every day of the year at the airport serving Johannesburg, South Africa, a city comparable to our Pittsburgh or Dallas. But this one touching down on the runway now is somehow different. Not just another jet flight – a Chet Flight!

Chet Atkins, Jim Reeves and Floyd Cramer... they stepped out onto the portable stairway wheeled up to the place door, and that's when the furor began. "Thousands of screaming fans!"read the breathless cable sent back to RCA Victor, New York. The excited sender was A. G. J. McGrath, managing director of Teal Record Co., Ltd., Victor distributor throughout South Africa. He's the man on the scene who takes the story from here, and, since your interest of the moment lies in an Atkins album, we particularly note his comments on Chet.

"Over a third of the world's gold is mined here. But that day, and during the concert-playing days with followed, gold was valued a poor second to the guitar this fellow brought along! Sixty thousand came for the concerts.

"For all the admirable talent you Americans possess (and I, in the record-selling business, thank heaven for such talented Americans as your Atkins, Reeves and Cramer), I'm afraid you aren't as yet up to the task of pronouncing the language here called Afrikaans. Chet strived on stage to say the titles of several selections he learned here and played such such finesse. However, Outa On De Long Pod emerged sounding something similar to a stub needled 1925 Victrola trying to track the microgrooves of a 1963 LP... and the people applauded him frantically for his smiling sincerity.

Adds David Davis, who broadcasts daily from Mozambique as South Africa's equivalent of America's most popular disc jockeys: "The warmth of his personality is his passport, the feeling he evidences for his music surmounts all language barries – Mr. Guitar's appeal is universal."

Included herein are the songs he played on a journey which included later stops in Nairobi, Rome and London.

And for a final word from South Africa's Mr. McGrath: "Quite an inestimable fellow, this Atkins."

From Billboard - May 18, 1963: The taste and style of the Chet Atkins guitar have never been more evident than on this fine collection of songs, played in his usual warm and meaningful style. The songs played by him for his fans in Johannesburg, Nairobi, Rome and London, include "Wheels," "Calcutta," "La Dolce Vita," "Exodus," "Baubles, Bangles And Beads" and "Volare," A first-rate album.

Wheels
Calcutta
La Dolce Vita
Exodus
Baubles, Bangles And Beads
Naboonspruit Polka
Muskrat Ramble
Waram Patat
Volare
Mossie Se Moses
Sweetness
The World Is Waiting For The Sunrise

Tony Mottola And The Quad Guitars

Moonlight In Vermont

Tony Mottola And The Quad Guitars
Produced by Enoch Light
Associate Producer: Tony Mottola & Jeff Hest
Arrangements: Tony Mottola
Engineer: Steve Friedman
Mastering: Al Brown
Project 3 PR5078 QD
1973

Four of America's greatest guitarists:

Vinnie Bell
AL Caiola (courtesy of Two World Records)
Don Aaron
Al Casamenti

Join Tony and these giants of rhythm:

Dick Hyman
Jule Ruggiero
Ronnie Zito
Derek Smith
Phil Kraus

From the inside cover: When Enoch Light first suggested to me that I I should do a quad album for Project 3 Records, my thoughts went back almost 15 years to the time when Enoch was the founder and creative head of Command Records. This gave me my first opportunity to do an album of my own with the company that revolutionized the concept of stereo recording. That album, "Mr. Big", featured an original and distinctive sound of four electric guitars accompanied by a rhythm section. Enoch and I then agreed that the guitar quartet would be ideal for this quad setup.

I discussed the technicalities of recording the album with engineer Steve Friedman. We concluded that the album should be recorded on 16 track, using to tracks for each electric guitar – one track going directly into the "board" and the other "miking" the amplifiers. This left four tracks for the rhythm section and four for the possibility of over-dubbing.

I was fortunate and delighted to be able to re-invite the original group of guitarists who were with me on the original "Mr. Big" album: Al Caiola (courtesy of Two World Records), Al Casementi and Don Arnone – all old friends and very talented musicians. I invited a newcomer to join the group, Vinnie Bell. Vinnie has played on some of my most recent Project 3 albums – he is a most creative guitarist. The rhythm section is truly outstanding. It includes Dick Hyman, piano; Julie Ruggiero, Fender bass; Ronnie Zito, drums; Phil Kraus, percussion and Derek Smith who replaced Dick Hyman on our second session.

