Teen Age Dance Party - Bob Krane

 

Drag Race

Teen Age Dance Party

Bob Krane and His Orchestra

Grand Prix Series K131

Pony Tail

Stompin' At The Savoy

Bobby Sox

Take The A Train

Wiggle Walk

One O'Clock Jump

Drag Race

C Jam Blues

Rocks And Rolls

Teen Deen

Teenage Party - The McGuire Sisters

 

Everybody Loves My Baby

Teenage Party

The McGuire Sisters

Coral Records CL-7606

New Zealand Distributors - G. A. Wooler & Co. Ltd.

From the back cover: It's now a little over four years since three real sisters with the real nam of McGuire brought their suitcases and savings from Miamisburg, Ohio to New York. Since that time, the sister harmonizers have consistently justified their sport as one of the all-time top girl singing groups.

During most of that time, Christine, Phyllis and Dottie McGuire have had the rare good fortune of weekly appearances on a network TV show – Arthur Godfrey and his Friends on CBS-TV – a break enjoyed by few other big record acts. But their success on TV and on records comes from one basic ingredient – a product to sell that people want.

The gals' stock in trade is a clean, creamy harmony full of nice, "old-fasioned" chords that are sometimes difficult to find in a world that seems to have gone rock and roll happy. Not that there's anything wrong with rock and roll. One of the biggest early McGuire record hits, Sincerely," was a rock and roll song, written by the ink of that idiom, Alan Freed. But this is the same group that sold a slick brand of sweet, easy-going-harmonies in the title ballad from the motion picture, "Picnic", which is about as fare from the typical, clink-clink-clink, triplet-backed rock and roll beat as you can get. These two tunes, taken in toto, represent versatility, which succinctly states why the McGuires have been consistently hit-makers in on f the world's most competitive businesses.

To many artists let themselves become prisoners of a narrow style – they become type-cast you might say. Suddenly, a record bombshell burst on the scene. It's a runaway hit because it has a new sound, a new gimmick or an unusual piece of song material. Many records like this have set brand new styles of their own. And many an established artist has better the dust when he tried to crawl out of his own settled technique to be a follower of the new approach. 

Through a carefully nurtured flexibility, the BcGuires have never fallen into this trap. They sing with power, inflection, appreciation for a good lyric and above all, with solid musical intelligence, a formula that's likely to keep them on top of the record hit parade long after rock and roll, calypso, skiffle and other styles as yet unborn, have passed through the spotlight and off into the wings.

Singing, for the McGuires, was practically a birthright. Their mother, an ordained pasteor of the Church of God, is a talented pianist. There was always singing in the household and all three of the sisters were members of the church choir. When the three were four, five and six, their first public performance of the hymn "Jesus Loves Me", brought rousing acclaim. Later, Chris took piano lessons, Phyllis studied voice and Dottie played saxophone.

In high school, all three were active solo and trio performers in local clubs and pianist Christine loaned with several bands. Later, they sang as a group in Army hospitals and became prominent Ohio TV stars through their appearances on a Dayton station. This brings us to the big decision to come to New York. It was in the sorting of 1953, when the trio pooled wardrobes, money and hopes and drive to Manhattan in Phyllis' ramshackle auto. Quickly they won their chance to appear on Godfrey's "Talent Scouts" show and during the eight-week wait to go on, they became regulars on the Katie Smith show.

Since their first triumphant appearance on Godfrey, it has been smooth sailing and singing. The records keep coming. At least 24 have been issued to date, not including three earlier albums.

And here's the latest in the parade of Mellow McGuire mementos. Twelve sparkling, beautifully arranged melodies, in contrasting rhythms, ideal for a teenage dancing party, or for just plain listening. – Red. Grevatt

Please Don't Do This To Me

Rhythm 'N Blues

The Golden Rule Of Love

Goodnight My Love, Pleasant Dreams

Everybody Loves My Baby

Be Good To Me

Rock Bottom

Drowin' In Memories 

Lullaby Of Birdland

My Baby's Got Such Lovin' Ways

Beginning To Miss You

All I Do Is Dream Of You

Fistful Of Dollars - Hugo Montenegro

 

Aces High

Music From 

A Fistful Of Dollars

For A Few Dollars More

And The Good, Bad And The Ugly

Hugo Montenegro and His Orchestra

Arranged and Conducted by Hugo Montenegro

Reissue produced by Ethel Gabriel (formerly available as LSP-3927)

Art Director Craig DeCamps

RVA ANL1-1094

1976

The Good, Bad And The Ugly

March With Hope

The Story Of A Soldier

The Ecstasy Of Gold

From The Film "The Good, The Bad And The Ugly"; Theme from "A Fistful Of Dollars"

For A Few Dollars More

Aces High

The Vice Of Killing

Sixty Seconds To What?

