The Silken Thread - Los Pekenikes

 

The Silken Thread

The Silken Thread

(Hilo De Seda)

Los Pekenikes

Produced by Hispavox

Recorded in Spain

UA Latino L 31003

1967

Alfonso - Sax, lead singer and prime composer of the group. An elegant dresser, he is considered the soul of Los Pekenikes. Optimistic, happy and also nervous, he studies medicine.

Ignacio - Bass guitar, organ and piano. Quiet, easy-going and very popular. He sports a thick beard, is an avid jazz buff, and studies Physical Sciences.

Jorge - Like all drummers, he is slightly eccentric. He adores old cars and motorcycle racing. Studies Economic Sciences. Is always in a cheery mood and steers away from serious people.

Lucas - Lead guitarist. A keen student in Engineering. One of the most promising automobile racers in Spain. A very serious chap who is learning to master the classical guitar and who also dabbles in Economics.

Tony - Rhythm guitar. Studies architecture and collects records. He is the most aware of the group about hit songs throughout the world. Loves painting and has a house full of his own works.

From the back cover: Los Pekenikes, who have had their recordings released in some twenty-five different countries are the first pop Spanish group to create an international impact. The United States, Mexico, England, Japan, and Portugal are among the nations that have responded enthusiastically to this handsome and talented young fivesome.

Los Pekenikes, have been in existence for eight year, and during this time they have been leaders of the contemporary music forces in Spain. They have remained at the top because they have been enterprising pioneers and have initiated many new ideas. Most of the time they have written their own tunes, and their list of hits is indeed a long and impressive one. They have, of course, performed throughout Spain and have also appeared on the main television programs there, and have also made three films.

Hilo De Seda (The Silken Thread)

Viaje Nocturno (Trip By Night)

La Vieja Fuente (The Old Fountain)

Sombras Y Rejas (Shadows And Railings)

Troncos Huecos (Hollow Tree Trunks)

Trapos Viejos "Old Rags"

Lady Pepa (Lady Josephine)

No Puedo Sentarme (I Can't Sit Down)

Romance Anonimo (An Anonymous Romance)

Frente A Palacio (Before The Palace)

Ritmo De Concierto (Concerto Rhythm)

Arena Caliente (Warm Sand)

The Nude Paper Sermon - Eric Salzman

 

The Nude Paper Sermon

The Nude Paper Sermon
Eric Salzman

Tapes Fro Actor, Renaissance Consort, Chorus, and Electronics

Stacy Keach, actor

The Nonesuch Consort

Members of the New York Motet Singers (Joseph Hansen - Director)

Joshua Rifkin - Conductor

Art Direction: William S. Harvey

Illustration: Bill Longcore

Design: Robert L. Heimall

Cover Concept: Hess and/or Intuit

Coordinator: Teresa Sterne

Electronic sounds realized at the Columbia-Princeton Electronic Music Center, New York

Special Assistance: Steven Pepper

Produced and Recorded by Peter K. Siegel

Editing & Mixing: Joshua Rifkin, Eric Salzman, Peter K. Siegal

A Dolby-system recording

Recorded at Elektra Sound Recorders, New York - A& R Recording, New York

Nonesuch Records H-71231

1969

The Nonesuch Consort

Diana Tramontini - Soprano

William Zhukov - Counter-Tenor

Alan Titus - Baritone

Kenneth Wollitz - Winds

Lucy Cross - Lute

Richard Taruskin - Viola Da Gamba

Steven Pepper - Portative Organ

From the back cover: Eric Salzman's work include Verses and Cantos, The Peloponnesian War (dance/theater collage with Daniel Nagrin), Feedback (with visuals by Stan Vanderbeek), Foxes and Hedgehogs, and In Praise of the Owl and the Cuckoo; he has also composed the score for Can Man Survive?, a mixed-media environmental exhibit at the American Museum of Natural History in New York. In the summer of 1969, he toured South America, giving performances, seminars, and lecture. Educated at Princeton and Columbia and in Europe, he has been a critic with the New York Times and Herald Tribune, and is currently a critic for Stereo Review and music director of WBAI-FM in New York. He is the author of a book on 20-century music and numerous articles that have appeared in this country and abroad.

Stacy Keach played the title role in MacBird!, Falstaff and Peer Gynt with the New York Shakespeare Festival, Coriolanus with the Yale Repertory Theater, Edmund in King Lear at the Lincoln Center Repertory Theater, and the drifter in the film The Heart is a Lonely Hunter. He has studied at the University of California Berkeley and the London Academy of Music and Dramatic Art; he has also been assistant professor of acting at Yale Repertory Theater. In the 1969-70 season, he stars in the film End Of The Road and, on Broadway, in Arthur Kopit's Indians.

Joshua Rifkin studied at the Juilliard School of Music, New York and Princeton, Universities, and in Germany. His music has been performed in America and Europe; he has also written arrangements for singers Judy Collins and Tom Paxton. As musical supervisor of Nonesuch Records, he founded the Nonesuch Consort in 1968; although the major activity of the group is the exploration of early music, contemporary works also play a significant role in their repertoire.

