The Late, Late Show - Dakota Staton

 

Summertime

The Late, Late Show

Dakota Staton

Capitol Records DT 876

From the back cover: George Shearing says, "Dakota is dynamic! To hear her sing for the first time is to joyously discover one of the finest jazz singers of our day." And wherever she appears, audiences wholeheartedly agree.

Dakota's distinctive vocal stylings are sometimes blues-like with an unusual misty quality, sometimes swinging with a light, refreshing beat. In each performances, the Staton wound creates new meaning for familiar lyrics, turning old favorites into fresh and exciting musical experiences.

Born in Pittsburgh, Pennsylvania, the young lady responsible for such wide acclaim began her career at seven, signing with two sisters. When her sisters married and the trio dissolved, Dakota went on as a "single," attending high school by day and performing in a Pittsburgh night club in the evenings. This was the beginning of a long series of sensational night-club engagements that has broth Dakota to the outstanding entertainment centers of the country.

Here, singing her favorite songs for "The Late, Late Show," she is accompanied by such soloists as Hank Jones, piano, and Jonah Jones, trumpet. And a stirring background, conceived and conducted by Van Alexander, with an assist by Hank Jones, enhances delightfully the bright new sound of Dakota Staton.

Broadway

Trust In Me

Summertime

Misty

A Foggy Day

What Do You See In Her?

The Late, Late Show

My Funny Valentine

Give Me The Simple Life

You Showed Me the Way

Moonray

Ain't No Use

Ethel Ennis

 

Blue Willow

Ethel Ennis

Pickwick/33 PC-3021

From the back cover: Ethel Ennis only has a few things in her favor – youth, beauty and an enormous amount of talent. One of the sparkling song stylists to emerge in recent years, Ethel is now rapidly ascending to stardom to join a select company of artists like Billie Holiday, Ella Fitzgerald and Sarah Vaughan.

Traces of Billie, Ella and Sarah may be found in Ethel but, like all genuine artists, she ultimately goes her own way. Ethel's individuality lies in her light-textured voice, her airy beat, her lyrical sensitivity and her relaxed embrace of each song.

Ethel is a Baltimore girl. She studied piano and voice there but made her professional debut in Philadelphia in 1950 on the Paul Whiteman Amateur Show. Success did not come immediately or easily. It was not until 1958, when Benny Goodman selected her as the vocalist to tour Europe with his all-star band, that she found a firm footing. Back in the U. S., Ethel spread her wings as a solo thrush in some of the country's top night clubs.

The album reveals Ethel's distinctive way with a ballad on a group of interesting songs that have no t generally been overworked on records. Ethel gives a secret caress in her renditions of "Dreamer, Dreamer," "Lullaby For Losers" and "You Better Go Now," and then is ready to break your heart in "Say It Ain't So, Joe" and "Blue Prelude." When Ethel is up at bat, everything is a hit. – Herman Schoenfeld - Music Editor of Variety

Blue Prelude

Dreamer, Dreamer

Off Shore

Casually

Hey Jacques

You'd Better Go Now

Lullaby Of Leaves

Say It Ain't So Joe

Blue Willow

Bon Voyage

Meeleven Leed's Hawaiian Country

 

Honolulu Blue And Green

Melveen Leed's Hawaiian Country

Accompanied by the "Super Pickers"

Bradley's Barn, Nashville & Jerry Byrd in Hawaii

Produced and Arranged by Charles Bud Dent

Art  by Tom Rixford

Recorded in Nashville at Bradley's Barn & in Hawaii at Sounds Of Hawaii

Remixed and Mastered in North Hollywood by Lee Herschberg

Lehua Records 7019

1975

From the back cover: It is only natural that Melveen Seed, the part-Hawaiian country girl from Molokai, is the singer leading the way in bridging the gap between Hawaiian and Country music. The two forms of musical expression have so much in common and Melveen is at home in both fields.

She handles th Island songs with ease – whether they are in Hawaiian of English. Blending English lyrics with Hawaiian or Hawaiian words with songs written originally in English seems natural to her.

