Jazz For Lovers - Various

 

You're My Thrill

Jazz For Loves

Tender Ballads Played By Top Jazz Stars

Riverside Records RLP 12-244

1957

Laura - Coleman Hawkins, with J.J. Johnson: Hawkins, tenor sax; Johnson, trombone (courtesy Columbia Records); Hank Jones, piano; Barry Galbraith, guitar; Oscar Pettiford, bass; Jo Jones, drums

I Should Care - Ernie Henry Quintet, featuring Kenny Durham: Dorham, trumpet; Henry, alto sax; Kenny Drew, piano; Wilbur Ware, bass; Arthur Taylor, drums

Speak Low - Mundell Lowe, guitar; with Al Klink, flute; Trigger Alpert, bass: Ed Shaughnessy, drums

Fools Rush In - Zoot Sims Quintet, Sims, tenor sax; Nick Travis, trumpet; George Handy, piano; Wilbur Ware, bass: Osie Johnon, drums

You're My Thrill - Kenny Drew Quartet, featuring Donald Byrd: Byrd, trumpet (courtesy Columbia Records); Drew, piano; Wilbur Ware, bass; G.T. Hogan, drums

Stardust - Clark Terry Quintet: Terry, trumpet; Johnny Griffin, tenor sax (courtesy Blue Note Records); Wynton Kelly, piano; Paul Chambers, bass; Philly Jones, drums

When The Sun Comes Out - Herbie Mann Sextet: Mann, alto flute; Urbie Green, trombone, and Jack Nimitz, bass clarinet (both courtesy ABC-Paramount Records); Joe Puma, guitar; Oscar Pettiford, bass; Charlie Smith, drums. Arrangement by Herbie Mann

My Old Flame - Kenny Durham, with Sonny Rollins: Durham, trumpet; Rollins, tenor sax; Hank Jones, paino; Oscar Pettiford, bass; Max Roach, drums; Betty Glamman, harp; Arrangement by Gigi Grace

Moonlight In Vermont - Don Elliott Quartet: Elliott, vibes; Bob Corwin, piano; Vinnie Burke, bass; Jim Campbell, drums

Easy To Remember - Rusty Dedrick, trumpet; with Dick Hyman piano; Mundell Lowe, guitar; Eddie Safranski, bass; Don Lamond, drums

Session At Midnight - Jazz Reunion At Melrose

 

Blue Lou

Session At Midnight

Jazz Reunion At Melrose

Capitol Records T707

1956

Note from back cover: Shortly before this recording was released, Capitol Records consolidated its studios and many offices in the Los Angeles area into new headquarters, the Capitol Tower in Hollywood. Session At Midnight turned out to be one of the last jazz sessions held at the old Melrose Studios, and so, in its way, commemorates the end of one era and the beginning of another.

From the back cover: Most of the best things in jazz come the free, easy and informal way. So it was with Session At Midnight, which virtually "just happened". It all started late one night in December, 1955, at Nickodell's on Melrose Avenue. This is a restaurant whose clientele consists largely of musicians taking a lunch or dinner break from one of the numerous studios in the vicinity. (The RKO, Paramount, Decca-Coral, and Capitol Melrose studios are all well within easy walking distance.) If not actually recording, musicians often drop in to see what's happening, inquire about record session coming up, and in general keep a finger on the musical pulse of Hollywood.

On this particular night, a group of prominent jazz stars and sidemen who had received their basic training in the 1930s and early '40s were talking about the exciting music of the Swing Era – the opportunities they had at that time to play the way they wanted to, and the few chances today to blow in a free, swinging session. Suddenly someone came up with the observation that just about everyone needed for a top-flight swing band was right there in Nickodell's.

Dave Cavanaugh, Capitol artist-and-repertoire man, had been sitting quietly in a corner, taking in the discussion. He knew that memorable record dates are often made out of such situations. Cavanaugh told the musicians to hang on  while he arranged quick clearance on the use of the studio. Things rolled fast from that point on. Soon twelve of the country's top jazz musicians were putting together their instruments in Capitol's Studio A on Melrose. Thus was Session At Midnight born.

All of the arrangements in this album are "head" or impromptu. The manner in which they evolved was simple and quick. The musicians would agree on a tune, then arrange the order of solo and ensemble choruses, and work out sections in figures or riffs. From that point on, it was simply "Go!" – and go they did, as the riffs and rhythm section formed a dynamic setting for some of the most skilled and inventive jazz solos ever blown into the microphones of Studio A.