Eric Salzman (b. 1933): The Nude Paper Sermon (1968-69)

Tropes for Actor, Renaissance Consort, Chorus and Electronics

Texts from John Ashbery, Three Madrigals; Steve Wade, The Nude Paper Sermon

Side One

A babble; a madrigal with electronic graffiti – 

The sermon begins; soprano solos; with chorus

(the "10 qualities" a bodily, sexual, ritual, sub-verbal, etc.)

– an instrumental canzona – another madrigal –

solos for wind instruments

(racket; brass & tenor dulcian;

bass, tenor & alto recorder;

gemshorn; soprano, alto & brass krummhorn;

kortholt; shawm; rauschpfeife),

with chorus; climax, coda

Side Two

Monologues, fragments, "ruins" – a choral madrigal -

solos fro counter-tenor; duet for soprano and

counter-tenor; with chorus, plus gamba & lute –

lute solos with accompaniment; OM; shout,

babble, bells; survival sound; wind, birds, stars

Everlasting Songs For Everlasting Lovers - Arthur Prysock

 

You Don't Know What Love Is

Everlasting Songs For Everlasting Lovers

Arthur Prysock

Conductor-Arranger Mort Garson

Engineer: Bill Stoddard

Photographer: Chuck Stewart

Old Town LP 2007

1964

From Billboard - July 11, 1964: Few vocal recording artists today can match Arthur Prysock's romantically rich and deep baritone delivery. He puts a warmth and feel into his delivery that has made Prysock album after album good sellers. The Everlasting songs included are: "Close Your Eyes," "Make Someone Love You," "Let There Be Love." and "Where Or When," to name a few.

Close Your Eyes

You Don't Know What Love Is

Without The One You Love

I'm A Fool To Want You

Stranger In Town

Make Someone Love You

My Everlasting Love

Let There Be Love

Let's Start All Over Again

You've Changed

Where Or When

For Your Love

Fiesta! - Carmen Dragon

 

Fiesta!

Fiesta!

Hollywood Bowl Symphony Orchestra

Conducted by Carmen Dragon

Capitol Records P8335

1956

From Billboard - June 2, 1956: Capitol's Hollywood Bowl Symphony LP's are strong, steady sellers and this package should chalk up impressive sales. The package, which hold particular appeal for beginning collector's spotlights excellent performances of music (both classical and traditional folk songs_ inspired by the passion and gaiety of a Spanish fiesta. Selections include Bizte's "La Golondrina," "Andalusia," Delibes' "The Maid Of Cadiz," "La Paloma," and Massenet's "Aragonite" from the opera "Le Cid." Provocative, eye-catching cover.

Aragonaise by Massenet
Chanson Boheme from "Carmen" by Bizet

La Palo by Yradier

Jota Aragon's by Glinka

La Virgen De La Macarena by Monterde

Las Chiapanecas (Traditional)

The Maids Of Cadiz by Delibes

Andalusia by Granados

Jamaican Rumb by Benjamin

La Golodrina by Serradell

Granada by Lara

Sophisticated Lady - Music Of Duke Ellington

 

It Don't Mean A Thing

Sophisticated Lady 

Music Of Duke Ellington and Others

Bandleader Series Vol. 3

Spinorama S-55

From the back cover: The Duke, who was born in Washington, D. C. in 1899, had been playing piano from the time he was seven, and participating in jazz-band performances from his seventeenth year on.

Before coming to New York in 1923 he had not only organized his own jazz band but had also written his first popular tune, "The Soda Fountain Rag." After playing for a while in various New York groups, notably the Wilbur Sweatman Jazz Band in Harlem, he formed a five-piece ensemble fro the Kentucky Club. It was with this group that he first stepped forward as a major publisher, who signed him to a contract.

With a band expanded to fourteen men, Duke Ellington made some excellent recordings and started a historic engagement at the Cotton Club in Harlem where he first became famous. "We came in with a new style," Ellington later reminisced to an interviewer. "Our playing was stark and wild and tense... We tried new effects... We put the Negro feeling and spirit in our music".

From then on, Ellinton was a leading figure in New York jazz. In live performances in night clubs, theaters and musical comedies, on the radio, in motion pictures, on records, he reached out to larger audiences than possibly any other jazz musician.

Wherever he was heard he was acclaimed. During one of his triumphant European tours he gave a command performance at Buckingham Palace and was acclaimed "the most original music mind in America" by Constant Lambert, a leading English serious composer and critic. In 1940 Swing Magazine picked seventeen of his records among the twenty-eight best of the year. In 1942, in a national poll conducted by Downbeat of the country's most popular musician, Ellington led a field of 15,000.

Ellington not only leads his band and plays the piano, but he has also prepared most of his orchestrations. In addition, since 1933 Ellington has occupied a leading position among America's popular composers when "Sophisticated Lady" and "Solitude" became hits. The latter won an ASCAP prize of $2500.00 as the best popular song of the year. He has also written numerous jazz instrumental works in more spacious forms introduced in Carnegie Hall and the Metropolitan Opera House auditorium.