In this album, the first of its kind ever produced, the songs are of old and new Hawaii and the accompaniments are straight from Nashville county, with the exception of the lovely "sweetening" by Jerry Byrd and his Hawaiian Steel Guitar. – Keith Hague - Honolulu Star-Bulletin

Nashville Super Pickers

Grady Martin - Lead guitar

Ray Edenton - Rhythm guitar

Harold Bradley - Guitar

Bobby Moore - Bass

Harris Robbins - Piano

Bobby Thompson - Banjo

Buddy Harmon - Drums

Ka Makani Kaili Aloha

The Music Of Hawaii

The Hawaiian Wedding Song

Haole Hula

Paniolo Country

Honolulu Blue And Green

Walk Through Paradise / Jesu Meke Kanaka Waiwai

Hiilawe

Baby Pakalana

Hanohano Molokai

The Green, Green Grass Of Home

My Little Grass Shack

Me Oe Eay E Hele Pu (Closer Walk)

The Classical Brazilian Guitar - Maria Livia Sao Marcos

 

Nesta Rua

The Classical Brazilian Guitar

Maria Livia Sao Marcos

Guitar with Chamber Ensemble

Produced by Giveon Cornfield

Cover Design and Photography: Edwin Francis

Everest Records 3248

1969

From the back cover: "The Classical Brazilian Guitar", the first records of Maria Livia Sao Marcos, has won the award of "Best Records Of The Year" from the music critics affiliated to the Sao Paulo Association of Theatrical Critics. A most deserved award, as we must add to the great artistically talent of the soloist the importance of the repertory, consisting of compositions recorded for the first time, such as "Concerto For Guitar And Small Orchestra" by Vivaldi, "Brazilian Scenes" completed by Isaias Save, "Mode Paulista" by Osvaldo Lacerda.

Born in Sao Paulo, Brazil, Maria Livia Sao Marcos began playing in concerts at the age of thirteen. She won the Villa Lobos award in a contest sponsored by the Departamento Municipal de Cultura de Prefecture de Sao Paul in 1960. She studied guitar under the direction of her father, Prof. Manoel Sao Marcos, and musical theory and composition with Professors Arthur Hartman, Domino Cozzella, Rossini Tavares de Lima, J. C. Caldeira Filho and Osvaldo Lacerda. She was distinguished with the following awards; "Best Young Artist" from Asociacao Paulista de Critics Tetras and with the Gold Medal for "Best Concerts" from "Asociacao de Artists Brasileiros" from Rio de Janeiro.

Requebra Morena (Isaias Savio)

Impressoes De Rua (Isaias Savio)

Mazurca (Villa Lobo) 

Nesta Rua (Isaias Savio)

Pobre Cega (Dinorah de Carvalho)

Valsa (Osvaldo Lacerda)

O Mar (Manoel Sao Marcos)

Vivaldi: Concerto For Guitar And Strings

a) Allegro Non Molto

b) Larghetto

c) Allegro

Isaias Reusner: Pierces For Lute

a) Courrante

b) Sarabande

c) Alamanda

Anon. XVII Century: Largo

Maria Livia Sao Marcos, Guitar with Strings Ensemble

The Harmonicats

 

Fantasie Impromptu

Harmonicats

RKO Records ULP 131

1958

From the back cover: It is easy to understand, after listening to  this album, that the harmonica, once considered merely a tour, was lifted to its rightful place among musical instruments by this group, under the leadership of Jerry Murad. Jerry Murad is not lonely one of the great harmonica players in the world, but he is also one of the few people in this country who makes, repairs and designs harmonicas. Jerry was born in Turkey, but his family migrated to Chicago, Illinois when he was six. He learned to play the harmonica as a young boy– and when he was in his twenties, he was hired by Torah Minnevitch to play with his famous Harmonica Rascals. After a few years, when Jerry decided to strike out for himself, he opened in Chicago and soon became the toast of the city. His record, "Peg O' My Heart", sold over two million copies and resulted in world-wide interest in the harmonica.

