Jimmy McGriff At The Apollo

 

A Thing For Jug

Jimmy McGriff At The Apollo

Produced and Directed by Juggy Murray

Sue Records 1017

1963

From the back cover: Come on along and sit in the famous Apollo Theatre in New York where Jimmy McGriff is giving one of his greatest performances on this long playing album. You will applaud along with the lucky audience that was there to watch him, when you hear his great rendition of that beautiful standard "There Will Never Be Another You", as he rides easily, and shares the solos tastefully, with his tenor and guitar. Listen to the applause! Know why this master of the organ is requested time and time again to appear at the great Apollo Theatre in New York, and night clubs and theaters all over the country.

Jimmy McGriff was born to the organ. Through it, he has risen from obscurity to stardom. This he achieved by mastering the organ in the amazing short period of only three years. Surely this man has soul... and it's brought out when he sits down at the keys. He proved this when he played his big hit of "I've Got A Woman" and "One Of Mine". These led to Sue Records producing two albums of the same names by Jimmy. Both the singles and the albums have become standard sellers in the record industry. Today, wherever and whenever Jimmy makes a personal appearance, it is always to an over-flowing audience.

Jimmy's talents are not merely limited to his playing ability. Having a sound knowledge in, and concept of jazz has helped him immeasurably in writing much of his material. "We Four" and "A Thing For Jug" represent his writing style on this LP.

The sidemen in this LP are:

Saxophonist - Rudolph Johnson. Rudy is fresh from fronting his own group in his home town – Columbus, Ohio. He's been playing the midwest and various spots in New York.

Rhythm Guitar - Larry Frazier. Chicago's gift to the Jimmy McGriff Quartet. Larry's been with Sonny State, Lou Donaldson and does the backing for one of the top pop groups, "The Crystals."

Drummer - Willie "Saint" Jenkins. Last, but not least is the "Saint" whose credits include gigs with Kenny Burrell, Wes Montgomery and Jackie Davis.

Put them all together and you have full-swinging, free wheeling sounds that keep the listeners toes tapping and fingers snapping. You'll see what we mean when you hear "We Four" and "A Thing For Jug."

"A Thing For Jug", written by Jimmy especially for Juggy Murray, prexy of Sue Records and one of the foremost exponents of jazz in today's musical world is something you just don't want to miss. It leads off with a solid guitar solo and ends up with Jimmy shouting a high-keyed response.

Then flip the record over and hear the ever popular "Red Sails In The Sunset", played in the inimitable McGriff manner. This is followed by "Lonely Avenue", a tune made famous by a vocal rendition by the great Ray Charles. "Fame For The Blues" is a crazy mixed up polygot of moody bluesy, choruses where Jimmy and the boys just let go and make every note count.

When you listen to "Jimmy McGriff At The Apollo", you are not just listening to another album of music. You are sharing a memorable evening with many others, fortunate enough to be able to see as well as hear and outstanding artist – an outstanding performer - Jimmy McGriff. – Les Fleischer, Music Vendor

There'll Never Be Another You

We Four

A Thing For Jug

Red Sails In The Sunset

Lonely Avenue

Frame For The Blues

El Pussy Cat - Mongo Santamaria

 

Ritmo Negro

El Pussy Cat

Mongo Santamaria

Produced by Robert Mersey

Cover Photo: Columbia Records Photo Studio - Henry Parker

Columbia Records CS 9098

1965

Mongo Santamaria - Leader and Bongo Drums

Marty Seller - Trumpet (courtesy of Atlantic Records)

Hubert Laws - Flute and Tenor Sax (courtesy of Atlantic Records)

Bobby Capers - Alto and Baritone Sax and Flute

Carmello Garcia - Timbales and Drums

Rodger Grant - Piano

Victor Venagas - Bass

From the back cover: The remarkable music of Mongo Santamaria is equally at home in a smart nightclub or the stage of a jazz festival, the dance floor of an intimate night spot or a huge ballroom, the airwaves of the swingingest "rock" station or the most discreet "good music" radio outlet.