From the film "For A Few Dollars More" Square Dance (from "A Fistful Of Dollars")

Souvenir Album - Red Foley

 

Satisfied Mind

Souvenir Album

Red Foley

Decca Records DL 8294

1956

From the back cover: This is the story of Red Foley, a bashful country boy, who came to the city and made good in a big way.

Long before Red became known as the soft-voiced, mild-mannered folk star of the WSM-NBC Grand Ole Opry, he made his musical beginnings humming his favorite tunes in the blackberry patch region around the little community of Blue Lick, Kentucky. When Red was still knee-high to a chigger, Red obtained his first guitar. It was an antiquated instrument which a customer had turned in as part payment on an account at the general store run by Red's father. But by his seventh birthday, little Red could pick out fold tunes.

After he fished the fourth grade, Red's family moved to nearby berea, Kentucky, where he lived for several years. He attended berea High School and became a track and basketball star. At this time Red's mother decided his voice showed great promise, sho she engaged a singing teacher. Her faith in him was required when at the age of 17 he entered a statewide Atwater-Kent singing contest. Red, of course, won the first prize.

Since then Red's rise to phenomenal success as a country singer has been rapid. He has three daughters, Shirley Lee, Julie Ann and Jennie Lou. The children are all musical and delight in singing trios and harmony parts – so talented, in fact, that they have recorded several songs with their father on Decca Records.

One of the things Red is most proud of is the role he played during World War II. He and his Grand Ole Opry radio troupe toured overseas and entertained over 150,000 AFF personnel. His records were extraordinarily popular with the Armed Forces, to the extent that his programs were transcribed and re-broadcast all over the world, via the Armed Forces Radio Service. Wherever the records of Red Foley are heard by American citizens overseas, their morale-building qualities are invaluable. The home-spun humor, the American rural scene reflected in the music, and the feeling of nostalgia make the kind of music Red Foley sings appreciated everywhere it is heard.

Despite the numerous offers Red has had to go into the popular market, he says he will never leave the field of folk music. "I was born and raised on it," he says. "It's music that comes straight from he heart, the kind that expresses our real emotions."

In this group of songs, the title "Red Foley Souvenir Album" well expresses the character of the selections. These songs are Red's favorites as well as being extremely popular with his huge number of admirers. It is interesting to note, and a commendable thing it is, that a man like Red, a native of Kentucky, shows in his selection of songs such brotherly feeling toward his neighboring state, Tennessee. Four of the songs including the collection mention "Tennessee" in the title. And for a son of Kentucky, that's going some!

And that's Red Foley, the country boy who made good.

From Billboard - August 25, 1956: This is what the title implies, a reminiscent collection of Red Foley songs, including some of his greatest hits. The package is one of three new Decca LP's featuring Foley and this one should certainly hold its own. Tunes include "Satisfied Mind," "Little Boy Of Min," Tennessee Saturday Night," "Hearts Of Stone," etc. Foley fans will want this package and and dealers would be ready to handle the demand.

Old Shep

Tennessee Saturday Night

Midnight

Don't Let The Stars Get In Your Eyes

Pin Ball Boogie

That Little Boy Of Mine

Satisfied Mind

Hearts Of Stone

Tennessee Border

Sunday Down In Tennessee

As Far As I'm Concerned

Tennessee Polka

Julie Rogers

 

In The Blue Of The Evening

Julie Rogers

Produced by Johnny Franz - In London, England

Mercury SR 60981

1964

From the back cover: Her conversation is punctuated with phrases such as, "It was a real giggle!" "Oh, isn't that smashing!" "Well, we did, actually."

She constantly wears the high black suede boots that seem to be almost the hallmark of the fashionable british miss of today. And her clothes are very obviously the chic Young Chelsea look.

As is typical of most British  performers, her dark auburn hair is long – but it doesn't just hag there! It is coiffed into an extremely high fashion and becoming hairdo, which dramas a face so pretty that people often stop and simply stare.

She is, of cours, Julie Rogers, 21- year-old London songstress whose recording "The Wedding" raced first up the British charts to the Top Ten, then flew across the Atlantic to race up the American charts.

This young lady who has captivated two nations has a rich, vibrant voice with a lilting quality that set it apart completely from any other performer. Her emotional involvement with the songs she songs is evident... as yo play this album, you'll hear that Julie does not just sing a lyric, she lives it, feels it, breathes life into it.

In person, Julie is a real charmer: calm, quiet, cooperative – and without a speck of artistic temperament. Best of all is her ready wit, her spontaneous and infectious laugh, her delightful warmth toward everyone from an important deejay to a hotel doorman.

Julie was born and raised in London, where she still lives in her parents' home. After finishing school at 16, she and a fried went to Spain on a holiday. As a lark, they auditioned as dancers to perform with professional Swedish dancer May Jan, then booked in Madrid. "We did it as a giggle," Julie says now, "but we got the job, and the act developed into something really good!" The act lasted only until the holiday was over, and the girls returned to London.

But Julie didn't forget about show business: but it was as a singer, not a dancer, that she decided to make a career. She got her very first singing job as vocalist with Teddy Foster's band... and built quite a following.

