The Jazz School

 

Evening Lights

The Jazz School

Featuring Joe Gordon (Trumpet), Art Mardigan (Drums), Paul Gonsalves (Tenor Sax) & Clark Terry (Trumpet)

Photo: Reed Hecht

Jazz Wing MGW-60002

Wind a subsidiary or Mercury Record Corporation, Chicago, Illinois

1955

From the back cover: There are sixteen students in this class of the Jazz School; sixteen young men whose grades are impeccable, who's studies have clearly qualified them for a successful and distinguished career.

At the head of the class for the first four exercises is a member of the drums corps, a familiar figure by the band or Arthur Mardigan.

Art is a native Detroiter, born in December, 1923 and a name band musician since the age of nineteen, when he joined Tommy Reynolds. After Army service in 1943-44 he spent a year with Georgie Auld's group, then went home to Detroit for a while before entering the New York scene, where he was a part of many noteworthy 52nd Street combos under the leadership of Charlie Parker, Dexter Gordon, Allen Eager and Kai Winding. In addition, Art worked off and on with Woody Herman and Elliot Lawrence. In 1954, when Pete Rugolo came east to form a band for a tour, Art was a cornerstone of that all-star ensemble. Not long ago he was heard on an EmArcy LP dis with Ball de Arango.

Featured with Art on his four performances here are Don Joseph, a cornetist who's been a familiar figure around New York Jazz circles for several years; Milt Gold, a trombonist who has seen service with such name bands as Stan Kenton's and Glade Thornhill's and Al Cohn, the tenor saxophonist and arranger who has been rising rapidly to jazz eminence in the past year. (Al wrote Moroccan Blues for this session.) Heard with Mardigan in the rhythm section are John Williams, the 25-year-old pianist from Windsor, Vermont, best known for his work with Stan Getz and Teddy Kotick, at 27-year-old bass man who has been prominent on the New York scene with Charlie Parker, Buddy Rich, Buddy De Franco and a flock of other combos.

These students guide their class through four exercises that require little or no homework; the welcome strains of I've Found A New Baby (with Williams comping happily through Cohn's swinging solo chorus); the usual Milt Gold trombone work and the unexpected combination of ancient and modern melodic ideas by Joseph on Moroccan Blues; the pensive swing and easy-riding tenor work on Old Gold, and the happy, west-coast-style theme and solos on Golden Touch.

Class dismissed.

A new group moves in: at the head of the class is Paul Gonsalves, tenor saxophonist from Brockton, Massachusetts. Raised in Pawtucket, R.I., Paul started his musical life as a guitarist at the age of sixteen, in 1936; later, switching to tenor saxophone, he became popular as a featured member of the Tabby Lewis orchestra, a well known Boston group, with which he made his record debut.

A three-year hitch in the Army, from 1942 to '45, was followed by a stint in the Count Basie orchestra, and a brief fling in Dizzy Gillespie's final big band. Then, early in 1951, Paul joined the great Duke Ellington orchestra, of which, except for a few weeks in Tommy Dorsey's band in 1953, he has been member ever since.

Paul's colleagues on this, his first record session under his own leadership, include Clark Terry, another great Ellintonian of several years standing and sitting; Porter Gilbert, baritone saxophonist, who worked briefly on alto with Ellington in 1951; Junior Mance, a gifted 27-year-old pianist from Chicago, best known for the fine work he has done as Dinah Washington's accompanist; Eugene Miller on drums; and the inimitable, poll-winning bassist of erstwhile Woody Herman fame, Greig Stewart "Chubby" Jackson.

Paul, Clark, Junior and Cubby share the spotlight in the famous Ellington standard It Don't Mean A Thing, and again in a catchy blues riff theme, Take Nine. On the other two numbers Paul takes over for two uninterrupted performance of a pari of great standard tunes, Matt Dennis' Everything Happens To Me and the Dorothy Fields-Jimmy McHugh favorite Don't Blame Me. Both the latter numbers, with their solo cadenza endings, are tenor saxophone solos in the classic jazz tradition along lines established in the 1930's by Coleman Hawkins and later followed by Don Byas. Paul's own style reflects the influences mainly of Byas and Ben Westster.

... dismissed ...

