Got My Mojo Workin' - Jimmy Smith

 

Johnny Come Lately

The Incredible Jimmy Smith

Got My Mojo Workin'

Arranged and Conducted by Oliver Nelson

Kenny Burrell - Guitar

Grady Tate - Drums

Produced by Creed Taylor

Engineer: Rudy Van Gelder

Director of Engineering: Val Valentin

Verve V-8641

1966

December 6, 1965

Satisfaction, 1-2-3, Mustard Greens and High Heel Sneakers 

Jimmy Smith - Organ

Kenny Burrell - Guitar 

Ron Carter - Bass

Ben Tucker - Bass

Grady Tate - Drums

December 17, 1965

Got My Mojo Workin', C Jam Blues, Johnny Come Lately and Hobson's Hop

Jimmy Smith - Organ 

Kenny Burrell - Guitar

Grady Tate - Drums

George Duvivier - Bass

Jerome Richardson - Baritone Sax

Phil Woods - Alto Sax

Romeo Penque - Tenor Sax and Flute

Ernie Royal - Trumpet

From the inside cover (gatefold): According to arrange-conductor Oliver Nelson, who has been deeply involved in several of Smith's recent successes, a feeling had developed that (without in any way wanting to pot down their organ-plus-big-band sound) it might be time for a change of pace – for something less formalized and more wide-open for blowing. Thus the first side of this album is strictly for Smith and rhythm section, with full solo room for the organist (and a couple of openings for the superior guitar talents of Kenny Burrell). On the second side Oliver comes into the picture with a few horns, mostly for backgrounds and interludes and ensemble 'stings." the rest for he time "full speed ahead for Jimmy" is the order of the day, and it works out just fine.

A final note on the power of Jimmy Smith's mojo can come from the 1965 Down Beat Readers Poll. Not only was he top choice on his instrument, as always, but his winning margin was the biggest in any category. And his total vote was more than double that of all other listed organists combined. How's that for knowing how to make everybody love you? – Orrin Keepnews

High Heel Sneakers

(I Can't Get No) Satisfaction

1-2-3

Mustard Greens

Got My Mojo Workin'

Johnny Come Lately

C Jam Blues

Hobson's Hop

Delirium In Hi-Fi - Elsa Popping

Delirium In Hi-Fi

Delirium In Hi-Fi

Elsa Popping And Her Pixieland Band

Recorded Somewhere In France

Columbia Records WL 106

1958

From the back cover: Listening to the music of Elsa Popping and her Dixieland Band is, to be truthful, an unnerving experience. It is not unlike watching a 3-D movie without the special spectacles, or carrying on a conversation under water. Mlle Popping for some months past, has been baffling the French nation –  group of people not usually given to easy surprise – with music such as the contained on this record. At last, word has leaked out that there is no such person (which might from the beginning have been surmised from the music); Elsa Popping is, in fact, Andre Popp, a talented and madly inventive arrange-conduct long famous in France. It many be that the listener will find himself swimming rough a pool full of jello as this amazing program unwinds, but the starling and rewarding presentation is well worth the effort.

Actually, Elsa Popping is made up of 50% Andre Popp and 50% Pierre Fatosme, the sound-effects wizard. Popp supplied the musial part, Fatosme the sound effects, and each of these short selections is the result of a cutting, assembling and splicing of tapes the complexity of which might compare with the work involved in editing a Beethoven symphony.

Andre Popp did not write his arrangements until he had finished a very careful and conscientious study of all the sound-effect possibilities developed buy Pierre Fatosme, who drew up a catalog of all achievable sound effects that he felt he could create. Popp squeezed and crammed all this into his head and then one by one, went drawing them out until he had used the full repertoire of twist, gags, jokes and shocks.

Besides the catalog of "social sound effects." Fatosme also drew up blueprints of sound. He divided his material into three parts: a close-up plane (somewhat without luster), a medium-distance plan (with some reverberations), and a distant plan (with echo). Achieving this three-dimensional music, he had three complementary sets of music with which he dealt in his own way, superimposing one on the other so as to obtain effects that you can hear in the record.

What is remarkable is that never for a moment has anything been sacrificed to obtain cheap or facile effects. Slapstick is studiously avoided. Slapstick could have been achieved, for instance, with more than one "At-choo" in Jealousy. Alone, this sneeze sound has a certain weird dignity; but if repeated, might have ruined the purity of the style.

