Oklahoma - Warren Dubin

 

Kansas City

Oklahoma

Words And Music By Rodgers And Hammerstein

The Warren Rubin Orchestra

Complete With Full Stage Chorus

Broadway Records 1014

Overture

Oh, What A Beautiful Morning 

Kansas City

The Surrey With The Fringe On Top

I Cain't Say No

Brahma Bull

Blue Tail Fly

Golden Slippers

Cowpoke

Red River Valley

Ridin' Down The Canyon

Cocktail Hour - Jack Banan

 

Cheek To Cheek

Cocktail Hour

With Jack Banan and Strings

Strand Records SL 1054

Cheek To Cheek

You Made Me Love You

Cumbanchero

If You Love Me (Really Love Me)

Manhattan

I Love Paris

That Old Black Magic

Arrivederci Roma (Goodbye to Rome)

That's A Plenty

People Will Say We're In Love

My Foolish Heart - Donna Fuller

Dusky January

My Foolish Heart

Donna Fuller

Pete Rugolo and His Orchestra

Producer: Simon Jackson

Cover Art: Alex de Paolo

Engineer: John Kraus

Liberty Records LRP 3024

Recorded 1956

From the back cover: Note By Joe Greene

What gives a girl singer heart and sound?

Is she born with the ingredients?

Is the grist sifted down form some mysterious constellation, gathered in a portion bottle labeled "Talent" and doled out by they saucepanful till the treatment takes... or does she, as they say in the slanguage of the music business, pay her dues" (come by it by living).

At eighteen, Donna was a Bikini-type contest winner in one of those flesh and sand bakes that abound in California each day of the three hundred and sixty five. The place: San Mateo... but in Donna such things were of little consequence, part of the scheme of things... to be taken in stride. Especially, when you are busily pursuing a five year stint of operatic training under the astute tutelage of Edythe West Elmer. It was two and a half years before Donna discovered "that other type of music," as she was immersed in the seas of Lieder and contractual breathing.

The life raft was thrown her way when the sixth army band in San Francisco decided a feminine adjunct might be just what the G.I.'s would like to ogle as they snuggled their dates through a laggard fantastic. She caught on, caught fire, and it was but a short skip from the barracks halls to the un-plushy, smoke-filled two by fours where young and inexperienced jazz singer make their usual debuts.

This possibly is where Donna first developed that smoky, sexy tone that is commonly referred to these days as the Christy-Connors sound. However, if you will recall wet June made her first sides with Stan the Man, the critics carped loudly that she was ape-ing the inimitable Anita O'Day. Then: after this hue and cry was washed down by sufficient martinis, another lass showed upon the scene... Chris Connor... wails and gnashing of mail order molars again smote the night. Connors, a carbon of Christy and son on ad infinitum!

Now come Donna Fuller – and to avoid needless controversy, let us state flatly and with no malice aforethought that her general approach falls in the O'Day, Christy, Connors idiom. Having written for all the above-mentioned over a period of years, I hasten to point out, that no matter whit the comparison to her predecessors, each of these artist wen ton to establish herself as an individual in her own right. One happy listening to Donna should convince you that she is an individualist now, a part of an idiom (or a sound) yes, but able to stand on her own heart and larynx.

Already she has learned to transport the listener tiny the mood of the song as un-jarringly as a beautiful woman slips on a velvet gauntlet. As she tells you her story she lets you inside her heart and your ears prickle with the knowledgable fact that you are sharing one's intimate feelings, that you are living with, sorrowing with, laughing with who she is saying directly to you. And what is more important, you are going to believe every word, every breath...

As one music citric commented on hearing her album for the first time...

"... this girl doing a torch song has meaning. It is not like casting a child in the lead of the Kinsey Report..."

And Liberty Records knew what they were doing when they singed this young lady to a contract and showcased her so handsomely as they have done here.

