Long John's Blues - Long John Baldry

 

You Breaking My Heart

Long John's Blues

Long John Baldry

Ascot Records ALM 13022

1965

From the back cover: LONG JOHN BALDRY is an English lad with a passionate devotion to the blues. He also happens to be in the fortunate position of being able to practice what he preaches.

John Baldry was singing blues – and singing them with the intensity of the original performers – long before rhythm and blues was commercially acceptable in Britain. This tall, slim young singer (he stands 6'7" in his socks) became a familiar figure at London folk clubs, and was one of the main standard bearers of the English blues movement which made great impact in 1962 and 1963.

The untimely death of Cyril Davies in early 1964 robbed Europe of its finest blues harmonica player. It also left his group leaderless. John Baldry took over the band, however, changing its name to The Hoochie Coochie Men. (Two of the original All Stars Jeff Bradford and Cliff Barton are still with the group today). Inevitably, as Baldry began putting his own ideas, his own tastes to the forefront, the character of the music changed slightly. Yet its authenticity, its vitality, its devotion to the blues tradition remained intact. The band, of course, has forged ahead, creating a whole host of dedicated fans, pulling in big audiences wherever it plays.

This album gives a good idea of LONG JOHN BALDRY's kind of music. There is, for a start, a great diversity of material. The numbers include blues from the repertoires of Muddy Waters and Jimmy Witherspoon, Joe Turner and B. B. King, John Lee Hooker and Little Walter, Brownie McGhee and Memphis Slim. In his own "Rock The Joint", Baldry provides what is virtually a conducted tour of latter-day blues, moving through a variety of styles and lyrics. But even when he sings the most famous blues, Long John is never content to echo earlier performances. He has always been his own man and he never hesitates to twist the melody sometimes even the words to suit his ends. Meet LONG JOHN BALDRY and "LONG JOHN'S BLUES" highly individualized series of performances by a talented and highly individual singer.

Got My Mojo Working - M. Morganfield

Gee My Baby Ain't I Good To You - D. Redman

Roll 'Em Pete

You're Breaking My Heart - B. B. King, J. Josea

I'm Your Hoochie Coochie Man - W. Dixon

Everyday (I Have The Blues) - B. Chatman

Dimples - J. J. Hooker

Five Long Years - Boyd

My Babe - W. Dixon

Times Are Getting Tougher Than Tough

Goin' Down Slow - Oden

Rock The Joint - J. Baldry

20th Century Guitar Music - Jose Luis Gonzalez

 

20th Century Guitar Music

20th Century Guitar Music

By Ponce, Castelnuovo-Tedesco, Villa-Lobos, Tarrega, Tansman, Barrios, Libaek

Jose Luis Gonzalez 

Recorded by Australian Record Company Limited, a CBS Subsidiary

Odyssey STEREO 32 16 0200

A Product of CBS

From the back cover: José Luis Gonzalez is one of the most outstanding guitarists to come out of Spain since the debut of the great Andrés Segovia in 1909.

Gonzalez was born in Alcoy, Spain, in 1932. At the age of sixteen, he gave his first public recital in Madrid's Realto Theater. In 1957, he was graduated from the Valencia Conservatory. For a time, Gonzalez was a scholarship pupil of Regino Sainz de la Maza in Madrid and also studied for many summers with Segovia at Santiago de Compostela. In 1961, Gonzalez won the Margarita Pastor prize in a competition organized by the Orense Conservatory and held in conjunction with the Music at Compostela Festival. In this contest, the young virtuoso competed against master guitarists from all over the world.

After being acclaimed in recitals throughout Continental Europe and in North Africa, Gonzalez moved to Australia in 1962, settling in Sydney to teach, concertize and to record for CBS Australia. Recently, he has expanded his concert activities again to include Europe, plus England and North America.

In addition to giving outstanding performances of the classical and Spanish repertoires for guitar, Gonzalez also specializes in contemporary music from many nations, such as this collection of guitar pieces by composers from Poland, Norway, Italy, Mexico, Spain and South America.

Manuel María Ponce (1882-1948) was born in Mexico, but studied piano in Germany and composition in Italy. He later taught at the National Conservatory in Mexico City, where for two years he also conducted the National Symphony Orchestra. He was an enthusiastic admirer of his country's folk songs and utilized them in many compositions.

Mario Castelnuovo-Tedesco (1895 - ) was born in Italy, but now makes his home in the United States. He is famous for his guitar pieces, especially his Concerto in D Major, but is also well known for a variety of orchestral, chamber and choral works. The "Tonadilla for Guitar on the Name of Andrés Segovia" was composed in 1925, the melody deriving from notes assigned to the letters in Segovia's name. Sven Erik Libaek (1938- ) was born in Oslo, Norway, and has lived in Australia since 1961. He studied piano and composition at the Juilliard School of Music in New York City. The two pieces featured in this album are from a series of six "Musical Pictures for Guitar," written in Australia during 1964-65.