The two other members of The Harmonicats, Al Fiore and Don Les, were also once with the Harmonica Rascals. Al Fiore, who weights 265 pounds,  is the comic of the group, and his performance with a thirty-inch harmonica is a highlight where ever The Harmonicats appear. Don Les, who was born blind and regained the use of his eyes at the age of 12, is rated one of the best jazz harmonica players in the world. He creates miracles in sound on a plain fifty-cent harmonica!

With Jerry Murad playing the lead harmonica, Al Fiore playing chords and Don Les playing the bass or doing solo turns, The Harmonicats are making musical history with a long string of disc hits already to their credit. – Notes by Elise Bell

I'm Confessin' That I Love You

Tea For Two

September Song

Rhapsody Boogie

If I Had My Way

Dardanella

Valse Bluette

Ritual Fire Dance

Peggy O'Neil

You Are Always In My Heart

Dance Of The Comedians

Cat's Blues

Fantasie Impromptu

Carmen - The Philharmonia Orchestra

 

Carmen

Carmen

Suite No. 1 & No. 2

The Philharmonia Orchestra

Ultraphonic 50339

Suite No.1

Prelude Act 1

Aragonaise

Intermezzo

Prelude Act 3

Seguidilla

Les Dragons D'Acala

Prelude Act 2

Les Toreadors

Suite No. 2

Marche des Contrebandiers

Habanera

Nocturne

Micaela's Aria

Chanson du Toreador

Le Garde Montante

Children's Chorus

Danse Boheme

Sing Sing Sing-Along - Al Alberts

 

The Broke My Nose With A Rubber Hose

Sing Sing Sing-Along

Al Alberts and The Lifers Chorus

Cover Design: Stephen P. Haas Studios

Jubilee Records JGM 2040

1961

From the back cover: Though any self-respecting convict will enjoy each and every one of these memorable songs, your tears will flow from laughter while you gurgle-along with Al Alberts and The Lifers Chorus. The record isn't available at this precinct on The Lifers Chorus (though they are all pros but no cons) but here are the fact about Al Alberts. He organized and spearheaded The Four Aces into national prominence and world acclaim. He sang the lead on such million-record sellers as It's No Sin, Tell Me Why (which he also wrote), Stranger In Paradise, Three Coins In The Fountain and Love Is A Many-Splendored Thing. He communicates a feeling of pleasure that makes you want to sing-along. He's been doing it on his own in nightclubs and theaters for the past few years.

Bix Rechner, a Police reporter for the Philadelphia Evening Bulletin for twenty-two years, is Al's partner in this jail-house adventure. Bix has been doing more than re-writes on criminal activities and acquiring a lexicon of gangland language. He has been writing some songs you have been singing like You Better Go Now, Midnight On The Trail, Stop Beatin' Round The Mulberry Bush, Papa Love Manbo, Sept! It's Wonderful, Teenage Prayer and I Need Your Love Tonight. He has also written scores to many of the Mask & Wig Shows at the University of Pennsylvania – Note by Mort Goode

Sing Sing Sing-Along

There Is A Rock Out In The Bay

How Are Things In Dannemora

Far From The Mob At Home

She'll Never Stop Lovin'

Far Above The Hudson's Waters

Merrily We Climb The Wall

They Broke My Nose With A Rubber Hose

Alcatraz Jazz

Warden Warden

Romeo's In Joliet

The Last Lonely Mile

Bobby Jaspar And His All Stars

 

Minor Drops

Bobby Jaspar And His All Stars

EmArcy MG 36105

Mercury Records

1958

From the back cover: Bobby Jaspar is the latest in a long line of distinguished musicians who have helped to show in recent years that jazz is by no means an American monopoly. A major figure in Continental jazz since 1951, when he won the Jazz Hot poll as the number one French tenor saxophonist, he has two biographical links with the immortal Django Reinhardt: both were born in Belgium, but found fame in France. A native of Liége, the son and grandson of musicians, Bobby began his piano studies in 1937, at the age of eleven, and took up clarinet at sixteen. After working for American Army Special Services in Germany, he moved to Paris, playing with Henri Renaud, Bernard Peiffer and others. From 1954 to1956 he had his own combo, mainly at the Club St. Germain in Paris.

