The Royal Family Of The Spanish Guitar - Celedonio, Colin, Pepe & Angel Romero

 

Vill-Lobos Prelude No. 3 in A Minor (Celin)

The Royal Family Of The Spanish Guitar

Celedonio, Celin, Pepe and Angel Romero

Mercury Living Presence SR 90295

1962

From the back cover: About The Romeros

A Romero Family recital presents the rare spectacle of a burgeoning musical dynasty winning audiences as much by its collective skill as by individual performances.

"One of the most extraordinary concerts this reviewer has enjoyed in three decades of his craft was provided by the Romero family," wrote Cyrus Durbin, Boston Globe critic., during their first American tour in 1961. Critics and audiences alike responded to the interplay of distinctive musical personalities that gives their recitals a variety of coloration denied to the usual solitary performer.

Celedonio Romero, the father, began his study of the guitar at the age of three and oursuded his curse of instruction through the Madrid Conservatory. He married early and settled in Malaga, his native city. Colin (age 24), Pepe (age 18) and Angel (age 14), his only children, were practicing scales as soon as they were old enough to hold the guitar; each performed on the concert stage by the time he was eleven.

In recital, as in the present collection and those to follow, the Romeros re-create with authority a panorama of guitar composition and execution that spans several centuries; their programming reflects their several areas of concentration without becoming rigidly specialized. Thus Celedonio brings his solidly mourned, vigorous command of the guitar to a wide range of the guitar literature from the 16th century to Albeniz. Colin, whose fluency inclines toward lyrical, rhapsodical or moody expression , directs a good measure of his attention toward the late Romantic composers, with some special regard for music of the Western hemisphere. Angel seems ores destined for special acclaiming as a performer of the baroque repertory; his Bach performances especially benefit from his remarkable rhythmic sense and secure technique. In a highly contrasting idiom, Prop has won plaudits for his dazzling mastery of flamenco music, with its brilliant cascades of notes and impassioned exotic melodies.

"Spain's royal family of the guitar" was citric Lousi Biancolli's apt designation for the Romeros, as he lauded their "classical and flamenco playing of the very highest order, disciplined in a family tradition of perfection and mellowed to a sweetness and delicacy of tone unique in the field."

From Billboard - October 6, 1962: The well-known Romero family of Spanish guitar virtuosos is teamed up on one LP featuring gather Celedonio Romero and his three sons, aged 24, 18 and 14, playing solo and in varying combinations. The works are mainly form the traditional catalog by Granados, Tarrega, Torroba, Albeniz, etc., plus Villa- Lobos prelude and some original compositions and arrangements by the head of the Romero family. Concerts and TV appearances will help sales in the United States.

Romero - Noche en Malaga (quartet)

Granados - Spanish Dance No. 6 (Cledonio, Pepe)

Tarrega - Lagrima (Preludio) (Celedonio)

Romero - Romantic Prelude (Celedonio)

Moreno Torroba - Allegretto from Sonatina in A Major (Celin)

Vill-Lobos Prelude No. 3 in A Minor (Celin)

Traditional Spanish arr. - Romero Sevillanas (Quartet)

Granados Intermezzo from "Goyescas" (Celin, Pepe)

Moreno Torroba - Llamada (Angel)

Albeniz - Sevilla (Angel)

Sinopoli - Vidalita (Angel, Pepe)

Tarrega Recuerdos de la Alhambra (Pepe)

Sor-Romero - Obbligato (on Etude in B Minor) (Celin, Pepe)

Let's Dance Latin! Various

 

Tico Tico

Let's Dance Latin!

Cha Cha, Rumba, Mambo, Samba

With Perez Prado, Jose Gomez, Miguelito Valdez

Design by Frank Daniel

Photography by J. Austin

Design Records DLP-1879

1962

Goza Cha Cha

Mambo No. 5

Brazil

Asi Asi

Baia

Virgin Isle Mambo

Tico Tico

Las Suegras

Adios

Palladium Mambo

At Separate Tables - LuAnn Simms

 

You'll Never Know

At Separate Tables

Lu Ann Simms

With Dave Terry and His Orchestra

The Songs of Harry Warren

Produced by Morty Palitz

Cover Design by Sy Leichman

Photograph by Charles Varon

Jubilee Records JLP 1092

1959

From the back cover: Please take another look at the cover photograph of this album. You'll get the entire idea.