What makes the music so remarkable is its character. Mongo's music has rhythm excitement. You expect it. But it also has great harmonic surprise and melodic beauty and you don't expect that, but it hits you like a ton of steaming Cuban sand.

Cuba is where Mongo was born and raised,  the Jesus Maria district of Havana, to be exact. He has the rhythms of the Island ingrained in his being. His home district is one that has held to many of the customs and ways of Africa. In fact, Mongo's grandfather came to Cuba directly from africa.

While a child in Havana, Mongo first studied violin but soon switched to more successful studies with is first love – the drum. He has played one ever since.

He has brought his brand of rhythmic excitement into the bands of Perez Prado, Tito Puente and Cal Tjader, among others, as well as to many New York nightclub shows. He has also brought it into the offerings of his own band, and this has led to a string of major appearances in clubs, festivals and at dances. – Dom Cerulli

From Billboard - February 27, 1965: Santamaria's style combines the excitement of the Afro-Cuban beat with the sophistication of jazz. There's plenty of beat, great for dancing and plenty of percussioned sound for listening. The Santamaria brand of music is rapidly becoming the rage of night clubs, dances and festivals.

El Pussy Cat

Afro Lypso

Ah Ha

Together

Ritmo Negro

La Gitana

Cucidado

Sarai

Hammer Head

Black-Eyed Peas

St. Thomas - Herbie Mann

 

Sorimao

St. Thomas

Herbie Mann

Produced and Directed by Tom Wilson

Stereo SS 18023 (previously issued under numbers UAJ 14022 - UAJS 15022)

1968

Johnny Rae - Vibes

Jack Six - Bass

Jose Mangual, Carlos "Patato" Valdes & Victor Pantoja - African Drums

Herbie Mann- Flutes & Bass Clarinet

Philly Joe Jones - Drums

Bobby Corwin - Piano

St. Thomas

Sorimao

Jungle Fantasy

Bedouin

Sudan

Exude

Guineau

New York Sweet - Phil Moore

 

New York Sweet

New York Sweet

A Sketch Of The City, Music And Sounds

Phil Moore and His Orchestra

Composed and Arranged by Phil Moore

Produced by Jack Tracy

Sound Effects: Harold Johnson in coordination with Phil Moore

Inspiration: The scene from the tower, New York City and "New York, A Serendipiter's Journey" by Gay Tales

Mercury Hi-Fidelity MG20763

1963

From the back cover: The first big solo adventure I had as a kid in Portland, Oregon, was climbing Rocky Butte. Ol' Rocky was about the highest hill overlooking Portland, except Terwillinger Heights, which was a real sassy hill because even a big fat streetcar used to inchworm to its top. I can still remember how great I felt upon conquering the local Mt. Everest and digging the scene. Phil Moore, "Emperor Jones" of Portland, and the Williamette Valley. Since then, I've always tried to climb the highest building, or point, anyplace I visited, like Twin Peaks in San Francisco, Shaker Heights in Cleveland, and Mulholland Drive in (F)Hollywood.

Hence, after meeting with Jack Tracy of Mercury Records, I asked him to come with me, as I had something I wanted him to see, hear and feel. So, we taxied from my ivory tower and alit on the observation tower of the Empire State Building. Now, Jack's a very sensitive A&R man... he even got the same message that about ten million "squares" had felt while viewing New York from the 102nd floor. "Jack, I wanna tape some of those sounds... then get inside those sounds..." Mmmmmm... Nnnnnn (he was communicating with his muse – budget). Finally, "Jack, I'd love to write an album about that," says me... "Got some pencils?" says he...

I hope this album will portray some of these personal musical sketches... the pace, pulse, abstracts, contrasts... the murky and the mink-lined, the milky and the confined – Manhattan, My New York Sweet! I personally gathered the candid sound effects used in connection with the music, so blame me if some of the sounds are kind of lo-fi... they're the real thing!