Then in the spring of 1964, Julie struck out on her own, with Teddy as her manager. She cut her first record, "It's Magic," which did well – bit didn't quite make the charts. Her follow-up disc, "The Wedding," was an instantaneous smash hit... and Julie found herself a household word.

Naturally, with a hit tune called "The Wedding," marriage is a subject often brought up to Julie. When it is mentioned, she gets thoughtful. "I do want to continue my career for a long time yet. I think any performer, actually, no matter how successful, would dbee quite daft no to marry if the really right person comes along."

Success has brought Julie a new sense of responsibility: "It's a constant round of decisions... what songs to sing, how to sing them, what to wear on stage, how to dress offstage; how to wear my hair, what colors to wear... every little detail suddenly has to be a major decision." Then suddenly Julie breaks into a brilliant smile... "But I love every minute of it!"

And you'll love every minute of listening to Julie Rogers

The Wedding

The Love Of A Boy

Young And Foolish

Friendly Persuasion

A House Is Not A Home

Love Letters

Like A Child

Without You Love

In The Blue Of The Evening

How Soon

I'll Be Around

Hawaiian Wedding Song

School Of Rebellion - Bill Russo

 

The Difference

School Of Rebellion

Bill Russo and His Orchestra

Producer: Pete Kameron

Recording Supervisor: Rudy Taylor

Roulette Birdland Series R 52045

1958

Trumpets - Burt Collins, Don Stratton, Johnny Glasel, Lou Mucci

Trombones - Bill Elton, Don Sebesky, Eddie Bert, Al Robertson

Bass Trombone - Paul Faulise

Alto Saxophones - Dick Meldonian, Tony Buoupastore

Tenor Saxophones - Larry Wilcox, Frank Socolow

Baritone Saxophone - Tony Ferina 

Cellos - Seymour Barab, Alan Shulman, Julius Ehrenwerth, Charles McCracken

Double Bass - Ira Manning

Guitar - Al Schackman

Percussion - Ed Shaughnessy

From the back cover: Rebellion is an attack on the established order and usually take one of two forms. The first destroys and negates everything and the other strips away the bad fro the old, building anew on what is worthwhile. The first annihilates and denies; the second changes and affirms. Both forms see the evil, but the first doesn't know the good. This orchestra represent a rebellion in the second sense. It is an affirmation of the world and an aspiration toward the good life.

We seek the excitement of the intellect. Discipline, technique, control and form contribute to passion. Passion cannot be separated from the mind. The Sensual contributes to the intellectual just as the intellectual contributes to the sensual. As the poet has written, the mind feels and the heart things. 

The intellect which I exalt is not the dried junk of the academy. It is not the intellect of the vested interests of culture. It is the intellect of Socrates and Voltaire and Einstein. It has fire and imagination, color and directness.

Our music is American, but in a different way that most jazz today. The America of Melville, Emerson and Thoreau is better and stronger than the America of Norma Mailer and Tennessee Williams. This is the mainstream which attracts me – an America which is fresh and new and vital and curious. There is more to this country than the city dweller, the Negro slave, the machine. There are the farms of Illinois, the precise churches of New England, remembrances of Spain in Tampa and Santa Fe and beautiful horses.

We use the transitions of Europe as we wish. Our credentials are not from Europe's institutions but we are not afraid to use anything that the world orders us.

The orchestra is a school for its composers, musicians, and listeners. In the Spring of 1957, almost two years before the first rehearsal of the orchestra, four of my most gifted students and I began to plan the music it would play, Bill Mathieu, Jerry Mulvihill, Sture Swenson and Fred Carlin have each studied with me for varying lengths of time. Now writes music like mine, except perhaps in tis ping of view. They have all been encouraged to look for new answers and new questions and they have been as much a source and inspiration for me as I could have been for them. Our music – our ideas – shaped the orchestra.

The orchestra began rehearsals on a weekly basis in January of 1959. At least half of the men who attended the first one or two rehearsals have remained with the orchestra. Several have become shy students.

The players and composers have learned much from each other. Ed Shaughnessy has taught all the writers more about percussion parts than could be put into a large text; and the men have learned many new ways of playing, especially how to play very softly and lightly. Our music requires frequent and dramatic changes of volume and many subtle distinction of articulation and fingering, and the men have picked up the new techniques. When a substitute comes to a rehearsal, he is usually intimidated by the drastically different performing art demanded by the music.

Lastly, the orchestra is a school for listeners. It teaches a new way of jazz. The lyrical and delicate is stressed, formal division are important and are clearly indicated, and the improvising soloist and the orchestra player must work within the music, rather than against it. These are characteristics not often found today and the listener must open his ears.

The instrumentation and placement of the orchestra is unusual. There are twenty-two players, including myself. To the four trumpets, five trombones, five saxophones, guitar, double bass and percussion which make up a fairly standard jazz orchestra are added four cellos, mostly for their ability to mellow the texture of such a large body of wind instruments.

