Chaquita - In Your Heart - The Dave Clark Five

 

John Law

Chaquita - In Your Heart

The Dave Clark Five And The Playbacks

Crown Records CST 473

1965

In Your Heart

Sittin' By The Ocean

Little Lisa

John Law

Umbacharacha

Chaquita

Big Blue Eyes

Don't Take Your Love

Chicken Fat

Pot Luck

Sinatra's Sinatra - Frank Sinatra

 

Witchcraft

Sinatra's Sinatra

Newly Recorded - First Time In Stereo

A Collection Of Frank's Favorites

Arranged and Conducted by Nelson Riddle

Produced by Sonny Burke

Cover Photo: Ted Allan

Reprise R9-1010

1963

From Billboard - September 8, 1963: Here's a collection of some of the greatest of the Sinatra hit catalog which he enjoyed on another label, and re-recorded here with the backings of Nelson Riddle, the maestro associated with the original versions of most of these. Included are "Young At Heart," "In The Wee Small Hours." "Put Your Dreams Away," "Nancy," "Witchcraft," "Second Time Around." A veritable treasure for Sinatra fans.

I've Got You Under My Skin

In The Wee Small Hours Of The Morning

The Second Time Around

Nancy

Witchcraft

Young At Heart

All The Way

How Little We Know

Pocketful Of Miracles

Oh, What It Seemed To Be

Call Me Irresponsible

Put Your Dreams Away

Southern Exposure - TCU Jazz 1984-85

 

Southern Exposure

Southern Exposure

TCU Jazz

1984-85 Jazz Ensemble

TCU Texas Christian University

From the back cover: Curt Wilson - Curt Wilson has been at TCU since 1976. He directs two jazz ensembles and teaches jazz improvisation, jazz arranging, theory, orchestration, composition and Survey of Popular Music and Jazz.

Before coming to TCU, Mr. Wilson was Director of Bands at Ashland College, Ashland, Ohio. Prior to that he taught theory, woodwinds and jazz ensembles at Valley City State College, Valley City, North Dakota.

From 1966-68 he was a member of the Fred Waring Pennsylvanians.

Hank Levy - Composer, arranger, conductor, saxophonist and teacher, Hank Levy is the consummate innovator in the use of odd-meters in jazz composition. For many years he was the chief arranger for both the Don Ellis Band and the Stan Kenton Orchestra. Currently, he is professor of music at Towson State College, Towson, Maryland.

Hank represents many "firsts" for the TCU jazz program. In 1978 he was our quest artist for the first TCH jazz Festival. Also on the program was the great Stan Kenton Orchestra. Some of Hank's music was included on the first TCU jazz ensemble album released in 1978 and Southern Exposure is our first "commissioned" work.

Southern Exposure is, essentially, a concerto for tenor saxophone and jazz ensemble. The meter is 5/4 with a jazz samba feel. The main body of the work consists of 5/4 double time (Latin) with various ensemble passages interwoven around the soloist. After a solo cadenza the original "calm" 5/4 theme returns to conclude the work.

Jazz At Texas Christian University - The "official" jazz studies program at TCU began in 1976. Since that time the TCU Jazz Ensemble has appeared in concert with such notable international jazz artists as Hank Levy, Don Menza, Urbie Green, Mike Vax, Ed Shaughnessy, Pete Christlieb, Ashley Alexander, Frank Mantooth and Roger Pemberton.

The annual TCU Jazz Festival has fast become one of the largest and most prestigious festivals in the state. Since its beginning in 1978, the event has attracted more than 3500 talented high school players throughout the state. Groups have attended the festival from every part of Texas and from as far away as Tennessee, Iowa and Hawaii.

The band won first-place at the 1977 Wichita Kansas Collegiate Jazz Festival. Other appearances include the 1978 CBDNA South-western Convention, 1979 TMEA Convention, and, most recently, the 1985 NAJE National Convention.

In May 1979, the ensemble took a three-week concert tour of the Soviet Union and Poland. During the Spring of 1984, the group performed for one week in the New York City area.

