Noro Morales At The Harvest Moon Ball

 

Mucho Dinero

Noro Morales and His Orchestra

At The Harvest Moon Ball

Cover Photo: Lester Krauss

Forum SF 9013

1958

From the back cover: Very few Latin-American orchestras and personalities have been able to maintain the reputation and popularity that Noro Morales and his orchestra have over the past years. Whenever the names of great Latin-American music first became popular in America, it was Noro Morales who was among the first of the big orchestras to gain national following and prestige by playing this type of music. The Morales orchestra has played everywhere, in every well-known theater, dance ballroom and nightclub in America. There is, however, one annual event that the Noro Morales orchestra has been request to play for year in and year out of the past eleven years. This special event is the Harvest Moon Ball.

The Harvest Moon Ball which takes place each year in September in New York City has, over these many years, become one of the most anxiously awaited affairs to be held in any city in America. This celebrated occasion beckons countless avid amateur dance enthusiasts to step forward and exhibit, in highly competitive contests, their terpsichorean capabilities. For any dancer, the Harvest Moon award is a coveted honor which they all seek. Sponsored by the New York Daily News, for charity, it is truly a colorful and entertaining festival, and one of the most popular civic affairs in this great metropolis. 

It seems only natural that the music played at the harvest Moon Ball be etched between the covers of an album, and it is equally natural that this music by played by Noro Morales and his orchestra. The Morales orchestra; continued appearance at this dance festival has become as much a part of this institution as the dance contest itself. It just wouldn't be a Harvest Moon Ball without Nor Morales and the orchestra.

Shine On Harvest Moon

Vuelve

Mucho Dinero

Coffee Break

Come To The Mardi Gras

La Cumparista

Waltz Medley: Spring Beautiful / Villa / My Hero

Ven

Morena

No Agite

A Los Muchachos

Mr. Ghost (Goes To Town)

When Day Is Done

First On Wax - Jimmy Palmer

 

C-Note By Two

First On Wax

Featuring Jimmy Palmer and His Hi-Fi Orchestra

Mercury Records MG 20191

1957

From the back cover: Mercury-Records takes great pleasure in presenting to you on this Long-Playing recording, one of the finest dance bands in the country, led by a man who follows the music trend for his popular appeal – Jimmy Palmer and His Hi-Fi Orchestra. Jimmy Palmer, who long has been a favorite in the dancing circles around the country, has found himself a new and intriguing style which he calls his "Hi-Fi Orchestra." The sound is an exciting, toe-tapping, danceable one that is bound to hit the jackpot. The new band is composed of four saxes, flour trombones, three trumpets, and three rhythm, plus Jimmy himself.

Jimmy Palmer, never known for wasting time, got started in show business at the grand old age of six, when he started to sing and dance professionally. The majority of his early career was devoted to dancing, later he switched to singing, and eventually he became a musician and band leader. He studied dancing under the famous New Wayburn, and after graduation, went on the road professionally, until he finally opened his own dance studio in Pittsburgh. His clientele grew until his school was one of the best in the entire area. While doing this, he won a Paul Whiteman "Youth Of America" contest as a vocalist, and was given, as a result, his own radio show over KDKA in Pittsburgh. While on the air, he was heard by Dick Stabtle who at the time needed a substitute for his ailing vocalist. Luck was with Jimmy again, and what was to be a short-term job turned out to be a permanent booking. Jimmy stayed with the Stabile unit until his name became known across the country, and then he sang with such units as Blue Barron, Les Brown, Lou Breeze and Bobby Byrne. Jimmy later returned to the Stabile orchestra and when Dick Stabile left for the service, Jimmy took over the band. In April 1944, Jimmy formed a band of his own, and his life-long ambition was finalized. His career from that point on is now part of the legend of show business. He currently rates as one of the most versatile band leaders in America for he plays, sings and dances, and has won the hearts of dancers the nation over for his unique styling and danceable musical point well taken when the band hits the stand.

A New Pair Of Shoes

Air Mail Special

Summit Ridge Drive

You Are Too Beautiful

Robin Hood

It's All Right With Me

Baubles, Bangles And Beads

Spring Is Here

Peanut Vendor

What A Difference A Day Made

Pennies From Heaven

C-Note By Two

Aloha Darling - Leilani Beach Boys

 

Silhouette Hula

Aloha Darling

Leilani Beach Boys

Clarion Records 619

1965

Aloha

Ta-Hu-Wa-Ha-Ha

Silhouette Hula

Mapuana

Farewell

Lovely Hula Girl

Papio

Pjamanal Sea Breeze

Lovely Miss Laughing Eyes

Vana Vana

An Evening With Shearing - George Shearing

 

Mambo Inn

An Evening With Shearing

George Shearing and His Quintet

MGM Records E3122

1954

From the back cover: George Shearing was long known as "Britain's Plenipotentiary Ambassador of Jazz To America". But, the title has become a bit passeé! George didn't come by diplomatic pouch; he wasn't lent us; nor was he leased. He's here in America to stay – and his millions of fans on this side of the Atlantic have hailed a new adopted son. George and his family have settled on a delightful little farm in upper New Jersey and, to all reports, the Americanization of the talented Mr. Shearing is not limited to musical idioms alone. But, let's begin where we should –

George was born George Albert Shearing in London, England on August 13, 1919. He was born totally blind and most of his education was gained at the famous Linden Lodge School For The Blind. Luckily, his training included music lesson, and the piano was soon George's chosen instrument. Most of his musical instruction was through the near-miraculous Braille method. Since most of the Braille musical materials available to him was classical in nature, he gained a thorough background in serious music and a solid technique. Both are easily spotted in his jazz stylings and, indeed, set the Shearing style in jazz off as something nearly unique.