From Billboard - March 3, 1958: Elsa Popping – a whimsical collaboration of arranger Andre Popp and sound expert Pierre Fatosme – does to familiar music what trick photography does to familiar sights. The result is a first-rate musical prank, providing such hilarious and startling trickery as trombones that skip like piccolos or singers who vocalize during a breath intake. It's all done with tapes – tapes that are mixed, speeded, slowed or run backward by the inventive Frenchmen, as they offer tunes like "Beer Barrel Polka" as no one ever quite heard them before. Good on all counts.

Perles de cristal

Java

La paloma

Beer Barrel Polka

Java du diable 

Jalousie

La Polka du roi

Java des bombes atomiques

Adios muchachos

La Polka du colonel

Java Martienne

La cumparsita 

Time's Encomium - Charles Wuorinen

 

Time's Encomium

Charles Wuorinen

Time's Encomium

For Synthesized & Processed Synthesized Sound

Realized at the Columbia-Princeton Electronic Music Center, New York

Coordinator: Teresa Sterne

Art Direction: William S. Harvey

Cover Design: Hess and/or Antupit

Nonsuch Records STEREO H-71225

1969

From the back cover: Born in New York in 1938, Charles Wuorinen received degrees from Columbia University, numbering among his teachers Otto Luening, Vladimir Ussachevsky, and Jack Beeson. Since 1964 he has been a member of Columbia's music faculty and is now an Assistant Professor; he has also been a visiting professor at Princeton University and the New England Conservatory.

As composer, Wuorinen has to date produced an extraordinarily wide range of works, including symphonies and other orchestral pieces, choral and vocal music, opera, solo instrumental and chamber works, and tape and electronic music (for both synthesizer and computer). A number of these have been issued in recordings on the Golden Crest,, Composers Recordings, Cambridge and Advance labels.

Wuorinen has been the recipient of numerous grants and awards, among them the Lili Boulanger Memorial Award, BMI-SCA Awards, Bearns, Alice M. Ditson, and Guggenheim Fellowships, and commissions from the Ford Foundation. Berkshire Music Center, Koussevitzky, and Fromm Music Foundations; and he has been honored by the American Academy of Arts & Letters.

In conjunction with his other activities, Mr. Wuorinen has held directorial and advisory positions for various distinguished organizations, such as the American Composers Alliance. Composers Recordings, I.S.C.M., Independent Electronic Music Center, and American Society of University Composers. He has written on musical subjects for Perspectives of New Music. The New York Times, and other publications, and appears frequently as performer of contemporary works by himself and by fellow composers.

From Billboard - August 23, 1969: Nonesuch's highly successful commissioned series of avant-garde music has another fascinating electronic work in "Time's Encomium (for synthesized and processed synthesized sound)" by the highly regarded Charles Wuorinen. Either side can be played first or by itself: side one, slow and severe, or side two, complex and rapidly unfolding.

Music For Glass Harmonica - Bruno Hoffman

 

Music For Glass Harmonica

Music For Glass Harmonica

Bruno Hoffman - Glass Harmonica

K.H. Ulrich - Flute

Helmut Albers - Oboe

Herbert Anrath, Walters Albers - Violins

Ernst Nippes - Viola

Hans Plumacher - Cello

Gert Nose - Bass

Mastering: Rudolph Van Gelder

VOX STDL 501.110

From the inside cover (gatefold): Burno Hoffmann, who has done more than any man living to revive the fascinating eightieth-century art of "glass music," was born at Stuttgart, Germany, 15 September 1913. The son of a church-music director, he attended the Eberhard-Ludwigs-Gymnsium and was trined in piano and organ playing. But from the early age of sixteen, when he first encountered musical glasses, his life has been devoted to mastering their executant technique, resurrecting the masterpieces originally written in this medium, and fostering the composition of new works by contemporary composers. He is the authority chosen to write the article on the Glasharmonka in German encyclopedia  Musik In Geschichte And Gegenwart. The glass harp on which he performs is of his own design and construction, and with it he has appeared in recitals and as soloist in chamber and orchestral concepts all over the continent and the British Isles, in innumerable radio and television broadcasts, in several films – including a Benjamin Franklin documentary.