My New York Sweet

Eastside Westside

Hear De Boides

Babel Of Glass

Naked Island

Exactly

Watch Your Step, Please

Cold Water Flat

Night Bloomin' Trashman

Under The Bridge

Swingin' Ferry

A Times Square

Astro Boy In The Story Of "The Three Magicians"

 

Astro Boy

Original TV Sound Track

Astro Boy 

In The Story Of "The Three Magicians"

Simon Says M-31

Cosmo Recording Co., N.Y, N.Y.

Hamp's Big Four - Lionel Hampton

 

Midnight Sun

Hamp's Big Four

Lionel Hampton

Cover Photo by Herman Leonard

Verve MGV-8117

1957

From the back cover: If, as has been stated by pointers with pride and viewers with alarm alike, the current trend in jazz is all to the gentle, delicate type of chamber works, here is a quartet – namely Hamp's Big Four – which would stand resolutely, not to mention swingingly, on the opposite side of the fence. Hamp's Big Four includes, as in the past, Lionel Hampton at the vibraharp; Oscar Peterson on piano, Ray Brown at the bass and Buddy Rich on drums. Now if ever a jazz quartet was dedicated to delicacy this one most definitely is not it. The hallmark of this quartet of jazz stars, generally speaking, is strength, virility, high spirits. The hushed air is entirely lacking; in its place is a very contagious exuberance and an air of fun – in fact, these sides would appear to have more outright fun in them than any to come along in the jazz field for a long, long while. The most conspicuous example of this is to be found in the traditional "When The Saints Go Marching In," which gets anything but a traditional treatment here. This one has a vocal by someone not often given to singing – bassist Ray Brown. Probably the best way to describe Ray's singing is to say that he does it with an infectious abandon. He isn't alone, though, there's strong support from the other voices at hand, and to say these other voices "chime" in would be a rank understatement. There's also a pair of introductions – to solos by Oscar Peterson and Buddy Rich – that are fairly unusual on record. This spirit of high, good humor runs throughout the album, along with a perceptible undercurrent of excitement which hits its peak in "That Old Black Magic," played at a much faster tempo than customary. Hampton's "Blues For Norman" (Granz, of course) is a happy romp in which a number of familiar melodies – even including the briefest hint of "White Christman" – manage to sneak in. Rich contributes an effective drum solo near the finish. Another Hampton original, the very durable "Midnight Sun," finds him in more of a reflective mood than is usual. Hampton likewise state the melody of "It's A Blue world" with almost wistful sort of tenderness before Peterson's piano takes over in a more blue-ish vein, which Hampton thereupon maintains on his return to the soloist's spotlight.

In all, this is a particularly good example of muscular, blues-rooted, modern, swinging jazz marked with a fine interplay of talents. It is, clearly, an album that was fun to make; it is a consequence fun to hear. 

That Old Black Magic

Blues For Norman

It's A Blue World

When The Saints Go Marching In

Midnight Sun

Bethlehem's Grab Bag - 1957 Various

 

Bethlehem's Grab Bag

Bethlehem's Grab Bag

Now Everybody Wins For Only $1.98

Bethlehem EXLP 2

1957

From the back cover: Here in this "Grab-Bag" of recorded "goodies" you'll find a fine sampling of the latest and best from the Bethlehem catalog.

From the duet of Mel Tormé and Frances Faye in "Bess You Is My Woman Now" to Duke Ellington's "Stompy Jones" covers a lot of ground in the jazz-pop field. A little time with this record and a high-fidelity phonograph will show how well it is covered.

Certainly the full scope of Bethlehem's interesting catalog is here well represented. 

Bess You Is My Woman Now – This duet by Mel Tormé and Frances Faye, with Russ Garcia conducting the Bethlehem Orchestra, is from the three record set of George Gershwin's "Porgy And Bess" (EXLP-1). As on this track, Mel And Francis are featured in the title roles of one of the most interesting and daring productions of the popular American classic yet to be recorded. Despite the unexpected casting, from the musical point of view this duet emerges as a moving and warm experience.