His first brush with jazz came when he was sixteen and some American jazz records came his way. He was fascinated by what he heard and sought out anything on the subject that he could find in Braille and on discs. On his graduation from Linden Lodge, he took a job as a pianist at a small London entertainment place called Mason's Arms. A series of other minor jobs followed until he found a place, in 1937, with the touring orchestra of Claude Bampton, a group of seventeen blind musicians.

When George left the Brampton band, he embarked upon a very successful solo career. There was a break in the solo rounds during the War, however, when he appeared as featured pianist for two years with the world-famed Ambrose Orchestra. Still later, simultaneously with his engagements with Ambrose, he carried on his own popular solo program over the B.B.C. and, that show continued long after he left Ambrose. A mark of his popularity in his native land is the fact that he placed as the outstanding British pianist in polls sponsored by England's important Melody Makers Magazine for seven straight years. In the meantime, he appeared as guest star with several British jazz units, large and small, and he enjoyed a side career penning arrangements for several well-known British orchestras. His contact with American "pop" music was kept alive through records – and, instinctively, George absorbed many a vital idea, latched on to many an important trend in American jazz. Another of the great pianistic influences of this period was the last "Fats" Waller, whom George met during a British tour by that beloved pianist-vocalist-composer. George himself reports that he went through just about every style of jazz piano playing possible before he found his last love: bop. He says punnishly that he was even "known as England's No. 1 boogie man – then I got tired of it." On the side, he continued to nurture his live for the classic – especially Bach and Debussy, the latter the favorite of his wife Trixie.

It was a difficult choice and a courageous one which led George to come to America for a brief professional visit in 1945. At home, he was the reining monarch of the keyboard – in America, he was little more than a name known by the inner circle of jazz cognoscente. The few engagements he filled were remarkable successful. Americans seemed to like George and George liked America and Americans. He returned with his wife and small daughter late in 1947 with the desire to become a permanent resident.

At first, it looked as though his decision was a wrong one. He had difficulty interesting agents and bookers in his talents. Engagements were few and far between. The golden promisee of the first visit had tarnished quickly. Then, The Three Duces, one of New York's famous 52nd Street jazzers, asked him to pool his talents with those or Oscar Pettiford and J.C. Heard to form a trio. George passed from that trouping to many anther – and slowly the Shearing fingers worked their magic. Soon, George entered the charmed circle of top-flight jazz progressives.

Then the Quintet was born – and, to all reports, by accident. George had been working with a quartet consisting of piano, clarinet, bass and drums. The group was approached to set down a few of its specialties on wax. At the last moment, the clarinetist learned that a previous contractual agreement made it impossible for him to fill the date. George quickly gathered together a new group, filling the missing place with guitar an vibraharp designed to blend in unison fashion with the piano. Thus, the famous Shearing "sound" was discovered! The first recoding session with MGM turned up September In the Rain – and the Sharing quintet became a permanent reality. Night club, jazzers, and theater engagements followed apace. Record hit after hit appeared. And the rest if history!

Gathered in this recorded collection are a bumper crop of Shearing efforts. There are wonderful arrangements of great melodic standards like The Continental and Body And Soul; there are stream-lined versions of old favorites from "memory lane" like Roses Of Picardy; Sid; and, just in case Hearing audiences might forget, George's delight in puns, there's something like Mambo Inn where the title can cut a couple of ways. That's what "An Evening With Shearing" added up to – and you'll find it a nightly pleasant event.

Mambo Inn

To A Wild Rose

The Continental 

Jumping' With Symphony Sid

Rose Of Picardy

Body And Soul

Little White Lies

I'll Remember April

The Breeze And I

Swedish Pastry

In A Chinese Garden

Trombone Panorama - Kai Winding

 

Trombone Panorama

Trombone Panorama

The Kai Winding Septet

Columbia Records CL 999

1957

From the back cover: INTRODUCTION by Charles Edward Smith

Kai Winding is one of the most versatile, entertaining, and musically fitted jazzmen of this generation. He orchestrates for four trombones and rhythm – the Kai Winding Septet – and suggest the fullness of big-band ensemble without being an imitation of it. He plays superbly articulate trombone, with almost faultless intonation and phrasing, yet it comes out according to mood, robust, refined, or in choruses lovely of definition, casually cool of delivery. Here, in "Trombone Panorama" is, to borrow one of Kai's titles, a potpourri of devices and divertissements that range from the trombone now-how and historic interest on the title piece, a saga in sonorities, to Kia's contemporary narration of sonorities, to Kai's contemporary narration of Frank and Johnny, the most exciting and amusing treatment of this old stand-by since it was done with jazz background– when jazz was not yet recognized in America, except by the backroom boys – in Provincetown Playhouse premiere of e. e. cummings' him.

At about that time (the late Twenties) Kai was playing accordion in Aarhus (pronounced Oar-hoose according to Metronome), Denmark. He came to America in 1934, at the age of 12, and took up trombone in 1937, while attending Stuyvesant High School. After a summer of burlesque-house blowing he began to work in dance bands, except for the war years, when he was with the Coast Guard band and on sea duty. There followed periods with Goodman and Kenton, to season his tones and take the kinks out of his style. Barry Ulanov wrote (Metronome, July, 1954): "With Stan in 1946 and 1947, Kai arrived, the first fresh sound since Bill Harris and J. J. Johnson, and little challenged since then for consistency of performance and ideas."