Mozart

   Adagio and Rondo in C Minor, K.617

   Adagio in C, K.617a

J.F. Reichardt

   Rondeau for Glass Harmonica

   String Quartet and Double Bass in B-flat Major

Karl Leopold Rollig

   Quintet for Glass Harmonica and Strings Quartet in C Minor

Johana Abraham Peter Schulz

   Largo in C Minor

Johann Gottlieb Naumann

   Quartet for Glass Harmonia, Flute, Viola and Cello in C Major

Hawaiiannette - Annette

 

Luau Cha Cha Cha

Hawaiiannette

Annette Sings Songs Of Hawaii

With The After Beats Plus Four

Music Direction: Camarata

Vista BV-3303

1960

Hawaiiannette

Pineapple Princess

Hukilau

Blue Hawaii

Song Of The Islands

Now Is The Hour

Date Night In Hawaii

Blue Mud Mud

Luau Cha Cha Cha

My Little Grass Shack

Holiday In Hawaii

Aloha Oe

Sessions, Live - Andre Previn/Red Mi

 

Zip 

It's All Right With Me

Bewitched, Bothered and Bewildered

Sessions Live

Andre Previn, Shelly Manne & Red Mitchell

Executive Producers: Heywood Collins, Rick Donovan, Lee D. Weisel

Production & Coordination: Mike Jordan for Krishane Ent.

Mastering: Jack Skinner for Keys-Century Corp.

Art Direction & Photography: Jeffery Weisel

Calliope CAL 3003

1976 Gold Records, LTD

From the back cover: Andre Previn was born in Berlin, Germany on April 6, 1929.

He has composed and arranged for motion pictures studios since 1948. Andre's piano style was heard on jazz albums during the fifties and early sixties, which were comprised mostly of Broadway and motion picture show tunes. His biggest success came in 1957 with My Fair Lady, which also featured Shelly Manne on drums

Since the mid-sixties Andre has been inactive in jazz but has conducted major orchestra throughout the United States and Europe.

Red Mitchell, bass, also plays piano, cello and bass guitar.

He was born in New York City on September 20, 1927. Red has worked with Hampton, Hawes and later Dizzy Gillespie in 1968.

He uses the bass as a solo instrument and on side two of Sessions Live, Red is featured on Bass violin with his quartet.

Featured vocalists on these session is Toni Harper.

By the time she was eleven, Toni had played most of the theaters in New York City including Carnegie Hall. She also sang and starred with Cab Calloway as a child star.

These sessions in 1957 reflect a mature vocal style which proves you can be a child star and evolve with a new successful direction in the field of jazz. – Jim Pewter

Ascot Gavotte - Andre Previn, Shelly Manne & Red Mitchell

Collard Greens And Black Eyed Peas - Andre Previn, Shelly Manne & Red Mitchell

But Not For Me - Andre Previn, Shelly Manne & Red Mitchell

Stars Fell On Alabama - Andre Previn, Shelly Manne & Red Mitchell

Zip - Andre Previn, Shelly Manne & Red Mitchell

It's All Right With Me - Red Mitchell Quartet

I Thought Of You - Red Mitchell Quartet

Them There Eyes - Toni Harper

Bewitched, Bothered And Bewildered - Toni Harper

Paul's Pal - Red Mitchell Quartet

Instrumental Hit Sounds Of John Morell

 

Mozart Summer

Instrumental Hit Sound Of John Morell

His Guitar And Orchestra With Voices

Produced by Ernest K. Dominy & William Loose

Design: Roy Kohara

Engineer: Carson Taylor

SQ Systems Capitol SQ QUADRAPHONIC QL-6836

1972

From the back cover: Born to music, John Morell is the son of one of Hollywood's finest guitarists, Louis Morell, who taught him to play at a very early age. At twelve, John was playing professionally and at sixteen he was teaching guitar to pay college expenses. A short time later he had joined the Les Brown Orchestra and was accompanying Bob Hope to Viet Nam for his annual Christmas programs. For several years he has been a featured player with renowned jazzman Shelly Manne. and performs regularly at Manne's club in Hollywood,. In addition,John has appeared on a number of nationally televised musical programs, including "Playboy After Dark." "The Music Scene," Dinah Shores "Dinah's Place" and the Henry Mancini specials.