Sophisticated Lady

Solitude 

Caravan

It Don't Mean A Thing

I Let A Song Go Out Of My Heart

Prelude To A Kiss

Dark Dawn

Green, Pink And Plaid

Jane

Hum Drum

Enchanted Evening - Wayne King

 

Blue

Enchanted Evening

Wayne King And His Orchestra

Decca Recors DL 8277

Form the back cover: As the title promises, any man or woman, young or old, will have an enchanted evening hearing this music. This is especially true if the listener has a taste fro dancing or merely likes to listen to dance music, for Wayne King has been a specialist in the dance for years. The conductor achieved fame as the maestro of the waltz – a radio announcer once discovered that Wayne King's initials were symbolic and referred to Wayne King as the Waltz King. But King's talent was by no means confined to music in three-quarter time. He as a varied music-maker from the very beginning; he knew that music was to be his profession from the day his father, a railroad man, gave him a clarinet.

It was Wayne's sixteenth birthday and, with the aid of an instruction book, Wayne studied and practiced until he was able to put himself through Valparaiso University by directing a band for local dances. Soon after graduation, the young band-leader found himself playing in Chicago ballrooms.

Radio broadcasting made the Wayne King organization famous: the Wayne King program was voted the air-waves' Number One musical show for seven straight years. The band appeared in night clubs, auditoriums, and the finest hotels in the country. From radio to records to television was only a matter of time  – the Wayne King Television Show became an instant hit. Honors of various sorts are awarded by the Chicago Federation of Advertising Clubs, by TV Forecast, and other media. The Wayne King orchestra was among the musical organization chosen to play at President Eisenhower's inaugural ball.

Jealous

Your Eyes Have Told Me So

Blue (And Broken Hearted)

Russian Lullaby

Goofus

Sleepy Tim Gal

Josephine

A Kiss In The Dark

Do You Ever Think Of Me

The Blue Skirt Waltz

Barbuska Polka

Linger Awhile

30 Guitar Favorites - Evelyn Scott

 

30 Guitar Favorites

30 Guitar Favorites

Evelyn Scott

Wyncote SW-9085

Hawaiian Favorites - The Diamond Head Hula Boys

 

Hawaiian Favorites

Hawaiian Favorites

The Diamond Head Hula Boys

Craftsmen C 8012

A Divison of P.R.I.

Tahauala

Sweet Leilani

The Pupil Hula E

Silhouette Hula

Mapuama

Analani E

One More Aloha

The Luau Song

Good Night Kuo Ito

My Little Grass Shack

Das Stereo-Klangwunder - Various

 

Das Stereo-Klangwunder

Das Stereo-Klangwunder

Mercury Perfect Presence Sound 

zum Start der PPS-Serie in Deutschland

Begrenzte Sonderflage DM 9.80

Mercury Records DY 99958

Printed in Holland

Cumana - The Clebanoff Strings (Exciting Sounds MDY 135 353)

Siboney - Xavier Cugat and His Orchestra (Viva Cigar MDY 135 357)

Come Back To Sorrento (Torna a Surriento) - Quincy Jones and His Orchestra (Around The World MDY 135 354

When Yuba Plays the Rhumba On The Tuba - George Barnes (Guitar Galaxies MDY 135 356)

Amapola - Xavier Cugat and His Orchestra (The Best Of Cugat MDY 135 352)

It's A Pity To Say Goodnight - Mike Simpson and His Orchestra (Discussion In Percussion MDY 135 361)

Bésame Mucho - David Carroll and His Orchestra (Latin Percussion MDY 135 351)

Can-Can - Richard Hayman and His Orchestra (Pop Concert MDY 135 359)

Oh Play That Thing - Pee Wee Erwin

 

Yak Hula Hicky Dula

Oh Play That Thing!

Pee Wee Erwin's Dixieland Eight

London Records Jazz Series SAH-T 6011

1960

Pee Wee Erwin - Trumpet

Kenny Davern - Clarinet

Lou McGarrity - Trombone

Dick Hyman - Piano (appears by arrangement with MGM Records)

Tony Gattuso - Banjo and Guitar

Jack Lesberg - Bass

Harvey Phillips - Tuba

Cliff Lehman - Drums

From the back cover: About these selections on this record Pee Wee Erwin said, "We wanted to get numbers that haven't been done too much, to get a repertoire that wasn't too common, but that was good. I didn't have to go out of my way to choose most of them. I just picked things I knew and liked. But to get copies and arrangements for some of them I had quite a search".

George "Pee Wee" Erwin was born in Nebraska, raised in Kansas City, and got his first trumpet and his first instructions from his musical father. He has worked in many dance and jazz bands since the middle twenties, becoming best known while he was with Benny Goodman (replacing Bunny Berigan) and Tommy Dorsey, and then with his own groups large and small. Since 1949, his sextet has been (with an occasional leave of absence) one of the house bands at Nick's in Greenwich Village.

This is no place for an account of that New York club. Suffice to say that it was a haven for displaced "Chicagoans" in the thirties and they were usually led by Eddie Condon. Their repertoire might have included such and Original Dixieland Jazz Band piece as Sensation Rag sandwiched between a couple of pop tunes from the late twenties or early thirties, but the rest of the tunes on this LP probably wouldn't have made the Nicksieland music of those days.