Originally inspired by Don Byas and Flip Phillips, Bobby later underwent a Lester Young influence and has clearly been aware of the impact of Stan Getz on the modern tenor scene. Married to American singer and pianist Blossom Dearie, who was a founder of the famous Blue Stars vocal group featured on EmArcy Records, he came to the United States in April, 1956 and has since enjoyed great success here, playin with Gil Fuller, J. J. Johnson and others.

On these sides, recorded in Paris, Bobby has the help of an all-star rhythm section. Pianist Rene Urtreger, considered by many critics to be France's outstanding Bud Powell-inspired pianist, and has been heard previously on records with Lionel Hampton, Sacha Distel, the guitarist, gained much of his early experience listening to Jimmy Gourley and Jimmy Raney. Jean-Louis Viale won the Jazz Hot referendum as France's number one drummer. Bassist Benito Quersin, who made his debut as a pianist in 1947, once toured with guitarist Toots Thielmans, now a member of George Shearing's quintet, and played with Chet Baker during the latter's Eropean tour.

Bags' Groove shows off the entire quintet to great advantage in the Milt Jackson blues that has become a jazz standard. Memory Of Dick was written by Bobby Jaspar as a tribute to Dick Twardzik, the young pianist who died tragically in Paris while touring with Chet Baker. There is no guitar on this number. Milestones, a Miles Davis original, features the charming tenor-guitar unison sound that gives the group a quality reminiscent of the old Stan Getz quintet. Minor Drops was composed buy the Belgian pianist, Francis Coffetiers. I'll Remember April features Bobby on flute instead of tenor and reveals him as one of the outstanding modern soloists on the  instrument. There is no piano on this track, nor on the next one, You Stepped Out Of A Dream, which features Bobby back on tenor. I can't Get Started is a relaxed treatment of the Vernon Duke standard with fine solos by Bobby, Rene and Sacha. Night In Tunisia follows what has now become the traditional routine of they Dizzy Gillespie composition, with the customary eight-bar interlude between the first and second choruses.

The European jazz critics have already saluted the remarkable contribution of Bobby Jaspar to the modern solo scene; in fact, the votes of three of them, André Hodeir, Charles Delauney and Mike Butcher, elevated him to victory in the new star tenor sax category of the Down Beat critics' poll in the summer of 1956. With Bobby now a resident of the homeland of jazz, it is sage to predict that the American critics will soon be voicing similar enthusiasm – especially like these to guide them.

From Billboard - May 12, 1958: Bobby Jaspar, Belgian tenor man, who recently has been with the J. J. Johnson combo, has been touted by European critics as one of the bright new jazz names on today's scene. Jazz buffs who hear this set will probably agree with this opinion, as Jaspar shows off some brightly listenable performances on this well-made LP. Tunes include "Bag's Groove," "Milestones," "I'll Remember April" and "A Night In Tunisia." Set was cut in France with a group of swinging French cats.

Bag's Groove

Memory Of Dick

Milestones

Minor Drops

I'll Remember April

You Stepped Out Of A Dream

I Can't Get Started

Night In Tunisia

Western Swing Along - Bob Willis

 

The Boston Fancy

Westerner Swing Along

Bob Wills and His Texas Playboys

Vocalion VL 73735

A Product Of Decca Records

1965

From Billboard - March 13, 1965: Many country fans will be glad to get this package, for it is a bargain at the price. Wills, of course, is one of the great staples in the western band field and his band is represented here by a dozen sides – all touched with Wills' individual style.

So Let's Rock

Don't Keep It A Secret

Echo Yodel

Sincerely

Sugar Baby

Texas Fiddler

Oh Monah!

It's The Bottle Talking

Lilly Dale

Cornball Rag

The Boston Fancy

New Osage Stomp

Italy After Dark - Cyril Stapleton

 

Come Back To Sorrento

Italy After Dark

Cyril Stapleton and His Orchestra

MGM Records E3302

1956

From Billboard - January 28, 1956: An outstanding collection of string-laden instrumentals. Side by side here are popular tunes, old and new, from the Italian equivalent of our "Tin Pan Alley"; songs adapted from the classics; and melodies from Italian films that have been shown here. Most of the material is familiar enough. Examples: "Arrivederci Roma," "Come Back To Sorrento," "Anima e Core," "Mattinata," etc. Paison or no, this evocative album is easily salable to customers in the market for an LP of the background or listening type.