Individually and collectively the men on this date had participated in some of Capitol's most outstanding recording sessions, and had worked together many times outside the studios. But this was the first time that this particular group with this particular instrumentation ever recorded together.

It is to the musician's credit that almost from the first, the band had a rapport and cohesion that usually comes only after months of rehearsing and playing engagements and, very often, not even that. The men tremendously enjoyed working with each other, and their happy feeling run through the fresh and vigorous jazz in this album.

Gus Bivona - clarinet: Born in New London, Conn. Started with Bunny Berigan; subsequently worked with Benny Goodman, Tommy Dorsey, Bob Crosby, Jan Savitt; has fronted his own band. Member of the MGM studio orchestra for past eight years.

Benny Carter - alto sax, trumpet: Born in New York, N.Y. One of jazz's most versatile musicians; worked with Fletcher Henderson, Chick Webb, McKinney's Cotton Pickers; has led several bands of his own. Winner of the 1955 Down Beat Award as the Best Solo Artist.

Irv Cotter - drums: Born in New York, N.Y. Started with Red Norvo's big band, then went on to Claude Thronhill, Les Brown, Tommy Dorsey. Has been on both the CBS-New York and NBC Los Angeles staff orchestras, and has made records with Andre Previn, Paul Smith, and Barney Kessel. Musician on the Dinah Shore television show for past five years.

Harry "Sweets" Edison - trumpet: Born in Columbus, Ohio. Key man with Count Basie for almost fifteen years. Toured with "Jazz At The Philharmonic," and has led outstanding combos of his own. Winner of both Metronome and Down Beat awards.

Al Hendrickson - guitar: Born in Eastland, Texas. Started with Artie Shaw and then went into the famous Coast Guard Band during World War II. Joined Benny Goodman as featured vocalist as well as instrumentalist. Has also worked with Billy May, Freddie Slack, Woody Herman, and Boyd Raeburn. Now a member of Bob Crosby's television band.

Plas Johnson - tenor sax: Born in New Orleans, La. Young in years (twenty-four), but not in concept and technique. Plus is one of the country's most promising tenor men. Background to date consists primarily of recording dates for Capitol's television band.

Murray McEachern - trombone, alto sax: Born in Toronto, Canada. Started with Benny Goodman, then joined Glen Gray's Casa Loma band; later worked with Paul Whiteman, Bob Crosby, Harry James. Murray McEachern appears in this album through courtesy of KEY Records.

Jimmy Rowles - piano: Born in Spokane, Wash. Started with Lester Young, then joined Benny Goodman; has also played with Woody Herman, Les Brown, Tommy Dorsey, Bob Crosby. Has worked in combos with Stan Getz and Zoot Sims. Noted for his exceptional accompanying ability, and has backed Peggy Lee, Billie Holiday, and other singers.

Mike Rubin - bass: Born in Harford, Conn. Started in Greenwich Village, working with Bud Freeman and Joe Marsala in clubs and on recordings, then went with Raymond Scott. Since moving to the West Coast, has been with 20th Century-Fox studio orchestra.

Babe Russin - tenor sax: Born in Pittsburgh, Pa. Started with Ben Pollack; primarily association has been with Benny Goodman. Has also worked with Tommy Dorsey, Jimmy Dorsey, and the Armed Forces Radio Orchestra.

Shorty Sherlock - trumpet: Born in Minneapolis, Minn. Started with Ben Pollack, and subsequently played with Tommy Dorsey, Bob Crosby, Gene Krupa, Tommy Dorsey, and Raymond Scott. Fronted his own band for six years, and has been doing television work for the past several years.

Willie Smith - alto sax: Born in Charleston, S. C. Started with Jimmy Lunceford, and then worked with Charlie Slovak, Benny Goodman, Duke Ellington, and Billy May. His longest association has been with Harry James. Has won a number of Esquire Awards, and is ranked with Johnny Hodges and Benny Carter as an alto star.

Moten Swing

Making The Scene

Sweet Georgia

Blue Lou

Stompin' At The Savoy

Session At Midnight

New Orleans To Los Angeles - Pete Fountain

 

Home

New Orleans To Los Angeles

Pet Fountain And His Three Coins

Cover Design by Johnny Donnels

Picture by John Kuhlman

Southland Records SLP S-LP 215

1956

From the back cover: Side 1 – Each Fall heralds an event of the West Coast that's become known as the "World Series" of Jazz, and rightfully so, for upon opening the tinted program one is immediately impressed by the "Big League" calibre of the artists appearing at these Dixieland Jubilee's presented y Jazz Impresario's Frank Bull and Gene Norman.