There are five pieces here associated with Ferdinand Jelly Roll Morton, his own Kansas City Stomps (named for a bar in Tiajuana, not the city where Erwin was raised), Black Bottom Stomp, Grandpa's Spells, Georgia Swing (which is Morton's revision of Santa Percora's She's Crying For Me) and an arrangement based on Morton's version of Mel Stitzel's The Chant.

Erwin reports "I had heard these tunes on a couple of "bootleg" LP's a few years ago, and I liked them very much. Of course I had known more famous Morton pieces like Wolverine Blues, Milneburg Joys, King Porter Stomp, etc. for years, but I hadn't heard some of these for a long time. When I was picking things for this record, I thought of them, but I didn't have any music. I could have worked from the records, but I decided to try to find copies of the scores. They were originally published by the Melrose Company and are now owned by Mayfair Music. Through the help of a secretary over there, I got into their warehouse to look around. They were all there – some only in piano scores, some in orchestrations copied off the old records. For a couple of them, there was only one copy left and they wouldn't let me have it. I had to take out paper and go to work right there in the warehouse.

"Kenny Davern, our clarinetist, already knew Omer Simeon's work on those records well, and based some of his own playing on Simeon's. He is one of the few men I know, aside from Simeon and Edmond and Herbert Hall, who really has the power it takes to play in an ensemble like ours against trumpet and trombone. He switched to an Albert system clarinet – the knot most of the New Orleans players used to use. I think that has a lot to do with the power. He loves Johnny Dobbs and George Lewis too".

It was Darern's interest in George Lewis that gave the set two other numbers. Yaka Hula Hicky Dual is a 1912 pseudo-Hawaiian number which Lewis recorded originally with Bunk Johnson in 1942 and which has been in his repertoire since. And this Big Pond Rag was inspired by George Lewis' version of a traditional, standard tune.

When you hear the tune, the reason for the new title will be clear to you. Incidentally, notice that there is a clear 4;4 time here; this is not "two beat".

Both Davern's interest in Johnny Dodds and the title of this set are reflected in Dippermouth Blues. The original 1923 recording of this King Oliver piece featured solos by Johnny Dodds (on which Davern has based his improvisation), three famous choruses by Oliver (on which Erwin has based his two), and the shout, "Oh, play that ting". Incidentally, those Oliver choruses are not only almost a permanent part of this tune (also known as Sugarfest Stomp) but seemed to show up often in the thirties in other numbers when a trumpet player's or a composer's inspiration was a bit weak.

Two of the remaining numbers come from an earlier period in America music. Both Charles Johnson's 1906 Dill Pickles and Henry Lodge's 1909 Temptation Rag were a result of the ragtime movement and, like all true rags, were originally piano compositions.

Jazz Frappe, the only new piece on the record, is named for the fact that it is based on motifs and materials used in ragtime and jazz compositions through the twenties.

It was the San Francisco "revivalists" who really began digging back into neglected Morton pieces and rags and it was the "rediscovery" of Bunk Johnson and the subsequent reputation of George Lewis which brought back other tunes here. Nicksieland now includes these numbers. And for his next LP, Erwin is considering spiritual and gospel tunes!

At this rate, it may be quite a while before Sweet Sue and Dinah get a chance at an honest strut through Nick's again. – Marin Williams, Co-Editor Of The Jazz Review, Record Reviewer for Down Beat Magazine

Kanas City Stomp

The Chant

Yaka Hula Hicky Dula

Temptation Rag

Black Bottom Stomp

Dippermouth Blues

Grandpa's Spells

Dill Pickles 

Sensation Rage

Big Pond Rag

Jazz Frappe Rag

Georgia Swing

Don't Take Your Love From Me - Bobby Hackett

 

The Thrill Is Gone

Don't Take Your Love From Me

Bobby Hackett

Orchestra Conducted by David Terry

Cover Interior by Dean Reynolds

Capitol Records T1002

1958

Ev'rything I Love

Moonlight Serenade

Put Your Dreams Away

Softly As In A Morning Sunrise

Wonderful One

Zigeuner

Don't Take Your Love From Me

Autumn Serenade

If I Had A Million Dollars

A Handful Of Stars

Street Of Dreams

The Thrill Is Gone

Nadine Jansen Trio

 

Gloomy Sunday

The Exciting Sounds Of The Nadine Jansen Trio

Janton Records

From the back cover: Nadine Janson is Sacramento-born (from California, that is) classically trained there and at San Jose State College. This versatile star plays piano, trumpet and flugelhorn. Sometimes two at a time. In this album you'll hear her at the piano with the left hand and on the trumpet with the right in "Exodus." You hear her play piano and flugelhorn in "Secret Love," "Poor Butterfly," and "Misty." And she sings, too! Warmly, richly, in a voice and soul, she gives new meaning to "S'Wonderful," "I'm A Fool To Want You," "Gloomy Sunday," "Sonny Boy" and "I Only Have Eyes For You."

