A Child's Introduction To Spanish - Carlos J. Montalban

 

A Child's Introduction To Spanish

A Child's Introduction To Spanish

New Language By Ear Method

Approved by leading language teachers

Spanish Instruction under the direction of Carlos J. Montalban

Voices: Maria Rubini, Manuel Astudillo, Peggy Powers, Eugene Lowell

Musical Director: Jim Timmens

Words and Music by Paul Parnes

Produced by Hudson Productions, Inc.

High Fidelity Golden Records LP-75

Manufactured in U.S.A. by A. A. Records, Inc.

1961

Dance On The Wild Side - George Young / The Cousins / The Playboys

 

Dance On The Wild Side

Dance On The Wild Side

George Young, The Cousins & The Playboys

Produced by Marcucci & Faith

Jacket Design: Chic Laganella

Recorded Live at Wildwood, New Jersey Chancellor Studios, Philadelphia 

Chancellor CHL-5028

1962

Fat Backs And Greens - The Playboys

Duck Walk - The Playboys

Hey Mrs. Jones - The Playboys

Flamingo - The Cousins

Twistin' Marie - George Young

Night Train Twist - The Playboys

Take A Chance On Love - The Playboys

Birdland Hully-Gully Twist

St. Louis Blues Twist

Goody, Goody - The Cousins

Booty Green - The Playboys

Hand Clappin' - The Playboys

The Magnificent Seven - Al Caiola

 

Intermission Riff

The Theme From

The Magnificent Seven

And Other Favorites

Al Caiola

United Artists STEREO UAS 6133

1960

The Magnificent Seven

American Patrol

720 In The Books

A String Of Pearls

King Porter Stomp

Intermission Riff

Lonely Rebel

Begin The Beguine 

Eager Beaver

920 Special 

Jumpin' At The Woodside

Goodbye

Coco Cola Presents The Real Thing Steel Band

 

Sell The Pussy

Coca Cola Presents 

The Real Thing Steel Band

At Clay House Inn Bermuda

Edman Records ELPS 1105

Members of the band: Gordon Barrow (Captain), Neil Gibbs, Henry Jordon, Steve Snaggs, Lai Jagroop, Allan Woods, Carlyle Rose, Carlos Peters, Michael Scanterbury, Verold Matthews, Lester Hutchings

From the back cover: The natural gift, which is relatively common in Trinidad for a young man to be able to produce such pleasing sounds from an old oil drum wavering on the same level as a concert orchestra and which is so remarkable to others, is, we feel, displayed to its best advantage on this second recording of the Camboulays Steel Band. You can appreciate even more pieces such as Tchaikowsky's Waltz of the Flowers or the thunderous hymn Jerusalem when you take into account there is no music written for a steel band and that it depends solely on the ability of the Captain to produce suitable arrangements.

The group have been playing together for approximately three years. They started with Lever Brothers of the West Indies and then, after touring for a while in the United States returned to the Clayhouse Inn, Bermuda where they are presently appearing and where they have now acquired a new sponsor, Coca Cola.

The pans were produced by Mr. Bertram Kellman who is well known in Trinidad for his ability to create and tune this unusual instrument. When one mixes the co-operation of the members, with the skill of Mr. Kellman, the leadership of Gordon Barrow, the backing of Coca Cola, and setting of Clayhouse the final results could only be success as evidenced by this record. – B. Watson

Waltz Of The Flowers

Sell The Pussy

Hallelujah Chorus

Granada

Margie

My Way Of Life

Sounds Of Music Medley

Holy City

Rose Of Tralee

Stand

Lisboa Es Sempre Mulher

Goose Pimples - Jim Cullums & Bobby Hackett

 

Chloe

Goose Pimples

Jim Cullums' Happy Jazz 

With Bobby Hackett

Happy Jazz Records AP-96

The Happy Jazz Band Volume 5

1967

Jim Cullum, Sr. - Clarinet

Gene McKinney - Trombone

Jim Cullum, Jr. - Cornet

Bobby Hackett - Cornet

Willson Davis - Sousaphone

Cleff Gillette - Piano

Curly Williams - Banjo

Harvey Kindervater - Drums

From the back cover: If I came charging in with a mouthful of superlatives, bellowing "Bix lives!" I would make an ass of myself. But it would honestly reflect my feelings about the music packaged herein as "Goose Pimples."

I can't afford insinuations that I'm a sort of musical Manchurian Candidate, a patsy for that notorious Texas syndicate known far and wide as Jim Cullums Happy Jazz. So I played the tape of Goose Pimples for Andy Mitchell. Mitch looks like Brunis, plays like "Papa Mutt" Carey, and has dug small band jazz for 40 of his 56 years. He is the only cornet in Philadelphia who can play all five strains of Panama. And he tells it straight.

Mitch settled himself with a pot of black coffee and a small thermos of Gilbey's. "Okay, let's hear it."

As the first track came through Mitch was frowning (no bad sign; he frowns when he sings "Ugly Chile"), but his feet were tapping.