The evening of September 29th, 1956 will be long-remembered as one of the greatest of these annual events, and also as the second time that the New Orleans Jazz shepherd Joe Mares herded eminent Crescent City musicians westward, this time bringing to the huge stage of the Shrine Auditorium the incomparable  Pete Fountain, and the astounding Al Hirt; two show-stoppers, indeed!

The Jazz World has for some time recognized that in Pete Fountain is entwined an old tradition, his clarinet-work having been rated by many critics as ofttimes superior to the immortal Irving "Faz" Fazola. Perhaps superior recording equipment influences such statements, but rather than compare, I would prefer to analyze, for like the music itself Pete is a "home-grown" product, raised in the environment and tradition that so bountiful follows from his mind (by wa of his reed) for all of us to enjoy.

This same evening offered West Coast fans the opportunity to hear in person Al Hirt the trumpet-man who has consistently thrilled them by way of his Coast-to-Coast CBS broadcasts and Southland records. Like his clarinet-partner of the evening, Al's playing captured the audience in a manner most deserved such a stirring artist.

Surrounding these two New Orleans contemporaries for the evening was an all-star group befitting the spectacular Saturday nite performance, Joe Mares was possessed with the idea of documenting these men, so much so that they waited only until Monday to gather in the recording studio.

This all-star group included two other native New Orleans musicians, Eddie Miller on Tenor Sax, and Ray Bauduc at the drums, both perhaps best known for their work with old Bob Crosby, "Bobcats". Completing the "front line" the sensational trombone of Abe Lincoln. On bass is heard Morty Corb, one of the finest rhythm men on the West Coast today, as we might also say of Stan Wrightsman whose keyboard artistry completes the lineup.

The age-old, ever-new Farewell Blues opens this session and is highlighted by the spirited trombone of Abe Lincoln, and the "infectious rhythms" of Ray Bauduc. Then too, there's solos by everyone, outstanding being the combination of Al Hirt's trumpet and Eddie Miller's tenor sax. Ever since its introduction by the Original Dixieland Jazz Band, At The Jazz Band Ball has been a "must" whenever jazzmen get together for a session, this one being no exception. Here again everyone is heard in solos, Pete Fountain and Al Hirt contributing immensely to the HOT feeling of the moment.  Brief, but memorable, is the tremendous bass solo by Morty Corb. When ex-Bobcats get together you can count on hearing one of the selections they enjoyed playing so much. March Of The Bobcats, as played here, seems to have that added something that transpires this performance about all others. So much could be said of this one track alone, of how Lincoln shines like never before, now Wrightsman's keyboard becomes a showcase of finger work, of Fountain's solo, of Bauduc's parade beat, and Miller's sax being heard as never before. We could go on and on, and I know you'll be playing this one over and over. Pete Fountain thrills us next with his most interpretive playing on the Jazz Me Blues, which also spotlights tremendous solos by Miller, Lincoln, Wrightsman. A rollicking and soft-spoken ensemble soon reaches its climax which ends our listening pleasure for this session. 

Words can never describe the lasting impression made on the West Coast by the creative and imaginative clarinet-work of Pete Fountain, or that of the torrid trumpet-work of Al Hirt. Although the tumultuous roar of the crowds of several nights previous had died down and the quietude of the recording studio was no compare, preserved the present here IS "New Orleans to Los Angeles" Jazz. – Art Anderson, October 7, 1956

Mr. Anderson is a well-known San Diego record collector and jazz authority. His "Jazz Informal" radio programs over KFMB have attracted wide attention.

Side 2 – Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax...

Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.

Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate That Eddie Miller and Bud Freeman had better look to their laurels.

Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete my strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight: little outfit.

Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.

The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.

Altogether, it is a happy combination, which is even more enhanced by one of the best recording jobs that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain a stash away one of the others, for you can mark it down as "Collector's Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World. – Dr. Edmond Souchon - Dr. Souchon is an eminent New Orleans Physician Jazz Scholar and Musician 

New Orleans To Los Angeles

Al Hirt - Trumpet

Pete Fountain - Clarinet

Eddie Miller - Tenor Sax

Abe Lincoln - Trombone

Stan Wrightsman - Piano

Morty Corb - String Bass

Ray Bauduc - Drums

Farewell Blues

Jazz Band Ball

March Of The Bob Cats

Jazz Me Blues

Pete Fountain And Hi Three Coins

Pete Fountain - Clarinet - Tenor Sax

Roy Zimmerman - Piano

Johnny Edwards - Drums

Phil Darois - String Bass

Cherry

Struttin' With Bar-B-Q

Home

Song Of The Wanders

King Kong - Cherney Berg

 

King Kong

The Original R.K.O. General Motion Picture Classic

King Kong

Complete Story, Sound Effects And Music

Adapted for Recording by Cherney Berg

Wonderland Records LP 151

Division of AA Record, Inc.