Other featured artists in the complete production are Al "Jazz" Collins, Frank Rosolino, George Kirby, The Australian Jazz Quintet, Betty Roché, Sallie Blair, Duke Ellington and many others.

Old Devil Moon – This is Carmen McRae at her swinging best. Carmen can be heard to good advantage in "Bethlehem's Girlfriend" (BCP-6006) which also features Chris Connor and Julie London. Mat Mathew's group, with Herbie Mann, here accompanies Carmen.

The Varsity Drag – This is a track from The Australian Jazz Quintet's new album "The A.J.Q. At The Varsity Drag (BCP-6012). For more details and personnel see their other records on Bethlehem. This tune is an appetizing sample of their sound.

Pick Yourself Up – Here is a new vocal and instrumental group that comes up with a sprightly style and unexpected words on a tune that is usually an instrumental. This tune is from their new album "The Pat Moran Quartet" (BCP-6007).

Route 66 – Here's the swinging Betty Roché (she first achieved fame with Duke Ellington) singing and "mugging" her way through Bobby Troup's standard. Donn Tenner's group back her. This tune is from "Take The 'A' Train – Betty Roché (BCP-64).

House Of Bread Blues - On this track Sam Most makes the clarinet his. He also plays flute of the same genré in "Musically Yours - Sam Most" (BCP-6008).

Stompy Jones – Taken from "Historically Speaking-The Duke" (BCP-60) Duke Ellington here features almost all of the great soloists in his current band. Especially stirring is "Cat" Anderson's ride-out choruses.

Have You Met Miss Jones – From "Claude Williamson" (BCP-54) we hear the swinging piano of Claude along with Don Prell on bass and Chuck Flores on drums. Here's a group that really finds a "groove."

All The Things You Are – Here Sal Salvador makes a definitive statement on the Hammerstein-Kern ballad that has become an up-tempo jazz standard. This is taken from "Frivolous Sal" (BCP-59).

Scuffles – Herbie Mann here plays delightful flute in an equally delightful original composition; taken from "Herbie Mann Plays" (BCP-58).

My Delux – To close this album we've selected a fantastic example of high-class jazz trombonist by Frank Rosolino (a high class trombonist). This is from his new album "I Play Trombone: Frank Rosolino" (BCP-26). – Joesph P. Muranyi

Living Strings On A Sentimental Journey

 

Under Paris Skies

Living Strings On A Sentimental Journey

Arranged and Conducted by Johnny Douglas

A&R Coordinator: Ethel Gabriel

Cover Photo: Courtesy Sabena – "Europe's Most Helpful Airline"

Recorded in England

RCA Camden CAS-803

1964

Sentimental Journey

Dominque 

Maria Elena

Under Paris Skies

Danke Schöen 

A Dreamer's Holiday

Lady Of Spain

The White Cliffs Of Dover

Wonderful Copenhagen

Vaya Con Dios

Roy Clark Sings Lonesome Love Ballads

 

Everybody Watches Me

Roy Clark Sings Lonesome Love Ballads

Produced by Ken Nelson

Cover Photo/Capitol Photo Studio: Ken Veeder

Capitol Records T 2452

1966

From the back cover: The popularity of the love ballad goes back further than man can confidently trace, and it's surprising how many of the most enduring of these songs have been of the lonesome kind. Love is, after all, an emotion as changeable as it is powerful; and for every love that has worked out just fine for both parties, there have undoubtedly been a dozen more that ended up with bruised feelings and broken hearts.

The popularity of Roy Clark (among a select circle of kinfolks and acquaintances) dates back to April 15, 1933, when he was born in Merherrin, Virginia. It expanded suddenly and phenomenally worldwide just over two years ago with the release of his first big hit "The Tip Of My Fingers." That was a lonesome love ballad of the very finest kind, and the song and the singer became one of the most applauded country combinations of the year. Roy is still called on to sing it wherever he goes; and because his warm, husky voice gives such rich expression to these songs, he is constantly asked to record more of the same.