When I began the selection of tunes for the album, I wanted some that would show the true range and versatility of the electric guitar. Again, I went back a few years to the time when I first came to New York. At that time it was my good fortune to meet the now legendary guitarist, the late Carl Kris. He was instrumental in my getting started in the New York studios, for which I am still grateful. Carl, at the time, was working in duo with another great guitarist, Dick McDonough. Together they wrote and performed many guitar duets. I decided to record two which I consider to be their very best: "Chicken-A-La Swing" and "Stage Fright". With Dick's untimely passing, Carl asked me to join him and together we preformed these selections many times on various radio programs and transcriptions. The guitar duo is very much in vogue today – you can see how many years ago it all began. To me, this album was truly a labor of love. – Tony Mottola

From Billboard - November 3, 1973: CD-4 discrete Quadradisc and QS matrix. Enoch Light, owner of the label, releases in all three quadrasonic disc systems. Here, QS was compared with CD-4. The discrete was champion, but matrix still scored extremely well with definitive separation on most cuts. The mix differed, especially on a tune such as "All The Things You Are."

Classical Gas
Sugar Blues
Over The Rainbow
Stage Fright
Moonlight In Vermont
Chicken-A-La Swing
Charade
Galloping Guitars
Raindrops Keep Falling On My Head
Guitar Boogie
All The Things You Are
Paganini's 24th Caper 

Billy Butterfield Blows His Horn

 

Moonlight In Vermont

Billy Butterfield Blows His Horn
Billy Butterfield and His Orchestra
Columbia Records CL 1514
1961

From the back cover: Since the days when he first gained prominence as a member of Bob Crosby's Bobcats, Billy Butterfield has been one of the most admired trumpeters in music. The sounds he produces are warm, soft and swinging, or bright, shiny and swinging, depending on the tune, but the Butterfield touch is ever-present, lending its special accent to whatever he plays.

Butterfield joined the Crosby crew when he was in his early twenties, and gained even further notice as a songwriter when he and Bobby Taggart collaborated on the now-classic What's New. Later, Billy moved on to join one of the Artie Shaw's various orchestras, doubling with the famous Gramercy Five from time to time. Thereafter he played with Benny Goodman until service with the armed forces temporarily interrupted his career.

Returning, Billy found that he was one of the most sought-after sidemen in New York. This, coupled with an aversion to traveling, led him to pick and choose engagements around New York, including many spots on the radio. Some time later he was prevailed upon to form his own band and go out on the road, but eventually he returned to New York. Since that time he has resumed his status as one of the busiest and most prominent trumpeters in the area.

In this collection Billy leads his group through a dozen standard tunes, some of them swing classics, others tenderly romantic. As in his recent outing with Ray Conniff (Conniff Meets Butterfield, CL 1346/CS 8155), the accent is on melody and a danceable beat. And soaring all through the album is the wonderful Butterfield trumpet, clear as a summer sky.

It's Easy To Remember
Somebody Else Is Taking My Place
Narcissus
Johnson Rag
What's New
The Donkey Serenade
Just Friends
Tuxedo Junction
It Must Be True
Sunrise Serenade
Reminiscing 
Moonlight In Vermont


Love Theme From The Flight Of The Phoenix - The Brass Ring

 

My Foolish Heart

Love Theme From The Flight Of The Phoenix
The Brass Ring
Produced by Phil Bodner
Photos by Guy Webster
Dunhill 50008

Love Theme From The Flight Of The Phoenix
The Shadow Of Your Smile
Theme From A Summer Place
Love Is A Many Splendored Thing
My Foolish Heart
Moment To Moment
Unchained Melody
Lara's Theme
Moon River
Secret Love
Tara's Theme
Laura

Thursday, March 2, 2023

The Daddy Of 'Em All - Ernest Tubb

 

I Know My Baby Loves Me In Her Own Peculiar Way

The Daddy Of 'Em All
Ernest Tubb
Decca Records DL 8553
1957

From the back cover: Texas-born-and-bred Ernest Tubb, is undoubtedly one of America's most cherished singers of cowboy and country ballads – equally successful on the air, on the screen and on records. Besides his talent as singer, he has the extra gift of being a composer – more than one hundred songs are chalked up to his credit, including the added tribute of having been recorded by Bing Crosby.