As explained by Kai, the idea behind the Septet was to create a band, ensemble-wise, based on four trombones, that could create mellow moods or give the impression of a full band shouting. Says Kai: "Solo-wise, from within, it is always stimulating and challenging. There is no room for complacency. Yet – with an average work night of between five and six hours – we can get plenty of opportunity to play our horns and express ourselves."

"As usual comment," Kai remarked, "is that we sound like a 'big band' when we start 'cooking' in the ensemble choruses." In this connection the title piece, which abounds in succulent swing, includes a little bit of everything from home cooking to what I have elsewhere called the cool cuisine. It bight be described as a musical pastiche, or series of pastiches, brought into focus by Kai's compositional arrangements of backgrounds and his concept of the piece in its entirety. As one might expert, some of the "conveyances" (see Kai's Note) are bright off more successfully than others; most of them, however, more than meet the demands that Kai put to himself and  the group. The text (which he wrote) is informal and, one the whole, informative, though one might hesitate to identify Teagarden with Dixieland, as Kai does (perhaps reflecting the common confusion of Dixieland and New Orleans style.)

If you're familiar with the band styles that the various remnants represent – and you're sure to known some of them – the deftness of Kai's recapitulations (in the arranging) will give you a boot. The staccato angularity of Dixieland emerges in Muskrat. There are incisive vignettes of Lunceford and Woody Herman in, respectively, Margie and Bijou. Collaboration, very Kentonish in feeling, recalls Kai's two seasons with Stan (the music-man) Kenton. And the exuberant fullness of It's All Right is a swinging saluted to the Jay and Kai partnership that made jazz history. All told, the impact of arranging, narration and performance is first-class jazz entertainment. And when Kai puts the band through its paces on Potpourri (written wheel traveling east on Pennsylvania Turnpike) the lid blows off and you get a taste of what's been cooking. Kai's chorus is boldly conceived, beautifully played, and the musicianship of the groups on intricate brass work is solid and swinging.

Kai and the Septet continually experiment and expand, both in variety of arrangements and in approach to performance. "We have," he said, "learned a lot with respect to the most workable writing techniques." He fully appreciates the value of a relaxed feeling in the band. "Woody Herman once put it very plainly," he said "Was on the date when Woody scored Four Others. The first takes found the four trombones struggling, trying hard to 'make good': in solos. Woody firmly stopped the band and said, 'Look, fellow, relax. You guy are trying to win the war in eight bars.'"

As important to Kai as a clarity and flexibility of style is directness of expression. Though far from a novice in the area of complex musical thought, he prefers not to be abstruse. "I believe in simplicity," is the way he puts it, and, getting down to cases, continues, "This album is not meant to be earth-shattering of test tube experimental material. It doesn't take a set of blueprints or a classically-trained ear to get our message."

There is both simplicity and good taste in The Party's Over, a June Styne tune ("Bells Are Ringing") arranged by Dick Lieb. Wayne Andre plays the quasi-horn introduction nbd there is some ballad-blowing by Kai and Carl Fontana, in that order. Toward the close Dick Leib signs his arrangement, in deep-throated sonorities.

The minstrel mood suggested by Lassus Trombone bursts into rhythmic exuberance on Horse Silver's The Preacher, arranged by Wayne Andre. The interweaving of rhythm instruments, a the buoyancy of mood, the freshness with which the instruments are played, make this a happy listening experience, or a bright beat for dancing. There are solos by Kai, Carl, and Roy Frazee (piano). The shouting horns with their jovian jolts, as on Potpourri, admirably illustrate Kai's remark that "The tenor or the four trombones becomes electrifying with handled properly."

Dave Heft did the unusual arrangement of Come Rain Or Come Shine in which bucket mutes are used to simulate French horns. It is an interpretation of pungent harmonies and mellow moods. There are four-bar passages by Kai and Dick. Red, Red Robin, the pop song inspired by a doughty harbinger of spring and heat waves, in an arrangement by Dick Lieb, is a tender little tune that swings lightly. Solo passages by Kai, Carl, Wayne and Dick. On I Can't Give You Anything But Love, ballad - burgeoning in an imaginative arrangement by O. B. Masingill, the order of solos is: Carl, Wayne, Dick, Roy and Kai.

Wayne Andre has a warm tone, heard in smooth-texture passages on, for example, Red Robin, parts of Panorama and I Can't Give you Anything But Love. Fontana (e.g. Red Robin) has a forceful style and plays like a man confident that he has bower in reserve. And all through the set, Lieb's bass trombone brings body and warmth of tine, through and continuity of phrasing to the ensemble effort.  The rhythm adds immensely to both the swing and sense of fullness, with a good balance and disposition of rhythmic chores, the chords that build and the beat that, properly handed, give thrust and drive. Bass and piano are apposite, which in this instance means copacetic. The high-calorie drums on Potpourri are handled by Tom Montgomery.

Frankie And Johnny is a saga if sin, the song-story of a good man who didn't do right by his ever-lovin' mama. It's a honky-tonk ballad, a distant cousin to those musical brothers-under-the-skin, The Streets Of Laredo and St. James Infirmary. It's a song sung to whanging guitar or (as in the Provincetown presentation) to a wailing clarinet. Kai Winding catches the spirit. His narration, paced to the rhythm of sting-sung percussion, drums on a controlled Donnybrook and shouting trombones (that stalk the them like foxhounds on the scent), is thoroughly enjoyable. On first listening, the spoken lyrics or what Kai calls "the contemporary version" are of such absorbing interest – his use of jazz slang is deftly satirical, quietly amusing and in good taste – that one is aware of the music without paying particular attention to it. On second listening, music and lyrics merge, building to a crescendo that reaches its shattering climax on Kai's delivery of the Thurberlike twist with which he brine s this most solid a sagas to a close.

