Day Dreams - Doris Day

 

Day Dreams

Doris Day

Photo by Theda and Emerson Hall

Columbia Records CL 624

1955

From the back cover: When Doris Day was named as Success Of The Year by a musical magazine, there was no question whatever about the correctness of the choice. For in 1948, she zoomed from the equivocal position of a highly promising singer to that of one of the country's top recording artist and an established movie star on the strength of a handful of records and a single motion picture. This was partly because Doris brought to music and films a quality that had too long been mission, a sort of breezy freshness and an intimate directness of appeal. More important, it was suddenly discovered that she was a superlative songstress and an ingratiating performer.

Not that Doris hadn't been heard before: for several years she was featured vocalist with Les Brown and his orchestra, and built up a considerable reputation among musical for her deft and intelligent way with a popular song. A number of the recordings she mad with this orchestra – notably Sentimental Journey – are fondly prized by collectors. Doris landed with Les after a short engagement with Bob Crosby and his orchestra and a series of programs over Station WLW, Cincinnati. Her early enthusiasm for a career as a dancer was somewhat dampened by a broken leg, and she began studying singing with the vocal coach at WLKW, which led to her initial broadcasts and her tours with the orchestras. Toward the end of 1947, Doris left the Born organization to go out on her own, opening at the Little Club on New York's East Side. A recording contract of her own followed, then a movie contract, a spot on the Hit Parade with Frank Sinatra, and eventually a star spot on the Bob Hope radio program, again, singing with Les Brown. All the sin something less than eighteen months.

Since that time, she has one on to a truly remarkable ascent to the upper reaches of stardom. From her very first film appearance, she was a success, and went on to expose a variety of talents that not only included singing and musical-comedy-type performances, but dancing and a sensitivity in acting that could be envied by many purely dramatic performers. The last of her screen ummusicals is a long an imposing one, and includes some of the biggest money-makers that movies have released. Whether in biographical musical, charming evocations of the recent past of the fast-paced contemporary musical, she has given expert and completely winning portrayals.

Her singing, meanwhile, has kept pace, and she is one of the most artful and popular stars of her generation. It is a rare record of hers indeed that does not climb swiftly into the charmed circle of his, and the range they encompass is extraordinary. A slow, sentimental ballad like Secret Love or a roundelay like A Guy Is A Guy get equally deft treatment; her approach to either is thoroughly different, a yet inimitable hers. There are few stars who have attained such both on records and in films, and she is one of the finest.

You're My Thrill

Bewitched

Imagination

I've Only Myself To Blame

I'm Confessin'

Sometimes I'm Happy

You Go To My Head

I Didn't Know What Time It Was

If I Could Be With You

Darn That Dream

When Your Lover Has Gone

That Old Feeling

Dance To The Best Of Berlin! - Al Goodman

 

Heat Wave

Dance To The Best Of Berlin!

Played by Al Goodman and His Orchestra

Diplomat Records STEREO FM 99

From the back cover: Diplomat proudly presents the "Irving Berlin Songbook," as played by Al Goodman as another tribute to this great American. This LP is a memorable musical digest of Irving Berlin's best loved tunes – each one a favorite, and we can think of no finer musical maestro to bring them to you than Al Goodman. Al Goodman has had a most prolific and successful musical career in all the media of show business. In the theater, he has acted as co-composer, and conductor of Broadway performances of over one hundred Operettas, reviews and musical comedies, such as: "New Moon," "The Desert Song," and "Student Prince" In radio, Al Goodman was the musical head and conductor of "Your Hit Parade" for over ten years, as well as the "Fred Allen Shows," and the "Colgate  Beauty Box" to name just a few. On television, this versatile conductor, was general musical director for "The Colgate Comedy Hour" for six years, as well as conducting the "Life Of Riley" series for two years. With al this Al Goodman has recored over a thousand sides, as well as other musical ventures too numerous to mention.

