This Time - Troy Shondell

 

Tears From An Angel

This Time 

Troy Shondell

Art Direction: Woody Woodward

Sunset Records SUS-5174

A Product of Liberty Records

1967

From the back cover: Since the age of sixteen, Troy Shondell has been one of the  most prolific songwriters in the Rock 'n' Roll field. He effortlessly produces an average of 400 popular songs in that idiom per year! That's better than one per day! His publisher is one of the busiest guys on Tin Pan Alley, but no one has ever heard him complain yet. Many of Troy's numbers have been recorded by several different artists and labels at a time – solid tribute to this young man's ability to recognized the desires of today's audience.

After having peened hit-after-het for other artists; Troy elected to use another composers' material for his own initial release. It was a good choice, because Troy's recording of "The Time" catapulted him to overnight success! He had that certain feeling about this one; and record counters, jukeboxes, and radio disc jockeys proved him right, as the recored sold over one million copies. – Bernie Solomon

Island In The Sky

Just Because

Some People Never Learn 

I Don't Know 

Tears From An Angel

This Time

I've Got A Woman

Girl After Girl

Gone

No Fool Like An Old Fool

Columbia Jazz Festival - Various

 

Columbia Jazz Festival

Columbia Jazz Festival

Columbia Records JJ 1

1959

From Billboard - April 27, 1959: This special sampler, containing tracks from the label's current 10-album jazz release, will be available on a tie-in sale with any of the label's new jazz sets, for 98 cents monaurally or $1.49 in stereo. Since it contains tracks by Benny Goodman, Miles Davis, Duke Ellington, Gerry Mulligan, Dave Brubeck and J.J. Johnson, it should be a solid seller at the price. It is well packaged and well recorded.

El Gato - Duke Ellington and His Orchestra from "Newport 1959" CL 1245 or CS 8072

Festive Minor - The Gerry Mulligan Quartet from "What Is There To Say?" CL 1307 or CS 8116

Satin Doll - Lionel Hampton with Reeds and Rhythm from "Golden Vibes" CL 1304 or CS 8120

Fallout - The Joe Wilder Quartet from "Jazz From Peter Gunn" CL 1319 or CS 8121

Happy Session Blues - Benny Goodman and His Orchestra from "Happy Session" CL 1324 or CS 8129

It Ain't Necessarily So - Miles Davis with Orchestra under the direction of Gil Evans from "Porgy And Bess" CL 1274 or CS 8085

Things Aren't What They Used To Be - The Dave Brubeck Quartet from "Newport 1958" CL 1249 or CS 8082

Swinging At The Copper Rail - Buck Clayton with His All-Stars from "Songs For Swingers" CL 1320 or CS 8123

Hello, Young Lovers - J. J. Johnson with various artists from "Blue Trombone" Cl 1303 or CS 8109

Play Bach 5 - Jacques Loussier

 

Play Bach 5

Jacques Loussier Trio

Play Bach 5

Arrangements  by Jacques Loussier

London Records STEREO PS 524

1967

Jacques Loussier - Piano

Christian Garros - Percussion

Pierre Michelot - Contrebasse

From the back covers: Portrait - Jacques Loussier is a powerful-looking man: stiff, chestnut hair growing into a thin edge of a beard, a tormented nose, a flu, virile mouth, dark eyes which grow round as if surprised when he tells a story.

While he is very much of his time, Jacques Loussier just as equally rejects certain aspects of modern life. What makes him a contemporary is first of all his music, his loving way of handling it, his desire to have it always new, his intense need for constant activity – "to live each moment two hundred percent," as he says. Yet, he is full of an aggressive regret, a painful nostalgia for open spaces, for the calm of unspoiled countryside. "Have you ever seen a stag" Impossible, hm?" However, it's one of the most beautiful things one can see, a stag in the woods," says Loussier, making that round-eyed, astonished expression. It is then that something "medieval" in him emerges (no doubt accentuated by his beard), A Rabelaisian quality of gruff gaiety, truculence, and an ever-present poetry, immediate, almost torrential. Material success? He pokes fun at it a bit, for at present his biggest dream is to be able to fly down to Toulon at the drop of a hat whenever he wants to sail his boat. More than likely, the calmness of nature will always draw him, but it is certain that he will never stop making the music he loves. Also certain: we will hear his name more and more.

His Life In Brief - Jacques Loussier was born October 26th, 1934 in Angers, France, where he spent his first fifteen years, a healthy, vigorous child who took up any and all sports – "normally rowdy," Loussier adds. Around the age of thirteen, thanks to the harmonica, he was smitten with an intense love for music. Later he abandoned his secondary schooling to enter the Conservatory of Paris, where he studied piano with Yves Nat. But his temperament could not adapt itself easily to Conservatory methods of study, and at eighteen he left before finishing the course of study.