"All in all," Kai remarked, "speaking of his 1957 itinerary of clubs, college concerts, and dances, "it is a very happy environment for us. Always stimulating; never dull. we try to keep it swinging – and swinging is contagious."

A Note by Kai Winding

The various excerpts which comprise Trombone Panorama are not intended to be imitations in the sense of note for note "carbon copies." They should be accepted as our concept and conveyance of the individual styles and stylists represented. It is further intended that this is to neb a tribute to the artistry of this select group of tomboy stylists, those influences remain for posterity. There are, we realize, omission of numerous, perhaps equally illustrious, contributors. However, allowing for technical limitations, we have compiled what we conserved a workable cross-section of the field.

In essence, our sincere admiration goes out to the pioneers of trombone playing and we feel they have proved the theory that: Jazz is a living thing – comparable to t a tree; it grows with each individual who contributes to it. We look to the future with indigence that the inevitable new branches will be healthy and strong– as the doors have been firmly planted.

Other selections included are from our ever increasing repertoire. They are numbers we have been playing in our various public appearance thought the country in jazz clubs, concerts, colleges and dances. (Incidentally, people are starting to dance to jazz again.)

We enjoyed recording this album. We hope it will afford you some pleasant listening. – Kai Winging

From Billboard - June 24, 1958: LP illustrates how much can be done with a group featuring four tomboys and rhythm. Thru good writing and soloing, group runs a variety of moods, getting both a big and small band sound, and swinging with great stringy. Most importantly covers a lot of ground: Instruction – brief history of the trombone in jazz with narration and musical examples – novelty, and has sufficient jazz and pop values to keep clientele in both areas interested.

Trombone Panorama"

   Fanfare

   Lassus Trombone

   Muskrat Ramble

   I Gotta

   Right To Sing The Blues

   Sidewalks Of New York

   Margie

   I'm Gettin' Sentimental Over You

   Kaye's Melody

   Moonlight Serenade

   Bijou

   Collaboration

   It's All Right With Me

   Potpourri

The Party's Over

The Preacher

Come Rain Or Come Shine

When The Red, Red Robin Comes Bob, Bob Bobbin' Along

I Can't Give You Anything But Love

Frankie And Johnny

The Montagu Three Recorded in The After Deck Bar

 

Coconut Woman

The Montagu Three

Actually Recorded In The After Deck Bar

The Montagu Beach Hotel

Nassau In The Bahamas

Carib LP 2014

1960

From the back cover: Take another look at the front cover of this album and you'll see one of the main reasons why this is a thoroughly enjoyable record. Those happy smiles weren't put on just for the camera. They are present all the time the boys are playing. The Montagu Three have fun playing and their happy mood comes through in the music making it lively and merry. 

When Carib first heard their joyous sound, it was immediately decided to record it. To add the "island flavor" of this recording, Carib had the outstanding bongo drummer of the West Indies, "Peanuts" Taylor, bring his wonderful talent to this performance. 

The present engagement of the Montagu Three marks their first appearance as a combination and credit must go to the Montagu Beach Hotel for bringing the boys together, engaging them and encouraging them. The Montagu has always been known for its policy of featuring native talent. It was, in fact, the first hotel in Nassau to employ native entertainment and since then has "talent scouted" a number of times with happy results such as those appearing in this album. And, speaking of talent, each of the trio has a talent that comes naturally. All were born in the sunny Bahamas of musical families and nourished on island music in true minstrel fashion. Take Martin Conliffe, the leader, for instance. His father, an accomplished cornet player had Martin playing scales at the tender age of six so the he was well on his way when he started his formal musical education on the piano at eight. Today, Martin writes music and makes all his own orchestral arrangements. Listen to his piano medley in this album and see if you don't agree with our enthusiastic endorsement of his ability. Everett Hendfield inherited his talent on the bass fiddle from his father, a well-know bass man in the islands. Patrick Rolle, the vocalist, comes from a family that loves to sing. His enunciation is outstanding. Every  word he sings is clearly inderstood by the audience.

So come along to the After Deck Bar at the Outage. And, in this romantic room witch is the replica of the main cabin of a British sailing ship of the 1800's, let the Montagu Three take you on a musical voyage of the islands.

Coconut Woman

Delia Gone

Angelina 

Island Woman

Destiny

Calypso Medley (Little Nassau / Bahama Mama)

Goombay

Malady D'Amour

The Sand And The Sea

Piano Medley (Temptation / Granada)

John B. Sail

La Mer

Greatest Hits - Texas Bill Strength

 

Call Of The Wild

Texas Bill Strength's

Greatest Hits

Re-Car Records RC 2022

1967

From the back cover: By popular demand, here's a collection of original songs by Texas Bill Strength, a native of Houston (in the Lone Star State). And a veteran of country and western music. Bill started out in show business at the tender age of seventeen, by winning a talent contest at a small theater in his hometown of Houston, Texas. And since then, has had his own radio shows on stations throughout the United States, including Atlanta, Georgia, St. Joseph, MO., Memphis, Tenn. and Long Beach, California. He has been established as a top recording star and radio personality for the past ten years.

