Cornet Artistry - Doc Evans

 

Cornet Artistry

Cornet Artistry

Doc Evans

Audiophile AP-31

1956

Cornet - Paul W. (Doc) Evans

Piano - Sid Nierman

Bass Viol and Vibraharp - Art Kay

Drums - Bob Thompson

From the back cover: Students of the cornet or trumpet will find this record a golden opportunity to study an outstanding contemporary stylist – Doc Evans. Not widely known is the fact that Professor Paul W. Evans is a man of many interests and accomplishments. Having abandoned a more prosaic existence predicted by his academic education he followed his musical dictates and has established himself in the minds and hearts of his many friends and admirers as being one of the outstanding cornet men of all time.

"Doc" Evans has contributed much to the world of Dixieland music. Although he is noted for his exceptional work in band groups, we have always felt that his silvery tone justified more intimate study than could be made in group work. This is such a record – it is a candid presentation of Doc Evans and his cornet.

To those who are not particularly interested in the technicalities of cornet style, we suggest the music is moving and interesting; behind Doc Evans are such artists as Sid Nierman, Art Kay and Bob Thompson. This is not a "razzle dazzle" type of record – it is easy listening.

The recording is sharp and clean and affords good opportunity to study not only the cornet but the other instruments as well.

Sugar

Just A Gigolo

Old Fashioned Love

Stars Fell On Alabama

Limehouse Blues

Don't Worry About Me

Melancholy Baby

Memories Of You

88 Keys And A Girl - Reg Wilson

 

88 Keys And A Girl

88 Keys And A Girl

Reg Wilson

The Voice: Corinna Manetto

Arranger: Reg Wilson

Producer: LeRoy Holmes

Engineer: Eddie Smith

Recorded in New York City at Mayfair Studios

United Artists Records

STEREO UAS 6692

1969

From the back cover: JILLY'S is one of the places in New York I like to go with friends. The food, of course, is what the English call "scrumptious," but beyond that there is the very important matter of atmosphere, and JILLY's has atmosphere with a capital A.

Nowadays, this atmosphere revolves around the sound of Reg Wilson's piano. It's very strange how some musicians have a gift for creating atmosphere, and some have not. Technique you can acquire, but not this sort of thing. Whenever I go into JILLY'S, I'm reminded of the first time I heard Willie "The Lion" Smith at the Capitol Palace, years and years ago. You stepped in, and immediately you were bathed in the atmosphere, and became part of it.

Reg Wilson moves in many directions, but the music always comes out in good taste. I like the originals he writes, such as 888, Sylvia's Theme, and At Home with Holmes, and I like his choice of contemporary material. By emphasizing their virtues in his playing, he has, in fact, often brought songs to my attention that I might otherwise have missed. Traveling as much as I do, it isn't always possible to keep up with the music on Broadway and in films the way I would like to, so I'm always delighted when I get to hear a Wilson précis of what's happening. In this album, he has included Hugo Montenegro's theme from Frank Sinatra's Lady in Cement and Michel LeGrand's theme from The Thomas Crown Affair. Then there is a Bacharach-David song from the Broadway show, Promises, Promises, and a number by the Sherman Brothers from the movie, Chitty, Chitty, Bang, Bang. The last has a title I especially like – Hushabye Mountain – and it gives the program a pleasing change of pace. As for Sunny, that's one of the real anthems of the '60s, isn't it?

Another big asset here, I feel, is the voice of Corinna Manetto, a girl who is obviously a good musician. (It has always been my belief that you're either a good musician or you're not-no half- way measures!) In the past, I have frequently indulged a taste for wordless vocalizing when capable voices have been available to me, and I really appreciate the way Miss Manetto anticipates the flow of the music. It may sound easy, but it's infinitely harder to do than non-singers would ever imagine. She has an accurate ear and shades sensitively in the muted passages. Her control is good, and on the higher notes a revealing touch of vibrato enhances her sound.

But I must avoid falling into the analytical trap. Sometimes, when that happens, you get into the position of a person who takes a flower apart, petal by petal, and ends up with no flower. The conception and group performance are what's important here, and, as I said at the beginning, it's a matter of atmosphere  – a good atmosphere.

