Last Kiss - J. Frank Wilson

 

Tell Laura I Love Her

Last Kiss

J. Frank Wilson and The Cavaliers

Josie Records JGM 4006

A Product of Jay-Gee Record Co., Inc.

1964

From the back cover: J. Frank Wilson was born in Lufkin, Texas, on December 11, 1941. He grew up in the East Texas lumbering town and graduated from Lufkin High School. Shortly after graduation, J. Frank joined the Air Force and received his basic training at Lackland Air Force Base in San Antonio, Texas.

Prior to entering the service, J. Frank had his first taste of success in the fascinating world of entertainment when he and his little band of four won a talent contest at Nacogdoches, Texas, over a field of 50 entrants and they received the coveted first prize of $1,000 cash. With this first scalp under his belt, and the bee of show biz stinging him, it was just a matter of time before the young Texas would plunge headlong into the turbulent tide of the Music Business.

During his career with the Air Force, J. Frank was stationed at San Angelo, Texas, and became lead vocalist with a group called The Cavaliers. With this new group, J. Frank played the local school proms and teen dances and soon became the No. 1 attraction in the entire area.

In November of 1962, he received his discharge from the service, and since he had become so popular with all the kids of San Angelo, he decided to stay on and try to get up the ladder of success with his band, The Cavaliers. For eighteen months the little group played the area without any prospects of a recording contract. But in the Spring of 1964, things began to happen. An independent record producer, Sonley Roush, heard J. Frank and The Cavaliers. One of the tunes recorded was entitled "Last Kiss" and "Last Kiss" was to give J. Frank his first hit.

Mr. Roush had been working with another record producer in Fort Worth, Texas, by the name of Major Bill Smith who had given the pop world such smash hits as 'Hey, Baby!", up the master and shipped it off to Smith. Smith received the tape on a Sunday in May, and left the next morning for New York City.

Upon reaching New York, Major Bill (as he is known in the music business) took the tape to Steve Blaine and Mickey Eichner of Josie Records and they flipped. So was born what has now become the nation's hottest new recording group, J. Frank Wilson and The Cavaliers.

J. Frank is a quiet, personable boy who likes to fish, hunt, and listen to Cajun music. He is 5 feet, 7 1/2 inches tall, with dark brown hair and brown eyes and his idol is the late and great Buddy Holly.

From Billboard - November 7, 1964: You just can't argue with success. Wilson's "Last Kiss" single was rated No. 3 on BB's singles chart at this writing. Supported by the Cavaliers, Frank's country flavored vocalizing will find much support primarily from the younger set as well as his many adult followers. Selections include: "Only The Lonely," "Over The Mountain" and "Young Love."

Last Kiss

Only The Lonely

Ove The Mountain 

School Days

Day Before Our Wedding

Speak To Me

Sea Of Love

Tell Laura I Love Her

That'll Be The Day

Ding Go The Chimes

Kiss And Run

Young Love

Let's Get Acquainted With Jazz (For People Who Hate Jazz!) - Jimmy Rowles

 

El Tigre

Let's Get Acquainted With Jazz 

For People Who Hate Jazz!

Produced by Robert Scherman

Cover: Bud Costello

Engineer: Bones

The Jimmy Rowles Sextet

Tampa TP-8

1957

Jimmy Rowles - Piano

Red Mitchell - Bass

Larry Bunker - Vibes

Pete Candoli - Trumpet

Mel Lewis - Drums

Harold Land - Tenor Sax

Barney Kessel - Guitar (courtesy Contemporary Records)

Lullaby Of Birdland

Tea For Two

All For You

Body And Soul

El Tigre

Cheeta's For Two

The Cobra

East Of The Sun

Perdido

Sing A Song Of Sports Cars - Paul O'Shea

 

The Racer Lives Forever

Sing A Song Of Sports Cars

Sung by Paul O'Shea and "Four Jacks and a Jill"

Produced by Bill Gauer Productions, Inc.

Cover Design: Ken Deardoff

Notes by Barrett Clark

Recording Engineer: Jack Higgins (Reeves Sound Studios)

Mastered by Jack Matthews

Recorded in New York; May 17, 1960

Riverside Records

RLP 5019

1961

From the back cover: Paul O'Shea is he perfect man to present these unique songs. As a rising young singing star, his light tenor voice provides all the necessary tonal shades which are so essential to folk singing. As ice if America;s best and mist successful racing drivers, he has all the necessary qualification for understanding the interpreting the songs. Indeed, before long, he may be the subject of a song himself, for his abilities behind the wheel are enormous. Paul has been in and out of the automobile business in one form or another for the past ten years. He also made the side trio into harness racing, achieving more than a little success in that field – but that's another story. Mostly, he is known as a three-time National Sports Car Champion, driving the famous Mercedes-Benz 300 SL. In addition to racing for Mercedes, he was also retained by them as a consulting engineer. Paul has also found time to turn out the most successful book to date on racing driving: "Guide to Competition Driving."