1974

Altura Do Sol (High Sun) - Paul Horn

 

Salvador

Altura Do Sol (High Sun)

Paul Horn

Produced by Ted Macero for VIP (Vancouver Island Productions Ltd.)

Recorded at Columbia Recording Studios, N.Y.

Recording Engineer: Stan Tonkel

Editing Engineer: Russ Payne

Design: Ed Lee

Cover Art: Carol Wald

Photo: Baron Wolman

Epic PE 34231 

1976

From Billboard - October 9, 1976: The music of Brazilian Egbert Gismonit, who also plays on the LP, is the thematic constant of this LP. Horn concentrates on flute and captures the sometimes haunting, sometimes muscular essence of this very Brazilian and very jazzy music. Gismonti is by no means merely a bossa nova latecomer. His music can be as unearthly as the classical compositions of Vila-Lobos or a fast-flying as any jazz heroics. Horn Seems perfectly attuned to each of the composer's moods and the production of veteran Two Macero recalls his great albums with Miles Davis and the big band of Gil Evans as they explored music of Spain and other exotic sources.

Danca Das Cabecas (Head Dance)

Bodas De Prata (Silve Wedding)

Altura Do Sol (High Sun)

Carmo

Tango

Quarup (Worship Ceremony)

Parque Laje (A Park In Rio)

Salvador

Carlos Montoya

 

Cante De Sevilla

Carlos Montoya

Produced by Marty Gold

Recorded in RCA Victor's Studio A, New York City

Recording Engineer: Bob Simpson

RCA Victor LSP-2251

1960

From the back cover: It would be downright impossible to find a better qualified musician to play Flamenco guitar than Carlos Montoya. Born in Madrid, Carols Montoya is, as they say in Spain, "gypsy on all four sides." It is usually agreed that playing Flamenco with a genuine feeling is something only a gypsy can do.

Carlos was a mere eight years old when his mother began to teach him to play the guitar. Then she sent him to the barber. This did not cut his musical career short, since the barber was also a talented guitarist and teacher. But after just one year, the amazing young Carlos had learned everything the barber could teach him. He left for more advanced instruction from various celebrated Flamenco guitarists. By the time he was fourteen, Carlos was playin in the "cafes cantantes" for such famous artist as Jaun el Estampio, La Camisole and Antonio de Bilbao.

When the late and famous Antonia Mercé – known to her public as "La Argentina" – visited Madrid in search of a guitarist, she chose Carlos Montoya as the best of the many expert Flamenco musicians who were anxiously competing for this choice assignment. And so, for the first time, the young man whose genius was to take him in triumph all over the world, left his native Spain. For three years he worked with "La Argentina," touring most of Europe.

All this time, Carlos Montoya was growing steadily as a musical artist. Let him explain in his own words just how this happens: "The only way you improve is by playing. You learn that you can do many new things. It becomes easier to improvise. That is the secret of our music –  improvisation. And one must have the music in his heart before he can play it on the strings.

After performing with such great stars as "La Argentina," "La Argentinita," Vicente Escudero and Carmen Amaya, the dedicated and enterprising Carlos Montoya decided to make an unprecedented move to advance the popularity of Flamenco guitar music. He would risk giving a complete recital devoted to this music. The repertoire of Flamenco guitarist being rather limited, it had been customary for them to subordinate themselves to a singer or dancer. But Monty, being a composer as well as a performer, determined in 1945 to put things in their proper perspective. He achieved great success giving solo recitals, and was able to climax his triumphs with an appearance at New York's famed Town Hall, where an audience which overflowed onto the stage gave him a tremendous ovation. This is as it should one, for Carlos Montoya is a Spanish gypsy, who wanders the earth, and offers people his music, and he says, "Now I Play Flamenco. Flamenco must come from the heart."