The rhythm section is laid out in a line down the center of the orchestra. Each of the instrumental gourds (trumpet, trombones, etc.) is roughly divided into halves. Two trumpets are in the left choir, two in the right; three trombones are in the left choir, two in the right; two saxophones are in the left chair, three in the right; two cellos are in the left choir, two in the right. The left and right sides form two smaller orchestras and are used in this way. The two sides are played against each other, questions and answering and sometimes duplicate the other choir. This left-right idea is used as often as the more conventional division of the orchestra into instrumental groups.

It was Mort Salh's encouragement that started all this and I am also grateful to him for the title of this album – Bill Russo - New York, 1960

About Bill Russo: Bill Russo has been active in the jazz field for more than fifteen years. He headed his own groups in Chicago, where he was born, and spent the years from 1950 though 1954 with the Stan Kenton Orchestra, for which he wrote a great deal of its most important music. He has also written three ballets, three symphonies and a number of other works which are probably closer to "Classical" music than they are to jazz. His Symphony #2 in C (Titans) was commissioned by Leonard Bernstein for the New  York Philharmonic Orchestra and was subsequently awarded the Koussevisky grant. It was performed four times at Carnegie Hall in April of 1959 and received an overwhelming ovation.

The Golden Apple - Solo: Collins and Elton

Manteca - Solo: Socolow

Theme And Variations - Solo: Sebesky, Wilcox, Shaughnessy and Mucci

What Is The Difference - Solo: Barab

Introduction - Solo: Socolow (oboe) and Elton

Sonatina - Solo: Sebesky and Wilcox

Pickwick - Solo: Socolow and Sebesky (Pickwick is dedicated to Muriel Oxenburg Murphy)

Tanglewood - Solo: Meldonian (Tanglewood is dedicated to Camille Russo)

Am Esthete On Clark Street - Solo: Wilcox and Sebesky

Christmas 2001 - Flo Price

 

Flying Machine / Jesus Is His Name

Christmas 2001

A Space-Age Adventure

By Flo Price

Story suggestion: Richard McCormick

Story Witten by Bob Price and Flo Price

Arrange and Conducted by Dave Williamson

Producer: Bill Cole

Recorded: Martin Sound The Sound Castle

Engineer: Bob Norberg

Cover Design: Gale Price

Cover Artist: Jim Lamb

Liner Photo: Bob Price

Graphics: Robin Hendrix

Vocal Director: Ron Anderson

Composer: Flo Price

Light LS-5761

1979

Come Rejoicing 

  Scene 1: Somewhere In Outer Space Above Planet Earth

It's The Very Best Time Of The Year

Make Joyful Noise

  Scene 2: Earth

Flying Machine

Jesus Is His Name

  Scene 3: Nativity

Glory To God

Sleep My Child

Christmas Is

Make A Joyful Noise - Reprise

Jesus Is His Name / Glory

To God - Reprise

Time To Dream - Les Paul and Marry Ford

 

Moonlight And Shadows

Time To Dream

Les Paul and Mary Ford

Capitol Records T802

1957

That Old Feeling

Bewitched

My Silent Love

I Surrender Dear

You Call It Madness

June In January

Moonlight And Shadows

I Can't Get Started

How Deep Is The Ocean

Sweet And Lovely

Prisoner Of Love

If I Had You

My Fair Lady Loves Jazz - Billy Taylor

 

The Rain In Spain

My Fair Lady Loves Jazz

Played by The Billy Taylor Trio

With Orchestra Conducted by Quincy Jones

Produced by Creed Taylor

Cover Photography by Alan Fontaine

Cover Design by Bob Crozier

Engineering by Ira Greenbaum

ABC-Paramount ABC-177

Recorded February, 1957

Billy Taylor - Piano

Earl May - Bass

Ed Thigpen - Drums

Don Elliot - Vibes, Bongos, Mellophone and Trumpet

Gerry Mulligan - Baritone Sax

Anthony Ortega - Tenor and Alto Sax

Ernie Royal - Trumpet

Jimmy Cleveland - Trombone

Jay McAllister - Tuba

Al Casamenti - Guitar

Jimmy Buffington - French Horn

Don Butterfield - Tuba on "Accustomed"

Charlie Fowlkes - Baritone Sax and Bass Clarinet on "Accustomed," "Street," "Lovely"

From Billboard - April 13, 1957: This compelling score lends itself very well to a second styling of jazz harmonies and tempos. This interpretation combines Taylor's clean, precise, but sensitive piano with tasteful, modern ork support from Jones. With the show continuing to play to capacity houses and the music as popular as ever, there's a good possibility that this excellent package will be able to make it – even tho it arrives well after a previous hit jazz version by Shelly Manne with Andre Previn. Taylor's many fans will find this one of his finest efforts.

Show Me

I've Grown Accustomed To Her Face

With A Little Bit Of Luck

The Rain In Spain

Get Me To The Church On Time

Wouldn't It Be Lovely?