Frank (F#) Sharp is a Phoenician (from Phoenix, Arizona, that is) who plays the richest trombone you've ever heard. He also plays bass (but not at the same time) for the trio. The great range of his technique, the variety of expression in his trombone tone must be heard to be believed. Listen especially to "Misty."

Al Lincoln, another Phoenician, is on drums. He's played with many jazz groups, and proved himself outstanding and exciting as a show drummer. Amazingly, he's self-taught. Perhaps that explains his contribution to the fresh new touch in everything the trio plays. Al's technique and skill are featured here in "Exodus."

Poor Butterfly

Secret Love

I Only Have Eyes For You

Sonny Boy

Get Me To The Church On Time

'S Wonderful

I'm A Fool To Want You

Exodus

Misty

Gloomy Sunday

Music Of Desire - Warren Barker

 

The Moon Was Yellow

Music Of Desire

The Exotic Rhythms Of Warren Barker and His Orchestra

Cover Photo by Tommy Mitchell

Warner Bros. Records W1364

1960

Where Are You Now

Magic Is The Moonlight

Mexican Moon

Noche De Ronde

Flores Negras

Orchids In The Moonlight

Amapola 

Maria Elena

Time Was

The Moon Was Yellow

Monique

By The Light Of Your Eyes

Percussion From Melody To Madness - Dick Schory

 

Caravan

Percussion!

From Melody To Madness

Music To Break Any Mood

Dick Schory's New Percussion Ensemble

Produced by Bob Bollard

Recored in Orchestra Hall, Chicago

Recording Engineer: Lew Layton

RCA Victor LSP-2125 RE

1960

Instrument Inventory: Piano, Celesta, Sting Bass, 2 Guitars, 2 Banjos, Harp, Complete Dance Outfit, Piccolo, Xylophone, 3 Standard Xylophones, 4 Marimbas, 4 Vibraphones, 3 Sets Orchestra Bells, 2 Sets Chimes, Tuned Cow Bells, 12 Timpani, Piccolo Snare Drum, Tenor Drum, 2 Alto Snare Drums, Field Drum, Concert Bass Drum, 4 Tuned Tom Toms, 3 Conga Drums, 2 Sets Bongos, Timbales, 6 Tuned Rhythm Logs, Claves, Guiro, Maracas, Boo Bam, Soprano Steel Drum, Alto Steel Drum, Bass Steel Drum, Tambourine, 3 Woodblocks, 4 Triangles, Castanets, Temple Blocks, Wind Machine, Small, Medium and Large Gong, Giant 6-foot Gong, 5 Suspended Cymbals, Double Cymbals, Antique Finger Cymbals, Sleigh Bells, Slapstick, Police Whistle, Siren Whistle, Assorted Sound Effects

From the back cover: The fact is, this is an album which can establish or shatter (as you wish) a great gamut of moods – for yourself or an expendable friend. It's especially good for getting rid of wholesome guests or keeping incorrigibles entertained.

And it's all down with new percussion sounds: some soft and caressing (Autumn In New York, Speak Low), others big and wild (Safari Anyone?, South Rampart Street Parade). Instruments include virtually everything which can be stroked, plucked, poked or banged.

Some, in the trade, have called this America' first bang-along record. We earnestly hope it won't start a movement of proportions similar to the recent sing-along fad. Even though twelve virtuoso percussionists are hard a work on twelve pop songs, there is really only a moderate amount of banging going on. At least half the selection feature creamy vibes and lush harp arrangements. Most are extremely danceable – at least for those who have had a recent physical checkup.

The Gong On The Cover 

The bangs, when they do come along, go all the way. You'll hear the gong on the cover in the first number, Caravan. It is not the girl's gong. In fact, she was not even at the session – unfortunately. If it were her gong, she would jolly well known better than to get so close.

After striking the monster there is an extended period while it "revs up" and one can hear this awesome sound wash out over the vast acoustic cavern of Orchestra Hall in Chicago. Once it has spoken, the mighty vibrations roll out strong and low for minutes afterward. Finally, our engineer had to deliberately fade the gong; otherwise the prolonged reverberation would have run into considerable overtime. Three men with three puffy cushions quieted the giant down sufficiently to start the next "take". Those brave enough to stand nearby said they experienced an almost indescribable pleasure. With the highest fidelity equipment, similar sensations have been reported in the home with this record. To our knowledge nothing like this has ever been offered on disc before.

Who Did It

Lew Layton, the engineer who's responsible for some of our most glistening symphonic recordings from Boston, Chicago, Rome and New York, said he felt as if he had a souped-up jet job under his instrument panel. We trust his experience with Walkin' My Baby Back Home will have no untoward effect on his next Beethoven cycle.

Every selection was a completely new production with different microphoning, new scrimmage formulations for the players – even new instrumentation (percussionists double on everything). Modern recording musicians are used to music they've never seen before. In this case they'd never seen some of the instruments before either... a musical steel oil drum from Trinidad, for example. There were, in all, over one hundred instruments (see inventory), known and unknown, out to hard use during the two days and night spent in making this album.