The Truth Is With Fangio

SCCA Marching Song

Ballad Of Don Portago

The Racer Lives Forever

Serenade To Sebring

The Romantics Of Sports Car Semantics

Swinging At The Nurburgring

The Countdown At Le Mans

Bugatti Blue Waltz

The Tale Of Pierre Levegh

Castor Oil Cantata

A Racing Man Who Loves His Car

Ännchen von Tharau - Hans Last

 

Lang, lang ist's her - Muß i' denn - Mädels, ruck, ruck, ruck

Ännchen von Tharau 

bitten zum Tanz

28 Swingende Volkslieder mit Chor

und Orchester Hans Last

Polydor STEREO 249028

Manufactured by Deutsche Grammophon, Hamburg

1966

Zoot - Zoot Sims Quartet

 

The Man I Love

Zoot

Zoot Sims Quartet

Album Production: Dave Usher

Date Recored: 01/12/1956

Studio: Capitol N.Y.C.

Argo LP 608

Zoot Sims - Tenor & Alto

Johnny Williams - Piano

Gus Johnson - Drums

Knobby Totah - Bass

From the back cover: Zoot Sims has been an active member of the Jazz fraternity ever since he joined Kenny Baker's orchestra in 1941 at the age of 16. Since that time he has worked with Bobby Sherwood, Bob Aston, Sonny Dunham, Benny Goodman, and an innumerable number of small groups, including that of Gerry Mulligan, which he left in mid '56 to form his own unit. Yet it has been only of late that his playing has begun to earn the respect among musicians and fans alike that it deserves.

In addition to all his previous credits, Zoot also is the owner of a badge of distinction which can be worn in the lapels of just three other men. Along with Stan Getz, Herbie Steward, and Serge Chaloff, he was one of the original members of the "Four Brothers" saxophone section of the Woody Herman orchestra in 1947 and '48.

No other section of any jazz band was ever as well-known as the Brothers, due not only to the unique nickname but also because of the artistry of all its members.

In turn, the musicians were all propelled to varying degrees of fame through the association.

Stan Getz made it almost overnight. His solo on Woody's Early Autumn was a huge hit, and he became the best-known tenor saxist of the past decade, and a winner of seven consecutive Down Beat polls.

Herbie Steward, a musicain's musician highly respected by his fellow players, retired to the obscurity of Hollywood studios and dance bands early in the '50s. His lovely tone and supple conception were the envy of many a contemporary.

Baritone saxist Serge Chaloff, an amazingly flexible musician, had a roaring career underway until some personal difficulties virtually wrecked it.

And so just two of the Brothers remain prominent. Their progress might be likened to that of the hare and the tortoise. Getz flew to fame. Sims has plodded steadily.

Getz is the consummate artist, the brilliant technician with the floating sound. There are times when you will swear there is really nothing left to play after he has finished a solo. He explores every devious, twisting channel.

Zoot, as Bob Brookmeyer says, "plays earthy." He is direct, simple, logical and above all, emotional.

I have long held the theory (through certainly is not one evoked by me) that a musician who has found his sea legs and charts his own personal course is just what he plays.

To explain. Roy Eldrigde is the same flaming personality as his playing. So is Dizzy Gillespie. The elfin delight in color and sound that puts from Erroll Garner's piano is Errol Garner, Jimmy Giuffre is a calm, dryly humorous student of music.

Zoot Sims is the country boy moved to the city, one who has let enough sophistication stick to him so that he can get along with the urbanites. Though he has firm control of his horn, he shrugs off any unnecessary technical bric-a-brac to dig deeply into the blues-base roots of jazz. His playing is piercingly honest and revealing, and though he, too, is of the many who have been influenced by Lester Young, his sound is thicker and fuller, and the beat he evokes is more akin to a heart-beat than a pulse.

Zoot is a swinger planted ankle-deep in loam.

All those qualities are evident in this collection, the first to allow him so much blowing room. He carries it off superbly, from the first booming notes of 920 Special, the old swing era favorite, through Dizzy Gillespie's Nation Woody'n You.

In between are a moving eloquent Man I Love, a skimming excursion over 55th And State, based on a familiar and often-employed chord structure, and Blue Room, played at finger-snapping tempo.

And there's Gus's Blues, written by Gus Johnson, the drummer on the date. That Old Feeling follows, then Sims picks up the alto to play Oscar Pettiford's Bohemia After Dark. It seems fragile in his hands, as if at any moment the instrument might break in two as he pours tenor saxophone conception into it.

Quite a remarkable album, this, one which turns a bright bulb on Zoot Sims, tenor saxophonist.

He does not blink.