All this comes as natural to Ernie as riding and ranching. He was, in fact, born on a ranch in Ellis County, Texas, where he picked up the lullabies of the bunk-house and learned to play the guitar practically in the saddle. He has come a long way since that time. Now one of the most famous folk singers in the nation, he has starred in three Western movies, has done a tremendous amount of recording and, along with Red Foley, has starred in WSM's popular "Grand Ole Opry." His close friendship with Foley is evidenced in a previous album entitled Red And Ernie (DL 8298)

You've Breaking My Heart
I Dreamed Of An Old Love Affair
I Know My Baby Loves Me In Her Own Peculiar Way
Mississippi Gal
When A Soldier Knocks And Finds Nobody Home
Daisy May
I've Got The Blues For Mammy
This Trouble Mine O' Mine
I Knew The Moment I Lost You
You're The Only Good Thing (That's Happened To Me)
My Hillbilly Baby
There's No Fool Like A Young Fool

Hot Rod Rally

 

Little Street Machine

Hot Rod Rally
The Super Stocks, Hot Rod Rog & Shutdown Douglas
Produced by Nick Venet in association with Hot Rod Magazine
Capitol Records T 1997
1963

From Billboard - November 9, 1963: With a colorful photo (among a group furnished by Hot Rod Magazine) leading off on the cover, this set, with three different acts attuned to the hot rod beat, has a strong chance to break out. There's no denying the excitement factor of this kind of music and when it's done well, as here by Hot Rod Rog, Shutdown Douglas and the Super Stocks, it's easily a contender.

By The Super Stocks:
Hot Rod City
426 Superstock
Little Stick Nomad
Wheel Man
Little Nifty Fifty
'54 Corvette

By Hot Rod Rod:
Repossession Blues
Little Street Machine

By Shutdown Douglas:
Woody Walk
Twin Cut Outs
Night Rod
Flash Falcon

You Stepped Out Of A Dream - Jan Garber

 

You Stepped Out Of A Dream

You Stepped Out Of A Dream
Jan Garber and His Orchestra
Decca Records DL 4143
1959

Just In Time
You Stepped Out Of A Dream
How About You
Foolishly Yours
Singin' In The Rain
June In January
I Love You, I Love You, I Love You, Sweetheart Of All My Dreams
Did I Remember
A Fine Romance
Time On My Hands (You In My Arms)
Paradise
Do You Ever Think Of Me

The Beat - Red Prysock

 

Moonday

The Beat 
Red Prysock and His Orchestra
Mercury Records 20307
1957

From the back cover: The popularity of Red Prysock testifies to the multitudes of people who hear and react to his music. "Red," says a prominent booking agency official, "does a wonderful job wherever he goes. There are places like the Rock and Roll Room in Pittsburgh where Red could play 15 times a year, and always have a winning week." Red's followers extend into Canada too, and he plays there often with consistent success.

Red is now beginning a new area of exploration. Recently, he played his first college date. It was at the University of Maryland, and the director of student activities wrote to Red's booking agency that he had never seen such enthusiasm before among the student body for a musical attraction.

Red Prysock, who first became widely known by his tenor solo on Tiny Bradshaw's record of Soft, has been a leader-in-demand since 1953. Red grew up in Greensboro, North Carolina. His brother, incidentally, is the equally established singer, Arthur Prysock. Before joining Tiny Bradshaw, Red gained experience in projecting the language of uninhibited rhythm and blues, using those terms literally.

On all but three of these numbers, the nucleus of Red's band consists of Joseph Oliver Blair, Clarence Wright, William Davis, Thomas Barney and Harry Marsh. Cornelius Thomas is added on Miss Clawdy, Foot Stomping' and Mashin' Potatoes. On Earth Rock and Lion's Den, Red's sidemen are Leo Bleyins, Clarence Wright, Rufus Gore, Joseph Oliver Blair, Lucius Weathers, Herb Gordy and Jerome Potter.

From Billboard - November 25, 1957: A sock instrumental package for rock and roll jocks and jukes. Prysock plays up a danceable storm with standout sax solo work and a happy, driving beat. Selections all marked by a strong, exciting tempo, include "Lawdy Miss Clawdy," "He's A Real Gone Guy" and "Rooster Walk."