Bill is highly respected by all the top country and western stars as a fellow artist and a genuine and sincere person; he has worked with 99 per cent of them, either on tour, or on a radio or television network show, including Red Foley's Ozark Jubilee, and 15 appearances on the world famed Grand Ole Opry in Nashville, Tennessee.

As for his ability as a Disc Jockey, he is rated by Billboard Magazine Poll, No. 22, out of more than 1,800 country and western Dee-Jays throughout the United States and Canada, and has has a number one rating on every radio station he has ever worked for. He has made thousands of personal appearances throughout the U.S., (including Alaska, and Hawaii) and Mexico.

Among his many assets is a warm, friendly attitude and a magnetic personality. This Texan stands at 5 ft. 11 inches, weighs 165 pounds, loves fishing and golf, and most of all loves people. He will always be and established "name" in the great industry of country and western music... We hope you'll enjoy these twelve selections which make up... Texas Bill Strength's Greatest Hits. – Russ Holland, President - Re-Car, Inc.

Let The Chips Fall

Foolish Pretender

The Moment I Found You

The Best Thing In Life Is Love

Call Of The Wild

Lake Lonely

I'm Gonna Catch You Baby

Betty Lou

Bells Of Memory

Let's Make Love

Paper Boy Boogie

The Voices Of Walter Schumann

 

Fools Rush In

The Voices Of Walter Schumann

Lyrical Music For Listening

Produced by Francis Scott

Cover Photo: Frank Bez

Capitol Records DT297

From Billboard - November 14, 1960: This collection of sides by Walter Schumann voices makes up a fine recording. The chorus sells the tunes in the warm, smooth style that made them a favorite when Schumann was alive. The sides include "Dream," "I'm Always Chasing Rainbows," "Fools Rush In" and "April In Paris." Fine mood wax.

Dream - Andy Secrest, trumpet

I'm Always Chasing Rainbows - George Greeley, piano

For All We Know

Fools Rush In - 

When Your Lover Has Gone - Russell Cheever, soprano saxophone

Love

Summertime

Moonglow - Eddie Miller, tenor saxophone

Taking A Chance On Love - Bobby Doyle, vocal

April In Paris

Far Above Cayuga's Waters - Andy Secrest, trumpet

Holiday For Strings

Tops In Pops - Allegro

 

Singing The Blues

Tops In Pops

All The Latest Hit Recordings

Played And Sung Just As You Hear Them On Radio And TV

Allegro 1670

Young Love

Moonlight Gambler

Too Much

Blue Monday

Cinco Robles 

I Dreamed

You Don't Owe Me A Thing

Since I Met You Baby

The Banana Boat Song

Love Me

A Rose And A Baby Ruth

Don't Forbid Me

Blueberry Hill

Lay Down Your Arms 

Singing The Blues

I Walk The Line

Jazz Confidential

 

Jazz Confidential

Jazz Confidential

Cover Design: Hobco Arts

Crown Records 5056

1958

From the back cover: The big thing about Jazz Confidential is that the 'confidentially' this is the greatest line-up of giants in the jazz world ever put on one disc. The 'Who's Who' of the field of music populate this LP and their famous solos and talents are here for your listening pleasure.

In the reed section are such greats a Ben Webster, the king of the Tenors; Stan Getz, who was a forerunner in the field of modern jazz; Paul Desmond, the alto man of the Brubeck quartet; modernist, Jimmy Giuffre; the late Wadell Gray who  played with all of the big bands; Willie Smith, who started with the "Harlem Express" – then Jimmy Lunceford who is now with Harry James' band; and the young modern swinger, Sonny Criss, who starts with the Buddy Rich quintet.

Three famous drum stars are featured... Louis Bellson with his two, not one, but two bass-drums. Another star in the percussion filed starred with the Stan Kenton band and has recently been featured with his own trio or quartet, Shelly Manne. (Also another real swinger on drums, Jack Mills.) And to cover the entire field of percussion, Sabu Martinez is featured on Bongo's and Congo's.

Turning to other rhythm instruments... on Bass you'll hear one of the great young stars. He started with Jerry Fielding and has since become one of the most sought-after musicians in Hollywood, Red Callander.

The guitar scene is well covered with two great artists. Irving Ashby and the original guitarist with Nat "King" Cole, Oscar Moore.

Rhythmic too are the vibes and two of the greatest are here. The venerable star of the Benny Goodman Sextet and his own groups, Red Norvo. And along with Red Norvo, a young and talented modernist with a sometimes latin beat, San Francisco's Cal Tjader.

In the brass section are two of the greatest. From out of the late Tommy Dorsey band, the tricky trumpet of Charlie Shavers. And from the field of the moderns, he with the 'Giants', the goateed, Shorty Rodgers.

Finally on piano two tremendous talents with opposite backgrounds and talents. First, Erroll Garner, who never took a music lesson in his life and to this day can't read music. And, secondly the erudite and fabulously trained Dave Burbeck.