Jack Tracy - Editor, Down Beat Magazine

From Billboard - April 29, 1957: Special Merit Jazz Album - In spite of the plethora of recently released Sims packages, this is an indispensable set. With ideal assistance from J. Williams, G. Johnson and K. Totah, Zoot is at his earthy, emotional best. There are many tenor men who play the Lester Young line, but few have the ingenuity, talent and definable dignity of Sims. To show it is to sell it.

920 Special

The Man I Love

55th And State

Blue Room

Gus' Blues

That Old Feeling 

Bohemia After Dark

Woudy'n You

Bob Wills Special

Trouble In Mind

Bob Wills Special

Bob Wills and His Texas Play Boys

Harmony HL 7036

1957

San Antonio Rose

Trouble In Mind

Take Me Back To Tulsa

Big Beaver

Roly-Poly

I Can't Go On This Way

Time Changes Everything

Miss Molly

The Convict And The Rose

New San Antonio Rose

All Star Session - Gene Ammons

 

Blues Up And Down

Gene Ammons

All Star Session

Cover: Tom Hanna

Notes by Ira Gitler

Prestige OJC-014 (P-7050)

1956

Gene Ammons All Star Sextet

Gene Ammons - Tenor Sax

Art Framer - Trumpet

Lou Donaldson - Alto Sax

Freddie Redd - Piano 

Addison Farmer - Bass

Kenny Clarke - Drums

Woofin' And Tweetin'

Juggernaut

Recorded 6/15/1958

Supervision: Bob Weinstock

Recorded by Rudy Van Gelder

From the back cover: Gene Ammons has had a long career in jazz although he is only 30. At 18 "Jug" was with trumpeter King Kolax in his native Chicago. The next year, 1944, Billy Eckstine formed his big band and sent for young Gene. In the three years he was with Mr. B, Gene developed rapidly into one of the stars of the band. When Eckstine disbanded, Gene formed his own combo which played around Chicago for about two years. The greater part of 1949 found Gene as one of the featured "Brothers" of the Woody  Herman sax section. After some free-lancing, Gene formed the famous tenor battle duo with Sonny Stitt in 1950. For two years they swung across America and then each decided it was time to have his own band. Gene's combo has followed more of a rhythm and b less pattern although the jazz elements have always been strong in it. Unlike rock and roll, there are both good and bad rhythm and blues. (Rock and roll is really only bad rhythm and blues). So it was not a long jump for him back into the realm of jazz with this session, aided and abetted by an all star cast. He blows with vigor and his noted big sound, building each of his slots to points of climax.

This is not a drawn out session. Everyone came in and said their piece. The vehicles are two stand-by, the 12 bar blues and the "I Got Rhythm" chord changes.

It may be true that these are simple patterns, but unless a musician has the feeling for them, he won't be able to play very much on them. A well known tenor man once said to me, "Man, it's a drag to get up and play with Bird and Fats (Navarro). They can play originals on blues and "I Got Rhythm" changes all night long and play different things every time."

The blues are sad but they make you happy. This many sound paradoxical but the blues let you bring your troubles and sadness to the surface and purge yourself of them. Hence the happy feeling. You'll know what I mean after hearing Woofin' And Tweetin'.

Lou Donaldson was born in Badin, North Carolina in 1926. He started his musical career on clarinet at the age of 15. Later he attended college at Greensboro,, N.C. before entering the Navy where he received musical as well as nautical training.  After the war he came to New York and did much playing around town. He is considered to be one of the best practitioners in the Charlie Parker tradition. Lou is lead-off and on both selections, displaying his drive and his tongue in cheek, occasionally puckish humor.

Art Farmer was born in Council Bluffs, Iowa in 1928, but moved to Arizona at an early age. He did a lot of playing on the West Coast with Benny Carter, Gerald Wilson and Wardell Gray. After returning from a European tour with Lionel Hampton in 1953, Art settled in New York and has been wailing here ever since. On record and in person he has been heard with his own group featuring Gigi  Grace (Prestige LPs 181, 209). His solo on Woofin' And Tweeting' is one of the classics of the year; a marvel of time and economy with elements of the traditional and the modern. 

Freddie Redd is a native New Yorker, age 26, who didn't take up the piano until 1947. Freddie has been making up for lost time with a vengeance ever since. An outstanding exponent of the style pioneered by Bud Powell, Elmo Hope and Goorge Wallington, he has been heard with Joe Roland recently and his records include his own trio (Presige LP 197) and Art Farmer's Quintet (Prestige LP 209).

Addison Farmer is Art's twin. He began playing at about the same time as Art and has been with Howard McGhee, Bird, Teddy Edwards, Gerald Wilson, Wardell Gray and Jay McShann. His powerful passing has been part of his brother's group since coming to New York in 1954. On display in this LP are both his section and solo talents.