The idea? There can be 'togetherness' when tuned-in libidos are at separate tables. "At Separate Tables" fosters 'togetherness.'

The scene you just looked at took place last night or a lunch today at Danny's Hideaway. There were similar sights in Hollywood, Paris, Keokuk or Ionia... tow people in constant communication with each other though not a word is spoken.

Long before Freud, researcher and scientists examined this phenomenon. They tagged it with fancy nomenclatures like extrasensory perception, psychokinesis (mental influence of matter), mental telepathy or such. Call it what you will, when it is so clearly obvious that two people dig each other the most, the only separation they deserve is from 'apartness.' And there is an electric feeling that the 'message' is reaching each of them.

That is the 'message' stated with such obvious clarity "At Separate Tables." The girl on the cover is Lu Ann Simms. She's here to help you with the idea. The idea? Just listen to the way she sings "Ooh, That Kiss." The key word is: "O-o-o-o-o-o-o-h!" You get the idea. It's very mature.

So is Lu Ann. So is the way she sings.

I don't know what the chemistry is, but always with painters, singers, artists, actors a moment arrives when they understand completely what they are doing and, as importantly, communicate that understanding. Remember Lu and a few season back? She was a youthful delight on "The Godfrey Show." She'd come out of Rochester, N.Y., had had five years of training as a classical singer. She was petite, pretty and communicated the quality of innocence and enthusiasm.

Now Lu Ann is a Mrs. She's a mother. The purist will short me for suggesting that this events can be called 'chemistry'... but the girl who is singing "at Separate Tables" is now a woman. And this woman sings, with chemically-analyzed understanding. 

What Lu Ann is singing deserves more than passing mention. These are the songs of Harry Warren. There's nothing foreign about Warren. You're been singing or whistling or hearing his beautiful melodies for a couple of generations. If you haven't known the name that well, blew it on the publicists. They are th only ones that haven't built a big enough place for this composer's talents.

Harry has been writing 'hits' for more than 25 years. The twelve Lu Ann sings here are from pictures. Look at that list.

The arranger-conductor behind Lu Ann is Dave Terry. He plays a large part of the 'togetherness' that is so very evident "At Separate Tables." 

If you're the kind of retiring individual who is in communication with someone at a separate table bu are hesitant that the message isn't clear at the other end, "At Separate Table" will help prod the idea of 'come-togetherness' in a way or two.

Prod I – the way Lu Ann Simms sings these Harry Warren songs suggests to a commuicating -two that separation be kept to a minimum.

Prod II – Simms simmers until the idea of 'togetherness' boils over. There is no room for distance (and very little for resistance) in "at Separate Tables." – Mort Goode

From Billboard - January 19, 1959: Some of the best singing former Godfreyite Lu Ann Simms has ever done on records is contained on this new release, which contains a dozen songs of Harry Warren. Altho the musical support by Dave Terry is occasionally too ornate, the thrush sells the tunes with feeling and with a warmth bot usually encountered on her pervious waxings. Best sides are "There Will Never Be Another You," "The More I See You" and "My Dream Is Yours."

Separate Tables

I Only Have Eyes For You

There Will Never Be Another You

The More I See You

No Love, No Nothin'

My Dream Is Yours

You'll Never Know

I Wish I Knew

I've Got To Sing A Torch Song

You're Getting To Be A Habit With Me

Ooh That Kiss

This Is Always

A Portrait Of Nancy - Nancy Ames

 

Miserlou

A Portrait Of Nancy

Folk Songs By Nancy Ames

Produced, Arranged and Conducted by Walter Raim

Engineer: Ray Fowler

Recording Supervisor: Ed Michel

Cover Design and Photography: Studio Five

Liberty Records LRP-3299

1963

Alabama Bound

Every Night When The Sun Goes Down

Guajira

Tell Old Bill

Miserlou

Jane, Jane

The Water Is Wide

Manha De Carnaval

The First Time (Ever I Saw Your Face)