Background or foreground, under or over conversation, Reg Wilson's music comes off. I like it. I could listen to it for hours, and have. I have spent hours at JILLY'S in total overall agreement with him, and though not a word has been spoken in any language, I have believed everything he said. – DUKE ELLINGTON

Theme From The Thomas Crown Affair

  Windmills Of Your Mind

  From the United Artists Motion Picture "The Thomas Crown Affair

888

To Make It Right

Hushabye Mountain

   From the United Artists Motion Picture "Chitty, Chitty, Bang, Bang:

Sylvia's Theme

At Home With Holmes

Knowing When To Leave

   From the New Broadway Musical "Promises, Promises"

Tony's Theme

   From the Motion Picture "Lady In Cement"

Sunny

Today My Way - Patti Page

 

Don't Sleep On The Subway

Today My Way 

Patti Page

Produced by Jack Gold

Cover Photo: Frank Bez

Columbia Records STEREO CS 9561

1967

All The Time

In The Chapel In The Moonlight

(Darlin') What's She Got That I Ain't Got

I Haven't Anything Better To Do

I Take It Back

There Goes My Everything

Gentle On Mind

Don't Sleep On The Subway

Same Old You

Can't Take My Eyes Off You

Excuse Me

Country & Western Hits - Dan & Dale

 

I Don't Hurt Anymore

Country Western Hits

The "Sleepwalk" Guitars of Dan & Dale

Diplomat D-2364 ("STEREO" sticker applied to top cover)

From the back cover: DALE AND DAN have entered the recording world with two smash albums, giving rise to these future releases. Their first albums were "DEAR HEART" and "THE THEME FROM GOLDFINGER and ZORBA THE GREEK". Because of the success of their first albums, their personal appearances have been on the increase around the country.

They have used the song "SLEEP WALK" as their theme song to start their act, and because the sound of this song depicts their style, they have incorporated it into their name.

The reason for their popularity is that the sound is an extremely pleasant one, using a combination of an electric guitar and rhythm guitar. Dan plays the electric guitar, and Dale is on the standard rhythm guitar. Watch for additional releases. If your favorite store is out of one, please ask the dealer to request it.

We would appreciate hearing from you with any comments you care to make or any recommendations for future recordings by DAN and DALE.  – A & R Director, Diplomat Records

Cool Water

Tennessee Saturday Night

I Don't Hurt Anymore

Wolverton Mountain

Hey, Mr. Bluebird

Wagon Wheels

Candy Kisses

Faded Love

Anytime

I'm Movin' On

By Jupiter / Crazy Girl - Jackie Cain & Roy Kral

 

Jupiter Forbid

By Jupiter & Girl Crazy

Jackie Cain & Roy Kral

An Original Presentation Of 2 Broadway Musicals

Hugo & Luigi Producers

Design: Moskof-Morrison, Inc.

Roulette R-25278

1964

From the inside cover: In December, 1930, three minor events took place in major cities of the United States. They were not to be related for many years. The future Mr. and Mrs. Donald Cain of Milwaukee were planning their honeymoon. A kid named Roy Kral was practicing arpeggios at the Sherwood Music School in Chicago. And in New York, the writer of these notes – then a college freshman – was watching a performance of "Girl Crazy" during Christmas vacation.

Mr. and Mrs. Cain became the parents of a beautiful girl now known as Jackie. The kid in Chicago grew really excited about jazz "sounds" after hearing the Benny Goodman Trio. The college boy in New York yearned more and more for a career in the theatre.

Fade out – fade in. I became a Broadway actor. I married Broadway columnist Dorothy Kilgallen. I became a Broadway producer. One night my wife and I went to a nightclub called the Royal Roost to hear saxophonist Charlie Ventura's marvelous combo and we heard something new: Jackie and Roy. We were remarkably impressed and pleased; we have been members of the Jackie and Roy cult since that happy night.

I served my apprenticeship as a producer on "By Jupiter". The veterans at the game were Dwight Deere Wyman and Richard Rodgers, so I had made a resolution to keep my eyes open and my mouth shut, but Dwight was ill through most of the rehearsals and the out-of-town tryouts, and I found myself making suggestions. It is a tribute to Richard Rodgers' patience that he listened to everything and even incorporated a few of my ideas.