I Could Have Dance All Night

On The Street Where You Live

Warm Wave - Cal Tjader

 

Just Friends

Warm Wave

Cal Tjader

Arranged and Conducted by Claus German

Produced by Creed Taylor

Cover Photograph: Alam Fontaine

Verve 90714

Recorded May 8, 11 & 13, 1964 at A.&R. Studios, New York City

June 8, 1964 at Van Gelde4r Studios, Englewood Cliffs, N.J.

Engineer: Phil Ramone & Rudy Van Gelder

Director of Engineering Val Valentine

Cal Tjader - Vibes

Patti Brown/Hank Jones/Bernie Leighton - Piano

Kenny Burrell /Jim Raney - Guitar

George Duvivier - Bass

Ed Shaughnessy - Drums

Willie Rodriguez - Percussion 

Seldon Powell/Jerome Richardson - Tenor Sax

Strings: Sid Edwards, Lewis Eley, Paul Gershman, Harry Clickman, Louis Haber, Julius Held, Harry Lookofsky, George Ocker, Lucien Schmidt, Morris Stonzek, Paul Winter, Teo Kruczek, Maurice Brown, Charles McCracken, Gene Orloff, Raoul Poliakin, Alana Shulman, Sylvan Shulman

From the inside cover (gatefold jacket): Following the success of musical sojourns with Oriental-influenced material, as represented by Several Shades Of Jade (V/V6-85078) and Breeze From The East (V/V6 8575), Cal Tjader returns home with a set of genuine American beauties. Shedding saki, gets, incense and tea leaves, Cal is tastefully re-attired in Occidental accoutrement and a few Latin touches of his album, Warm Wave.

Although Cal had often talked about his desire to record an album of hand-picked ballads on several occasions, the genesis of the album began in February of 1964 when were were both catching the sounds of Woody Herman's big band in San Francisco. 

During an intermission we discussed the high number of very beautiful ballads created by tunesmiths in the 'Forties. Cal picked up a cocktail napkin and jotted down the titles of themes that jointly impressed us. Out of this good-sized inventory, Cal has selected and performed a fine sampling of poignant love songs for this album.

Cal's pen change for these melodies is mirrored in the personal dimensions of his make up – gentleness, sensitivity, empathy, romanticism, and a deep sense of sincerity.

The cynosure of this Tjader album is a blend of taste, grace and simplicity. Consistent with these objectives, Claus Ogerman has maintained parallel standards in his excellent arrangements. Take note of the writing for strings. The solid quality of their texture provides a charming tapestry to the interpretations. There is a strong linear effect in the flow of the strings in support on the half-dozen selections unitizing the string ensemble. Cal feels, "The strings are not obtrusive." He says "they don't interfere with the groove of the rhythm section. Claus wrote just beautifully! I was able to improvise freely without being wound up in complexity.

Cal's relaxed, natural feelings is clearly evident. Incidentally Cal was first captivated by Ogerman's arranging on the Antonio Carlos Jobim album (V/V6-85487). 

Listen to the harmonies of Violets For Your Furs and The Way You Look Tonight. The latter is the high point in the album. This 64-bar Jerome Kern tune is played in Cal's favorite approach.

"I could play in this groove all night long," he says, "It builds to a general climax."

The Way You Look Tonight begins with a two-beat feeling up until the channel. The strings make their entry on the second half of the channel in a legato style and after a complete chorus and a return to the channel, the group plays the tune out. Cal likens this mode of attack to the 1953 Savoy recording of Tangerine which featured bassist Al McKibbon, pianist Hank Jones and drummer Kenny Clarke and was recorded during Cal's tenure with the George Shearing Quintet. It is obviously a comfortable and appealing groove for Cal. 

Cal has high praise for pianist Hank Jones. "Hank is a beautiful feeder" says Cal. "Along with John Lewis, Hank is one of my favorite pianists because he has a great feeling for feeding (chords to) the soloists."

On the tracks without strings, Jerome Richardson and Sheldon Powell play flute and the guitar work is divided between two marvelous jazzmen, Kenny Burrell and Jimmy Raney. In addition to Jones on piano, Bernie Leighton and Patti Bowen share piano responsibilities. Bassist George Duvivier and drummer Eddie Shaughnessy play on the complete roster of tunes.

A touch of nostalgia characterizes many of the ballads. Paste is one of my favorite tunes (and one of Cal's too, obviously) from the 1940's. This gorgeous song is played magnificently on this album. The inclusion Cole Porter's Ev'ry Time We Say Goodbye was inspired  by a version by one of Benny Goodman's small groups made on an old 78 r.p.m. disc. From the Frank Sinatra-Tommy Dorsey days came Violets For Your Furs. This Time The Dream's On Me, a Richard Arlen beauty, and one of Cal's favorite composers, recalls Bobby Hackett's trumpet obbligato, Ray Eberle's vocal and the Glenn Miller orchestra.