Time now for graduation exercises. The class is headed by Joseph Henry Gordon, another brilliant New Englander on the modern jazz scene. Born in 1928 in Boston, Joe worked as a sandwich boy on the Boston-Albany railroad as recently as 1947, but later in that same year made his professional bow with his own combo at Boston's Savoy Ballroom, where the above-named Sabby Lewis was a frequent favorite. Joe also worked as a sideman with Abby, as well as with a variety of other gourds, from Georgie Auld to Charlie Mariano, from Charlie Parker to Lionel Hampton.

Heard with Joe on these sides are Charlie Rouse, a tenor sax and from Washington, D.C., who was with Duke Ellington in 1949-'50; Junior Mance, reappearing on piano; Jimmy Schenck on bass; and the pride of Pittsburgh, winner of the 1953 New Star award in the critics' poll, Art Blakey on drums.

With this personnel, Joe carries his handsome horn through these impressive performances of Evening Lights and Body And Soul, pausing only for sixteen bars of tenor on the former and of piano on the latter. Both numbers are eloquent demonstrations of his inventive musicianship and technical facility.

So these are the men you will meet in the Jazz School. It seems superfluous to point out that every last man of these sixteen students has graduated, as he deserves to, summa cum laude.

From Billboard - December 31, 1955: A modern jazz sampler that features three different ensembles. Outstanding in the Mardigan sextet is tenor-man Al Cohn. Paul Gonsalves, the fine Ellinton tenor soloist, gets his principal support from trumpeter Clark Terry. The variety of talent and ideas exposed here make for an interesting (and readily marketable program).

I've Found A New Baby

Moroccan Blues

Old Gold

Golden Touch

Evening Lights

It Don't Mean A Thing

Take Nine

Everything Happens To Me

Don't Blame Me

Body And Soul

Music To Remember You By - Herbie Layne

 

Cherry Pink and Apple Blossom White

Music For Everyone

Music To Remember You By

Herbie Layne and His Orchestra

Hollywood Records LPH-9

A Blue Ribbon Product

The Song Is You

Lisbon Antigua 

Just One Of Those Things

You Go To My Head 

The Theme From Picnic

Moonlight Serenade

Yesterdays

Don't Get Around Much Anymore

Autumn Leaves 

The Nearness Of You

Cherry Pink And Apple Blossom White

The Alley Cat - Nursery Rhymes With The Teen Dance Beat Of Today

 

The Shake

The Alley Cat

Nursery Rhymes With A Teen Dance Beat Of Today!

The Mod Moppets

International Award Series KIA-1028

Alley Cat Dances

The Frug - Old MacDonald

The Swim - Row, Row, Row Your Boat

The Jerk - Twinkle, Twinkle Little Star

Hokey Pokey

The Shake - Farmer In The Dell

The Monkey - Oh Top Old Smokey

Mexican Hat Dance

Watusi - A Tisket, A Tasket

Cha-Cha - Oh Dear, What Can The Matter Be

The Living Words Of Christ - Aly Wassil

 

The Living Words Of Christ

The Living Words Of Christ

Arranged and Spoken by Aly Wassil

Cover Photo by Seawell of Paul Hesse Studios

Astra Foundation AW 60915

Manufactured by Columbia Records

1960

From the back cover: Aly Wassil, whose voice so reverently speaks for Christ on this recording, is a man of many professions.

He is a man of superior spiritual stature who, since the age of 12, has dedicated his lief to such purposes as this recording represents.

He is a philosopher who possesses a rare sense of appreciation for the profound and lasting wisdom of the spiritual greats of all ages. He is a widely acclaimed lecturer. He has flown more than 100,000 miles to speak before the largest clubs, churches, and numerous universities and conventions in 49 states. He is a technical advisor to the motion picture and television industries.

Aly Wassil is a man of the East who possesses a deep understanding and appreciation of the West. He received his education at the University of California at Los Angeles, Massachusetts Institute of Technology, Cambridge University, Nizam Collage, Muslim University and Omani University.