I first met Dick and his brilliant partner, Lorenz Hart, when I auditioned for their show "The Boys From Syracuse". The same week I sang for Kurt Weill, Maxwell Anderson and Josh Logan. They were readying "Knickerbocker Holiday". Like a dream come true, I was offered the juvenile lead in both shows. I chose to accept the part of Brom Broek in the Weill-Anderson musical.

A year later, I got a call from the George Abbott office ask- ing if I would be interested in playing the juvenile in Rodgers and Hart's new show "Too Many Girls." I accepted readily and there began a long and rewarding friendship with these two brilliant men.

Dick was the stabilizer of the team. Larry was a warm, kind person, but, to put it mildly, his behavior was erratic at times. On good days, when Larry's fertile imagination was bubbling with fresh ideas and crackling rhymes, he inspired his collaborator to a frenzy of composition.

I was sitting with Dick Rodgers one afternoon, watching Josh Logan direct a scene, when Larry Hart walked down the aisle and sat next to his partner. He handed Dick a piece of paper with some verses scribbled on it.

"What do you think about this for that slow spot toward the end of the first act"? asked Larry. "Bolger and Venuta could do it in one."

Dick smiled – a sure sign of approval from Mr. Rodgers – rose and said to Larry, "Don't leave the theatre."

He went upstairs to a dressing room in the Shubert Theatre, sat down at a rehearsal piano and established what must be the world's speed record in composing. In ten minutes he returned to the auditorium with the lead sheet of "Everything I've Got Belongs To You."

Lorenz Hart always seemed to me to be a very lonely little man. There were several cronies who were around him a lot, but they were obvious "free loaders". Whenever someone with no ulterior motive took time to chat or dine with him, he was excessively, but nevertheless sincerely, grateful.

This possibly could explain his obsession with generosity. He simply would not let anyone pick up a tab whether it be one drink at a bar or dinner for six in a "posh" restaurant. Once, during the Boston tryout of "By Jupiter", I invited him to dinner at the Ritz where we were both staying. After the entree, I excused myself and told the maitre d'hotel to inform all personnel that Mr. Hart was my guest and that I wanted no nonsense about who was to pay the check. The "maitre d'" looked at me imperiously and said, "I'm sorry, Mr. Kollmar, Mr. Hart spoke to me after the appetizer. I have accepted his gratuity. C'est fini."

Naturally, I have a sentimental attachment to this album, to Jackie and Roy and to the crystal clarity of their taste. They have taken the best of two shows and done wonders.

While the libretto of "By Jupiter" was far better than that of "Girl Crazy", it was a far cry from the adult stories and dialogue of "South Pacific" and "My Fair Lady". So be thankful that Jackie and Roy have done the score their way. You are spared the contrived plots and hackneyed jokes. They have distilled two successful shows to their finest element: the music.

As I recall "Girl Crazy", Ethel Merman was atomic, Willie Howard came on now and then to do block comedy scenes, and Ginger Rogers was a pretty, but inaudible ingenue. From where I was sitting in the second balcony she moved her lips while the orchestra played a lovely tune which the program indicated was "Embraceable You". The way Jackie sings it on this album, you hear every syllable.

In their bouquet of songs from "By Jupiter", Jackie and Roy have included one of the loveliest waltzes ever written – "Wait 'Til You See Her'". Few people realize that this song was cut from the show in Boston because it slowed the second act; Richard Rodgers and director Josh Logan had the courage to dump it, and it never made the Broadway opening night. But it has become a standard because nothing could have kept that lovely light under a bushel. "Careless Rhapsody", which was written as a satire, never quite came off with the audiences because Rodgers and Hart couldn't be that bad. When Jackie and Roy do it as a bossa nova, it becomes truly exciting. Jackie and Roy possess all kinds of magic. Part of it – perhaps the heart of it is their genius for doing new things to old tunes. It is this magic that fills every moment of this recording. – Dick Kollmar

Everything I've Got

Nobody's Heart

Here's A Hand

Careless Rhapsody

Jupiter Forbid

Wait Till You See Him

I Got Rhythm

Embraceable You

Could You Use Me?