Kenny Clarke, the man who changed the conception of drumming in the early Forties, is originally from Pittsburgh which seems to be a breeding ground for swinging drummers (Art Blakey, Joe Harris). When "Klook" sits down at the drums, there are no doubts about the authority of the beat. During the spring and early summer of 1955, he was ensconced at the Cafe Bohemia, Greenwich Village, N.Y.C. and has free-lanced around New York thereafter.

Gene Ammons Battles Sonny Stitt

Blues Up And Down (3/5/1950)

You Can Depend On Me (3/5/1950) with Duke Johnson - piano; Tommy Potter - bass; Jo Jones - drums

Stringin' The Jug (10/28/1950) with Junior Mance - piano; Gene Wright - bass; Wesley Landers - drums

New Blues Up And Down (1/31/1951) with Billy Massey - trumpet; Al Outcalt - trombone; Charlie Bateman - piano; Gene Wright - bass; Teddy Stewart - drums

The remainder of this LP harks back to the days of the alliance of Gene with Sonny Stitt, and the combo they fronted in the early Fifties. Four of their exciting duets were preserved on record before they went their respective ways.

The tenor battle which began its rise in popularity with Ammons and Dexter Gordon doing Blowing The Blues Away with Billy Eckstine's band and later carried on by Dexter and Wardell Gray at various jazz concerts (hear Prestige LP 7009, Wardell Gray Memorial, vol. 2) was carried to a sort of culmination by Gene and Sonny in that they built a group around this feature.

They were perfect foils for each other as they each took turns at playing straight man. Both have been influenced by Lester Young and Charlie Parker with Gene leaning further towards President and Sonny more to Bird. On New Blues Up And Down Gene even dons a Jacquet at one point. In the course of that dual romping and swinging everything from full choruses to four bars are exchanged.

Supervison: Bob Weinstock

Remastered by Rudy Van Gelder

Telefunken Blues - Milt Jackson

Inhibitions

Telefunken Blues

Featuring Milt Jackson

Supervision: Ozzie Cadena

Mastering: Rudy Van Gelder

Savoy Record Co. MG 12006

1955

From the back cover: The product of two recording dates, this album represents some of the most exciting swinging jazz on discs to date! It is a great tribute to one of the most important sidemen of modern jazz' formative days... Kenny Clarke, leader and drummer here! Kenny, the transitional drummer who bridged the gap from the Krupa's, etc., to modern jazz, stilll is top man in most jazzmen's book due to his entering beat, inherent good taste, and unobtrusive "booting" of any group he graces! His introduction to drumming circles of the bass drum and snare drum accents so common to contemporary percussion work is only a partial story of his contribution. But... forge the word pictures... the cat swings! Under his able guidance, Ozzie Cadena (Savoy A&R chief) banded together men for 3 outstanding jazz camps for these dates: The Count Basie band, (Wess, Coker, Fowlkes, jones), and formerly, Clarke), and the west coast hard-swinging set, (Wiggins, Morgan, Benton), Scores contributed by star Basie arranger Ernie Wilkins left plenty of moving room for the outstanding soloists. The classic Telefunken Blues title came from a chance remark by Frank Wess about Ray Van Gelder's excellent recording equipment. Commenting on the excellent sound, he cried "Man, no wonder it's coming out so funky, he's using Telefunken Microphones." Incidentally, this album makes the premiere performance on records of those two fabulous young West Coast jazzmen, Frank Morgan and Walter Benton. Gerry Wiggins, a real wig on the date, collaborated with Kenny on Sonor. Eddie Beal, an old-time favorite, wrote Skoot. Klook alone wrote "Strolling' and the very, very relaxed Blues Mood.

Strollin'

Sonor

Blue's Mood

Shoot

Milt Jackson - Vibes

Fans Morgan - Alto Sax

Walter Benton - Tenor Sax

Gerald Wiggins - Piano

Percy Heath - Bass

Kenny Clarke - Drums and Leader

Recorded in Hollywood, Calif.

Supervised by Kenny Clarke

Telefunken Blues

Klook's Nook

Baggio' The Blues

Inhibitions

Milt Jackson - Vibes

Henry Coker - Trombone

Frank Wess - Tenor Sax

Charlie Fowlkes - Baritone Sax

Eddie Jones - Bass

Kenny Clarke - Drums and Leader

Arrangements: Ernie Wilkins

Recorded in Hackensack, N.J.

Engineer: Rudy Van Gelder

The 'Bird' Returns - Charlie Parker

 

Chasin' The Bird

The Bird Returns

Charlie Parker

Cover: Harvey

Mastering: Medallion Studios

Savoy Records Co. MG-12179

1962

From the back cover: Charlie Parker was born in Kansas City, August 29, 1920. He played baritone saxophone in his school band and accumulated his experience with the orchestras of Lawrence Keyes and Harlan Leonard. In 1937 he joined Jay McShann with whom he came to New York in 1942. "Bird" left McShann to work with the Kenny Clarke and Thelonius Monk at Minton's and Clark's Uptown House. Soon after he blew with Noble Sissle for about a year and then he joined the Earl Hines' Orchestra with featured Dizzy Gillespie, Benny Harris and Billy Eckstine. In 1944 he joined the fine Billy Eckstine Band and, at the time, he cut his first session which, we are proud to say, is on Savoy records.