Heat Wave

I've Got My Love To Keep Me Warm

Blues Skies

Puttin' On The Ritz

Alexander's Rag Time Band

There's No Business Like Show Business

How Deep Is The Ocean

Cheek to Cheek

Doin' What Comes Naturally

Top Hat, White Ties And Tails

My Wife The Blues Singer Beverly Jenkins - Gordon Jenkins

 

Rain Is Such A Lonesome Sound

Gordon Jenkins Presents 

My Wife The Blues Singer

Beverly Jenkins

Produced by Gordon Jenkins

Cover and Liner Photos: Howard Moorehead

Cover Design: Flynn/Viceroy

Liner Design: Joe Lebow

Impulse! STEREO AS-44

Recorded March 7, 1963

You Don't Know My Mind

The Blues Ain't Nothin' But A Woman Crying' For Her Man

Please, Mister Miller

Freight Train Blues

Western Union Man

Rain Is Such A Lonesome Sound

Eddie Miller - Tenor Sax

Matty Matlock - Clarinet

Al Hendrickson - Guitar

Ray Sherman - Piano

Moe Schneider - Trombone

Nick Fatool - Drums

Walt Yoder - Bass

Recorded May 3, 1963

Daylight Savings Blues

Big Four Blues

It's A Low Down Dirty Shame

My Last Goodbye To You

Eddie Miller - Tenor Sax

Matty Matlock - Clarinet

Al Hendrickson - Guitar

Ray Sherman - Piano

Moe Sperling - Drums

Morty Corb - Bass

From the inside cover: About The Blues Singer

Beverly Jenkins (born Mahr) is originally from Bristol, Oklahoma; an area that produced blues singers Lee Wiley, Kay Starr and Marilyn Moore; as well as many make jazz stars.

She studied piano at an early age, played viola in her high school orchestra, and was the ope organist in her local church. During her early years at home she was fascinated by the spirituals and shouts emanating from Negro rival meeting in Bristol – this is the identical influence acknowledge by Teas-born Jack Teagarden, the great blues trombonist and vocalist.

While attending Oklahoma University, Miss Mahr organized a singing too and appeared regularly on radio station KBOO in Tulsa. This success led to the organization of another group known as Jan, Jude, and Jerry; and this time the three girls hightailed it straight to New York City without any advance warning. Their bravado and reckless decision paid off – they obtained a job singing at WMCA on the day of their arrival. and it wasn't long before they were on Broadway in the last Earl Carroll Sketchbook, a musical revue.

The popular singing Sooners from Oklahoma were asked to appear on the Columbia Broadcasting Corporation's noted Saturday Night Swing Session, a network radio experiment with jazz that lasted over two years. The regulars on this show – the late trumpeter Bunny Berigan, trombonist Jerry Colonna, and drummer Johnny Williams – were so taken with Beverly's blues singing that she began to do solo work.

The young singer, now firmly established in radio, went on to become a member of the Blue Flames, a vocal group on the Canadian Broadcasting Corporation network; and a short time later she joined Kay Thompson's singing group and worked with them on both the Lucky Strike and Chesterfield shows. When she moved on to the Phillip Morris show she became a full-time soloist with orchestras conducted by Russ Morgan, Johnny Green and Ray Bloch.

Miss Mahr moved to California in the middle forties and became the "Miss" of Six Hits and a Miss. With this vocal group she sang on the Frank Sinatra and later the Dick Haymes network radio shows.

On the Haymes show she met and married the musical director, Gordon Jenkins, who was the composer of such well known songs as P.S. I Love You, When A Woman Loves A Man, Goodbye (the theme song used by Benny Goodman's first swing band), Blue Prelude (lyrics), You Have Taken My Heart, and many others.

One of the best-known and most popular of Jenkins' oppositions is the lengthy descriptive score, Manhattan Tower, originally recored in 1946 with Beverly Jenkins singing the vocal on the song Now York's My Home. When the work was recorded a decade later, Beverly sang the entire female role.

On another major Jenkins record album, Seven Dreams, Beverly sand the blues about New Orleans in Crescent City Blues.

Although both Gordon and Beverly Jenkins have had outstanding careers in the so-called "commercial music" field, this current album, My Wife The Blues Singer, reveals that have a deep love for the most basic of all jazz forms, the blues. They have one of the largest collections of blues records in the world in their Malibu, California, home.

There are no written arrangements on this set. Jenkins, who was on hand at the date as sort of overseer worked with the musicians in sketching out "head" arrangements. It was the true jazz man approach of depending on the creative impulses of the moment – the idea was to sustain the spontaneity of the play-it-as-you-feel-it spirit.

After the session Beverly said, "IU'd forgotten how much fun it is to sing the blues." Likewise, as indicated by the results, the star instrumentalist accompanying her also had a ball.