Bidin' My Time

But Not For Me

Treat Me Rough

Blues On Bach - The Modern Jazz Quartet

 

Blues In C Minor

Blues On Bach

The Modern Jazz Quartet

Produced by Nesuhi Ertegun

Production Coordinator: Ilhan Mimatoglu

Recorded at Atlantic Recording Studios, New York, NY

Portrait Photography: Margo Johnson

Photography: Scott Enyart

Concept & Design: Pacific Eye & Ear

Atlantic Records SD1652

1974

John Lewis - Piano & Harpsichord

Milt Jackson - Vibraharp

Percy Heath - Bass

Connie Kay - Drums & Percussion

Regret? (Based on the Bach Chorale Prelude for organ "The Old Year Has Now Passed Away") by John Lewis

Blues In B Flat by John Lewis

Rise Up In The Morning (Based on the Bach Chorale, "Sleepers Awake") by John Lewis

Blues In A Minor by John Lewis

Precious Joy (Based on the Bach Chorale, "Jesu Joy Of Man's Desiring") by John Lewis

Blues In C Minor by Milt Jackson

Don't Stop This Train (Based on Bach's Fugue in D Minor From the "Clavierbuechlein") by John Lewis

Blues In H by Milt Jackson

Tears From The Children (Based on Prelude No. 8, from Bach's "Well-Tempered Clavier") by John Lewis

Andy Griffith Shouts The Blues and Old Timey Songs

 

The House Of The Rising Sun

Andy Griffith

Shouts The Blues and Old Timey Songs

Produced by Tom Morgan

Cover Photo by Joe Cavello / Black Star

Capitol Records T 1105

1959

From the back cover: TO WHOEVER MIGHT BE READING THIS: This writing here is called liner notes. Generally, it's about what's in the album, or who did it, or both. And generally it's made up by somebody in the record company. But I fit in a real peculiar slot so they asked me to do it myself.

ABOUT THE ARTIST: (Used to be just people who could draw a picture were called artists. But now there are so many record companies, and TV shows and movies and all, that anybody who is fooling around with them and not doing any actual work is called an artist. So since they've loosened the requirements, I guess I'm one, too.)

I was born and raised in North Carolina-graduated from college in 1949 (by mistake), taught high school for three years (the students claim that was also by mistake), got married to Barbara Bray Edwards in 1949 (I did that on purpose and she has worked out so fine I expect I'll keep her on). And as I said before, to avoid having to go to work, in 1953 we moved to New York and I went into the field of entertainment.

ABOUT THIS ALBUM: Capitol Records is prosperous and I caught the boys in a good mood when I asked them to let me make this album. So they agreed to let me do it.

The reason I wanted to do it is that I just enjoy a record session. And I have always enjoyed shouting the blues and besides that, the blues is about the only kind of song I can sing. Though my friend Ainslie Pryor said that I was about the worst blues singer he ever heard. And I will admit that I'm not the best, but in all modesty I will have to say that I expect I'm the loudest.

Ainslie Pryor introduced the blues to me, or me to the blues, whichever is right, and helped me in the beginning in whatever career I've got more than anybody else. He helped me in many ways, including writing. He helped me write a lot of jokes and monologues I used to do-Romeo and Juliet, Swan Lake, Make Yourself Comfortable, etc. He was a brilliant man and his passing was a great loss to his friends and to the entertainment industry.

ABOUT THE SONGS: Some of these songs, the old timey ones, came from my mother and other folks in the mountains of western North Carolina. Some of the blues I learned from records (I might as well be honest), but most of them I learned from Brownie McGhee, who is playing guitar in this album and sings with me on Pick a Bale of Cotton. I think Brownie is the finest traditional blues guitar player in the country and I always get a great pleasure out of singing with him.

That's about all I've got to say and it's probably just as well.

Thank you, Andy Griffith

The Preacher And The Bear

Midnight Special

The House Of The Rising Sun

How Long Blues

The Crawdad Song

Good Morning Blues

Police Department Blues

Little Maggie

Careless Love

Molly Darlin'

I Want A Little Girl

Pick A Bale Of Cotton