From Billboard - March 3, 1958: For the most part, tracks in set were recorded at jazz concerts held in California over last 10 years. In addition, studio sessions featuring the Dave Brubeck Quartet, Cal Tjader's unit, and a group led by bongoist Sabu Martinez are included. Plethora of "names" – Erroll Garner, Stan Getz, C. Shavers, Red Norvo, B. Webster are included in concert jam sessions. Most impressive tracks, "Blue Lou" and "Groovin' Hight" both feature the late Wardell Gray on tenor. Former alto spots Garner' later, soloist Sonny Criss. In essence, a modern package that is a real barging $1.49

Crazy Time

Blue Lou

Cold Night

Big Boy

Journey's End

Groovin' High

Wash Out

Accordion Italy - Dominic Cortese

 

Guaglione

Accordion Italy

Dominic Cortese

Artist & Repertoire: Bob Shad

Original & Re-recording Engineer: John Cue

Mastering" Hal Diepold

Liner Notes: Mark Reilly

Album Coordinator: Sandi Greene

Album Design: Murray Stein

Typography: The Composing Room

Time Records Series 2000 - S/2048

1961

La Panse

Ciao Ciao Bambina
La Danza
Torna A Surriento Drigo's Serenade
Guaglione
Rosetta Polka / Ferryboat Serenade
La Dolce Vita
Gina
Arrivederci Roma
Scapricciatiello
Core'ngrato
Vil Volo Degli Angeli

Germany's Hildegard Neff

 

Mackie-Messer

Germany's Hildegard Neff

London International SW 99367

1964

From the back cover: Hildegard Neff was born December 28th, 1925 in Elm, Germany. Her true home is Berlin where her family moved when she was still a young child. It was here that she first went to Drama School and began to study drawing at the fashion studios of the UFA (German Film Company).

In 1943, she was discovered in Berlin by Wolfgang Liebeneiner, an event which was, unfortunately, followed by many disappointments. After the war, her luck did a complete about-face, and, at the International Film Festival at Locarno, she was named Best Actress for her role in Film Ohne Titel and received the "Grand Prix of Venice for Best Female Performance.

It was at this time that Hildegard Neff left Germany to try her luck in the United States. As was her patter, she did not succeed this first time, and, disappointment at not having realized her dream of conquering the New World, she returned to Germany. This dream was realized, however, when she finally did conquer the New World as Ninotschka in the American production of Silk Stockings. She won rave reviews for this role which she played from 1956 to 1958.

According to her passport she is American, but in her heart she will remain a "Berlinerin." In 1958 she returned to Germany and made her European comeback. Today, after many successful years in Germany, the up and downs of the past have been forgotten. So it is, so it will remain.

Wo Einmal Nicht War

Eins Und Eins, Das Macht Zwei

Mackie-Messer

Seerauberjenny

Heihweh Nach Dem Kurfurstendamn

Es War Im Bal Pare

Er War Nie Ein Kavalier

Das Lied Vom Leierkastenmann

Und Der Mann Mit Der Harmonica

Die Welt War Jung

So Hat Alles Seinen Sinn

Aber Schon War Es Doch

Squeeze Me! - Dick Contino

 

Blue Moon

Squeeze Me!

Dick Contino

Orchestra Conducted by Pete Rugolo

Mercury Records SR 60090

1959

From Billboard - October 26, 1959: One of the finest accordion packages in memory. Contino is wonderfully skilled – but what sets the package apart are the creative arrangements for the instrumentalists behind him. This scoring is really creative. Tunes include "Yesterdays," "Gone With The Wind," "Little White Lies," etc.

Yesterdays

Bring Back The Thrill

Pagan Love Song

Gone With The Wind

Whispering

Dream

My Melancholy Baby

In The Shade Of The Old Apple Tree

Little White Lies

I Wonder, I Wonder, I Wonder

Blue Moon

Susan Barrett

 

Más Que Nada

Susan Barrett

New Singing Sensation

Arranged and Conducted buy Marion Evans

Produced by Paul Robinson

Liner Photos by Didier Dorst

Recorded in Webster Hall, New York City

Recording Engineer: Mickey Crofford

RCA Victor LPS-3738

1967

From the back cover: Last summer, when I was preparing an article about new talent for the magazine, an enterprising RCA actor man brought four unedited 45-rpm sides to my attention. I heard, in those exploratory sides, several sirens proclaiming Susan Barrett's potential, and, in an August 27th, 1966, issue, mentioned that the firm might soon record the attractive blonde in a collection of worthy show-tune material. This became fact in a series of Webster Hall, New York, studio session during early November – one of which I attended. On November 21, Susan rocked the foundation of the Los Angeles Cocoanut Grove. Witness the Los Angeles Herald-Examiner (Glenn Hawkins): "Patrons whistled, shouted for encores, and gave her a standing ovation." The Los Angeles Times (John L. Scott): "Her assets include beauty and youthful zest, and a singing voice that with careful handling should make her a star... Miss Barrett sings thoughtfully and carefully, revealing a smooth, natural voice that is especially rich in the lower register." Daily Variety (Whit): "...audience paid her rapt attention... the sort of vibrant thrush who fits in the groove for every-age audiences... her delivery is easy, backed with charm and a fresh personality." Hollywood Reporter (Hank Grant): "...wall-to-wall full house at the Grove debut. For those of us watching her in the flesh for the first time, it came as a surprise to see this delectable honey-blonde dish... display a brilliant singing style and vocal savvy that belie her tender years." Variety (Whit: "... despite her youth – 23 – she regulated authority as she constantly changed her style."

Let me echo the endorsements of these reviewers. You'll join us as you settle back to "meet Susan Barrett.": When she toys with the show tune, the tone is real silk and iridescence – no synthetics within miles; when she's contemporary she has the zip of a campus hop; when she's melodically introspective, she's a new Little Girl Blue. It's more to the point that you hear her than read me, but I'll stress that, with the Susan Barretts, the era of the vocalist with the tiny, thin timbre is out, the reign of the wide-range, true pop singer is very much in. Listen especially to the sultry tenderness of the daring and dramatic reading of April Showers, Entry Time We Say Goodbye, It Had To Be You, Bewitched, I'll Only Miss Him When I Think Of Him and My Man; however, don't short-change Susan's sprightly Walking Happy or the delicious I want To  Be Happy. She is fortunate to possess a voice rich and sun-shot, high noon at command, but capable of "quick-changing" for the mysterious, sable shadows of evening. Twelve hits: no misses.