Los Carreteros

The World Is Full Of Wonders

Red Apple Juice

Bach - Orff - Spirituals

 

Bach - Orff - Spirituals

Bach - Orff - Spirituals

Kaiserslautern Old and Modern Language High School Choir and Orchestra

The choral and orchestral music from this record was part of two school concerts in the Fruchthalle Kaiserslautern on May 1973 and in the Palais de Fervaques in Saint Quentin on June 1, 1973

Recorded on October 1st and 2nd, 1973 in Sudewestfunkstuduio Kaiserslkautern

Production: Fred Kersten

Foto: Enno Podehl

Kerston Records FK 65011

Johann Sebastian Bach

Brandenburgisches Konzert Nr. 5 

Allegro - Affetuoso - Allegro

Ausfuhrende: Wolfgang Ebling, Flore; Klaus Patschicke, Violine; Rolf Heil, Cembalo; Olaf Wiesel, Violoncello

Leitung: Paul-Friedrich Romer

Carl Orff

Drei Chore aus Catulli Carmina

Odi et amo

Vivamus, mea Lesbia

Miser Catulle

Drei Spirituals in der Bearbeitung von R. Peterson

Go Down Moses

Deep River

Joshua Fit de Battle of Jerico

Ausfuhrende:

Wolfgang Ebling, Tenor; Karl Knopfler, Piano: Joachim Becker, Gitarre; Michael Becker, Schlagzeug; Matthias Weber, Kontrabass

Hallelujah! - Clara Ward

 

Oh Glory Hallelujah

Hallelujah!

Clara Ward

Dot DLP 25186

1959

From the back cover: When Clara Ward and her singers first appeared in Britain this past spring, they were greeted by this notice in the New Musical Express, England's largest weekly devoted to popular music: "...if you think rock 'n' roll is exciting, you'll jump for joy when you hear the... group's fiery, dynamic brand of hot gospel singing."

The Melody Maker added: "... the music had a rhythmic drive and tonal expressiveness common to certain kinds of jazz, plus a near-frenzied quality which made it the most exciting vocal sound I have ever heard in a club."

Not all the gospel music in this album is frenzied, however, in that Clara Ward and her unit are heard in some of th more reflective as well as the more joyfully outgoing gospel material. But throughout, as in her previous Dot album, Gospel Concert (Dot DLP 3138), there is a fullness and freedom of emotion that has made gospel music so infectiously attractive to more and more listeners in this country and abroad.

In an interview with Sen Grevatt in the Melody Maker, Clara Ward explained the nature and background of gospel music. "There's  a lot of difference between spirituals and gospels. Spirituals came from the slaves. They were written in bondage by slaves who were entreating the Lord for their salvation. The spirituals gave birth to the blues, which at one time were only sad songs. Gospel songs are often halos and are taken straight from bible stories."

The gospel dong – and its immediate predecessor, the jubilee – are, in short, the music of freedom. While in gospel music there remained ash intense interest in the world to come, this world was no longer entirely without hope. As a result, there was more buoyant celebration of religious beliefs in godpel music, because the focus of faith was not only on the after life but on the enjoyment of being and believing right now. Tips this quality of direct affirmation that makes gospel music so compelling and that has, in fact, been carried over into much of modern jazz by many young musicians who were first shaped musically by the gospel music they heard as children.

Accordingly, here are more and more modern jazz pieces with titles like The Preacher, Sermonette and Right Down Front. By listening to Clara Ward and her Singers you can hear some of the foundation of that music, and you can hear how much alive and growing gospel music itself still is. There was a recent five and a half hour gospel concert at Madison Square Garden in New York, and there are now the trips abroad begun by Clara Ward and her unit. "We want," say Clara Ward, "to spread interest ago gospel singing all over the world."