Munasterio E Santa Chiara (The Monastery Of St. Claire)

Tu Voio Ben (I Love You)

Gelsomina (Love Theme From "La Strada")

Scalinatella (Stay After School)

Anema E Core (Soul And Heart)

Summertime In Venice

Souvenir D'Italie (I Don't Know, I Don't Care)

La Gondola Va (The Gondola Has Gone)

Mattinata

Na Voce 'Na Chitarra (A Voice And A Guitar)

Arrivererci Roma (Goodbye To Rome)

Come Back To Sorrento

2,000,000 Strings - Helmut Zacharias

 

Lover

2,000,000 Strings

Helmut Zacharias and His Magic Strings

Decca Records DL 78926

1959

Nature Boy

Charmaine

Sonny Boy

On The Sunny Side Of The Street

Stormy Weather (Keeps Rainin' All The Time)

St. Louis Blues

Swanee

The Wiffenpoof Song (Baa Baa Baa)

Kiss Of Fire Cha Cha

September Song

Lover

Just One Of Those Things

Midnight Blue - Fausto Papetti

 

Ebb Tide

Midnight Blue

The Wistful Sax Of Fausto Papetti

London Records PW 81001

From the back cover: Presently, he (Papetti) is one of Europe's leading artists and we at London Records are extremely proud and fortunate in being able to present Fausto Papetti to American audiences for the first time. We sincerely believe that he is a talent that will not only be accepted by this audience but will be in constant demand.

Just That Same Old Line

Tmeme From "La Dolce Vita"

Till

Lucy's Theme From "Parrish"

What A Sky

Theme From "A Summer Place"

Like A Symphony 

Theme From "The Apartment"

Where The Boys Are

Morgen

Liebelei

Ebb Tide

Amor! - Pepito And His Orchestra

 

Tony's Tune

Amor!

Pepito And His Orchestra

Solo Trumpet: Leon Calvert

Produced by Tony Palmer

Columbia Studio 2 Stereo 135

E.M.I. Records - Made and Printed in Great Britain

1966

Meditation

How Insensitive 

And I Love Her

Back To Bossa

Little Boat

O Pato

Quiet Nights

Dindee

And Roses And Roses

You Stepped Out Of A Dream

Tony's Tune

Star Eyes

Kansas City Jazz

 

I Want A Little Girl

Kansas City Jazz

Decca Records 

1951

A group of dance compositions played in the "Kansas City" style by the men who originated and popularized the style.

From the back cover: Patron saints of Kansas City jazz are the late Bennie Moten, pianist and leader, who died while undergoing a tonsillectomy on April 2, 1935, and George Ewing Lee, pianist, vocalist and saxophonist, who learned music in the United States Army during he World War and who returned form military service to his birthplace, Kansas City, organized a band, and became nationally prominent in the entertainment field.

One of the earliest Kaycee jazz bands was directed by Dave Lewis, a saxophonist, who "grabbed off" the weekly jobs at a shite dance at 15th and Troost in 1920. In Lewis' unit were Leroy Maxey, the drummer who later starred with Cab Calloway on Broadway: Bill Storie, banjo: Dude Knox, pianist; Lawrence Denton, clarinet; DePriest Wheeler, trombone, and Roland Bruce, violin. Fiddles later were banned by most Kansas City musicians. "They don't ever seem to fit in," Buster Moten says.

Across the Law River, in Kansas City, Kans., Paul Banks led a popular orchestra which featured a little alto saxophonist named Jack Washington. Jack later joined Count Basie on the Missouri side and has been with him ever since. A baritone sax solo by Washington may be heard on Basie's Doggin' Around number in this collection.