When Susan Barrett counts her blessing, she's sure to remember Paul Robinson, the producer of this album, and Marion Evans, its brilliantly sensitive arranger. She 'wants to by happy" and to make us happy.

It's a cinch. – Greer Johnson - Music Editor, CUE Magazine

From Billboard - March 25, 1967: If this RCA Victor album debut is any indication, Miss Barrett has the promise of an exciting career ahead. She displays great versatility in beautifully balanced program. A bluesy rendition of "Sunny" is contested by a sprightly "I Want To Be Happy" and then followed by an emotion-packed "My Man." Exceptional programming fare sure to reap good sales.

Walking Happy

Sunny

The Carnival Is Closed Today

I Want To Be Happy

It Had To Be You

My Man (Mon Homme)

You'd Better Love Me

Bewitched

Más Que Nada

Ev'ry Time We Say Goodbye

I'll Only Miss Him When I Think Of Him

April Showers

Tone Poems Of Color - Frank Sinatra

 

Gold

Frank Sinatra Conducts 

Tone Poems Of Color

Cover Designed by Saul Bass

Capitol Records W735

1956

From Billboard - August 25, 1956: Music to match each color hue has been composed by Victor Young, Gordon Jenkins, Billy May, Jeff Alexander, Alec Wilder, Nelson Riddle, Elmer Bernstein and Andre Previn. Under the baton of Sinatra, a symphony ork. interprets these. Interesting idea, well-executed, counts on the name pull of Sinatra and the eight composers. Fine display possibilities offered by the cover.

White, The Young In Heart – Victor Young
Green, The Lover – Gordon Jenkins
Purple, The Schemer– Billy May
Yellow, The Laughter – Jeff Alexander
Gray, The Gaunt – Alec Wilder
Gold, The Greedy – Nelson Riddle
Orange, The Gay Deceiver – Nelson Riddle
Black, The Bottomless – Victor Young
Silver, The Patrician – Elmer Bernstein
Blue, The Dreamer – Alec Wilder
Brown, The Earthbound – Jeff Alexander
Red, The Violent – Andre Previn

Swingin' In The Ol' Corral - The Dave Pell Octet

 

South Of The Border

Swingin' In The Ol' Corral

The Dave Pell Octet

Photo: Dave Pell

RCA Victor LPM-1394

1957

Tenor Sax - Dave Pell

Trumpet - Don Fagerquist

Bassoon and Baritone Sax - Marty Berman

Trombonium and Trombone - Ray Sims

Guitar - Tommy Tedesco 

Piano - Buddy Clark

Drums - Frank Capp

Supervison - Shorty Rogers

From the back cover: A bunch of the boys were hangin' around the bunkhouse one short, lazy Saturday afternoon, not doing much more than friendly conjecturin' about the sniping off of Shorty Rogers' beard. It was a subject that wasn't even about to get past the dice table, when suddenly seven shots sounded from the vicinity of the southwest corral. And into the sackshed of the Pell Mell Rancho Grande charged Dangerous Davey Pell, sittin' like a peacock astride his trustful horse Maynard. Frankly, it was one of those days when Davey wasn't doing much dismounting, for the night before some culprit had dobbed his saddle with enamel.

Anyhow, Davey looked keenly around, fixed his eye like a hawk on one certain no-good cowhand and said: "Boys, if I never get another idea – well, then I never get another idea." Everyone applauded, and "grandfather" was freely handed about. "Come, men, there's some fancy ropin' to do," shouted Davey, 'cause a sharp-headed cahoot from the KHJ Radio Ranch has the notion that we should apply a certain swingin' treatment to a bunch of old dogs that have been loafing in these parts for lo on to twenty years." With a single explosive crack of the whip, Pell and his playmates were racing full tilt for high adventure on the musical Sierras.

Swingin' In The Ol' Corral or "I'll Be Hanged If They Don't Hang Me First" actually owes its existence to a disc jockey named Jack Warner, who has the fine habit of more than occasionally spinning jazz recordings on his several KHJ programs. The Dave Pell Octet happens to be one of his favorite groups, and so it was dave to whom he turned when it occurred to him to present a sterling galaxy of Western tunes in a jazz format. Pell seized on this one, like a small lad going after a licorice stick, and in due time Swingin' In The Ol' Corral was strictly fact. And the fact of the matter is that here is an album of great joy and rare good humor.

It would be grossly unfair to single out any one of the Pell Eight for special instrumental kudos. for this is entirely a group affair, and the warmth and fun of it come from the enthusiastic contributions of each man. However, lofty praise must be heaped on the various arranger, for if they had not hit the ball just exactly right, this album might easily have gone zinging down the Colorado River instead of turning into the wonderful jazz jamboree that it is. The arrangers and the tunes they transformed are:

Shorty Rogers - I'm AN Old Cowhand and I'll Be Hanged

Med Flory - Gal In Calico

Jack Montrose - Empty Saddles and Oklahoma Hills

Bill Holman - Arkansas and Across The Alley From The Alamo

Jerry Fielding - Compton March and Blues and Cool Water

Marty Paich - Wagon Wheels, South Of The Border and My Sombrero

Which is precisely all that needs to be said. The songs certainly are familiar to everyone and are loved by many, the jazz is of a degree and a spirit seldom obtained, and between the two – players and tunes – there exists a rapport that is harmoniously evident from the first note. We firmly believe you'll find much lasting enjoyment in the Dave Pell Octet's presentation of Swingin' In The Ol' Corral.