One of the greatest chapters in Jazz came to close on Saturday, March 12, 1955 when Charlie Parker passed away, stricken with bronchial pneumonia and a greater blow to Jazz was never dealt. We, in Jazz will never forget the "Bird" and because we feel that you, the Jazz audience, may not have had the opportunity to know the "Bird" as well as you would have liked to, we are releasing these heretofore undiscovered sides of Charlie Parker for which we were granted the full permission of the Charlie Parker estate.

The side men are unknown to us and the source from which we obtained these sides could not furnish us with the necessary information, however, it's the legendary "Bird" and his magnificent performances up to his usual brilliant standards.

We trust that you enjoy this Jazz classic and we look forward to bringing you other never released sides by "Bird" and other Jazz immortals.

Chasin' The Bird

Thriving From A Riff

Ko Ko

Half Nelson

Scrapple From The Apple

Cheryl

Barbados

Try A Little Tenderness - Malcolm Dodds

 

Shangri-La

Try A Little Tenderness

Malcolm Dodds

Arranged and Conducted by Sid Bass

Produced by Ethel Gabriel

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

RCA CAMDEM CAL-831

1964

From the back cover: The curtain rises on a new top singer in the person of Malcolm Dodds. Here is a performer who seems to possess the right combination of those undefinable qualities that contribute to singing stardom. Hi voice, while it may remind you vaguely of several other singers, has a timbre and richness as distinctive individual as a personal signature. The warmth and sincerity of his style fill in a musical  image that is strictly Malcom Dodds, on one else. After you've heard hi appealing performances in this outstanding collection of beautiful ballad hits, you'll agree that Malcom Dodds is far from a newcomer to the music scene. He's a newcomer only as a solo pop singer, for Malcolm has known the sweet sound of success and acclaim in a variety of music fields – choral singers, spirituals, TV jingles, arranger, composer and background singer from numerous top pop singing stars, and leader of the incomparable Malcolm Dodds Singers. Dodds and his Singers are well known to a coterie of music fans via albums, TV appearance s and engagements at Carnegie Hall. Now Dodds at long last steps into a new spotlight as a pop soloist, and the evidence is clear that a new and even more exciting career is unfolding.

There is no doubt that Malcom Dodds has a great understanding of background as choral and spiritual singer. He feels music, interprets it and creates a communication with his listens that is unique and rewarding in pop singing.

An exceptional ballad in this noteworthy album is Call Me Irresponsible, the 1963 Academy Award-winning song by betray tunesmiths James Van Heusen and Sammy Cahn. Demonstrating both his vocal versatility and interpretative intuition, Dodd changes mood with the majestic pop classic Bluebird Of Happiness. then demonstrates his delicate touch with the wistful Scarlet Ribbons. He is tenderness personified with Try A Little Tenderness, the every-popular 1932 ballad, and touchingly meditative with the sadly beautiful Ebb Tide, written for all time in 1953. Never Leave Me, from Gordon Jenkins' famous "Manhattan Towers," Misty , all the rest receive interpretations befitting their individuality.

This album spotlights the great singing voice of Malcom Dodds as a new pop artist with talent and qualities that assuredly mark him for universal polarity and acclaim.

Try A Little Tenderness

Call Me Irresponsible

Shangri-La

Ebb Tide

Bluebird Of Happiness

Never Leave Me

People

Tender Is The Night

Misty

Scarlet Ribbons (For Her Hair)

Jazz Premiere: Washington - Paul Winter

 

Papa Zimbi

Jazz Premiere: Washington

The Paul Winter Sextet

Produced by John Hammond

Cover Photo: Courtesy of The White House

Cover Art: Culver Pictures

Columbia Records CL 1997

1963

From the back cover: The real wealth of any country is measured not in barrels of oil, fields of wheat nor tons of coal. Not is that mysterious financial page statistic, "car loadings," a proper gauge for it. The real wealth of any country , any people, any civilization is in the strength and imagination of its youth and in the originality and creative inspiration of its art.

For all of the industrial resource and the mechanical and engineering marvels of the United States, and for all of the glory of vision of the America Revolution, it may well turn out that the impact of the U.S.A. – in the positive sense of contribution – will in the end be measured at least as much by the imagination and creative inspiration of its youthful art of jazz.