23 Skiddoo In Hi-Fi - Albert White

 

Avalon

23 Skiddoo In Hi-FI

San Francisco Records M 33003

1956

From the back cover: Once again Albert White has rounded up a distinguished group of musicians to perform the music in this album. Among them are Harry Moulin heard in S. F. Record (M 33002), "Father's Mustache." Harry also is violinist with the Masters of Melody program on BBS. First Violin was played by Lennard Petersen who plays with the Albert White orchestra, S.F. Symphony and other musical endeavors in the Bay Area, Morris D. Hoover wields a wicked sax in this album as he does regularly in musical circles around the San Francisco Region. Ray Harrington, can be heard using "slap tongue" technique in the selection "Black Bottom." Ray will also play the clarinet whenever given the opportunity. Hubert Sorenson rounds out our 20's reed section with some superlative licks in "My Man" and other selections. The piercing muted trumpet sounds were produced by two sterling brass men, Edaerd J. Hang and Richard E. Letter. We understand they played so hard at the session that they are both helping split lips! Old standby Reid Tanner tops his previous performances with some wild bootleg slide trombone improvisations in "Farewell Blues." An import from KFRC Breakfast Gang was Harold Zollman who offers some quick silver examples of his pianistic prowess (what??) playing "Nola," Phillips Karp brought his bass and tuba along again this time. He is well remembered as the fellow who barked in "What D'ye Mean You Lost Your Dog" (Father's Mustache). Joe Sinai, drummer supreme, makes a switch from the regular run of things by playing the slide whistle in multiple recording of "Avalon" while accompanying himself on the bells. The "take" you hear in this record will probably go down in musical history as the goofiest slide chisel yet. First class "Yugga-Dugga" banding is provided by Paul Miller who rates high in musical circles. Paul plays nightly on the KGO-TV "Sherwood Show," Last but certainly not the least of us is H. Albert White, head man and Musical Director of San Francisco Records. He also leads the CBS Masters of Melody program. Well, what more can we say except here is another masterpiece of musical gaiety... enjoy it... taste it... savor its aroma etc. etc.. Pour yourself a teacup of gin and, By Calvin (Coolidge, that is) "23 Skiddoo!"

From Billboard - November 3, 1956: Albert White, who put the music of the 1890's on wax in "Father's Moustache," has done a similarly outstanding job for the flapper era. The fabulous 1920's, with its typical music – "The Charleston," "Collegiate," "Black Bottom," etc. – is preserved in these grooves. What is captured here is an era – and in hi-fi yet! Obviously, a package which can provide interesting programming for jocks.

Collegiate 

The Sheik

Black Bottom

Nola

Avalon

Dinah

Five Foot Two

My Man

Barney Google

Yes Sir, That's My Baby

Farewell Blues

Charleston

Monster Mash Featuring John Zacherle

 

Weird Watusi

Monster Mash

Featuring John Zacherle

Cover Design: Al Cahn and Elkman Advertising Co., Inc.

Liner Notes: Don Rosenblit

Cameo-Parkway Records P 7018

1962

Monster Mash

Hurry Bury Baby

Let's Twist Again (Mummy Time Is Here)

I'm The Ghoul From Wolverton Mountain

Gravy (With Some Cyanide)

Popeye (The Gravedigger)

Limb From Limbo Rock

Weird Watusi

Pistol Stomp

Dinner With Drake

The Ha-Ha-Ha

The Bat

Million Seller Hits Of The 50's - Carline's World Of Strings

 

Ebb Tide

Million Seller Hits Of The 50's

Carline's World Of Strings

Recorded under the Direction of D. L. Miller

Stereo Gold Award GA-2

I Could Have Danced All Night

Tennessee Waltz

Hello Young Lover

Guantanamera

Love Is A Many Splendored Thing

Ebb Tide

La Golondrina 

Volare

Dolores

Blue Tango

Venetian Barcarolle

The Nashville Sound

 

A Wasted Love Affair

The Nashville Sound

Design Records DLP-634

Patsy Cline - Dear God / A Stranger In My Arm

Carl Belew - Too Much To Lose / A Wasted Love Affair

Hank Lonklin - I Always Lose / Its So Hard To Say I Love You

Ferlin Husky - Road To Heaven / Holy Not A Holiday

Rocky Bill Ford - At My Expense / Since You've Gone