Tea Bird
Purple Wail
He's A Gone Guy
Monday
Rooster Walk
Fog Wog
2 Point 8
Lawdy Miss Clawdy
Foot Stompin
Mashin' Potatoes
Earth Rock
Lions Den

Wednesday, March 1, 2023

Love Songs From South Of The Border - Tommy Garrett

 

Siboney

Love Songs From South Of The Border
The 50 Guitars Of Tommy Garrett
Producer: Snuff Garrett
Guitar Solos: Tom Tedesco
Arranger: Ernie Freeman
Engineer: Dave Hassinger
Art Direction: Woody Woodward
Cover Design and Photography: Ken Kim
Cover Painting: Teresa Woodward
Liberty Records LSS-14035
A Snuff Garrett Production
1969

Spanish Eyes
Always In My Heart
Piel Canela
La Comparsa 
Yours (Quiéreme Mucho)
Sabor A Mi (Be True To Me)
La Golondrina
Siboney
La Malagueña (Son Huasteco)
Time Was (Duerme)
Tender Moments (Tiernos Momentos)
Perhaps, Perhaps, Perhaps (Quizás, Quizás, Quizás)

Lesley Gore Sings Of Mixed-Up Hearts

 

My Foolish Heart

Lesley Gore Sings Of Mixed-Up Hearts
Arranged and Conducted by Claus Ogerman
Mercury Records MG 20849
1963

She's A Fool
The Old Crowd
Fools Rush In (Where Angels Fear To Tread)
Young Lover
My Foolish Heart
Sunshine, Lollipops And Rainbows
You Don't Own Me
Run Bobby, Run
Young And Foolish
I Struck A Match
If That's The Way You Want It
Time To Go

SwingaBILLYty - Billy Maxted

 

Tiger Rag

"SwingaBILLYty"
The Versatile Music of Billy Maxted and His Manhattan Jazz Band
Cover Photography: William Richards Associates
Cover Design: Robert F. Littlehale
K&H Records, Inc. KS-301
1961

Cover Photo, left to right:
Billy Maxted - piano and leader
Danny Tracey - clarinet and tenor sax
Chuck Forsyth - trumpet
John Dengler - trumpet, tuba and bass sax
Ed Hubble - trombone
Don MacLena - drums
(Not pictured – Jack Lesberg, string bass – added to band for recording session only)

From the back cover: Billy Maxted, Versatility and Swing-BILLYty – these key words pinpoint the music of the Billy Maxted Manhattan Jazz Band not only in this album, but also in their personal appearances throughout the country.

Billy Maxted, himself, is well-known in jazz circles as an accomplished pianist, arrangers, composer and band leader. His natural ability in these areas and his continued drive of himself and his band members certainly is the key to this success but it is interesting to not the rich musical background to which Maxted's many talents have been exposed. At the age of 18 he joined Red Nichols as a piano player and/or arranger and since that time has played and/or arranged for the Ben Pollack, Benny Goodman, Will Bradley, Bob Crosby, Claude Thornhill and Phil Napolean bands.

Maxted started his own band in September of 1955 at Nick's in Greenwich Village in New York. For three years the band entertained the Nick's crowd with a fine swinging Dixie or Dixieland Manhattan Style, as Billy prefers to call it. In the fall of 1958 the band left New York and began to play at other spots around the country. At this time, Johnny Dengler and Danny Tracey joined the band and, in effect, six men became a nine piece band (Dengler: trumpet, tuba and bass sax – Tracey: clarinet and tenor sax). While this nine instrument band did have one important limitation – only six could be played at one time – the added instruments further intrigued Maxted's arranging talents and imagination. Slowly at first, he began to experiment with different sounds. The momentum of his work increased however, with the enthusiastic reception the public gave his new arrangements. The climax, of course, is in the music of this album – a tribute to his arranging ability and the musical talents of himself and the other members of the band.