However, for a change of orientation, the contemporary and infections ballad People from the Broadway musical Funny Girl is nudged towards its probable destiny – that of becoming a standard. 

For balance of interpretations, a bossa nova rhythm underpins part of the collection. Likewise, voices (a well known French jazz vocal group) are used to augment the arrangements of People, Poor Butterfly and the Ogerman original, Sunset Blvd.

Cal was not out to experiment with this album. He comments succinctly, "I feel strongly about the tunes. It's a real pleasure to do tunes that are natural for me – especially when I'm fond of them. I play them simply and let the tunes speak for themselves."

The versatile Mr. Tjader exudes integrity, warmth and excitement in his expressions – verbally and instrumentally. – Herb Wong, staff announcer on KJAZ-FM, San Francisco and jazz writer for FM and Cultural Guide Magazine

Where Or When

Violets For Your Furs

People

Poor Butterfly

This Time The Dream's On Me

Ev'ry Time We Say Goodbye

I'm Old Fashioned

The Way You Look Tonight

Just Friends

Sunset Blvd.

Passe

Nassau Island - Duke Errol

 

Gloria

Nassau Island

Duke Errol And His Lords

Studio Engineer: Mack Emerson

Master Lacquers: Mel Tanner

Tropical Recording Co. CLP-2418

Duke Errol - Vocal and Rhythm

Lord Charlie - Congo Drums

Lord Roy - Guitar

Lord Fred - Bass

From the back cover: True calypso tells a story. The story may be sentimental or humorous or naughty. Traditionally calypso deals with topics that are universal in appeal – love of family, love of home and above all, love. Consequently the lyrics of a calypso are as important as the music.

The true calypsonian will often improvise and compose his own lyrics. This album's title "Nassau Island" taken from the calypso of the same name, is a case in point. The lyrics were written by Duke Errol in 1964 although the melody was composed some many years ago in Jamaica.

Calypso originated in Trinidad in the last century but it is now firmly established throughout the West Indies and the Bahamas. The Bahamas, as well as other parts of the world, have been swept by various forms of music from Bee Bop to Mambo. But the music that survives is the island - bred calypso.

In this album Duke Errol And His Lords play and sing calypsos that cover the whole spectrum of sentiment, from sad to funny. Here is a calypso for every mood. You may want to dance to it or just listen. Either way, we hope you like it.

A Word About Duke Errol

Duke Errol (in private life Errol Strachan) was born in Acklins Island Bahamas, the oldest of 13 children and one of 137 grandchildren.

He came to Nassau, New Providence, as a child where many of his numerous family had settled. He always sought out those members of the family that were musicians and having a good voice and a natural talent for music was encouraged to sing. But Errol did not become a professional musician at first.

After World War II Nassau was being "discovered" by wealthy foreigners. Many came with they own automobiles and car rental companies were doing a brisk business as well as taxi companies. There was a dire shortage of good mechanics and Errol thought he say an opportunity of making a good livelihood as a mechanic instead of becoming a sometime employed calypsonian. His reasoning was sound. He was so successful that soon he branched out and started a taxi cab business. Before long he had a small fleet of cabs.

But the lure to sing was ever present. Thus when the Cat 'n Fiddle Night Club held a public singing contest for amateurs and professionals in 1955. Errol entered – and won 1st prize.  The resultant publicity led to a job offer by his cousin "King" Eric, an established calypso band leader.

Errol had to make a choice between a successful business with with an assured future and an uncertain future as a calypsonian. Having made his decision he now devoted his full time to music. Never having had a music lesson in his life he was going to make up for it. Working nights, he spent his days taking lessons in music theory and learning to play various musical instruments as well. Today Errol plays a competent piano and saxophone. At the moment he is studying trumpet, composition, and is experimenting with American ballads and style.

The preoccupation with style, the true mark of the calypsonian, decided Errol to form his own group. His first appearance as a leader was in 1960 at a popular night club on Bay Street. He also played many of the smaller clubs on Bay Street until his first big break came. Errol and his band, now dubbed Duke Errol And His Lords, got an engagement at a major resort hotel. There, one Colonial (pictured in the background on the reverse side of the album) engaged him to play in their Britannia Bar where he can be heard nightly.

We hope that you will come to Nassau and visit with Errol. You might want to talk cars or calypso with him but if you talk dogs be careful – you might buy a pooch. Yes, the Duke has a new hobby – raising pedigree dogs. – Phillip Grey

Mary Lane

I Do Adore Her

Land Of Sea And Sun

Blowin' In The Wind

Island In The Sun

Going Down Jordan

Big Bamboo

Hold 'Em Joe

Woman's Smarter

Yellow Bird

Jamaica Farewell

Gloria 

Nassau Island

Scarlet Ribbon

Island In The Sun - Duke Errol

 

This Is My Island In The Sun

Island In The Sun

Duke Errol

Elite Records LP OE 10

Lord Charlie - Drums

Lord Roy - Lead Guitar

Lord Fred - Bass Guitar

Lord Russ - Piano

Fred Bernette - Steel Drum

From the back cover: It is generally recognized by lovers of music, as played and sung in the Bahamas, that the features of "know how" and "can do" that have sparked Duke Errol's meteroric career are persuasive enough to merit the unqualified admiration of his most ardent critics.