Love

Human Relations

The Burdens Of Wealth

Good Works

Forgivness 

Humility

Faith And Prayer

The Kingdom Of Heaven

The Mission Of Christ

The Promise Of Christ

How To Overcome Discouragement - J. Martin Kohe

 

How To Overcome Discouragement

How To Overcome Discouragement

By J. Martin Kohe - Author, Publisher, Psychologist

Success Motivation Institute, Inc. SMI-1320

1961

From the back cover: J. Martin Kohe was a man who listened to the problems of others... and helps solve those problems. A nationally known author, lecturer, and psychologist, Mr. Kohe spent more than thirty years in the educational field... teaching public speaking and psychology. He personally taught more than 10,000 people and helped many thousands more through his writings and lectures. His book, "Your Greatest Power" has sold over 250,000 copies to date; two additional books, "Everybody Speaks" and "how To Become A Mental Millionaire" have met similar successes. 

Mr. Kohe began his career as a successful lawyer, but give up his practice in order that he might help people stay out of trouble; rather than helping them after they were already in trouble! He was a graduate of Baldwin Wallace College and conducted classes in applied psychology for major companies through the country; including General Electric Co., Standard Oil Co., Republic Steel Corp., Kroger Grocery and Baking Co., Addressograph Multigraph Corp., and many others. It was his firm conviction that there was a better way of life for troubled men and women, and it was his life's work to help others help themselves. Now, through the magic of recording, he can help YOU!

Introduction

Being Your Better Self

Fear Is Uncertainty

The Right Mental Attitude

People Think Differently

Criticism Can Help!

Live And Laugh!

You Can't Please Everyone!

Don't Quit Too Soon

Something Can Always Be Done

Meditation Moods

 

Meditation Moods

Meditation Moods

Introduction by Ralph M. Lewis

Organ Selections Arranged and Performed by Rosa Rio

Rosicrucian Recordings AMORC No. 2

Improvisation

Lotus Land

Thais Meditation

Libestraum Nocturne

Improvisation

Improvisation

Nocturne C Major

To A Water Lily

To A Wild Rose

Improvisation

Return To Paradise - Tommy Garrett

 

Quiet Village

Return To Paradise

The 50 Guitars Of Tommy Garrett

Producer: Tommy "Snuff" Garrett

Arranger: Ernie Freeman

Guitar Solos: Tom Tedesco

Engineer: Eddie Brackett

Design: Studio Five

Photography Courtesy of U.T.A. French Airlines

Liberty Premier LMM-13033

1965

Enchante Island

Pearly Shells

Quiet Village

Soft Sands

Bali Ha'i

Red Sails In The Sunset

Off Shore

Return To Paradise

Beyond The Reef

South Sea Trade Winds

Flamingo

Ebb Tide

Goin' Out Of My Head - Wes Montgomery

 

Chim Chim Cheree

Goin' Out Of My Head

Wes Montgomery

Arranged and Conducted by Oliver Nelson

Produced by Creed Taylor

Cover Photo: Charles Stewart

Director Of Engineering: Val Valentin

Recorded December 7, 8 and 22, 1965 at Van Gelder Studios, Englewood Cliffs, New Jersey

Verve V6-8642

1966

Trombones: Wayne Andre, Jimmy Cleveland, Quentin Jackson, Danny Moore & Tony Studd

Tumpet: Donald Byrd, Joe Newman & Ernie Royal

Bass: George Duvivier

Saxophone, Clarinet and Flute: Bob Aston

Alto Saxophone and Clarinet: Phil Woods

Alto Saxophone, Clarinet, Flute and Piccolo: Jerry Dodgion

Tenor Saxophone, Flute, Clarinet, English Horn, Oboe and Piccolo: Romeo Penque

Bari-Sax, Flute and Alto Flute, Bass Clarinet: Don Bank

Drums: Grady Tate & Sol Gubin

Piano: Herbie Hancock & Roger Kellaway

Conga: Candido

From the inside cover: Wes Montgomery has on several occasions over the at few years been deserved as the greatest guitarist in the whole history of jazz, which is a very large statement, but is very possibly true. It is unquestionably true, I'd say, that he is the most astounding of all guitar players. This record, on which some very unusual Oliver Nelson arrangements emphasize the lyrical-and-melodic aspect of the Montgomery talent, helps to demonstrate both points.