We flew Phil Krasu specially from New York for the sessions. He's the vibe solo on I'll Remember April, the timpani melody on Caravan, the bongos on Safari Anyone? Dave Black was already in Chicago appearing with Bob Scobey's band. He's the dance beat on rhythm drums most of the way, with a special contribution on Fly Now, Pay Later. Frankie Rullo stars on vibes, xylophone, bongos, cow bells, rhythm drums – anything we put in front of him. The rest of the team included Hubert Anderson, Earl Backus, Jose Bethancourt, Russel Crandell, John Frigo, John Gray, Donald Knapp, Martin Rubinstein, Robert Wessberg and David Poskonka.

The idea of making lush quiet music with hammers or beating up a storm with sticks, is second nature to Dick Schory, our leader. He just naturally expresses himself with mallets. In addition to masterminding the musical adventures of his New Percussion Ensemble, he also drums a wide swath through: The Chicago Symphony, radio and TV commercials, and the Ludwig Drum Company. Dick is one of those who keeps several careers boiling at once. You might see (or more likely, hear) him any place in the country. He might be conducting percussion seminars as Educational and Advertising Director of Ludwig in one city, giving a serious concert with his boys in the next, or doing a TV jazz program in yet another. There are very few who better understand the chain reactions of combining percussion colors and rhythms – an explosive specialization which Schory says he can express most fully on recordings. – Bob Bollard

Caravan - Arranged by Irwin Kostas

Speak Low - Arranged by Willis Charkovsky

South Rampart Street Parade - Arranged by Mike Simpson

Walkin' My Baby Back Home - Arranged by Mike Simpson

Fascinating Rhythm - Arranged by Russ Case

Safari Anyone? - Arranged by Gilbert Stones

A Foggy Day - Arranged by Mike Simpson

Autumn In New York - Arranged by Irwin Kostas

Fly Now, Pay Later - Arranged by Gilbert Stones

I'll Remember April - Arranged by Russ Case

Tortilla - Arranged by Mike Simpson

Stranger In Paradise - Arranged by Gilbert Stones

Boogie Woogie Piano Stylings - Art Simmons

 

Foster's Blues

Boogie Woogie

Piano Stylings

Art Simmons

Mercury Wing MGW 12150

From the back cover: Like Hildegarde of Jane Morgan, Art Simmons had to spend 10 years transplanted in Paris, before his musicianship cracked thru the charmed star circle in America. Simmons is a 30-ish American Negro pianist, whose first etching for Wing comes just a decade since he left the Forty Nine.

And Art impressed upon Wing, that he doesn't want to take sole credit for this easy-to-listen-to-or-dance-to piano album. He did a low Continental bow in the direction of Maurice Vander, a French piano associate who helps bring out the full effect from another keyboard; and twin drummers – Kenny Clarke, another transplanted Yank and jazz immortal; and Gallic counterpart Baptist Reilles, and never overlooking Emmanuel Soudieux, bass.

St. Louis Blues Boogie

Deho Boogie

Forster's Blues

Ham Boogie

Boogie-Woogie Prayer

Cow Cow Boogie

Pine Top's Boogie

Night Train

Undecided Boogie

After Hours

An Answer To My Prayer

Liszt Hungarian Rhapsodies Vol. III - Edith Farnadi

 

Hungarian Rhapsodies Vol. III

Liszt

Hungarian Rhapsoides (Complete)

Volume III

Rhapsodie Espagnole 

6 Consolations 

Edity Farnadi - Piano

Photo: Joseph Bottwin

Candelabra Courtesy of Plummer, Inc.

Westminster XWN 18338 (XTV 21554 Made in USA)

From the back cover: Edith Farnadi was born in Budapest and began her piano studies at the age of seven at the Academy in that city, principally with Professor Arnold Szekely. She made her debut as a child prodigy of nine, and at twelve she played the C Major Piano Concerto of Beethoven, directing the orchestra from the piano. She received her diploma from the Academy when she was seventeen, having won the Franz Liszt prize twice during the years she studied there. Miss Farnadi give particular credit to her teacher Frau Ilnka Deckers. Miss Franadi became a professor at the Budapest Franz Liszt Academy. Since 1942 she has concertized widely throughout Europe.

No. 16 in A Minor

No. 17 in D Minor

No. 18 in F Sharp Minor

No. 19 in D Minor

No. 1 in E Major

No. 2 in E Major

No. 3 in D Flat Major

No. 4 in D Flat Major

No. 5 in E Major

No. 6 in E Major

The Goombay Kings

 

The Goombay Kings 

The Goombay Kings

Featuring Richie Del Amore

RCA Victor LPM-1514

1957

Goombay

Mommie On The Light

Bahama Lullaby

John B. Sails

Linsted Market

Bimini Gal

Don't Touch Me Tomato

Calypso Men

The Cricket Calypso

Rockin' Eight Babies To Sleep

Don't Go Away

Conch Ain't Got No Bones

Byrd's Word! - Charlie Byrd

 

Don't Explain

Byrd's Word

Charlie Byrd

Produced by Bill Grauer Productions

Recorded by Edgewood Recording Studio, Washington, D.C.