I'm An Old Cowhand

Gal In Calico

Empty Saddles

Arkansas

Camptown March And Blues

South Of The Border

Wagon Wheels

Across The Alley From The Alamo

My Sombrero

Oklahoma Hills

Cool Water

I'll Be Hanged

Bundle From Britain - Johnny Dankworth

 

Jones

Bundle From Britain

Johnny Dankworth and His Orchestra

At Newport

Recorded At The Newport Jazz Festival, July, 1959

Top Rank Records RM 314

Trumpet - Derrick Abbot, Stan Palmer, Bob Carson, Kenneth Wheeler

Trombone - Tony Russell, Danny Elwood, Garry Brown, Ronnie Snyder

Piano - David Lee

Bass - Eric Dawson

Drums - Kenny Clare

Alto Clarinet - Johnny Dankworth

Tenor Sax / Clarinet / Bass Clarinet -  Danny Moss

Bariton Sax / Clarinet / Flute - Alex Leslie

Trumpet / Tenor Horn - Dickie Hawdon

Trombone - Laurie Monk

From the back cover: The first American appearance of Johnny Dankworth band – Britain's best large band jazz unit – took place at the Newport Jazz Festival, Friday night, July 3, 1959, and this is the record of that event.

No British jazz unit has ever been as well received in America. The day after, John S. Wilson wrote in the New York Times: "Mr. Dankworth's group, arriving here quite unknown, showed the underlying merit that made big bands successful many years ago – the swinging drive, the harmonic color and the support in depth for soloists that is possible when a disciplined, imaginatively directed band has worked together for a long time. This English group has a flowing, unforced, rhythmic drive that has virtually disappeared from American bands, Coupled with this is a crispness and precision in its ensemble playing."

Said Down Beat: "This was top-drawer,  big-band playing, smooth, swinging, and powerful. Dankworth (whose alto is the band's most important solo voice) does most of the writing, which is individual and warm. Whereas Ted Heath has succeeded in the U.S. on novelty more than anything, Dankworth's band, though nervous, got in there and swung and proved it is fit for consideration. To other American bands, Dankworth takes no back seat, and his band is far and away the best of big overseas crews."

Noted Variety: "...the band's precision, reminiscent of the Shaw, Goodman and Dorsey bands of the late '30s, mark this group as a remarkable crew which should got a good reception. on its U.S. tour."

The Dankworth band, in fact, received  better than "a good reception." After Newport, Dankworth played a Lewisohn Stadium concert. Commented Eric Salzman in the Times: "The sixteen-piece band has an imaginative big-band style with plenty of sophistication.

After a night at Birdland, manager Oscar Goodstein offered Dankworth an extended engagement whenever it could be arranged. For a week Dankworth played opposite Duke Ellington's band at Lambertville, New Jersey, and won the affection and respect not only of the audiences, but also of the Ellington sidemen. All during Newport, many of the American jazzmen asked first, "How did the Dankworth band do?" Its reputation for professionalism has preceded it here, particularly among American jazz professionals.

Dankworth's own appraisal of the tour in the British Melody Maker was characteristically honest. He and the band enjoyed the experience, felt that they'd do even better next time. Of Newport, he said: "... the boys were tired when they first took the stand at Newport. And they were nervous, too. They pulled out the stops for the occasion and played well – but they didn't come right up to form in solos. Surely that's understandable." Yet, as has been indicated, the critics and other musicians were far from disappointed.

To this listener, one of the primary virtues of the Dankworth band was its crisp efficiency, the product of Dankworth's no-nonsense rehearsal techniques, and the fact that the band is an organic, cohesive instrument of one man – Dankworth himself. The soloists certainly have freedom, but there is no mistaking that the band has a distinctive personality and sound of its own that reflect the thoughtful and exacting goals of its leader.

Also intriguing is the band's command of dynamics; and the variegated textures of the arrangements, made even more provocative by the unusual instrumentation – four trumpets, three trombones and a tuba, piano, bass, drums, and then a front line of Johnny (alto and clarinet), Danny Moss (tenor, clarinet, bass clarinet), Alex Leslie (baritone, clarinet and flute), Dickie Hawdon (trumpet tenor horn) and Laurie Monk (the trombone). The voicing possibilities, there fore, are much more varied than those of the normal big band.

Dankworth, born in London, September 20, 1927, worked on ship crossings for some time, and in his frequent New York stops he absorbed as much live American jazz as he could. He played with several British bands, formed his own septet in 1950 (which was a major influence of British jazzmen), and then assembled the big band in 1953. His popularity has continued to grow, and in one recent year, for example, he won the Melody Maker poll in five different categories – Musician of the Year, Band, Alto, Composer and Arranger.

Now, as a result of his successful American debut trip and a return tory planned shortly it's certain the Dankworth will extend his impact to this country. And here, as it happened at Newport – including the introduction by Willis Conniver and Johnny's own comments – is the first made-in-America Dankworth album. – Nat Hentoff

Firth Of Fourths

Caribe

Royal Ascot

Don't Get Around Much Anymore

Doggin' Around

Jones

Take The A Train