SO there is an overriding symbolic value in the presentation (and implied official recognition) of that jazz art as practiced by the youthful group of the Paul Winter Sextet at the White House in 1962. For this group, which was not the winner of the jazz polls, whose members were all but unknown in their now land, and whose achievement (so far, at any rate) were in terms of musical ambassadorship to foreign lands, represents the surging inspiration of American youth expressed through the freest form of the international language of music.

The Winger group is an example of the growing involvement with jazz as an art form on the part of the younger college generation in the United States. Its members are all products of the university community and the group itself was formed to participate in a college jazz competition and first brought attention to itself in that arena.

InMay of 1961, the Paul Winter Sextet won the Intercollegiate Jazz Festival competition at Georgetown University, in which over one hundred groups had submitted tape recorded examples of their playing, and Warren Bernhardt, the pianist was boiled as best musician in any group.

Following these tow competitions, the Extent played at the Evansville (Indiana) Festival and the Naugatuck (Michigan) Festival and here Dave Brubeck heard them. Brubeck and two of the judges of the Georgetown Festival, John Hammond and John Barks (Dizzy) Gillespie, recommended the group to the American National Theater and Academy, the organization which selects the talent of the State Department Cultural Exchange tours. ANTA sent along the group's plan for a student jazz group tour to the U.S. State Department representatives in Latin America, and the 27,000 mile tour was set up and launched.

The group took off early in 1962 and spent the next six months in a mad dah throughout Latin America in which 160 concerts were played, untold thousands of people given the opportunity to hear jazz, and immeasurable good will accumulated for the Winter Sextet and the U.S.A.

Back home after their tour, the group became the first jazz unit to play at the White House when, on November 19, 1962, they are presented there by Mrs. Kennedy as part of her series of musical programs by Young People for Young People When Mrs. Kennedy expressed her enjoyment, it was front-page news throughout the country.

As a student of Northwestern, Winter formed a sextet to help finance his way through school. Though drawn back to music through this, he got his degree at Northwestern in English composition. While working he's way through Northwestern, he also played on summer with Ralph Flanagan and another with Les Elgart. Winter doubles on piano and clarinet and is now working on a master's degree in music at the American Conservatory in Chicago.

Warren Bernhardt, twenty-four, is the son of the founder of the Wisconsin Conservatory He has been playing piano since he was eight but heard of jazz he encountered a George Shearing record who he was seventeen, :"Why didn't you ever tell me about jazz?" he asked Gus fathers and the answer us bit recorded, A graduate if the University of Chicago, he has a master's degree in chemistry. He broke a finger once playing baseball and never had it set straight and does a good part of the arranging and composing for the group.

Baritone saxophonist Les Rout, whom Winter calls "one of the outstanding young baritone players in the country," is twenty-six. He has both bachelor's and master's degrees in history from Loyola, is working on his doctorate at the University of Minnesota and has taught history at Wendell Phillips High School in Chicago.

Dick Whitsell, the trumpet player, is twenty-five and a graduate in speech at Northwestern. He has worked as a reporter for the Chicago City News bureau and was once a leg man for magazine writer Dick Gehman. Drummer Harold Jones, twenty-two and a native of Richmond, Indiana, was a percussion major at the American Conservatory in Chicago. He has worked with Claude Thornhill, Donald Byrd and Wes Montgomery among others.

Richard Evans, at twenty-nine is the "old man" of the group. He joined them when the regular bassist couldn't make a record date and then went on the Latin American tour. He's from Birmingham, Alabama, went to high school in Chicago, got a degree in musical education in 1959 from Wilson Junior College and is now working on a master's in composition. He's been with many jazz groups – among them Lionel Hampton, Maynard Ferguson and Marian McPartland. He also writes and arranges for the group.

The numbers on this album were recorded in two session: one in December 1961 and the other on their return from Latin America in 1962. Pony Express is a blues waltz written by Warren Bernhardt; the title is a tribute to the New Frontier, written especially for the White House concert. Casa Camara was written by Richard Evans and is named after an old mansion in which the group stayed during their week in Merida, Yucatan. Paul Winter points out that the number contains two rhythms, a Mexican rhythm and  rhythm called the "merrecumbe" which is from Colombia. Shenandoah, the folk ballad, was arranged by Paul Winter. Richard Evans also composed The Hustling Song and Them Nasty Hurtin' Blues. Papa Zimbi is an adaptation by Warren Bernhardt of a Haitian folk song in 5/4 time. The tune was first heard by the group in Haiti. Zimbi is the divinity of the water and this is the incantation sung to him by the Haitian fishermen. Blue Evil is a composition by Bobby Meyer. Norman Simmons wrote a A Bun Dance and Jimmy Heath The Thumper. The final track is another original by Richard Evans. Count Me In, a tribute to Count Basie. – Ralph J. Gleason

Pony Express

Casa Camara (From "Suite Lation Americano")

The Thumper

The Hustling Song

Them Nasty Hurtin' Blues

Papa Zimbi

A Bun Dance

Shenandoah

Blue Evil

Count Me In

That's Auld! - Georgie Auld

 

That's Auld!