This is Duke Errol's (Errol Strachan) third album of popular favorites, as played by special request from his many tourist friends.

Errol began his music career as a choir boy in a church near his home. His joy for singing became obvious to those who knew him as a child. This natural urge from within, bolstered by the advice and encouragement of his framed, guided his decision to devote his entire being to the world of music. This meant giving up a fleet of taxis, his only source of income, but the sacrifice was small. Just how well Errol succeeded in this new venture may be gauged by the fact that today he is rated among the most outstanding of vocalists in the Bahamas.

Errol's deportment during a performance carries the finesse and polish of a veteran showman. When these qualities are backed by a fine, full-bodied voice and an unbelievable sense of rhythmic styling, one is forced to conclude that the Duke keeps doing what others try to do.

This well-balanced album of contrasting rhythms is seductively styled and presented by a combo of versatile veterans. Each a master of the tricky art of successfully catering to the musical palate or discriminating tastes. – T. Gibson

Island In The Sun

Banana Boat Song

Shame And Scandal

Fire Down Below

Hawaiian Wedding Song

Rambling Rose

Back To Back And Belly To Belly

Listen To The Ocean 

Try To Remember 

Island Woman

Mama Look'A Boo Boo

Endlessly

Let's Live A Life - Tommy Collins

 

A Hundred Years From Now

Let's Live A Little

Tommy Collins

Tower T 5021

1966

From the back cover: Living legends are hard to come by, but Tommy Colins is one of them. In the exciting field of Country and Western music, his name stands as a towering beacon of fame, humanity and a multiplicity of talents.

Born on a farm near Oklahoma city where fine Country music is an enjoyable part of every work day, it wasn't long before Country melody and rhythm became a basic part of Tommy's personality and dreams. To make a long and well-known story short, Tommy began spending his spare time composing his own songs – both words and melody – while at the same time earning scholastic honors and three sports letters at his high school. By the time he reached sixteen, his career plans were formulated... he try to become a Country entertainer of the first rank. The seas all the music world had to know, for no sooner had he made his professional decision that offers from radio stations and music halls began flooding his mailbox. Needless to say, each engagement was climaxed by enthusiastic audience acclaim. After a hitch in the U.S. Marine Corps, Tommy resumed his mushrooming career in California where he met such Country notables as Ferlin Husky and Faron Young, both of whom helped boost Tommy's reputation ever further by singing some of his compositions and collaborating with him on others. One thing led to another until, finally, the Oklahoma talent was in possession of his own recording contract. Within weeks the name Tommy Collins was on the lips of all folks with a keen taste for the best in Country music.

From Billboard - March 26, 1966: A package of oldies by Tommy Collins, including one tune that he authored which has grown into a classic in the field – "Have I Told You Lately That I Love You)." and "It Makes No Difference Now." This could turn into a profit-plus album for dealers.

Let's Live A Little

I'll Keep On Loving You

You're For Me

It Makes No Difference Now

You Belong In My Arms

Take Me Back To The Good Old Days

Oh, What A Dream

A Hundred Years From Now

Keep Dreaming

Have I Told You Lately (That I Love You)

Jazz Waltz - Shorty Rogers

 

Echoes Of Harlem

Jazz Waltz

Shorty Rogers and His Giants

Produced by Chuck Sagle

Cover: Mike Hinge

Art Direction: Merle Shore

Reprise R-6060

1962

From the back cover: Jazz Waltz presents Shorty Rogers as arranger, soloist and composer in an unusual and challenging setting.

The relationship between jazz an d three-quarter time has been curiously sporadic. there are isolated attempts to write and play jazz in 3/4 during the 1920s and '30s, but for the most part it was generally accepted that a two- or four-beat foundation was inseparable from jazz, and that to ask that such music be played in waltz time was as impractical as asking for a green cancel of red paint. 

As Shorty Rogers points out, "Jazz should be as adaptable as any other class of music to a variety of forms, devices and meters; yet it is only just beginning to scratch the suave with 3/4 and the other odd-number subdivisions that are waiting to one explored."

"It's an odd thing, too, that in its dance form the waltz first ran into difficulties. One hundred and fifty years ago clergymen opposed waltzing as sinful. In jazz, it wasn't until 1942 that Fats Waller became the first musician identified with a 3/4 tune – his Jitterbug Waltz was an important historical contribution."

"I always liked the church-style gospel things that had a fast-waltz flavor. Sonny Rollins' Valse Hot was the first modern piece in three that impressed me. I've never had any prejudice against the meter; it was a matter of time before jazz musicians in general tot to feeling natural when they played it – but the word 'natural' can change its meaning through the years. Recently I felt that the moment had arrived and I could now make an album that would bring the waltz beat to a variety of settings and still keep swinging all the way."