Nana del Gitanito 

Madrid 1800 Medley

  Agua Azucarillos y Aguardiente

  Donde Vas con Mantón de Manila

  Chotis

Sacromonte

Granaina

Duende Flamenco

El Vito

Potpourri Regional Medley

  Jota Aragonesa

  Sardana

  Rapsodia Valenciana

  La Lagarterana

Soleá por Medio

Cante de Sevilla (Petenera)

Land Of Passion - Hubert Laws

 

Land Of Passion

Land Of Passion

Hubert Laws

Composed, Arranged and Conducted by Hubert Laws 

"We Will Be" written and arranged by Ronnie Laws

Produced by Hubert Laws for Spirit Productions, Inc.

Assistants: Ronnie Laws and William Jeffrey

Recorded in October and December 1978

Recording Engineer: Chris Brunt

Master Engineer: Vlado Meller

String and Brass Engineer: Buddy Brand

Photography: Rob Lewine

Design: Nancy Donald

Columbia/CBS Records JC 35708

1979

Music Forever

Land Of Passion

We're In Ecstasy 

Heartbeats

The Key

We Will Be

Picnic - Dorothy Collins

 

Picnic

Picnic

Dorothy Collins Sings Steve Allen

Orchestra Directed by Jack Kane

Cover Photo by Garrett-Howard

Coral Records CRL 57150

1957

From the back cover: For the benefit of those of you who have often wondered, "how do they dig up the titles for record albums?" – we're about to give away a carefully guarded trade secret... Picnic means pleasure!

This musical picnic – composed of "goodies" that are non-edible, but nonetheless highly digestible – is the result of a delightful blending of outstanding talents... Dorothy Collins singing the compositions of Steve Allen with arrangements and orchestration by Jack Kane.

Dorothy's first claim to nationwide fame was a crisply starched, high neck blouse, a black ribbon tie and a catchy cigarette jingle. She was singing the commercials on television's "Hit Parade" at the time, and before long she was a featured vocalist on the show. One of the top song-stylists today, her tasteful phrasing, warm and expressive style, and versatility have made her a favorite in every medium of entertainment. In this album she takes a dozen of Steve Allen's most appealing songs, and interprets them with a characteristic instinct for brining out the very best of a melody and lyric.

Steve Allen – TV's popular jack-of-all trades, master-of-many – in addition to being one of the most successful comedians and MC's in the business, is an accomplished musician and a prolific composer, responsible for many wonderful hit tune. Several of these are showcased in this album – interspersed with lesser known, but equally noteworthy Allen compositions. Among the hits: Picnic, on which he collaborated with George Dunning, the them for the exciting motion picture of the same name; and South Rampart Street Parade, a dixieland favorite, which was popularized vocally by Bing Crosby and The Andrew Sisters. In his role as songwriter, Steve has had many famous collaborators. For the songs in this collection, they include the previously mentioned George Dunning, Neal Hefti, Don Elliot, Bob Haggart and many  others.

Jack Kane – an accomplished arranger-composer hitherto unknown in America – has been a key band-leader in Canada for some time, with a weekly TV show on CBC-TV Toronto. Recently, Mr. Kane was appointed Musical Director for the Eydie Gorge-Steve Lawrence Show, set to replace Steve Allen on his Saturday night spot for the summer. Trained in both classical and popular music, his technique is drawn from both areas and the blending is eminently listenable.

Listen now, as Dorothy Collins presents the songs of Steve Allen... in exactly the way he meant them to be sung.

Picnic

Banana Split

Spring In Maine

What Is A Woman

Impossible

Oh What A Nite For Love

South Rampart Street Parade

C'est Tres

We're Together

Stay Just A Little While

This Could Be The Start Of Something

The Harp Wears A Lei - De Wayne Fulton

 

Un Like No A Like

The Harp Wears A Lei

De Wayne Fulton

Produced in Hawaii by Lewis Amiel & Bill Murata

Engineer: Bob Lang

Cover Photo and Design: Lewis Amiel 

Liner Notes: Dick Howard

Mahalo Records M 3005

From the back cover: For more than a century the haunting music of Hawaii has captured the imagination of the world and has been presented in a multitude of settings, ranging from small instrumental groups to full symphonies. But never has the beauty of island music been so thoroughly developed and uniquely presented than in this exciting album, a great "first" for Mahalo Records.

The 13 melodies presented here comprise the golden favorites of Hawaii, romantic and rhythmic, breathtakingly beautiful.

Though the producers of Mahalo Records have presented many varied albums of island music in the past, they are particularly proud of this LP for it introduces on the label an artist of world renown.