We sat through the tape without exchanging a word. I started to rewind. Finally, Mitch broke the silence. "Oh, man," he said, softly, almost in disbelief, "These guys are just the greatest. This is out of this world."

He asked for a replay of "Buddy Bolden's Blues." It rolled, and he jammed a finger into my face. "Listen to those voicings!" he commanded. "There's no cats in the country get a sound like that."

I agreed wholeheartedly. But I wanted it to come from someone else. In their fifth record, Jim Cullums Happy Jazz has gone and done it again: Proved that you can doff your hat to the jazz past without falling flat on your face; proved that creative musicians can find plenty of artistic scope within the disciplines of traditional jazz.

Jim Cullums Happy Jazz is what happened when good fellows began getting together five years ago to jam in the San Antonio home of James Cullum, Sr., a clarinetist and one-time Jack Teagarden sideman turned wholesale grocer.

Cullum didn't have to look far for a cornet. Jim Cullum, Jr. supplied that. Other San Antonians joined the fun – Gene McKinney, trombone; Willson Davis, sousaphone; Cliff Gillette, piano; Harvey Kindervater, drums.

All had done stints in dance bands. But only Curly Williams, who replaced the group's original banjo player (the late Ben Valfre), works as a full-time musician today.

On this record the lads get a friendly assist from another full-time "musicianer," a great admirer of the band sound which developed from those living room sessions.

His name is Bobby Hackett, and he needs no further introduction to anyone who owns a record player, let alone a record collection.

Bobby and Jim, Sr. have been friends for years. In July (1967) both played several nights at Peanuts Hucko's Club Navarre in Denver. Bobby happened to mention how much he liked the Happy Jazz Band's relaxed two-beat rock (Jim, Sr. calls it "buggy-trot rhythm").

A few weeks later Bobby turned up in San Antonio. By rare coincidence, so did E. D. Nunn, president of Audio- phile Records. Nunn is to high fidelity what Pablo Cassels is to the cello. He happened to have his gear with him. Hackett was packing his cornet.

Working Bobby into the act was a snap. He and Jim, Jr. unpacked their Getzen cornets, and for a warm-up Jim, Jr. stomped off "You Gotta See Mama." Nunn had the second go 'round on tape.

What you will hear has such rare cohesion for a traditional jazz band that someone is bound to ask about written scores. They were used in two instances only. Bix's lead on the outgoing choruses of "Goose Pimples" was scored for two cornets, working from the 1927 Okeh record. Cliff Gillette worked out harmonic interludes and sousaphone high jinks on "Chloe."

Twice-weekly sessions at The Landing in San Antonio, appearances at jazz concerts, musicianship and a rare flair for ensemble teamwork not scores have developed the Happy Jazz sound.

For Bobby Hackett, Armstrong was, is and always will be the greatest." Jim, Jr. feels Lu Watters should get the palm for the best ensemble lead. But there is a lot of Beiderbecke lurking around this record, and not just in the choice of tunes, either. Or maybe that silver bell-struck-with-a-padded-mallet tone is built into Getzen cornets!

For the record, Jim, Jr. plays ensemble lead on all tunes except "Mama." Bobby plays harmony or counter melodies. So... let's get on with it.

Goose Pimples. Associated with Bix but written by Jo Trent and Fletcher Henderson and recorded by Fletcher with his Dixie Stompers for Harmony October 24, 1927, a scant 24 hours before Bix cut the same tune for Okeh. Both labels were Columbia subsidiaries. Bobby solos first, building on a series of descending phrases. Jim opens his 12 bars with a series of ascending phrases. Bobby's tone is always velvet. Jim lets a little edge creep into his..

Memphis Blues. Jim, Jr. opens W. C. Handy's first published blues with a solo on the infrequently played first strain. After ensemble on the second and third strains, Jim, Sr. solos on the first strain with a tone as round and full as the late Jimmy Noone's capacious belly. Another ensemble leads into what to these ears is Hackett's choicest solo of the date. Louisiana. More Bixiana. Jim, Sr. glides gracefully over loose-limbed, "buggy-trottin'" rhythm; a cornet flurry, a la Chicago, brings on Gene McKinney for some simple but effective trombone ruminations. Then the cornets are off on "The Great Chase," swapping four-bar phrases. Jim gets in first licks and sounds downright aggressive in spots; Bobby never loses his cool.

Sorry is still a third tune from the 1927-28 "Bix and His Gang" recordings for Columbia. The Cullum cornet opens this version. Hackett solos after Jim, Sr. and the gang heads happily for home. Maybe this is how Bix would have sounded if he had ever recorded with jazzmen in his own league?

Buddy Bolden's Blues was cut before Bobby's arrival. As compensation, there is some really gorgeous voicing in the opening ensemble, with McKinney playing a harmony line above the cornet and clarinet. Listen, too, to the eloquent plunger work on his solo. Mr. Jelly Lord gets credits for the tune, but chances are it pre-dates his alleged "invention" of jazz in 1902.