Ole Miss
Satin Doll
Runnin' Wild
Just A Closer Walk With Thee
Tiger Rag
Come Back Sweet Papa
Gin Mill Blues
Milenberg Joys
How Long Has This Been Going On
Song Of The Wanderer

Cherokee - Charlie Barnet

 

East Side, West Side

Cherokee
Charlie Barnet
Everest SDBR-1008
A Product Of Belock Recording
A Division Of Belock Instrument Corporation
1958

From the back cover: Charlie Barnet has been one of the small, select number of names synonymous with big band swing for more than 26 years. That time span is difficult to reconcile with his continuing good looks and athletic behavior, but Barnet, born in New York of a wealthy family October 26, 1913, actually led his first band on an ocean liner when he was 16.

In 1932, he had a band at the Paramount Hotelin New York, and then went on the road with one of the most stimulating, swinging bands of the thirties. His big hit was the 1939 Cherokee for Bluebird, but he had several other major record successes, most of them recreated on this album. His love of big bands has never diminished, and so far as conditions have permitted, he's always had one. This band, collected for this recording, he termed after the final session to be the best one he'd ever led.

The basic personnel for the session (there were a few changes) consisted of: trumpets – Charlie Shavers, Irving Markowitz, Clark Terry, Al Stewart; trombones – Billy Byers, Frank Saracco, Bobby Byrnes, Erwin Price; reeds – Danny Bank, baritone; Dick Hafer; tenor, Kurt Bloom, tenor; Vinnie Dee, alto; Pete Mondello, alto, tenor, baritone, rhythm – Chubby Jackson, bass; Nat Pierce, piano; Terry Snyder, drums; Bunny Briggs, vocals.

The pandas sometimes happens, was ready to wail, and the result, as you'll hear, brings back the roar of those big, bursting, burning bands of the thirties like Barnet's. Barnet's bands, in fact, have always been noted for their unabashed emotion and for their earthy force that often came with overblowing saxes, trumpet screams and shouts, and other evidences of difficult-to-contain enthusiasm. By contrast there was the precise accuracy of the not-as-swinging Goodman band. Barnet was – and is – also conscious of presentation. He would not compromise with the basic drive he preferred, but he felt it necessary to project to an audience, and even carried a man with him for a time – Roxy – who handled the lights for the band.

But above all, as this album especially underlines, Barnet emphasized enjoying the act of playing, and this band comes on as if it were playing an all-night session for itself. "It was so happy and funny a date."says Chubby Jackson," and so relaxed. "It made it seem worthwhile for Barnet Mohave flown from California to Bayside, Long Island, just for this session – his most exciting on record in many years.

East Side, West Side, an Andy Gibson arrangement, has solos by Barnet and Clark Terry, Wild, Mob Of The Fishpond (or Code 288 A) involves Barnet, Charlie Shavers and Dick Safer. Arrangement is by Billy Holman. Moten Swing, based on the theme of Billy May's original, was arranged by Holman and features Barnet, Clark Terry, Billy Byers and Nat Pierce.

Cherokee, arranged by Billy May, has solos by trumpeter Jimmy Nottingham, Nat Pierce and Barnet. Andy Gibson charted Redskin Rhumba and statements are by Barnet and Nottingham. In Billy Moore's Skyliner chart, there are Barnet and Pierce. Gibson is responsible for Smiles with solos by Terry, Pierce, Barnet and Don Lamond, drummer on that particular date.

Bill Holman's version of Charleston Alley leaves places for Charlie Shavers and Barnet while Holman's chart of Souther Fried has Byers and Barnet. Holman is also the writer of Blue Juice with Shavers, Byers and Barnet. Pompton Turnpike here is based on Billy May's original arrangement with changes by Andy Gibson and Bob Young and the duet is between Barnet and Clark Terry.

The frequency of Holman arrangements is due to Barnet's belief that Bill is "probably at the apex of his arranging career. The first time you run through them, they sound good. You don't have to battle his arrangements. You don't have to play them every night for a week before they even sound."

Like other big band leaders who have recorded for Everest, Barnet sees real signs of a resurgence. "The weekend before I flew here for this session," he said, "we played the Palladium on a Saturday night. The response was tremendous, and those were all  young, smiling faces. The more the band swung, the better they liked it, the direct opposite of past practice in recent years. And finally, kids were coming up an asking who was on drums and who was on trumpet and what the name of the tune was. It was very encouraging. Then at Las Vegas recently, Harry James filled in for an act for three days, doing a show from 3 a.m. on. James broke it up; the owners revamped the room; and are brining him back for three weeks of jazz band concerts.