George E. Lee's first band played regularly at the Lyric Hall at 18th and Lydia in the heart of Kaycee's Harlem section. His sister Julia was on piano, and sang; Bruce Redd was the drummer, and Lee himself "sent" the musicians who came around to hear him by slap tonguing a huge baritone sax. Jazz was beginning to get hold of Kaycee's colored residents. The town was beginning to jump.

By 1922 Bennie Moten had named up with Duke Lankford, the drummer, and Bailey Hancock, a singer, to form the "B.B. and D." band It was so successful that a year later he wangled a job at the Panama Club, on Forest at 18th Street, using five pieces. Willi Hall came in on drums and Thamon Hayes moved in a trombonist. Lamar Wright blew the trumpet, wooed Walter was on clarinet and george (Banjo Joe) Tall manned the banjo. By now competition between Lee and Moten was white hot. Both were making money and fighting to obtain the services of the city's beat musicians. Chauncey Downs was a third leader competing. Across the Kaw, Banks was doing well and Jesse Stone, the composer, was working steadily, too, with Booker Pittman on alto, Cag Jonson, Bud Johnson, Ben Smith, Eddie Durham and others occupying chairs in this orchestra.

Word got around fast, Down in Oklahoma and Texas and Arkansas, and throughout the great Southwest, musicians heard about the lush conditions for musicians. Hundreds headed toward the Heart of America. Most all of them found good jobs. The panic was on.

Cab Calloway was one of those who went westward. Later he took Marion Hardy' band into New York for his sensationally successful run at the old Cotton Club in Harlem, years before it was moved downtown to Broadway. James Smith, a bass man, led the original Calloway Kansas City band and Eli Logan was on sax. Harry Cooper, trumpet, and Leroy Maxey, De Priest Wheeler, and Lamar Wright went East, Too. Andy Kirk heard about the paradise for musicians and headed to Kaycee from Oklahoma withMary Lou Williams creating a sensation with her heavily rhythmic, distinctly "different" way of beating out jazz on a piano.

By 1930 Kirk's "Cloud of Joy" were competing heavily with Lee and Moten, and all the other colored orchestras. Kansas City by now had gained a well-deserved national reputation for being "wide open" and, despite the depression, was attracting entertainment-seeking visitors from all over the nation.

Jap Allen's Band with Joe Keys, Bill Little, Tommy Douglas and others went to Kansas City from Tulsa. Paul Webster, Booker Pittman, Clyde Hart, Ben Webster also were with Jape. Hart, the pianist, was on a terrific McKinney's Cotton Pickers kick and was not happy unless he was "stealing" arrangements off Cotton Pickers records.

But most importantly of all, at this time, was Walter Page's fine Blue Devils Orchestra which hit Kaycee after okaying throughout Texas and Oklahoma more successfully than any other musical group of the time. It was Page who persuaded young Bill Basie to leave the Gonzale White roadshow and join Page's band in Dallas in 1928. Basie was from Red Bank, J. J., and tired of playing panics. When he joined the Blue Devils he joined Oran ("Hot Lips") Page, Buster Smith, Joe Keys (who had left Allen), A. G. Godley and others playing in the band. "Hot Lips" and Walter were only distant relatives, as were Ben Webster, the tenor man, and Paul Webster, the trumpeter.

Musicans were everywhere. Pete Johnson, pianist, and Joe Turner, blues shouter, teamed up and were at their bast a 4 o'clock in the morning when musicians got off work and dropped around to gulp beer from large tine cans selling for a nickel-pay when served. Hot crawfish, chitlins, barbecued ribs and dime-a-drink whiskey were on tap at all times. Everyone had money, and no one tired to save it. The town was jumping. Jazz was king.

Moten's death in 1935 stared the decline. Walter Page had long since abandoned his Blue Devils to join Bennie, along with "Hot Lips" Page, Basie and most of the other Devils. Basie took over most of the Moten band after Bennie's death. In 1936 both Basie and Kirk were taken east. That left a hole in the town's jazz set-up. Repeal of prohibition also had its effect. Kansas City didn't attract free-spending visitors as it had. Slowly, musicians realized that the halcyon days were only a memory. Pete Johnson and Joe Turner went east. Margaret (Countess) Johnson, a promising pianist not unlike Mary Lou williams in her appearance and style, died suddenly. Harlan Leonard took over in Moten's place, Buster Moten organized his own band, Jay McShann came in from Muskogee and formed a small jump unit, Woodie and Herman Walter combined talents, Julia Lee, Baby Lovett, Bill Saunder, Tommy Douglas, Clarence Love, Dee Stewart and Thamon Hayes all key going. But the beak had been reached. Kansas City jazz had been born, had brown into maturity and had slumped off into senility.