Southern Exposure

The Last Drive

Flintstones Theme

Wind Chill

Oleo

For You And ME

Royal Blues

Flamenco - Carlos Montoya & Lydia Ibarrondo

 

Toque de Levate

Flamenco

Carlos Montoya

Lydia Ibarrondo

A Don Galor Production

Musirama 3 Dimensional Sound

Remington Records R-199-134

1953

From the back cover: Carlos Montoya, a full-blooded Spanish gypsy, was born in Madrid. He was a professional guitarist at fourteen. After serving in the Spanish army in Morocco, he was invited by La Argentina to accompany her during a European tour. He also traveled with Escudero and Teresian, appearing in the Orient and America, and visited South America with Argentinita. Since the outbreak of Wold War II, he has pent most of the time in the United States. In 1940 he married an American girl, by whom he has had two sons.

Lydia Ibarrondo was born in Bilbao. She studied at the Paris Conservatoire, and has appeared in opera in (among other cities) Barcelona, New York, and Chicago – where she made her American debut with the New York City Opera Company, as Amneris in Aida. She has also given concerts throughout Europe

Malagueña

Variaciones por Roas

Toque de Levante

Bolero Mallorquin; Castilla; Galicia

Tanguillo; Zambrilla

La Hija de Don Juan Alba (The Daughter of Juan Alba)

Solea; Bulerias por Solea

Las Cositas del Querer (The Trifles of Love)

An Hour With The Ramsey Lewis Trio

 

An Hour With The Ramsey Lewis Trio

Producer: Dave Usher

Cover Photo: Don Bronstein

Recording Engineer: Malcolm Chisholm

Mastering Engineer: Douglas Brand

Recorded April 22, 1959 at Tex-Mar Studios, Chicago

Argo LP 645

From the back cover: This album was recorded under the most ideal studio conditions imaginable.

The engineer got a good glance on the trio, then just sat back wheel we played. Occasionally he'd leave the control booth and let the tape run.

There was no one else in the studio or the booth. We were free to play as long (and whatever ) we wished.

And so this entire hour of music resulted from one five-hour recording session (ed. Note: It customarily takes nine hours of recording tome to get in the usual half-hour album).

The fact that we knew a one-hour LP was to result from the date gave us a chance to stretch out when we felt like it and freed us from being conscious of any time limits.

It closely approach the atmosphere of a club, except there was no audience present, and no one to shout, "Play Melancholy baby."

And just as you often find yourself going onstage at a club without having planned anything to play but the first tune, so did we do this date. We wanted to record Ruby And The Pearl because we get a lot of request for it, but other than that we thought we'd let the session take shape naturally.

And it did – sometimes so much so that we painted ourselves into musical corner that were hard to get out of.

Take Consider The Source, for example. It is a mixture of an eight-bar blues pattern used for many years in the type of church music I have heard since I was a child. The trouble was, when we started it I didn't tell El Dee Young, the bassist, the chords we'd be playing or anything. As a result, you might notice a few laces where we clash a little, but I'm pleased with the overall feeling we got on it.

C. C. Rider is an old folk blues that we had all heard before, but never played. And because we had never played Walls Of Jericho, It Ain't Necessarily So, and Source before as a gourd, no one had any idea of what was going to happen on the spontaneous cadenzas at the end of those things.

Because the recording studio atmosphere was so informal, we played everything just once, then went on to seething else. A few days later we listened to it all and began selecting the things we were happiest with for this album.

We think it come closer than anything we've yet done to give an idea of how the group sounds in person at the jazz club. – Ramsey Lewis

From Billboard - August 31, 1959: The Ramsey Lewis Trio turns in some listenable jazz on this new set, that should appeal to the group's steadily mounting following. Ramsey Lewis on piano handles most of the solos and tho they are still much in the Garner groove, they make for good listening. El Dee Young is on bass and Red Holt on drums. Tunes include "Softly, As In A Morning Sunrise," "C.C. Rider." "Love For Sale," and "The Way You Look Tonight."