Wang Wang Blues. Not a blues at all but a 1920 "jazzy" tune by New Orleans clarinetist Gussie Mueller, White- man cornetist Henry Busse, Leo Wood and Buster Johnson. Bobby's cornet leaps out of the ensembles like a playful deer, and he solos twice, with McKinney getting in some good 'bone between solos.

Mood Indigo. Some Duke's mixture here. Hackett embellishments are a highlight. Very pretty, restrained blowing by all hands, with Jim, Sr. taking the traditional clarinet chorus against soft noodling by Bobby.

Chloe. The dawn comes up like thunder in the guise of Willson Davis's big bass horn. Then Jim, Jr. plays the pick-ups, and Bobby takes the melody solo. Neil Moret the same fellow who penned the rag. "Hiawatha," fathered "Chloe" in 1927.

You've Got To See Mamma Er'ry Night Or You Can't See Mamma at All shows how four skilled front line men can put their horns together without stumbling over one another. Fine ensemble clarinet by the elder Cullum, Bobby and Jim, Jr. swap leads here, and the score card reads as follows: Jim leads ensemble on first chorus and verse; Bobby leads a second chorus into Gene McKinney's solo; Jim leads on the verse into a lower register chorus by his Pa; two ensemble choruses out, Hackett leading the first, Cullum the second.

A Biento translates as "Until We Meet Again" and is a delightful melody by Peanuts Hucko. It's the clarinet of Jim, Sr. all the way, backed by Curly Williams on guitar and Gene McKinney on string bass. The trio sustains a warm, nostalgic mood throughout, while the rest of the mob cool their horns.

Westmoreland Weare. A sort-of-original romp builds on a riff reminiscent of the "Farewell Blues" train whistle and moves into a theme which sounds like "When My Dreamboat Comes Home" after the captain has taken a couple of slugs of Geritol. Garner Clark, Dallas cornetist and old buddy of Jim, Sr. worked up the riff. In the folly of his youth, Clark liked a glass now and then. He lived on Westmoreland Street in Dallas, and his homeward treks are here immortalized by Jim Cullums' Happy Jazz. – ALAN WEBBER Philadelphia, September 27, 1967

Goose Pimples

Memphis Blues

Louisiana

Sorry

Buddy Bolden's Blues

Wang Wang Blues

Mood Indigo

Chloe

You've Got To See Mamma Ev'ry Night

Westmoreland Weave

Spencer's Washboard Kings

 

Spencer's Washboard Kings

Spencer's Washboard Kings

Featuring Miss Jackie Knight

Recorded for Davjon, Ltd. at General Recording Services, London

Engineer: Sean Davis

Musical Director: Carl Spencer

Produced by John Britten

Davjon Limited, London, W1

Davjon DJ 1012

From the back cover: Spencers Washboard Kings are the finest exponents of genuine 1920's music in the country. Having survived the recent 1920's "Boom" they are now firmly established as broadcasting and performing favourites. On this record they play many of the wonderful songs that typify the "Roaring Twenties" in their own humerous and original style. We feel sure that you would welcome personal details of the men who make up this extraordinary orchestra, and we are pleased to supply them below:

Carl Spencer is tall, fair, handsome and leads the Band on the cornet. He was previously with the Dixie Syncopators.

Charlie Smart brings his incredible banjo technique to the Band via his experience with the Back o' Town Syncopators.

Ray Wordsworth at 22 is the youngest member of the group. His sensational trombone playing began when he was with the Davy Jones Band, before he joined the Washboard Kings. Dave Wright plays the tuba and sometimes doubles on banjo. Previously with the Savannah Jazz Band, his ambition is to tour the world before setting up his own Jazz Club.

Ray Lewitt plays drums with the Washboard Kings and is an expert on antiques. He was previously drummer with the Bonzo Dog doo dah Band.

Brian Hills – known as the Legendary Brian Hills-is the band's clarinetist. Previously with the Downtown Syncopators. He is a particular fan of Coleman Hawkins and Bessie Smith.

Malcolm Everson also plays clarinet and alto sax, but on this record, principally plays the baritone sax. His ambition is to be a fully competent musician on all instruments, and he previously played with Colin Kingwell's Jazz Bandits.

Last, but by no means least, Neville Dickie, can be heard on the "Tea for Two" track. Neville's ambition is to make his name as a solo pianist and by the sound of his playing that day cannot be too far off. He was previously with the Brian Green Jazz Band.

California Here I Come
Miss Annabelle Lee
Deep Henderson
I Wish I Could Shimmy Like My Sister Kate (Featuring Miss Jackie Knight)
I Miss My Swiss Miss (Featuring the Rev. Barry Dunning, spinster of this parish)
Sweet Emmalina
Button Up Your Overcoat
A Cup Of Coffee (Featuring the Rev. Barry Dunning again)
Pasadena
2nd Hand Rose (Featuring the return of the delectable Miss Jackie Knight)
Tea For Two, a piano piece highlighting the multi-fingered dexterity of Neville Dickie)
Last Night On The Back Porch
Old Comrades March