Pete Johnson' Band - Pete Johnson, piano; Oran "Hot Lips" Page, trumpet; Don Stovall, alto; Dan Byas, tenor; Eddie Barefield, alto; Abe Bolar, bass; A.G. Godley, drums; John Collins, guitar. Recorded November 11, 1940. Arrangement by Pete Johnson

Joe Turner And His Fly Cats - Joe Turner, vocal; Pete Johnson, piano; "Hot Lips" Page, trumpet; Abe Bolar, bass; John Collins, guitar; A. G. Godley, drums. Recorded November 11, 1940. Arranged by Turner and Johnson in the studio.

Mary Lou Williams' Orchestra - Mary Lou Willians, piano; Dick Wilson, tenor; Ed Inge, clarinet; Harold Baker, trumpet; Theodore Donnelly, trombone; Booker Collins, bass; Ben Thigpen, drums. Recorded November 18, 1940. Arrangement by Mary Lou Williams

Andy Kick's Clouds Of Joy - Andy Kirk, front; Mary Lou Williams, piano; Booker Collins, bass; Floyd Smith, guitar; Ben Thigpen, drums; Henry Wells, Theodore Donnelly, trombones; Harry Lawson, Harold Baker, Clarence Trice, trumpets; Rudy Powell, John Harrington, altos; Richard (Dick) Wilson, Ed Inge, tenors. Recorded November 7, 1940. Arrangement by Mary Lou Williams.

"Hot Lips" Page's Orchestra - "Hot Lips" Page, trumpet; Pete Johnson, piano; John Collins, guitar; A.G. Godley, drums; Abe Bolar, bass; Don Stovall, Eddie Barefield, altos; Don Byas, tenor. Recorded November 11, 1940. Arrangement by Eddie Durham and Page.

Count Basie's Orchestra - Count Basie, piano; Jo Jones, drums; Freddie Green, guitar; Walter Page, bass violin; Earl Warren, Ronald (Jack) Washington, altos; Herschel Evans, Lester Young, tenors; Ed Lewis, Bobby Moore, Buck Clayton, trumpets; George Hunt, Dan Minor, Eddie Durham, trombones; Jimmy Rushing, vocalist. Recorded August 9, 1937. Arrangement by Eddie Durham and Skippy Martin.

Eddie Durham's Orchestra - Eddie Durham, electric guitar; Buster Smith, alto; Willard Brown, alto; Lem C. Johnson, tenor; Joe Keys, trumpet; Conrad Frederick, piano; Averil Pollard, bass; Arthur Herbert, drums. Recorded November 11, 1940. Arrangement by Eddie Durham.

Stomp - Pet Johnson's Band

Piney Brown Blues - Joe Turner

Baby Bear

Harmony Blues - Mary Lou Williams and Her Kansas City Seven

The Count

Twelfth Street Rag - Andy Kirk and His Clouds Of Joy

South

Lafayette - Oran "Hot Lips" Page

Good Morning Blues - Vocal chorus by James Rushing

Doggin' Around - Count Basie

Moten's Swing

I Want A Little Girl - Eddie Durham

Hillbilly Heaven - Eddie Dean

 

Make Believe

Hillbilly Heaven

Eddie Dean

Crown Records CLP 2558

1962

I Dreamed Of A Hillbilly Heaven

Love The Way You Say It

Banks Of The Old Rio Grande

Impatient Blues

Tangled Lies

Katmandu

Walk Besides Me

Make Believe

Seeds Of Doubt

I Called And I Called

Music For Longhairs

 