Softly, As In A Morning Sunrise

C.C. Rider

Love For Sale

I Had The Craziest Dream/I Know Why

It Ain't Necessarily So

I Love Paris 

The Way You Look Tonight

Song Of India

Consider The Source

The Ruby And The Pearl

Walls Of Jericho

Angel Eyes

Dixieland Now And Then - Jimmy McPartland & Paul Barbarin

 

McBlues

Careless Love

Dixieland Now And Then

Jimmy McPartland's Chicago Rompers

Paul Barbarin's New Orleans Stompers

Illustration: Victor Kalin

Jazztone J1241

1956

From the back cover: The McPartland Septet

Jimmy McPartland is, of course, one of the pillars of the Chicago Dixieland movement. During the twenties in the Windy City he played with Benny Goodman and Eddie Condon and Bix Beiderbecke, the legendary trumpeter, whose style Jimmy's so closely resembles. And he was the leader of the famed High Gang, which included Dave Tough, Frank Teschemaker and Bud Freeman.

Freeman plays with Jimmy here, blowing his highly inventive tenor sax. Bud, like Jimmy, an easy-going man (he also dabbles in Shakespeare) is the recognized leader of the tenor sax school from which the modern men, such as Lester Young and Stan Getz, eventually emerged, and his highly individualized solos have highlighted music blown by the big bands of Benny Goodman, Tommy Dorsey and Red Nichols, bus that of many famous Dixieland groups.

Clarinetist, Bill Stegmeyer, who penned the few arranged portions on this side, has played with the Glenn Miller and Bob Crosby bands, with various small outfits, and is currently writing one of the most imaginative, humorous, swinging trombonists extant, whose style fits into dixieland groups such as this as eloquently as it has into bands of the wing school, such as Count Basie's, Benny Carter's Eddie Heywood's and many more.

The swinging rhythm section features Jimmy's attractive wife, the former Marian Page, whom McPartland met while he was playing horn in the Army overseas and she was entertaining the troops for th e U.S.O. They played together after the war. and then Marian, more interested in modern sounds, formed her own trio, which for several years included the young drummer with the amazing technique and delightfully light, swinging touch, Joe Morello. For this date, The Mc Partlands added Milt Hinton, the veritable rock of a bassist, but more enthusiastic than any rock ever known, who's the current first choice for so many jazz dates.

The Barbarin Sextet

There's no better way of hearing the early New Orleans brand of dixieland that to listen to it begin played buy musicians who have been born and bred in New Orleans and were weaned and fed on its music. And that's exactly what hwe have on the second side of this record.

Paul Barbarin is one of the real "originals," He began his career in the famed Storyville section of New Orleans, and played with such greats as Sidney Bechet, King Oliver and Mutt Carey. Later, in Chicago, he played with Louis Armstrong in Oliver's band, but after that returned to New Orleans to devote practically all of this time to leading disown group in the town he loves so much.

The rest of the musicians are of the same hard-driving early New Orleans school. All are natives, well-known in their hometown, but, white the exception of Danny Barker, who has recorded with many well-known jazz groups, they have preferred to remain at home where they have been free to play the kind of music they known and love best.

Jimmy McPartland's Chicago Rompers

Jimmy McPartland - Cornet

Vic Dickenson - Trombone

Bill Stegmeyer - Clarinet

Bud Freeman - Tenor Sax

Marian McPartland - Piano

Milt Hinton - Bass

Joe Morello - Drums

My Gal Sal

McBlues

Shine On, Harvest Moon

Sweet Adeline

Decidedly Blues

Paul Barbarin's New Orleans Stompers

Paul Barbarin - Drums

John Brunious - Trumpet

Bobby Thomas - Trombone

Willie Humphrey - Clarinet

Lester Santiago - Piano

Danny Barker - Banjo

Gettysburg March

Careless Love

When The Saints Go Marching In

Mon Chère Amie

Tiger Rag