Thus begins a career which is on the move in every respect: he has visited thirty-two countries, among others, Cuba, Israel, Brazil, Iran, Canada, Lebanon, and the United States. He began by playing in a gypsy orchestra to earn the money. Next he played piano for many well-known French singers, Catherine Sauvage, Jacqueline Francois, Suzy Delair, Leo Ferre and finally Charles Aznavour, building a reputation as a remarkable pianist and accompanist. But evidently, this was not sufficient for him, and in 1960 he decided to go on his own, starting out by creating orchestrations for the young ye-ye (French term for "Beatles generation") singers. At the same time, he began to make a name for himself as composer, writing and playing each night the music for a play by Durenmatt, "Frank V."

His first "play-back," recorded with Pierre Michelot and Christian Garros, achieved considerable success around the world, and his "play-back" No. 4 won the award for Top French Disc of 1963. Nowadays he continues to give all his concerts with Michelot and Garros. He has written film scores for two movies, "La vie a l'enfers" and Pas perdus."And his television appearances are many. 

And Jacques Loussier is only thirty-three.

Toccata No. 4 in C Major

1st Mvt. :Allegro

2nd Mvt. : Adagio

3rd Mvt. : Fugue

Sicilienne in G Minor

Chorale No. 1 in E Flat

Theme from Passacaglia in C Minor

Cheganca - Walter Wanderley

 

Take Care, My Heart

Cheganca

The Walter Wanderley Trio

Arranged by Walter Wanderley

Produces by Creed Taylor

Director of Engineering: Val Valentin

Cover Design: Acy R. Lehman

Cover Photo: Jay Maisel

Verve V-8676

1966

Walter Wanderley - Electric Organ

Bobby Rosengarden - Percussion

Sol Gubin (Percussion on "Take Care, My Heart)

From the inside cover (gatefold): Walter Wanderley was born in Recife, which sounds like a small, sleepy Brazilian village. Recife is in Brazil, but as a village it's about as small and sleepy as Washington, D.C.

Wanderley's music, like his background, is urban. At the same time Joao Gilberto and Antonio Carlos Jobim were living and writing on the outskirts of Rio de Janeiro, Walter Wanderley was creating another new Brazilian sound a few hundred miles away in Sao Paulo, where he had moved at the age of 15. 

It's not surprising that their styles contain subtle differences. The softly swinging Gilberto-Jobim approach reflects the atmosphere of Rio, an enchanting city where sky, sea, mountains, and even the air become the ingredients of music. Sao Paulo, on the other hand, is a thriving industrial city (larger than Rio, even larger than Chicago). And Walter Wanderley's music, which grew out of  Sao Paulo, is Sao Paulo – dynamic, sophisticated, but still shaded with the delicate beauties of Brazil.

When Rio and Sao Paulo got together (when Wanderley and Gilberto met and made an album together) the new music of Brazil began to catch the ears of the rest of the world. Almost everywhere except the United States, that is, where only a few copies of the historic Wanderley-Gilberto album were smuggled in.

Meanwhile in Brazil, Wanderley, on his own, recorded Desafinado, Quiet Nights, Meditation, Little Boat – all smash hits throughout Latin America, in France, and in other countries. But it was his recording of The Girl For Ipanema that really burst out of Brazil. Stan Getz and Joao Gilberto subsequently recorded it in New York, with Astrid Gilberto singing the delightful English lyrics. The rest is popular music history.

All that remained was to get Walter Wanderley himself to New York, where he could be recorded and his records made available to the world-wide audience already waiting for him. A few months ago, Verve Records did just that. The rewarding result was Walter Wanderley's first American album, Rain Forest, an instant success throughout the country with both record buyers and disc jockeys (who treated their listeners to Walter's Summer Samba all summer long). 

Shortly thereafter, a new album reunited the names of Gilberto and Wanderley, with Astrid and Walter bringing us the beautiful, bittersweet A Certain Smile A Certain Sadness.

This is only the third Verve album for "Brazil's Number One Organist," as he was appropriately introduced to Americans. With this recording, that introduction requires a slight revision. For Walter Wanderley is now rapidly becoming everyone's number one organist." From anywhere. – Bob Lee - KRHM-FM, Los Angeles

From Billboard - February 18, 1967: Wanderley offers thrilling interpretations of a dozen pop bossa nova numbers perfect for listening or dancing in this package that is sure to be a hot sales item. His organ solos are accentuated by a strong rhythm backing making "Cheganca," "Take Care, My Heart" and "A Man And A Woman" gems. Strong follow-up to his hit LP "Rain Forest."

Cheganca (The Great Arrival)

Amanha

Take Care, My Heart

Agua De Beber

Here's That Rainy Day

O Ganso

Mar Amar

Voce E Eu

O Menino Desce O Morro

Dá-Me (Stay, My Love)

Amor De Nada

A Man And A Woman (Un Homme et Une Femme)