She's succeeding, and this album will carry the word even wider. – Nat Hentoff

Walk With Me

All God's Chillun Got Shoes

Peace In The Valley

Swing Low, Sweet Chariot

Goodnight God

When We Get Up There

Silver Wings

Deep River

Oh Glory Hallelujah

The Lord Will Understand

Take My Hand, Precious Lord

I Am So Happy

Stringin' Along With Chet Atkins

 

St. Louis Blues

Stringin' Along With Chet Atkins

RCA Victor LPM-1236

1961

From the back cover: And string along is all you have to do. You don't have to sit up straight and listen as though your life depends on it. Chet Atkins doesn't play music that way. The tall, lean Tennessean has a real fee and was way with a guitar, a relaxed point of musical view that's made him The World's Most Popular Guitar.

The man you're stringin' along with is a perfectionist, bu the way. Behind that free and fancy fingering lies more than a quarter century of tireless work.

Chet first started piling the notes on when he was a farm boy in the scrubby mountains of eastern Tennessee. His father was an itinerant music teacher and the young guitarist-of-the-futre began by learning the ukulele and violin. When he was thirteen, Chet switched to guitar and a few years later he left farm live behind for a job on the musical staff of WNOX, Knoxville. The years that followed were lean ones, although Chet, looking back, will deny this. "Everything," he says, "that has ever happened to me, I consider a good break... even if I got fired. I think everything happens for the best."

The Atkins optimism paid off handsomely in 1950 when Chet achieved star status on Grand Ole Opry.

Since then his career has moved in every-widening circles. Thoday his recordings encompass vitally every style of music the guitar is here to – Soanish guitar, jazz, folk music and that sweeping category known simply as "pops".

When asked recently which of his hundreds of recordings was hi personal favorite, Chet's answer was soft, but emphatic. "I don't like any of them," said Mr. Guitar, "more do I like to hear them. I always notice some little thing I think I could have done better." Chet stands alone in that opinion, for in the nearly fifteen years he has been with RCA Victor, his records – both singles and albums – have sold in the millions.

In this collection, Chet once more displays the virtuosity that is his trademark. He adds a new twist to such blue-chip jazz classics as 12th Street Rag and St. Louis Blues, up-dates an old operetta favorite (Indian Love Call), and wins new fans for country music with a rollicking hoedown called Black Mountain Ray.

Come on now, and string along. We'll bet it's one of the pleasantest trips you've ever taken.

Oh By Jingo! (Oh By Gee, You're The Only Girl For Me)

Indian Love Call

Memphis Blues

12th Street Rag

Gallopin' Guitar

St. Louis Blues

Main Street Breakdown

Hello Ma Baby

Alice Blue Gown

Blue Gypsy

Black Mountain Rag

The 3rd Man Theme

Where The Wind Pumps The Water - Pete Sullivan

 

I Couldn't Give You Up For Someone New

Where The Wind Pumps The Water

And The Cows Chop The Wood

Pete Sullivan

Cover Photographer: Mr. WM T. Randolph

Huddleston's Recording Service - Dallas, Texas

A+R Record Manufacturing - Dallas, Texas

1976

Buddy Brady - Fiddle

Ray Hargrove - Lead Guitar

Paul Ivey - Steel

Joe Jett - Drums

Junior Knight - Lead & Rhythm Guitar, Dobro & Steel

Stuart Lamb - Piano

Jim Shanks - Sax & Trumpet

Pete Sullivan - Bass

Vocal Harmony - Randy Norman, Jim Shanks & Pete

Where The Wind Pumps The Water (And The Cows Chop The Wood)

I'll Swallow My Pride

They Just Ain't No Way

You Husband Has A Lover

Matamoros Reynosa Villa Acuna-Juarez-Blues

Every Day Gets Better

I've Shook The Great Bob Wills Hand

There Has To Be A Reason For It All

Boy's Town

Rome Wasn't Built In A Day

I Couldn't Give You Up For Someone New

Sometimes I Wish I Could Turn My Life Around

Jonathan, David & Elbert

 

Hangman

Jonathan, David & Elbert

3 New Guys With New Ideas About Singing

Produced by Jack Tracy

Music Coordinator: Peter MacMinn

Engineer: Dave Wiechman

Philips PHM 200-166

From the back cover: Our country's popular music has taken on a new character in the last few years. The great wave of rediscovered folk music has added to the amalgam of pop songs, rhythm and blues, country and western, and jazz, and has cast yet a new shading on the songs America sings.