Four of the tracks are played by a big band with Rogers on fluegelhorn; Ray Triscari, Al Porcino, Ollie Mitchell, Joe burnett, trumpets; Milt Bernhardt, Harry Betts, trombones; Kenny Shroyer, George Roberts, bass trombones; Joe Manini, Bud Shank, alto saxes; Bob Cooper, Bill Perkins, tenor axes; Bill Hood, bass sax; Lou Levy, piano; Mel Lewis drums; Joe Mondragon, bass; Larry Bunker, vibes.

This group plays Roger's Jazz Waltz (metric and harmonic variations on a 24-bar blues base) and be As Children, a churchy but light-hearted 16-bar theme; Elmer Bernstein's Walk On The World Side, and the Duke Ellington-Peggy Lee I'm Gonna Go Fishing', of which Rogers observes: "On tunes that had been used as jazz waltzes before, I wasn't satisfied until I felt sure I'd done something new with them." Of the bitonal effects that lend the arrangement its engagingly unconventional character, Rogers remarks that ironically he first studied bitonality after hearing it used by Stravinsky in Petrouchka and subsequently realized that he had heard it earlier of a Duke Ellington composition, Harlem Airshaft.

The other performances feature a smaller group in the which the arrangements make skillful use of paired-off instruments: Shank and Paul Horn on alto saxes and flutes; Mitchell and Burnett on trumpets and flugelhorns; Kenny Shroyer's bass trombone paired with Bill Hood's bass sax; Levy Mondragon and Lewis again, with Emil Richards on vibes. The dark, swirling sound of the leader's fluegelhorn is a dominant voice, but there are other mature and impressive solos: Shank's flute work on Greensleeves, Richards and Levy on Witchcraft (its number of bars doubled for waltz purposes). A Taste Of Honey, which has enjoyed a series of successes, notably in Eddie Cano's Reprise record, is taken at a comparatively relaxed tempo, with mood-sustaining work by Shorty, Richards and Shank on flute.

Paul Horn is heard in solos on two tracks: tenor sax on Streets Of Laredo and flute on Echoes Of Harlem. This old Ellington work (released in 1936 as Cootie's Concerto) was a natural for a 12/8 feel; even the original version had a suggestion of a three-beat pulse through its triplet-like phrasing of the notes in the introductory figure.

To musical theoreticians it may be significant that in beating off many of these tunes during the recording, Rogers called out "1...2...3...4," each number representing a whole three-beat measure. I leave it to the semanticists and pedagogues to codify the music and determine whether it should be correctly described ant 3/4, 6/4, 12/8 or some other alteration of the ternary beat. It should be enough for the present to remind the listener that nay musician who has ever played a triplet must have, innately, some felling for any division of three. As for Roger's accomplishment own these sides, one can best characterize it by reversing an early Ellington axiom: it must mean a thing, for it does have that swing. – Leonard Feather

I'm Gonna Go Fishin'

Greensleeves

Walk On The Wild Side

Witchcraft

Be As Children 

Jazz Waltz

Echoes Of Harlem

A Taste Of Honey

Terrence's Farewell

The Street Of Laredo

Country Time - Doye O'Dell

 

Diesel Smoke

Country Time

Doye O'Dell

Crown Records CLP 5264

1962

Burning Bridges

Take A Number

Diesel Smoke

Wish I'd Stayed In The Wagon Yard

Count Down

Half Past A Heartache

Shalley Bell

It Takes A Lot Our Of Me

If The Devil Want To Talk

On The Sunny Side Of The Street - Leo Addeo

 

East Of The Sun

On The Sunny Side Of The Street

Leo Addeo and His Orchestra

A&R Coordinator: Ethel Gabriel

Recorded in Webster Hall, New York City

Recording Engineer: Ernie Oelrich

RCA Camden CAL 785

1963

From the back cover: Although previously represented on Camden records by such specialty albums as his "Hawaii in Hi-FI" (CAL-510), Leo Addeo has for long been associated with big-band conductor Hugo Winterhalter as orchestrator. Leo has also written extensively for the bands of Frankie Carle, Gene Krupa and Larry Clinton, for the movies, radio and TV, and in support of many hit recording artists. As a songwriter he is remember for his Vaughn Monroe hit There She Goes.

But forget past history. It is with this album that Leo Addeo steps up into the front ranks of top arranger-conductors – that magic circle of inspired music men who turn out hit albums that are a joy to their listeners and a credit to their own creative talents.

On The Sunny Side Of The Street

You Are My Sunshine

Powder Your Face With Sunshine

East Of The Sun

Painting The Clouds With Sunshine

I Got The Sun In The Morning

Island In The Sun

Sunny Side Uo

Lazy Old Sun

Wait Till The Sun Shines, Nellie