I Could Have Been Lonely At Home

My Lonesome Room

I Miss You Already (And You're Not Even Gone)

Everybody Watches Me

And I Do

Rose Colored Glasses

Old Lovers Make Bad Friends

The Color Of Her Love Is Blue

So Much To Remember

Afraid Of The Dark

If You'll Pardon Me

I'm Forgetting Now

I'm In Love - Wilson Pickett

 

I've Come A Long Way Baby

I'm In Love

Wilson Pickett

Produced by Tom Dowd & Tommy Cowbell

Cover Photo: Count Jackson

Cover Design: Loring Eutemey

Recording Engineer: Tom Dowd

Atlantic SD 8175

1968

From the back cover: Stars of the stature of Wilson Pickett are not made overnight. Although it is true that in the pop music field there are many people who attain a certain amount of "instant" success, such successes are usually very short lived. Unless an artist has paid his dues, it is unlikely that the music he creates will have much depth to it, or for that matter, much lasting appeal. That is why yesterday's over-night successes are so often today's unemployed performers.

Wilson Pickett payed his dues a long time ago, and I am happy to say that his time has come. His music betrays all too readily the long years he has had to spend perfecting it. When one listens to Mr. Pickett sing today you know on first hearing that you are listening to the voice of a mature artist.

The range of Wilson' professional experience is impressive. He started performing professionally in his mid-teens as a gospel singer in the Detroit area, during the fifties. In 1959 he was discovered by Willie Schofield, a member of the popular Detroit vocal group, the Falcons. Shortly after joining the group Wilson became the lead vocalist and he put in several years with them before becoming a solo artist. The years with the Falcons were obviously important in Wilson's development as an artist because it was with the Falcons that he first achieved his marvelous synthesis of rhythm and blues and gospel. It was also with the Falcons that he developed his excellent song writing ability. He wrote one of the group's biggest hits during the years he was with them, I Found A Love. (The original recording of that song is available on Atlantic's "The Best Of Wilson Pickett," 8151).

In 1964 Wilson made what was to be his single biggest step towards success, both artistically and financially. He signed as a solo artist with Atlantic records. Since coming to Atlantic Wilson has covered a wide range of territory. During his early years on the label he did a series of fine recordings in Memphis with musicians from the Stax-Volt group. It was there that he recorded some of his biggest hits including 634-5789; Don't Fight It, and the classic In The Midnight Hour, the latter two being songs that Wilson co-authored.

On this new album, "I'm In Love," we find Wilson expanding on the recent groove he has been in. There are three things about the new album that make it exceptional, even for Wilson; the brilliant sidemen, the excellent choice of material, and Wilson's own performance.

Instrumentally the two spark plugs of this album are veteran sidemen Tom Cogbill, bass, and Gene Christian, drums. Anyone experienced in the performing of soul knows that the rhythm section is crucial in determining the quality of the instrumental sound. No matter how good the horns and lead instruments may be, if there isn't a steady underpinning stemming from the bass and drums, then the overall sound will fail to measure up. Cogbill and Christian sustain the necessary intensive rhythmic drive for the duration of this album.

Particularly dig them on Hello Sunshine, Stagger Lee and especially Christian on the recent hit "I'm In Love," which Cogbill co-produced with Tom Dowd.

Also of interest, instrumentally, is Bobby Womack's lead guitar on "I'm In Love," the large horn section on Stagger Lee (nine pieces on that cut) and thoroughly inspired rhythm guitar of Reggie Young throughout the album. This is not to ignore the other fine musicians who perform on this album, all of whom turn in first rate performances. – Jon Landau, Rolling Stone/Crawdaddy!

Jealous Love

Stagger Lee

That Kind Of Love

I'm In Love

Hello Sunshine

Don't Cry No More

We've Got To Have Love

Bring It On Home To Me

She's Lookin' Good

I've Come A Long Way