"Possibly" is far enough to go with regard to greatness because the whole of jazz involves so many different styles and contexts. Even the function of the guitar has changed greatly over the years, so that it's really impossible to create Wes on any absolute scale alongside an Eddie Lang, who had to fight his way out of the clunky rhythm section sound of his day, or an intuitively inventive genius like Charlie Christian. There are also questions like the relative value of technique. I know one well-trained and mechanically-impeccable guitarist who pints to the undeniable fact that Montgomery is an unorthodox and often "improper" stylist and wonders aloud about how even-more-incredible Wes might have if he really had more formal mastery of his instrument. But there are other who suspect that much of his strength is in the non-orthodoxy and lack of musical schooling. (It is by now a cliche that Wes does things that are literally "impossible" on the guitar, but it remains true, and it is also more than likely that he wouldn't eve have attempted such things in the first place if he'd been inhibited by having "known" better.)

All in all it is best – as it usually is – to lay aside inconclusive debates about "greatest" and concentrate on those things that are certain. Which in this case include the fact that Wes Montgomery is a most moving performer (literally, when those fin poppers and toe-tappers make his listeners move physically; and emotionally, on any ballad or blues), and that he is consistently astounding and has been that way for as long as anyone has known about him.

To begin with, Wes was one of those back-country legends that almost always turn out to be overblown. In the late 1950's virtually every jazz musician (and very few other people) could tell you about the fabulous self-taught guitarist who scarcely ever left his home town (where he had a non-musical day job, a night gig, an after-hours-club gig, and a wife and six children), but could palsy all those impossible block-chord and octave things and could also play big circles around any other guitarist you ever heard. The first time I heard Wes, in his native Indianapolis in 1959, I was astounded to discover that it was all true (except that he had been forced to give up the day job). I also found that, despite my 20/20 vision, the guitarist's right thumb moved so fast it blurred before my eyes. And of course the fact that it was his naked thumb itself, without a pick, was another astonishing item and one that would shortly (once Wes was persuaded to come out into the world to work, record, and in general upset other guitar players) wreak havoc with profits in the guitar-pick industry.

One could continue to pile up odd or astounding data. As one kind of example, there's the unprecedented swiftness of his rise from virtual obscurity to international recognition as top man on his instrument. As another, there is the still vague path by which a boy whose given names are John Leslie becomes a man known exclusively as "Wes," But to turn to the matter closest at hand, there is the rather astonishing fact demonstrated on this album – that this musician, usually though of as a master of blues and funk, is also a brilliant melodist.

Arranger Oliver Nelson has noted that his primary goal here was to show Wes off "as a melody instrument, rather than as a soloist." On occasion, Nelson felt, the guitar should appear as the lead voice in the band ensemble; at other times Wes should carry the melody line by himself, with the band playing the sort of countermelodies "you might expect the guitar to play." Not very long ago, such an assignment wouldn't even have been dreamed of for this one-time rhythm instrument. Even today, it's not something that many guitarist could carry off with any degree of success. But of course Wes Montgomery is something else. He is a man who can swing and drive hard with just a rhythm section behind him, who can improvise with great beauty in front of a lush violin background, and can also do just about anything you can think of between those extremes. This particular exercise in – for the most part – the fine art of using the jazz guitar as a vehicle for strong and lovely melodic creativity should, therefore, surprise no one. It is no more (and no less) than another caapter in the continuously and consistently astounding saga of Wes Montgomery, very possible the greatest of them all. – Orrin Keepnews.

From Billboard - March 5, 1966: Wes Montgomery plays some fine jazz guitar. Some of the material, like "Boss City" and "Twisted Blues," is original. Most, though, is familiar. There's "Golden Earrings." "It Was A Very Good Year"and "Chim Chim Cheree." Arrangements are Oliver Nelson's and they serve as a fit showcase for Montgomery's talent.