TO put it calmly, she is a delight to write for, a fresh, distinctive talent and you will find her, I'm sure, as did the talented and erudite Pete Rugolo who who commented after the first eight bars, "She flips me!"

Joe Greene is considered one of Tin Can Alley's most original lyricists, having composed such outstanding novelties as "The Bull walked Around Olay!", "Across The Alley From The Alamo," "Ting-A-Ling," and "And Her Tears Flowed Like Wine."

Joe Greene came to Hollywood from Spokane, Washington. In 1943, his show "Sweet And Hot" served as Dorothy Dandridge's first starring effort. Since 1943, his name has been associated with many of Stan Kenton's best selling recordings.

From Billboard - April 27, 1957: Thrush's disk debut is a good one. Her delivery – in the bluesy-torchy vein – comes across as well-suited to the small which-type club. Choice of material was excellent and obviously tailored to the voice. "Mister Blue" and "Dusky January" are good cases in point. Demonstrate the better-known "My Foolish Heart." A string album cover effectively catches the spirit of the album.

My Foolish Heart

I'm Getting Sentimental Over You

Mister Blue

There He Is

Keepin' Myself For You

Miss Pettibone Confesses

Once

L-O-V-E Spells Fool

Dusky January

I'll Close My Eyes

Hamilton Again

All Of Nothing At All

Songs About Peter Paintbrush - Joe DiCerto

The Blue Forest

Songs About Peter Paintbrush

Words and Music by Joe DiCerto

Vocals by Joe DiCerto

Music Arranged & Conducted: Irv Dweir

Children's Chorus: Lisa & David DiCerto, Jon Gottlieb

Engineer: Rich LePage

Recorded at Mastertone Studios, New York

Cover Design: Richard V. Reichart

Production Coordinator: Norma Harris

Educational Activities Records, Inc. AR 562

1975

From the back cover: About The Author

Joe DiCerto has worked for many years in the area of mass communications as a writer, advertising executive, editor and director. He has also worked as a professional consultant to many large companies in this field. His unique background in the areas of science and music have enabled him to create a variety of educational programs ranging from computer and lasers to the delightful children's story of "Peter Paintbrush."

Mr. DiCerto has been a frequent guest on numerous radio shoes, such as Barry Gray, Barry Farber, John Windgate and others. He has also been a science consultant to the television stations and has appeared many times on such national shoes as The Today Show, The Mike Douglas show, The Johnny Carson Show and The Joe Franklin Show, plus many other local television shows.

Joe DiCerto is the author of three books and numerous magazine science articles. He created the filmstrips, The Computer And You, Power And Energy, Lasers, Looking Into Electricity and The Adventures Of Peter Paintbrush. He appears on the popular albums, My Favorite Planet and What Will I Be When I Grow Up, for which he also composed the music and wrote the lyrics.

Peter Paintbrush

A Little Can Mean A Lot

Let's Go Adventuring

The Blue Forest

There's Always Another Way

You Can Do It If You Try

Candyland

Moderation

Always Help A Friend

All Of The Sudden I've Grown

Sutton Place South - Emanuel Verdi

 

Yesterdays

Sutton Place South

Vardi String Sextet

Audio Fidelity AFLP 1873

1958

From the back cover: Emanuel Verdi is a native New Yorker who received his musical education and has enjoyed highly active professional life in this city. Recognized widely as a viola virtuoso, he has played in solo recital and with leading orchestras in the concert hall, on radio and television. Vardi has to his credit a considerable amount of writing and arranging of music for his own instrument and various combinations of other instruments. In this collection of perennial favorites, heard to best advantage through guaranteed total frequency range recording techniques, the unusual qualities of his arrangements will delight even the most discriminating among Hi-Fi fans. Verdi's setting of these musical classics involve, for the most part, high strings punctuated by cello band bass. The simplicity of the arrangements serves to point up the particular character of these selections, all of which are charateristically lyrical and quiet in mood.