De Wayne Fulton, in 18 short months, has become the most exciting new star to hit the Waikiki entertainment scene in a decade. Appearing in the heart of Waikiki, De Wayne has created an ardent following of islanders who are eager to hear their beloved melodies given new life in the distinctly new and refreshing Fulton style.

De Wayne began his study of the harp in San Francisco in 1948 under the guidance of Kajetan Attl, noted harpist of the San Francisco Symphony. This was followed by a year's work at Juilliard and further study with Edward Vito of the NBC Symphony.

A long held ambition was realized in 1950 when he entered the Academy of Music in Vienna, Austria. He graduated four years later and from there spent two summers at the Mozarteum in Salzburg.

De Wayne's fame grew throughout Europe and he accepted the position of Professor of Harp at the Conservatory of Music in Istanbul, Turkey, and continued in this capacity for three years. During this period he performed as first Harpist with the Istanbul Symphony.

Then came one year as first harpist of the Berlin Philharmonic Orchestra under the famed conductor, Herbert von Karajan.

Numerous concerts and appearances with leading orchestras throughout the continent were followed by a summer of advance study at the Accedemica Chigiana in Siena, Italy, under the Spanish virtuoso, Nicanor Zabaleta. More concerts followed, plus a season at the smart clubs along the Italian Riviera.

In 1958 De Wayne's travels brought him to Hawaii, his present home, where he has performed with the Honolulu Symphony.

His love for the islands is unbounded and is exemplified in his renditions of Hawaii's melodies. It is you doubtful whether this beautiful music has ever been performed with keener insight, touch, style and "heart."

We of Mahalo Records feel that when you hear De Wayne on this LP you will join us in stating flatly that "The Harp Wears A Lei" is definitely "The Album Of The Year."

Beautiful Kahana

Maui Chimes

Ke Kali Nei Au

Waipio

Kawohikukapulani

Makalapua

Kalua

Pua Carnation

Pua Tuberose

Ua Like No A Like

Akaka Falls

Old Plantation

Aloha Oe

Jazz Rolls Royce - Howard Rumsey's Lighthouse All-Stars Plus Ten

 

The Clown's Dance

Jazz Rolls Royce

Howard Rumsey's Lighthouse All Stars Plus Ten

Concert At Royce Hall - Bruin Homecoming

Compositions & Arrangements by Bob Cooper

Produced by Dave Hubert

Engineer: John Hall

Product Design: Leon McFadden

Cover Photo: Stan Levey

Omega Stereophonic Disk OSL - 5

1959

Trumpet - Pete Candolli, Al Porcino, Ed Leddy, George Worth

Tombone - Milt Bernhart, Harry Betz, Holy Bohannon

Bass Tombone - Marshall Cram

Tuba - Red Callender

Tympani & Vibes - Larry Bunker

From the back cover: Josiah Royce Hall, located on the Los Angeles campus of the University of California where last summer Stravinsky conducted his 75th birthday concert, provided the necessary incentive and atmosphere for this album. The occasion for the recording was the 1957 UCLA homecoming Show, October 28, when the Lighthouse All-Stars and ten added men headlined the evening's entertainment. The express purpose of the Show is to present the Homecoming Queen and her court in all the tradition due her. However, tradition saw innovation this year with the first professional Show in UCLA's annals to enhance "Her Majesty's" announcement. As the initial event of the week-long Homecoming, the Show set a fast pace for the activities which followed with the theme "Under The Bruin Big Top."

The concert portion of the Show, heard in its entirety on this album, is the result of more than a year's preparation. It began in May, 1957, when Skip Keizer's, the Homecoming Chairman, asked me to produce a professional Homecoming show. With Howard Rumsey in mind I suggested a Jazz Concert. Skip agreed to the idea and so we began formulating what was to be the most spectacular aggregation of jazz talent on the West Coast.

Our idea was to add ten men to the Lighthouse group, forming a sixteen-piece band. We knew the first song should be the traditional "Strike Up The Band," the song that George Gershwin wrote specially as a "fight" song for UCLA. First of all the students that accepted the responsibility of the 1957 Homecoming and particularly the producer of the Homecoming Show, John Brown, knew they wanted all new music written just for this occasion. The material should embellish the show, the traditional purpose being of course the selection of the Homecoming Queen and it should fit with the theme "Under The Bruin Big Top."