Goin' Out Of My Head

O Morro

Boss City

Chim Chim Cheree (from Walt Disney's "Mary Poppins")

Naptown Blues

Twisted Blues

End Of A Love Affair

It Was A Very Good Year

Golden Earrings

All I Want For Christmas - Jackie Gleason

 

Christmas Moon

All I Want For Christmas

Jackie Gleason

Capitol Records STEREO STBB-346

1969

Christmas Moon

Let It Snow, Let It Snow

Blue Christmas

Snowbound For Christmas

It's Christmas Time All Over The World

That's What I Want For Christmas

December 

I Saw Mommy Kissing Santa Claus

Christmas Island

You're All I Want For Christmas

I'll Be Home For Christmas (If Only In My Dreams)

Jingle Bells

White Christmas

Santa Claus Is Comin' To Town

Have Yourself A Merry Little Christmas Night (with The Keith Textor Singers Hercules, Electric Celeste)

The Christmas Song (Merry Christmas To You)

I've Got My Love To Keep Me Warm

Happy Holiday

Winter Wonderland

The Story Of A Starry Night (with The Keith Textor Singers Hercules, Electric Celeste)

The Patsy Cline Story

 

Imagine That

Sweet Dreams

The Patsy Cline Story

Deluxe 2-Record Set

Decca Records DXB 176

1963

From the inside cover: "Oh Lord, I sing just like I hurt inside."

This was the way Patsy Cline liked to describe her sining, the unabashed emotion that she out into each song. But the moire I saw her, talked with her... the more I learned to know her. It seemed to me that what Patsy really meant was: "Ising just like I LOVE inside." because, you see, I don't think she ever realized that "hurting" and "loving" were almost synonymous. She'd never had time to read the poet who said" "Love is a sickness full of woes", she only knew that her life was full of "hurting" and "loving." Time for her was too precious, and life too short to bother about the matter of when one might begin and the other end.

Yes, Patsy Cline's life was full of hurt and love.

There were the mother, the sister and the brother who idolized her: the father who deserted her in her childhood; a first marriage destined for failure, the second, well, as her husband Charlie says, "Every day was Christmas!"

Patsy attracted love like a magnet. There was the little old lady in Dahlgren, Virginia, who watched her grow up, and who stood on the sidelines and applauded when she did her first tap dance at the age of four, who listened to her sing duets with her mother in church and watcher her on television when Arthur Godfrey said: "This gal can SING." And even though her only income was a pension, every year she sent a silver dollar to Patsy and Charlie's children on their birthdays.

There was Patsy's "White orchid" friend in California, an elderly gentleman who always saw to it that, when she appeared anywhere in his part of the country, there would be a white orchid in her dressing room.

There was the mother who had lost her only son and who somehow found solace in Patsy's singing.

And the college boy who wrote: "I don't care how silly it sounds... or how funny it many seem, but I want you to down... I loved her."

Yes, there were millions of fans. They came to see her at the Grand Ole Opry, at performances in schoolhouses and fairs, at Carnegie Hall and in the Hollywood Bowl.

They bought her presents. They bought her records. They begged for her autograph. And, most important of all... they loved her!

And Patsy? She loved EVERYBODY!

She loved without reservation, fiercely and foolishly... her family, her friends, life itself.

There are those who think it was her love for her friends that kept her from being in the "big time" years sooner. For example, in 1955, with a band from Martinsburg, Va., Patsy auditioned for the Arthur Godfrey Talent Scouts Show. She was accepted but not the band, so she refused to appear.

Her concern for her fellow man almost cost her her life in 1960. In a serious automobile accident in which two people lost their lives and others were injured, Patsy insisted that the other injured persons be treated before she allowed the doctors to even look at her wounds. Actually, her injuries were serious, and she was hospitalized for three months with lacerations which left permanent scars.

As for Patsy's love for her family, well, let's start at the beginning: 

She was born Virginia Patterson Hensley, September 8, 1932, in Winchester, Va., the daughter of Samuel and Hilda Hensley. She had a younger brother and sister, Samuel Jr. and Sylvia Mae. Hers was not a happy childhood, and at 16 it became necessary for her to leave school and got to work to help support the family. During the day she worked as a clerk in a drugstore. At night she sang, sang everywhere, any place she could, on street corners, in church, in honky tonks, with or without bands, for nickels and quarters, occasionally for doors... but too often, for nothing! As pPatsy would tell it: " Mother would pick me pup at the drugstore after work and take me wherever I could get a job. We'd usually get home about three in the morning, and a few hours later I was up again getting ready to go to work in the drugstore. And you know something, I loved every minute of it!"

In the clubs, Patsy would sing popular songs, old standards. As husband Charlie Dick says: "Nobody could belt out a song like Patsy. She never liked to just stand still and sing, she pout everything she had into a song, lots of motion and 'E-motion'!"