Album Design: Ken Deardoff

Riverside RS 9448

From the back cover: In September, 1957, Charlie Byrd, a guitarist who was nourished on the blues as a boy in Suffolk, Va., and who studied with Segovia as a man in Siena, Italy, opened with a trio at the Showboat is in the basement of a neighborhood bar and restaurant in a shopping-amusement-apartment district about 10 minutes from downtown Washington. Byrd welcomed the chance to work out some ideas he had for the trio away from the pressures of a large club and out of the spotlight. There were and are on pressures, but the spotlight has brightened considerably in the years since he opened. Today, Byrd still does most of his playing at the Showboat, is the most popular jazz musician in Washington – and of late one of the most popular in the country.

Byrd, who speaks with a mellow Virginia accent and has a dry sense of humor, summed up his feelings about the Showboat by saying, "I like the free hand, I like the boss for gibing me a free hand and I like the people for coming in droves to hear what we're doing with the free hand." 

While this record is not an attempt to recreated the flavor of an evening at the Showboat, it does present some of the musicians who have worked at the club over the years and gives an idea of the high quality of the jazz played at the club, and in Washington, D.C. in general.

First among these musicians is Byrd himself, who was born in Suffolk, a small town in the southeastern corner of Virginia on September 15, 1925. The country where BVyrd grew up was two-thirds Negro, and the community where Byrd's father ran a small country store had an even greater Negro population. It was natural that the first guitar along Byrd heard was the blues voicing of customers and idlers who congregated around the store on Saturday nights. Charlie retains a stones feeling for the blues, which can be best heard in this record in his duet with Keter Betts, Conversation Piece, freely impressed and recorded in one take by the pair.

Byrd took up the guitar and mandolin at the age of 10 and took up trumpet while in high school "so's I could get into the football games free." After two years at Virginia Polytechnic Institute, where he studied business administration (it didn't take) and played in a dance band (this did), Byrd entered the Army. Charlie describes his Army service as his "formative years in jazz." He met a Pittsburgh guitarist, Marty Fallon, who played Charlie Christian style, played with Django Reinhardt during a European tour with the band and heard bop for the first time. After he was discharged, Byrd went to New York (in 1946), where he worked with Barbara Carroll, Joe Marsala, Freddie Slack and others.

He became seriously interested in classical guitar in 1947, and came to Washington to study in 1950 after his marriage. In Washington he studied with Sophocles Papas, dean of Washington guitar teachers. After an audition with Andres Segovia, Byrd was invited by that master to study with him in the summer of 1954 in Italy.

Around 1956 Byrd became interested in adapting the classical finger style to playing jazz on unamplified guitar, and now he divides his playing about equally between unamplified and electric guitar. Byrd finds bass and drums the best accompaniment for unamplified guitar because in that context "it doesn't get swallowed by piano and saxes and you get a chance to show off the contrast within the guitar itself, which is one of its main advantages." Byrd also has some thoughts about jazz in general:

"I life to leave a lot of room for improvisation – that's one of the most interesting things about jazz – and I'm very much opposed to trying to push jazz into little categories. I don't see why a jazz player has to limit himself to one style and to refuse to hear and play anything else. A band's repertoire should cover the whole field. I don't feel that some kinds of jazz are corny."

Of Buck Hill, Byrd said, "I can't think of a musician I like better. He's a real jazzman." Hill, a native of Washington, started on soprano sax at 13, progressed though alto to tenor, and from influences from Benny Carter through Lester Young to Charlie Parker. He likes most of the current tenor men, especially John Coltrane and Sonny Rollins, while retaining admiration for men like Ben Webster, Coleman Hawkins and Young.

Felder is a native of Tampa, Fla. He majored in music at Fisk University, Nashville, Tenn., got his master's degree in music at Catholic University in June, 1958, and teaches music at a Washington junior high school. Felder is interested primarily in composing and arranging, but most of his work had been for rock and roll quartets. Consequently, he was happy to write the more challenging material for this LP. Felder's idol is Ellington.

Betts was born William Thomas Betts in Port Chester, N.Y. He started playing bass in 1946, turned professional in 1949 with Earl Bostic, and then was an accompanist for Dinah Washington for five years before coming to Washington. Bertell Knox is a native of New York City, but grew up in Alexandria, Va., across the Potomac River from Washington. He has accompanied Ella Fitzgerald and Pearl Bailey and worked with Bill Davis, Jackie Davis and Arnett Cobb.

Ginny Byrd is Charlie's wife, and her two vocals are samples of the sort of thing she does occasionally at the Showboat and more often for her pleasure at home. Kenneth Pasmanick is solo bassoonist with National Symphony. 

This LP was recorded in, of all places, the Washington YWCA, which has a hall with acoustics that are excellent for small groups. Byrd supervised the sessions and the tape editing.