As we wanted to feature "new" jazz music we got in touch with Bob Cooper. "Coop" is the senior member of the Lighthouse All-Stars and watching his development as a soloist and a composer-arranger certainly has been a pleasure. As a musician he has every qualification: playing Tenor Saxophone, Oboe, English Horn or Clarinet he has traveled extensively as a member of Stan Kenton's Band and Kenton Innovations Orchestra; since becoming one of the best known members of the West Coast movement and joining forces with the Lighthouse he has made two European tours with Bud Shank. "Coop" is constantly studying and developing: at the moment he is studying composition with Mario Tedesco, one of the nation's best known classical composers; his oboe teacher, Henri de Busscher, has long been regarded as one of the professions leading players of a most exotic and difficult instrument.

After deciding together on the program numbers, all written by Bob Cooper specially for the Show, we began the selection of the added men, players with much recording experience yet men with strong roots in jazz. More important, it was to be a big modern band, one that pointed ahead. Furthermore, we wanted a permanent record of it.

This was a labor of love and all the players responded in a grand manner: after rehearsals they were on their own. No one conducted the performance or the recording.

If it hadn't been for my good friend and business adviser, Mr. John Levine, owner of the Lighthouse in Hermosa Beach, this album might never have been released. John was present the night of the show and heard something he had been waiting a long time to hear. He heard the well-known Lighthouse All-Stars playing in front of a sparkling new background. This was the culmination of ten years of jazz progress: here is an extension of the Goodman Quartet and Shaw's Gramercy Five, the difference being a modern group, the Lighthouse All-Stars superimposed over a swinging modern background of ten added men. And so the inevitable continues. Jazz, the audible expression of all our inexpressible emotions, a subject bigger than al the individuals involved, continues to march forward just as surely as time itself.  – Howard Rumsey

The jazz record buyer is listening more and more to the soloist, as opposed to ensemble writing. This is evident in the decline of the big band and increasing popularity of soloists and small groups. This may be the result of over-arranging and lack of honest emotion except during an improvised solo. It is here the real communication between the listener and performer takes place.

I have felt that the best points of the big band should be retained, especially since a big band can be a great source of inspiration to the soloists.

With these things in mind we decided on the instrumentalist used here. The idea being to preserve the sound of the small group (Lighthouse All-Starts) and inject the excitement and color of a big band with freedom and ample space for improvised solos.

We learned a great deal in recording and playing this music. I hope that the idea will be carried out and developed by others. I know we are all excited by its challenge. – Bob Cooper

From Billboard - February 23, 1959: The Lighthouse All-Stars were augmented for this scene by a flock of good brass and reed men plus Red Callendar on Tuba and Larry Bunker on vibes. The result is a big, exciting band sound with much color from the ensemble trumpet passages. Disk is the living record of a concert performed at UCLA late in 1957. There are six numbers but each, tho on the long side, retain interest thruout with a considerable number of instrumental voicings to sustain the drive. A real live album which retains the best of combo and big band ideas in a single set.

Strike Up The Band

Prelude To The Queen

The Clown's Dance

Coop Salutes The "Co-Op"

Bruinville, My Bruinville

Mambo del Quado

Iaora Tahiti - Orchestre Arthur Iriti

 

Iaora Tahiti

Iaora Tahiti

Orchestre Arthur Iriti

Cover-Gestaltung: Atelier Paul u. Rath, Hamburg

STEREODIMENSION 

Barclay KMLP 305

1969

Ia Orana
Tahiti Nui
Manuia
Tamoure
Nau Haka
Taranga
Ute Ote Uru
Minoi Minoie
Hoe Ana
Pine Pine
E Tu Piti
Topa Tune Te Hupe

Valse De Papa
Tamoure
Manea
Viens Poupoule
Gloire Immortelle
Himene Tarava
Ave Te Mamae
E Niate Te Marama
Karu
Maruru A Vau

Barbara - George Morgan

 

Barbara

Barbara

George Morgan

Produced by Don Pierce

Cover Photo and Design by Dan Quest Art Studio, Nashville

Photo Location: Grassland Ranch Hendersonville, Tennessee

Starday SLP 417

1968

From the back cover: The last-minute assignment is often the one best filled. Below are the thoughts put forth by Charlie Dick on January 24, 1968, a he hurries to the Nashville airport for his next tour as Director Of Promotion for Starday Records. His assignment before departure – put forth in writing his thoughts about his very good friend, George Morgan. A man of few words, Charlie begins... Thought for the Day: George Morgan Good thoughts??