Kiddo

Music for Longhairs 

Design Records DLP 256

1966

Do You Know - The Chiffons

Kiddio - Lou Rawls

La-La-La - Young Rascals

Piano Rock - Robert Parker

Shorty's Got To Go - The Impressions With Jerry Butler

Finger Poppin' - Dave "Baby" Cortez

Neptune - Barry McGuire

House Cat - Bobby Freeman And The Romances

Frankie's Man Johnny - Johnny Sea

Shelia - Tommy Roe

Judy Canova In Hi-Fi

I Was Wrong

Judy Canova In Hi-Fi

Arranged and Conducted by Lew Raymond

Album Production by Dave Pell

Tops L1613

1958

From the back cover: A smile as wide and natural and heartwarming as the countryside or the open range, set off by big devil-doll eyes and swingin' pigtails, serves as the famous trademark for most everybody's pet country gal, Judy Canova.

For many years now, her mountain honor and captivating ways have made Judy "Miss Country, U.S.A." As singing star with fetching twang, she also has long been a prime favorite with devotees of country music.

Matter of fact, the little gal from Starke, Florida, began her career in show business at 12 when she got a spot on a sponsored radio show over WJAX Jacksonville with her sister Anne. They were promptly and appropriately dubbed "The Happy Girls." When brother Zeke graduated from Cincinnati Conservatory of Music, the three Canovas decided to shake off the Southern dust and try for the big time in New York City.

After the usual scuffling for a place in the showbiz sun, they landed an engagement at the famed Village Barn. Luck was with them, for they played on night before the great Paul Whiteman. One listen was enough for the genial orchestra leader; he quickly signed them to appear on his network radio show.

Judy was off and running. A spot in a Ziegfeld Follies production (one of the few produced after Florenz Ziegfeld's death) assured her a subsequent part in the Broadway musical, Yokel Boy. Then Judy set her personal sights on the klieg lights of Hollywood – MGM and Republic studios, to be specific. The offer from Republic was almost too good to be real... She was to be a star of her own pictures.

As Judy characteristically drawls, "I packed my satchel and set up housekeeping with Trigger, Champion, John Wayne, Roy Rogers and Gene Autry..."

In addition to her Republic commitments, the effervescent lass starred in many movies for Paramount and Columbia. Some of her highly entertaining films were Scatterbrain, Sis Hopkins, Puddinghead, Sleepytime Gal, True To The Army, Louisiana Hayride, Oklahoma Annie, The War From Walla Walla, Carolina Cannonball and many more.

During this prolific period of moviemaking, there came into being a radio show destined to bring the voice and personality of Judy Canova into the homes and heart of all America. Her Saturday night "Judy Canova Show" tickled the nation's radio audience for a full 12 years.

Since then, the massive American television audience has rollicked to her humor and swung to her songs on such top-rated programs as the NBC Colgate Comedy Hour, Matinee Theatre, the shows of Red Skelton, Steve Allen, Perry Como.

Never one to retire to the hearthside, Judy's primary instinct is to get out and meet the folks of these United States. To this end she was one of the first big Hollywood stars to appear at State Fairs throughout the nation. The pioneering gal headlined shows at fairs in New York, Michigan, Kentucky and all over.

Notable for her services to her country as entertainer of troops during and after World War II, Judy was named "National March Of Dimes Girl" for three years.

In this TOPS supreme high-fidelity Canovalbum, the singer of the back-trails is heard in such all-time favorites as Wabash Blues and Wabash Cannonball. There are songs chosen to delight young and old alike – novelties, ballads, country and inspirational tunes.

Especially notable are the numbers written by Zeke and Anne Canova, buddies of her early days in show business. They cleaned Tons Of Love and It's About Time in collaboration, while Anne wrote the religious Ain't Gonna Grieve My Lord, Anymore. Throughout, the electric guitar of Speedy West and the fiddle of Harold Hensley spice the instrumental accompaniment.

Just Because 

Wabash Blues

Ain't Gonna Grieve My Lord Anymore

Go To Sleep Little Baby

The Butcher's Boy

Blow The Whistle

Wabash Cannon Ball

It's About Time

I Don't Know Why

Tons And Tons Of Love

Follow Me

I Was Wrong