Laura

I Concentrate On You

Once In A While

Our Love Is Here To Stay

The Nearness Of You

Yesterdays

In The Still Of The Night

Autumn Leaves

Bewitched

Stella By Starlight

All The Things You Are

Sweet And Lovely

The Dukes Of Dixieland At The Jazz Band Ball

 

Blue Prelude

The Duke Of Dixieland

At The Jazz Band Ball

Photo: Rolf Tietgens

RCA Victor LPM-2097

1959

Trumpet - Frankie Assunto

Trombone - Freddie Assunto

Clarinet - Pete Fountain

Piano - Artie Seelig

Bass - Bill Porter

Drums - Roger Johnson

Vocals - Betty Owens

From the back cover: There's a whale of a different between the Dukes Of Dixieland and a lot of the other jazz bands you hear nowadays. It's all to the good. Too many bands play Dixieland like it was just a does of medicine they have to swallow each night; the Dukes don't – they obviously get a tremendous wallop out of their music making, and it comes through clear and sharp on this disc. The Dukes combine enthusiasm with enormous ability. They kick into the ensembles like the liner United States playing into twenty-foot waves. They are equally at home with standards and popular songs of the day. In other words, the Dukes have it in diamonds, doubled and redoubled, right down to the toes of their argyles.

This album deals strictly with the great old Dixieland war horses, with the one exception of Blue Prelude. This lovely Gordon Jenkins – Joe Bishop tune as used as  theme for years by Woody Herman, and it's used by the Dukes as a marvelous setting for Freddie Assunto's trombone.

My choice as the outstanding miner of the albums is Tin Roof Blues, tat ancient collaboration of the New Orleans Rhythm Kings which became so popular in 1954 as Make Love To Me. The extended clarinet solo by one Peter Dewey Fountain, Jr., is simply tremendous! (There are a couple of places where the clicking of clarinet keys can be clearly heard – a good proving point as to how well the album as recorded.) Behind Fountain's soulful and expressive blowing is the occasional undercurrent theme of Yancy's Special – a superb effect.

For Tiger Rag, Freddie Assunto plays some handsomely guttural trombone. The Dukes don't treat the Tiger as a race horse, but instead subject her to a good, steady gallop, which is as it should be, Frank Assunto can be heard signing Saints, in the same kind of "arrangement" used many years ago by Louis Armstrong. Don't miss the tromboning of Eddie on Muskrat Ramble either. Maybe he was thinking of another trombonist named Kid Try who happened to write the ting. Incidentally, Muskrat Ramble didn't have a name right off the bat. It come up for recording during ta session b Louis Armstrong's Hot Five. After it was all over, someone asked Ory for the name, and he was saved by Lil Armstrong who simply looked up nd said: "Oh, that's Muskrat Ramble." Some time later, Mr. Melrose of the Melrose Music Company changed the Muskrat to Muskrat, because he didn't lie the sound of the "rat," but never did stick.

Panama, At The Jazz band Ball, That's A-Plenty are wonderful expression by the full band – solid rhythm, driving horns, magnificent clarinet and excellent solos. The album plays to a fare-thee-well from stem to stern, and that's the way it was intended by the Dukes Of Dixieland, one of the true fine jazz outfits of this or any time. – Fred Reynolds

From Billboard - December 21, 1959: The Dukes pour out their usual traditional, but commercial brand of Dixieland material. The title tune sets the pace, with such familiar numbers as "Beale Street Blues," "Muskrat Ramble," "Tin Roof Blues," and "Saints," also included in the repertoire. Pete Fountain is heard on clarinet on this set in addition to the regular Dukes complement. Betty Owens vocalizes "Beale Street" and "Saints." Dixie fans will like. Set was originally out on label X, a former Victor subsidiary.

At The Jazz Ball

Beale Street Blues

Muskrat Ramble

Blue Prelude

That's A Plenty

Original Dixieland One-Step

Panama

Wolverine Blues

Fidgety Blues

Tin Roof Blues

Tiger Rag

When The Saints Come Marching In