If the bands do roar back, Barnet – in symbol and in vigorous practice, as here – will be there to conquer the ballrooms again. – Nat Hentoff

Cherokee
Redskin Rhumba
Serenade To May
Moten Swing
Pompton Turnpike
East Side, West Side
Charleston Alley
Skyliner
Blue Juice
Code 288A
Southern Fried
Smiles

Trouble Is A Man - Judy Holliday

 

Lonely Town

Double Is A Man
Judy Holliday
Musical Direction by Buster Davis
Arrangements by Glenn Osser
Columbia Records CS 8041
1958

From the back cover: Judy Holliday is what every singer should be, a great actress.

And so, in her first album, she illuminates the words and music of a dozen songs with her own convictions about them. Cast in a dozen starring roles, as the girl in each of these lyrics, she makes each song her own. It's fun to hear it done so simply and so well, with such genuine warmth and truth.

Judy's determinations to appear without appearing – that is, to sing without being seen by an audience, was born primarily of her love and respect for good songs, and of her desire to try the only medium of entertainment in which she is a comparative newcomer. And her own discriminating musical tastes made her goal the more difficult to achieve, and the more irresistible. For three nights after the curtain of Bells Are Ringing had fallen at the Shubert Theatre on Manhattan's 44th Street, Judy set out for the Columbia Studios to sing for another three hours and to listen as critically to herself as she had to her favorite Ella Fitzgerald albums on other nights. Her own success derives from her respect for the songs she sings, and from her knowledge of the difference between style and distortion.

Prior to those exciting record sessions, Judy had tried out hundreds of songs. Her final choices were made first on the basis of her own feeling for the song and its meaning, but also, you'll be delighted to hear, on the basis of what wonderful songs there are that have seldom or never been recorded before. And not incidentally, her songs turned out to be written by Irving Berlin, Cole Porter, Hugh Martin and Ralph Blane, Julie Styne, Alec Wilder, Betty Corden, Howard Dietz, Arthur Schwartz, etc., etc. Don't ask about the ones she set aside. Many of those you'll hear her sing next time.

Ready at last with her songs, tastefully arranged for her by Glenn Osser, she faced a microphone, an orchestra, and an otherwise empty studio sing first Alex Wilder's wise and moving Trouble Is A Man.And when she listened to herself, she smiled in surprise, "Hey, I sound like a singer!" Better than that, she sounds like herself.

Irving Berlin's How About Me is a wistful, delicate song. Judy sings it softly, simply, maturely. And suddenly it means more than it ever has meant before.

What I Was Warned About is one of the discoveries in the album, a Hugh Martin song that somehow got lost along the way and will never be overlooked again. Judy presents it with the gentle determination of a lovely girl tossing caution to the winds.

Berlin, again, with I Got Lost In His Arms, and again, too, Judy floats through a beautiful song with restraint properly restrained.

What'll I Do, a Berlin classic, sees a turning in mood, a glimpse of despair she describes with a glowing sound.

Lonely Town is the Camden-Green-Bernstein monologue Judy loves. Perhaps it is because her close friends wrote it. Perhaps it is also because the song is pure and beautiful.

A new side of the record is also another side of the singer. A honky-tonk piano and a raucous fling with Am I Blue ends with a defiant growl.

Dietz and Schwartz wrote Confession, and it is. Quiet, ladylike, and banned in certain circles. Not yours, now.

Martin and Blane wrote the familiar An Occasional Man to provide an unattainable, irresistible dream for us all. Judy puts the dream almost within reach.

Julie Styne, whose songs Judy sings at each showing of Bells Are Ringing, provided another "find" with A Ride On A Rainbow. And it turned out to be still another mood suited to Judy.

Where Have You Been many just be the only old Cole Porter song you have never heard before. If so, it's another reward you may look forward to.

Judy closed with I'm One Of God's Children, with a beat and abandon.

Meeting Judy in this album is a delicious experience, because she sings as a great actress, yet in closeup few of her admires have ever heard before. When next you see her on the screen or on the stage, you'll know her better because you've been this close to her.

Trouble Is A Man
How About Me
What I Was Warned About
I Got Lost In His Arms
What'll Do
Lonely Town
Am I Blue
Confession
An Occasional Man
A Ride On A Rainbow
Where Have You Been
One Of God's Children