That's Auld!

Georgie Auld and His Orchestra

Discovery Records, Inc. Hollywood, California 

DL-3007

1952

This is a 10-inch long play. One side of the disc has the original label covered by what appears to be a hand cut and hand written paper "label" almost as it was done to cover over and correct some mistake made during manufacturing.

From the back cover: Occasionally in the jazz scene one finds a musician of stature who has the facility to bend to the most modern of trends – such a man is Georgie Auld, tabbed "the most versatile saxophonist or our times."

In 1935, alto saxophonist Georgie Auld, heard his first recording by Coleman Hawkins and found a new baby, the tenor sax. He made the switch to tenor and after establishing himself on his newly found horn, joined the band of the late Bunny Berigan and quickly achieved a national reputations.

From 1935 to 1937 he made numerous recordings with Bunny which forecast the exceptional stylist he was to become. He went with Artie Shaw in 1938 and joined Benny Goodman's memorable band in 1940.

Leaving Goodman in 1941, Georgie joined Artie Shaw's big 31-piece orchestra and stayed with it until its wartime demise early in 1942. He then organized the first of several editions of his own band, interrupted only by a period in the army.

Georgie Aul on tenor sax today is a far cry from the instrumentalist familiar to jazz lovers during the hey-day of swing. The influence of bop has left a strong impression and as these recordings clearly indicate, Georgie, who is master of his instrument, has absorbed and improved upon this modern trend in music.

This band, formed form an engagement at the Empire Room in Hollywood early in 1949, and later recorded by Discovery Records, is memorable in that it shows the musical progress George has made.

Soon after the Empire Room engagements, Georgie broke up the band to return to New York City where he opened his own night club, Tin Pan Alley, in the Forrest Hotel. It was an immediate success and soon became a favorite hangout for musicians.

Most recently Georgie has turned his talents toward the legitimate stage, having accepted a feature role in Garson Kanin's "The Rat Race" which opened December 22, 1949, with rave notices, at the Barrymore Theatre in New York City.

Discovery Records is proud to present Georgie Auld in his most modern form playing a series of standards and originals that showcase his swinging tenor.

Especially noteworthy are the fine arrangements by three young musicians, Jerry Mulligan, Billy Byers and Hal Vernon. Though this is a small band, numbering only ten pieces, the fullness in sound and subtly of interpretation prove that a band need not be large and loud to create exciting and interesting sounds.

Personnel: John Rotella, alto sax; Howard Terry, tenor sax; Billy Byers, trombone; Alvin Stoller, drums; Joe Mondragon, bass; Jimmy Rowles, piano; Carl Kiffe, bongos; Clin Neagley, alto sax; Neal Hefti, trumpet in place of Rotella and Anderson on four sides.

They Didn't Believe Me

Hollywood Bazaar

Darn That Dream

Vox Bop 

You Got Me Jumpin'

Nashooma

Mild And Mellow 

Settin' The Pace

Rockin' Violins - Eric Jupp

 

A Garden In The Rain

Rockin' Violins

Eric Jupp and His Orchestra

Produced by Dave Dexter, Jr.

Capitol Records ST 10240

1960

From the back cover: Eric Jupp is the young man of England's top pop singers call on when they want a backing that really rocks, with a big modern sound.

For several years Jupp has been one of the realm's leading pianist-arrangers. After he left the R.A.F., he worked with big bands and night club entertainers. He has moved on to free-lancing arrangements for the B.B.C. "Show Band" Show and frequent record dates with Englands' favorite young singers.

Somehow, Eric still finds time for original compositions. His is a versatile talent, and we're sure to hear more from him on both sides of the Atlantic.

From Billboard - May 16, 1960: Listenable collection of standards here played by Eric Jupp and his orchestra with strings featured over a rockin' beat. The tunes include "Autumn Leaves," "Red Sails In The Sunset," "We'll Meet Again," and "Goodnight Sweetheart." Jupp is the well-known English arranger and ork leader.

Autumn Leaves

Red Sails In The Sunset

Try A Little Tenderness

The Very Thought Of You

If You Change Your Mind

We'll Meet Again

I'm In A Dancing Mood

Georgia

A Garden In The Rain

The Touch Of Your Lips

If I Had You

Goodnight, Sweetheart

The Face Of Africa - Tribal Music Of The Belgian Congo

 

The Face Of Africa

The Face Of Africa

Tribal Music of The Belgian Congo

Drum Rhythm and Songs

Photos courtesy of Sabena Belgian World Airlines

London International Series TW 91204

1959

Drum Rhythms - Luba Tribe

Recorded at the Cité Indigéne. Jadotville. Belgian Conogo.