But Patsy didn't like the clubs. At heart, she was a country/western singer, and early she acquired the ambition to become a star on WSM's Grand Ole Opry, the mecca of all country singers. And so she set out to do it. "I used to sing or hum along with just about every song I'd hear on the radio and one day I got real brave and walked into the radio station in Winchester when a hillbilly band was being featured. I told the leader: 'If you will just give me a chance to sing with you, I'll never ask for pay.' And he told me, 'If you've got nerve enough to stand before that microphone, I've got nerve enough to let you sing.'

That was the beginning! Any time nationally known country singers came anywhere near Winchester, Patsy would be on hand requesting, and usually getting, a chance to sing on their shows.

Wally Fowler was one of those entertainers, and he was so impressed with Patsy that he suggested she go to Nashville and have an audition at the Grand Ole Opry.

"When I first came to Nashville in 1948," she recounted afterwards, "I drove in with my mother, sister and a friend of the family. We shared expenses. I didn't even have enough money to rent a hotel room. The night before we were to audition we stopped outside town at a picnic site and I spent the night sleeping on a concrete bench." The first auction took place on Friday and Roy Acuff, who was at the station preparing for one of his programs, heard Patsy and asked her to be on his show that night. The station requested that she stay another day for another audition as a possible regular on the Opry. But she couldn't stay, her money was almost gone, there was barely enough for gasoline home. Then began 10 years of various ups and downs.

Her first radio appearance was on Station WINC in Winchester. "When she first came to the station," says Manager Phillip Whitney, "she was just a youngster and very quiet, the wide-eyed type. She wasn't very good and her inexperience was obvious. But she was willing to work and she worked like the devil. She developed a good style and really labored on it. She always wanted advice and took it seriously."

Her first singing job of any note was with Bill Peer and his Melody Boys at Brunswick, Md. She sang with ice every Saturday night for three years. Then gradually her career blossomed. She was featured on Jimmy Dean's Town and Country Time on a Washington radio station, and began making guest appearances on the Grand Ole Opry. It was a t this team she began touring with Opry stars, Faron Young, Ferlin Husky and others.

By this time, Oatsy had singed a recording contract with William McCall, President of Four Star Records and he became her personal manager. Her first record... A Church, A courtroom, Then Goodbye and Honky Tonk Merry Go Round... was released by Coral in 1955. Then followed Turn The Cards Slowly... Hidin' Out... Come Right IN... and others, after which came a song called Walking After Midnight. Although it had not been released, this was the song that Patsy chose to sing on the Arthur Godfrey Show and suddenly, all American knew Patsy Cline!

Meantime, Patsy's marriage to Gerald Cline in 1953 had ended in divorce three years later and on September 15, 1957, she married a soldier and a fellow townsman, Charles Dick, and in 1958 dropped out of show business to start a career as a housewife and mother. They had two children, a daughter Julia born Augst 25, 1958 and a son Randy born January 21, 1961.

But Patsy had to sing and Charlie knew this, so together they decided to leave Winchester and make their home in Music City, USA!

Charlie easily found employment at Newspaper Printing Corporation in Nashville... and Patsy was free to make guest appearance s on the Grand Ole Opry... as well as personal appearances through the South and later the whole country. By 1960, ti began to look as if the sun was really beginning to shine for Patsy and Charlie. Patsy has become a member of the Grand Ole Opry and signed a new contract wit Decca Records. Her first recording I Fall To Pieces was a smash gin success. Then on June 14, 1961, just as I Fall To Pieces was getting started, tragedy struck again. Patsy was critically injured in an automobile accident. She was hospitalized for months, finally going back to work on crutches.

Then came a whole series of hit recordings, Crazy, She's Got You, Heartaches; then personal appearances in Las Vegas, New York, California, but almost every Saturday night would find Patsy on the stage of the old Roman Auditorium, a Star of the Grand Ole Opry.

For the first time in her life, there was more than enough money for everybody she loved! There was a dome and a car for her mother, brother and sister; a Cadillac for her and Charlie; a new home "with real gold dust sprinkled on the wall of the bath;" closets full of clothes for her children; and there was money to buy presents for friends. 