Johnathan, David, and Elbert have grown up in this new era, and the songs they sing with such obvious enjoyment and skill are the new music of our times.

This is a new group, one recorded for the first time, but to say much more about hem than to tell you then are hung San Franciscans (Jon and David are brothers) who have grown up singing the songs of their generation would be unnecessary.

For it is the music they sing and write and play that is of importance here. From the vibrant Woke Up This Morning to the old English balled, Hangman, these are songs of freedom, of love, of working, of wondering, and of hope.

From Billboard - February 6, 1965: A well-produced debut of three new folk performers. The blend of their voices and their way of combining pop, rhythm and blues, and country oriented material makes for interesting listening. They have adapted most of the material they perform and display a warm, rich blend on "The Sweetest Wine" and "Judy's Song." Exciting arrangements and performances are heard in "Woke Up This Morning" and "Hangman." 

Woke Up This Morning

The Sweetest Wine

Yes, I See

Judy's Song

If I Were Free

Quantanamerra

Three Kids

Fare Thee Well

Go, Lassie, Go

Hey, Nellie, Nellie

Road Song

Hangman

Teenage Triangle - James Darren, Shelly Fabares, Paul Peterson

 

Johnny Love Me

Teenage Triangle 

James Darren

Shelley Fabares of the Donna Reed Show

Paul Peterson of the Donna Reed Show

Colpix Records SCP 444

1963

From Billboard - March 9, 1963: The three big Colpix teen-age stars have a mighty impressive package of hits here. The smart album cues the individual Petersen, Darren and Fabares hits together and makes a sure-fire team selling item. It should move out in powerful fashion with such hits as "Johnny Angel," "Her Royal Majesty" and "She Can't Find Her Keys" included.

Goodbye Cruel World - James Darren

Johnny Angel - Shelly Fabares

She Can't Find Her Keys - Paul Petersen

Her Royal Majesty - James Darren

Johnny Loves Me - Shelly Fabares

Keep You Love Locked - Paul Petersen

Gidget- James Darren

The Things We Did Last Summer - Shelly Fabares

Lollipops And Roses - Paul Petersen

Conscience - James Darren

I'm Growing Up - Shelley Fabares

Little Boy Sad - Paul Petersen

Voices Of The South - The Roger Wagner Chorale

 

Go Down, Moses

Voices Of The South

The Roger Wagner Chorale

Produced by Ralph O'Connor

Capitol Records SP8519

1960

From the back cover: Since its formation in 1946, the Roger Wagner Chorale has brought a dazzling perfection of style to choral art and won unstinting praise from critics and audiences the world over. TheChorale has toured the globe, performing varied programs with scrupulous technical skill and unflagging inspiration. Most recently, the group completed a 17-country trek through Central and South America and a 62-concert sweep across the United States – in the meantime preparing for annual appearances with the Los Angeles Philharmonic and Hollywood Bowl Symphony Orchestras.

Go Down, Moses

Little David, Play On Yo' Harp

Darling Nelly Gray

Charlottown

Old Time Religion

Aura Lee

Oh, Dem Golden Slippers

Steal Away

Li'l Liza Jane

Deep River

My Old Kentucky Home

Joshua Fit The Battle Of Jericho

Sometimes I Feel Like A Motherless Child

Gentle Annie

He Never Said A Mumbling' Word

Ten Shades Of Bluegrass - The Lonesome Travelers

 

I Don't Love Nobody

Ten Shades Of Bluegrass

The Lonesome Travelers

Wyncote Records STEREO W 9097

1964

The Old Cane Press

Nervous Breakdown

Let The Wheeling Go

Stir The Pudding

Bluegrass Fiddler

Darling Nellie Gray

I Don't Love Nobody

Fire In The Hearth

Auld Lang Syne

Five String Frolic