In addition to the great popular hit songs which have already become new standards, this album includes John's own composition "I Can't Feel Happy," and his unique "Mozart Summer," adapted for Mozart's Symphony NMo. 40.

This is John Morell, listen to his guitar, his exciting arrangements and his great orchestra – it's something you'll remember.

Old Man

Where Is The Love

I Can't Feel Happy

Morning Has Broken

Wild World

Rocket Man

Daydreaming

Mozart Summer

If

Song Sung Blue

The Soul Of Mbira - Paul Berliner

 

Nyamaropa

The Soul Of Mbira

Traditions of the Shona People of Rhodesia

Recorded in Rhodesia by Paul Berliner

Coordinator: Teresa Sterne

Art Director: Robert L. Heimall

Cover Art: Donald Leake

Cover Design: Robert L. Heimall

Tape Editing: Ben Taylor & David Lewiston

Matering: Robert C. Ludwig (Sterling Sound, Inc.)

Explorer Series Nonsuch STEREO H-72054

1973

From the back cover: Mbira music is one of the most ancient and popular forms of music found throughout black Africa. Its myriad forms constitute a contribution of unique richness to the world's music.

The mbira has always been essential to traditional Shona culture and its players held in high esteem, providing music not only for entertainment but also for the most important occasion, ranging from the coronation of chiefs to religious ceremonies. Today, while mbira players are professionals by the nature of their commitment and skill, they often have to supplement their income through other vocations. Of the artist heard here, Mr. Mude is an upholsterer and businessman; Mr. Mashoko works as a catechist for the Roman Catholic Church; Mr. Kunaka is a skilled blacksmith and carpenter.

The mbira is an instrument consisting of keys mounted over a bridge on a hardwood sound-board. Shona moires range in numbers of keys from eight to fifty-two. They are generally played inside large gourd resonators decorated with shells and (more recently) bottle tops. The gourds shape and amplify the sound of the mbira, and the shells provide a buzzing quality – an integral part of the music. A basic rhythmic accompaniment to the mbira is often provided by gourd rattles called hosho. In this album, four major mbira traditions are represented: the Mbira Dza Vadzimu, Mateoe, Njari, and Nimbi. Their playing techniques range from the use of two thumbs to both thumbs and index fingers.

We are greatly indebted to the performers, whose love of mbira and conviction that mbira music holds universal meaning made these recordings possible.

Shnoa terms used in these notes are of the chiZezura dialect.

Nhemamusasa - Recorded in Kwaramba Village, Mondoro

Taireva - Recorded in Highfields, Salisbury

Nyamaropa - Recorded in Highfields, Salisbury

Kuyadya Hove Kune Mazove - Recorded in Mkota district, Mtoko

Mbiri Viri - Recorded in Gien Clova, Ft. Victoria

Nhimutimu - Recorded at Nyamweda, Mondoro

Nyamoropa Yevana Vava - Recorded at Dambatstoko, Rusape

Dang Rangu - Recorded at Musondza Village, Mondoro

Kumakudo - Recorded at Glen Cova, Ft. Victoria

Reverie - George Melachrino

 

Reverie

Interlude For Dreaming

George Melachrino

His Orchestra And Strings

His Master's Voice DLP 1083 (10 inch LP)

Made In England For RCA Victor Limited

From the back cover: George Melachrino was born in London in 1909, of Greek parents. At four years of age, George was the proud processor of a miniature violin and upon this, with the help of his step-father, he learned to play. In due course he entered the Trinity College of Music, specializing in chamber music and string instruments.

In 1927, with radio gaining ground in home entertainment, George was, at the age of 18, winging and playing at the Savoy Hill Studios, London. In the ensuing twelve years he played in many different bands and orchestras, becoming an accomplished player of the violin, viola, oboe, clarinet and saxophone. He also became a competent arranger and composer.

In 1939, he formed his own dance band and secured a contract at the Cafe de Paris, broadcasting from there many times.

Volunteering for the army, he was posted to the Corps of Military Police with whom he went through all the usual training and later became a P.T. instructor. At last it was decided that George Melachrino's peacetime experience might be useful on the entertainments side. He was posted to the Army Broadcasting department, as Musical Director for the recording of entertainment for overseas forces. When the British Band of the AE.F. was formed R.S.M. George Melachrino, as he then was, became Musical Director. This band became known throughout every theatre of war either on recordings for the forces, or on live broadcasts. The name Melachrino became synonymous with music that was quiet, sweet and melodious.