Mambala Dance with five drums, double bell, rattle and whistle by 5 Luba drummers.

 

Topical Song - Luba/Songe Tribe - Guitars, Bottle, Whistle, Rattle

Recorded at the Cité Indigéne Musonio, Kolwezi Copper Mine. Katanga. Belgian Congo.

Topical Song with guitars, bottle, small rattle and whistle by Ngoi Nono and Kabongo Anastase with friends.

Topical Song - Luba/Songe Tribe - Guitars, Bottle, Rattle

Recorded at the Cité Indigéne Musonoi, Kolwezi Copper Mine. Katanga. Belgian Congo.

Tropical Song with guitars, bottle and small rattle by Ngoi Nono and Kabongo Anastase with friends.

Topical Song - Luba/Hemba Tribe - Guitars, Bottle

Recorded at the Cité Indigéne Musonoi, Kolwezi Copper Mine. Katanga. Belgian Congo.

Topical Song with guitars and bottle, by Ilunga Patrice and Misomba Victor and friends.

Topical Song - Luba/Hemba Tribe - Guitars, Bottle

Recorded at the Cité Indigéne Musonio, Kolwezi Copper mine. Katanga. Belgian Congo.

Topical Song with guitars and bottle, by Ilunga Patrice and Misomba Victor with friends.

Party Song - Luba/Hemba Tibe - Guitars, Bottle

Recorded at the Cité Indigéne Musonio, Kolwezi Copper Min. Katanga. Belgian Congo.

Party Song with guitars and bottle, by Ilunga Patrice and Misomba Victor.

Dance Tune - Kanye Katribe - Xylophones

Recorded at the Cité Indigéne, Panda, Jadotville. Belgian Congo.

Dance Tune with two xylophones, drums and rattles by group of Kanyoka men and women. Leader: Kasadi Celestin.

Drum Rhythms - Rwanda Tribe - Drums

Recorded at the Cité Indigéne, Kipushi Copper Mine. Katanga. Belgian Congo.

Eight Drum rhythms by 8 Hutu men.

The Baroque Inevitable

 

Yellow Submarine

The Baroque Inevitable 

Being a Recital of the Hits of the Day

Performed in the Baroque-Rockque Instrumental Style Popularized by Bach, the Beatles and Other Notables of the 17th through 20th Century, A.D.

Produced by John Simon

Cover Art: Milton Glaser

Columbia Records CL 2587

1966

From Billboard - December 10, 1966: Playing current rock songs in the baroque manner has been done before, but the Baroque Inevitable does a cracking job with numbers associated with Sonny & Cher, the Beatles and the Trigs. It's god clean fun and light listening.

Rain Day Women #12 & 35

Turn-Down Day

Sunny

All I Really Want To Do

This Door Swings Both Ways

I Couldn't Live Without You Love

Wild Thing

Yellow Submarine 

I Can Make It With You Baby

Strangers In The Night

Eleanor Rigby

My Love Serenade - The Ames Brothers

 

Wang Wang Blues

My Love Serenade

The Ames Brothers

Coral Records CRL 57176

1957

From the back cover: Group singing, barbershop quartets, and male choruses have been around for a long time – mainly as a supplementary sound to featured soloists or as an instrument within a big band arrangement. Recent years have found the vocal group moving further and further into the spotlight of prominence and public admiration.

One of the most popular and talented groups that has enjoyed public and critical acclaim is the Ames Brothers. These four versatile young men from suburban Boston exhibit a professionalism and musical harmony that enables the group to function as though on voice and one guiding brain were producing the pleasant, harmonious results. 

Their musical training dates back to their high school days when professional vocal coaches tutored and encouraged their singing as did their athletic coaches encourage the joint sports efforts in which they all excelled.

After local engagements in Boston and throughout New England, a stint at the fabled Leon & Eddie's in New York City brought the boys to the attention of show business impresario's who pressed their career in an ever upward direction.

In 1950 the Ames brothers were the very first artists to record for Coral and with the release of "Rag Mop" national prominence and the success they so richly deserved immediately followed.

Subsequent years have found the Ames Brothers – Joe, Gene, Vic and Eddie, appearing at major night clubs and theaters throughout the country and as guest stars on the nation's top TV shoes. Their Coral recording of "rag Mop" was but the beginning of a long succession of hit records – such as – "Hawaiian War Chant" and "Tumbling Tumbleweeds">

Coral is proud to offer this long-play collection as testimony in sound to the versatile harmonies of one of today's greatest vocal groups.

My Love Serenade

Can't I

Absence Make The Heart Grow Fonder (For Somebody Else)

Only, Only You

Thirsty For Your Kisses

Blue Hawaii

Lazy River

Who'll Take My Place (When I'm Gone)

You Are My Sunshine

Just A Dream Of You Dear

Wang Wang Bles

Auf Wiedersen'n Sweetheart