The Great Softball Player: George Tells everyone that he is a great softball player. After playing softball with George for three years, I find this is not true. (Bad thought). 

The Practical Joker: The stories go that George is a good practical joker. I know of the time that George was to stage a fake fight in a restaurant. The bouncer thought it was a real fight... and George got bounced. (Bad thought).

The Singer and Writer: George has written and recorded many great songs, I guess probably the biggest being "Candy Kisses". I think in this album you will find many more great ones. The title song, "Barbara", which is possibly his greatest since "Candy Kisses", and "I'm Just A Place" were written by A. L. (Doodles) Owens. Doodles say that one of his biggest thrills as a writer was to get George to record his songs. "No one could have done a better job," he said.

I think another one of George's better efforts in both singing and writing is a song called "Living". And as you listen to this album, I believe you, like me, will have to think... Good, Good, Good Thoughts!! – Charlie

Barbara

Accidentally On Purpose

You Mean The World To Me

Color Of The Blues 

The Man Behind The Wheel

Beyond The Sunset

Living

Invitation To The Blues

Turn The World Around

Rosebuds And You

The Worst Of The Hurt Is Over

I'm Just A Place

Bimbo - Jim Reeves

 

Let Me Love You Just A Little

Bimbo

Jim Reeves

RCA Victor LPM-1410

1957

From the back cover: "Do you know Bimbo?" You surely do! Just about everyone knows Bimbo. His name may not be Bimbo, but the little boy Jim Reeves sings about lives and breathes in just about every square mile of our land. There are literally millions of Bimbos, and the very fact that everyone who listens to this portrait in song can so easily picture his own little Bimbo has undoubtedly been the main reason behind the phenomenal success of the song. As you will find, Bimbo wears well and repeated hearings add to your enjoyment rather than detract – as is the case with too many of today's songs. It is also just as true of Jim Reeves – he wears well.

One of the top names featured regularly on the "Grande Ole Opry" in Nashville today Jim has made it to the top. The trip up from Panola County, Texas, to the "World Series" of Country music wasn't easy. Jim's inherited love of music was encouraged by his family and by the time he was ten he had a foundation unusual in a boy so young. Music continued to be a driving force through high school but it was here, too, that Jim picked up another equally strong love – baseball. It is quite indicative of the boy and man to notice how thoroughly he applies himself towards a personal goal. While not sidetracking his music, Jim did sight his aims towards a career in baseball. After high school graduation in Carthage, Texas, Jim won an athletic scholarship to the University of Texas. Hard work and practice advanced Jim and when he left the University he had in his pocket a contract with the St. Louis Cardinals. While sliding into first one night Jim sustained a nerve injury which ended his baseball career just short of his goal.

It was at this point that his first love, music, found itself without competition and all the Reeves determination was channeled into making a career for himself in music. With radio a prime factor in music and records Jim became successively an announcer, program manager and disc jockey at stations in the South. In 1952 Jim cut his first record, a little novelty entitled Mexican Joe. All of the background Reeves had added to his natural talent became immediately evident and the record was such a smash hit that the trade publications unanimously voted it the outstanding Country record of 1953. Then came Where Does A Broken Heart Go, Then I'll Stop Loving You and Bimbo. Without pausing long enough to count the grand number of records these hits sold, Jim followed them with Drinking Tequila, Penny Candy and Echo Bonita – all hits! You will hear them here in this collection together with some other Jim Reeves favorites, such as How Many, Gypsy Heart and Let Me Love You Just A Little. The poignant recitation form is as old as country music itself and Jim's Mother Went A-Walkin' is a classic example of the man's ability and versatility.

In this collection of great Country recordings you will find that not only did Jim Reeves "make" them – they "made" Jim Reeves. – Calvin Helms

Bimbo

How Many

Echo Bonita

Where Does A Broken Heart Go

Penny Candy

Mother Went A-Walkin'

Mexica Joe

Then I'll Stop Loving You

Drinking Tequila

Gypsy Heart

What Where You Doing (Last Night)

Let Me Love You Just A Little

Help Me Make It Through The Night - Sammi Smith

 

Saunders Ferry Lane

Help Me It Through The Night

Sammi Smith

Pickwick (Hilltop disc label) JS-6167/STEREO

By arrangement with MEGA Records

A Product of Pickwick International, Inc.

1970

Help Me Make It Through The Night

Isn't That Sad

Don't Blow No Smoke On Me

When Michael Calls

He's Everywhere

Saunders Ferry Lane

Kentucky

Then You Walk In 

Tony