As for the music, it's all good, but listen especially to the vibrant tenor of Hill, the earthy duet of Byrd and Betts and the trio's Satin Doll. – Paul Simpson

Byrd's Word

Blue Turning Grey Over You

Bobby In Bassoonville

Satin Doll

Tri-X

Conversation Piece

What's New

Stompin' At The Savoy

Don't Explain

Buck's Hill

Bossa Nova - Ramsey Lewis

 

A Noite Do Meu Bem

Bossa Nova

Ramsey Lewis Trio

Featuring Carmen Costa and Josef Paulo

Produced by Ralph Bass

Cover: Wardell Gaynor

Engineer: Reice Hamel

Recorded September 22 and 25, 1962 at Yamaha Studio, San Francisco, California

Argo LP 705

Ramsey Lewis - Piano

Eldee Young - Bass

Red Holt - Drums

Josef Paulo - Guitar & Pandeiro

Carmen Costa - Cabaca

From the back cover: Once in a long, long while there comes along a musician who seems to have the knack of keeping an ear and his music in tune with the broad taste of the public. He struggles along unheeded by the teeming throng, he may become recognized as a great neglected artist. If he is quickly and painlessly accepted and is financially successful, more than likely he will be classified as – quote "commercial" unquote. For some logic-defying reason, money and acceptance in jazz can become the kiss of death.

The Ramsey Lewis Trio has been, since its inception, a "winner." The group suffered through no "dues playing" period per se. The three healthy, normal, well adjusted family men got together in Chicago, rehearsed, worked local clubs, recorded and became a popular attraction without ever leaving home. More than five years later, the original musicians are still with the trio as healthy, normal, well adjusted family men (same families). Commercially, the trio is the one shining exception to Chicago's traditional indifference to homegrown talent. Lewis & Company is an overpowering favorite in the Windy City. This album is a good indication of why.

For the past eighteen months, jazz has been floundering in the dregs of the waning "soul" movement. Writers, listeners, and music fringe craftsman have been groping feebly for new, fresh ways of saying "It's the same old groove, badly mutilated and overdone." Meanwhile the serious jazz musician has been experimenting with a new idea. The perfected product is now bombarding the airwaves under the grandiose title of Bossa Nova.

In the past, American jazzmen have drawn on the latin dance culture for rhythmic variation; flavor and excitement in music. In the main, however, the latin harmonic limitations were not conducive to jazz improvisation. Melodies were undistinguished and almost horizontal in structure. There are few challenging chord progressions or variations. The emphasis was stripy on rhythmic development.

In the late fifties, a new musical concept was becoming prominent in certain areas of Latin America. Primarily based in Brazil, a style was emerging which still employed the latin rhythms; but displayed more extensive harmonic breadth. Gradually, the melody began to stand out with an identity of its own. With this change, the latin music of Brazil began to lend itself more readily to jazz adaptation. There were fundamental compromises to be made before jazz and the Brazilian music were to fuse into a new "school".

The latin music was still basically a percussion oriented one; while in jazz, the piano is the only prominent percussion instrument and it is employed in a melodic or harmonic capacity as well as a rhythmic one. Often jazz musicians, accustomed to playing primarily in flat keys found themselves faced with the dilemma of either transposing this new music and possibly losing some of its subtle connotation or playing it in the unfamiliar, sharp keys. There were infinite variations in instrumentation to be adjusted to.

It was Ramsey's task to make these adjustments within a matter of days. Having become acquainted with the music as a listener and admirer, he set about learning the technical fundamentals of the form. He was fortunate in having Josef Paulo and Carmen Costa to woodshed with the trio. These artists are two of the most sought after performers in the Bossa Nova rage. So throughly did the two become entrenched in their music, that both Lewis and Eldee actually contributed an original tune to this date.

By this time, "Bossa Nova" is the bight thing in jazz and everyone should have become familiar with the term. Form those who have not heard yet, "nova" means new and there is no literal English translation for "bossa." Very, very loosely, it represents the equivalent of our land "bag" or "thing." Ironically, there is a similar Russian pronunciation which means "barefoot"; that should result in an International definition of "new barefoot" music. Somehow, the term seem appropriate for the Ramsey Lewis Trio whose music has always been synonymous with that which is earthly and "of the people." 

Again this unit has responded to the music of the hour. Today, the listening public is halfway between the emotional outpouring of the "soul" school and the existing rhythmic beckoning of Bossa Nova. This album is a happy balance embodying both. – Barbara J. Gardner 

From Billboard - November 24, 1962: This album is already reported to be getting some action in some areas of the country. The set features pianist Lewis with his group doing Latin impressions along the bossa nova line of a number of tunes. For the date, Lewis' trio has been joined by two Latin musicians: percussionist Carmen Costa and guitarist Josef Paulo. The album swings with strong work on "Samba de Orpheus," "O Pato," Maha De Carnaval" and "Cara de Palhaco." On the latter track, and one other, are authentic sounding vocals from Paulo. This album has an authentic bossa nova sound and should prove a solid seller in jazz with action moving across to pop and maybe even Latin American markets. 

Samba de Orpheus

Maha de Carnaval (The Morning Of the Carnaval)

As Criancinhas (The Children)

A Noite Do Meu Bem (The Night Of My Love)

O Pato (The Duck)

Generique (Happiness)

Roda Moinho (Whirlpool)

Cara de Palace (The Face Of The Clown)

Canacao Para Geralda (A Song For Geraldine)