There were more important things too – endowment funds for the children's education, and annuities for Mom and Charlie. For the first time in her life Patsy seemed to be "putting her house in order!"

And then...

On Sunday, March 3 1963 members of the Grand Ole Opry, Billy Walker, Cowboy Copas, Wilma Lee and Stoney Cooper, Randy Hughes, Hawkshaw Hawkins and Patsy headed for Kansas City to play a benefit for the window of Jack McCall, a disc jockey they all had known. Wilma Lee and Stoney drove (they had to make a personal appearance Monday in Minnesota). Cowboy Hawk, Patsy and Randy would fly in Randy's plane. Billy would go by a commercial air liner since there was only room for four in Randy's plane!

Three days later in the early dawn of March 6th the wreckage of the plane was found on a mountain top in Camden, Tennessee. And when a radio announcer was handed the news bulletin, he hesitated a moment and said: "Ladies and gentlemen, this is the hardest thing I have ever had to do, There were no survivors."

As Ott Devine, Manager of the Grand Ole Opry said: "What do we say when we lose such friends" We can reflect upon their contributions to all of us through entertainment, their acts of charity and of love. We can think of the pleasure they brought to the lives of millions and take some comfort in knowing that they found fulfillment in the time allowed to them."

I like to think of Patsy as I saw her last. She came by the office only a few days before the accident, to tell me about her new album. At the time we had a group of Senior Citizens in the studio and I asked if she wouldn't like to go in and sing for them. "Sure," she said, "you thing they'd like Bill Bailey?"

I nodded. She turned and went into the studio and without rehearsal... and just sang.

And how she sang... giving herself to others with a voice full of love.

That's the way I'll remember Patsy. I think she'd want you to remember her that way too. – Trudy Stamper, Radio Station WSM – Grand Ole Opry

Heartaches

She'S Got You

Walking After Midnight 

Stange

Leaving' On Your Mind

South Of The Border

Foolin' 'Round

I Fall To Pieces

A Poor Man's Roses

Tra Le La Le La Triangle

True Love

Imagine That

Back In Baby's Arms

Crazy

You're Stronger Than Me

Seven Lonely Days

Sweet Dreams

Your Cheatin' Heart

San Antonio Rose

Why Can't He Be You

The Wayward Wind

So Wrong 

I Love You So Much It Hurts

You Belong To Me

Twin Guitars In A Mood For Lovers - Los Indios Tabajaras

 

The High And The Mighty

Twin Guitars In A Mood For Lovers

Los Indios Tabajaras

Produced by Herman Diaz, Jr.

Recorded in RCA Victor's Studios A and B, New York City

Recording Engineer: Ed Begley

RCA Victor LSP-3611

1966

Make Believe

The High And The Mighty (from the Warner Bros. film "The High And The Mighty)

El Reloj

Some Of These Days

Who Can I Turn To (When Nobody Needs Me) (from the musical production "The Roar Of The Greasepaint – The Smell Of The Crowd")

The 3rd Man Theme (from the film "The 3rd Man")

The Song Is Ended (But The Melody Lingers On)

Time Was

La Mer

Lagrimas de Sangre (Tears Of Blood)

As Time Goes By

(When Your Heart's On Fire) Smoke Gets In Your Eyes

Bill Black's Combo Plays The Blues

 

Peter Gunn

Bill Black's Combo Plays

The Blues

Supervision: Joe Coughi

Recorded at the Royal Recording Studio, Memphis, Tennessee

Hi Records HL 12015

1964

I'll Never Be Free

Birth Of The Blues

Midnight

Blues In My Heart

Blues In The Night

Basin Street Blues

Comin' On

St. Louis Blues

Got You On My Mind

Wabash Blues

Peter Gunn

Weary Blues

Zither Goes West - Ruth Welcome

 

Bury Me Not On The Lone Prairie

Zither Goes West

Ruth Welcome

Arranged and Conducted by Earl Sheldon

Capitol Records T 1672

1962

Cimarron

Bury Me Not On The Lone Prairie

Home On The Range

Mexicali Rose

The Last Round Up

High Noon

Tumbling Tumbleweeds

On Top Of Old Smoky

When It's Springtime In The Rockies

San Antonio Rose

Roll Along Prairie Moon

Red River Valley