On demobilization in November 1945, he formed with the cream of his musicians the George Melachrino Orchestra, an orchestra now acknowledged as a body of stings without superior in the field of light music.

George Melachrino and his orchestra have been featured in many times, and he has composed and arranged music for both films and theatrical shows. – Note by Melvyn Douglas

Serenade

Greensleeves

Liebestraum

Clari de lune

Romance

Intermezzo

Le cygne

Air on the G string

Limbo Party - Cubby Checker

 

Desafinado

Limbo Party 

Chubby Checker

Parkway SP 7020

1962

La La Limbo

Mary Ann Limbo

Man Smart, Woman Smarter

Baby, Come Back

Somebody Bad Stole The Wedding Bell

The Bossa Nova

Limbo Rock

When The Saints Go Marching In

Jamaica Farewell

Banana Boat Limbo Song

Desafinado (Slightly Out Of Tune)

La Bamba

Tears Of Joy - Don Ellis

 

Strawberry Soup

Tears Of Joy

Don Ellis

Produced by Don Ellis

Arrangements by Don Ellis, Sam Falzone, Hank Levy, Fred Selden

Engineering: Roy Segal

Cover Art: Maria Eckstein

Back Cover Photos: Fred Selden, Earle Carry

Strings and piano amplified and recorded by direct line-feed with Barcus-Berry Transducer Systems

Quarter-tone trumpet and four-valve fluegelhorn by Halton

Ring Modulator by Oberheim Electronics.

Planet and clarinet by Hohner

Musical sound system by Altec Lansing

Fender-Rhodes piano and amplifiers by Fender

Columbia Records G 30927

1971

Don Ellis - Quarter-Tone Trumpet, Four-Valve Fluegelhorn, Drums

Lee Pastore - Conga

Ralph Humphrey, Don Dunn - Drums

Milcho Leviev - Piano

Christine Ermacoff - Cello

Kenny Sawhill - Bass Trombone

Jim Sawyer -  Trombone

Earle Corry - Violin

Fred Selden - Alto Sax

Lonnie Shetter, Paul Bogosian - Trumpet

Sam Falzone - Tenor Sax

Doug Bixby - Tuba

Jon Clarke - Baritone

Ellen Smith - Viola

Alfredo Ebat - Violin

Jack Caudill - Trumpet

Dennis Parker - Bass

Lonnie Parker - Bass

Lonnie Shetter - Alto Sax

Kenneth Nelson - French Horn

Bruce MacKay - Trumpet

From the back cover: Don Elliot Is An Adventure

Ellis is the only jazz big band leader to both emerge and endure in the last twenty years.

"The newest version (of his band) played Basin Street West last weekend, recorded an album for Columbia and demonstrated once again that it is the most exciting big band performing today. The main goodies this time were a brand new string section – cello, viola, two violins, all electrified – and a cappella, free-improvising wind quartet and Ellis himself on drums (and a new four-valve flugelhorn). In addition to the able mentioned, the band carries electric piano and bass, eight brass (including an extremely rare contrabass trombone) and three drummers." – John L. Wasserman, San Francisco Chronicle 

Tears Of Joy

5/4 Getaway

Bulgarian Bulge

Get It Together

Quiet Longing

Blues In Elf

Loss

How's This For Openers?

Samba Bajada

Strawberry Soup

Euphoric Acid

Cracked Seed - The Sunday Manoa

 

Pua Lilia

Cracked Seed

The Sunday Manoa

Producers: Steve Siegfried, Lawrence Brown, Witt Shingle

Photography: David Cornwell (jacket), Bob De Mello (sleeve)

Graphic Design: Momi Cazimero

Engineer: Robert Lang

Recorded at Sounds Of Hawaii

Mixing Engineer: Hugh Davies - Capitol Records

Panini Productions, Inc. STEREO PS-1003

1972

Hula Lady

Kilakila O Moanalua/Moanalua

Pua Lilia

Na Moku Eha

Beautiful Kahana

Honolulu Baby

The Queen's Jubilee

Pua Kolu

Paauau Waltz

Honolulu, I Am Coming Back Again