Francisco Tárrega (1852-1909) was an outstanding representative of the modern Spanish-guitar school. Born in Villarreal, Castellón, he studied at the Madrid Conservatory, where he later became Professor of Guitar. Tárrega is noted for his many original pieces for guitar and for transcriptions of classical and modern works.

Alexandre Tansman (1897- ) was born in Lodz, Poland. He made an extensive tour of the United States in 1927, performing his own piano works. Tansman has lived in France since 1919, and his works reflect both Polish and French influences. "Mazurka" was composed in 1925 for Andrés Segovia. Heitor Villa-Lobos (1887-1959) is South America's most famous composer. Although born in the city of Rio de Janeiro, Villa-Lobos traveled extensively in the interior of Brazil to collect folk music. "Chôros No. 1" is one of more than a dozen works bearing the title "Chôros" and composed for a variety of instruments and combinations. This "Chôros" was written for violão (Brazilian guitar) and represents a synthesis of both Indian and pop- ular melodies of Brazil.

Augustín Barrios was a native of Paraguay, where he died in 1944. Little is known about him except that he was of Indian descent and was a gifted guitarist and composer. His "Medallón Antiguo" is recorded here for the first time.

Side 1

Ponce: Six Preludes (BMI-5:42)

Ponce: Thème varié et finale (BMI-7:52) Castelnuovo-Tedesco: Tonadilla for Guitar on the Name of Andrés Segovia (BMI-4:18)

Libaek: Musical Pictures for Guitar,

Nos. 2 and 3 (ASCAP-6:25)

Side 2

Tárrega: Six Preludes (BMI-6:06)

Tansman: Mazurka (BMI-5:00)

Villa-Lobos: Chôros No. 1 (BMI-4:19) 

Barrios: Medallón Antiguo (ASCAP-3:17)

Los Joker's Vol. 9 - Pepe Cobos y Lalo Medina

 

Los Joker Vol. 9

A gozar con el noveno!

Los Joker's Vol. 9

Cantan: Pepe Cobos y Lalo Medina

Industria Fonografica Ecuatoriana S.A.

1975

From the back cover: Los Joker's ha sido el conjunto que estable- ció la pauta para crear un nuevo tipo de música tropical, esto es innovando el ritmo de algunas canciones de nuestro pentagrama, revolucionan- do en cierta forma su estilo y haciéndolo más melódico a la gran mayoria del público.

En este su noveno album, Los Joker's ofrecen su sonido diferente, y esto es por la inclusión de dos trombones, lo que les da una fisonomía internacional, convirtiéndolos en el primer super combo del país.

Los Joker's son muy inquietos, gran parte de su triunfo se debe a esto. Constantemente están renovando sus equipos, preocupándose y buscando novedades para su repertorio. Por e- so cada disco presenta sorpresas y nuevos éxitos en ventas y popularidad. Como creadores de la música tropical-ecuatoriana incluyen en este album, un "hit" a su manera: "Vasija de Barro" del que Los Joker's aseguran tendrá mucha aceptación en los hogares de sus admiradores.

El plantel está formado en la actualidad por los siguientes músicos? Vicente Romero, director y organista, William Samaniego, saxo alto, Paco Vélez, tumbero, Teddy Benites, baterista y compositor de algunos de sus números, Tony Romero, guitarra, piano y además arreglista y subdirector del conjunto. Saúl Pérez, bajo Rodrigo Gavidia, primer trombón, Gonzalo Moreira, segundo trombón, Angel Samaniego, saxo tenor. Ahora cuentan con dos cantantes: Pepe Cobos y Lalo Medina.

Una muestra más de por qué Los Joker's son los campeones del ritmo, primeros en ven- tas y los favoritos del público.

Translation: Los Jokers has been the group that set the standard for creating a new type of tropical music, innovating the rhythm of some songs on our staff, somewhat revolutionizing their style and making it more melodic for the vast majority of audiences.

On their ninth album, Los Jokers offer their distinct sound, thanks to the inclusion of two trombones, which gives them an international appeal, making them the country's first super combo.

Los Jokers are very restless, and much of their success is due to this. They are constantly updating their equipment, focusing on new things, and seeking out new additions to their repertoire. That's why each album presents surprises and new hits in sales and popularity. As creators of Ecuadorian tropical music, they include a hit in their own right: "Vasija de Barro," which Los Jokers assure will be very popular in the homes of their fans.

The current lineup is made up of the following musicians: Vicente Romero, director and organist; William Samaniego, alto saxophone; Paco Vélez, tumbero; Teddy Benites, drummer and composer of some of their numbers; Tony Romero, guitar, piano, arranger, and assistant director of the group; Saúl Pérez, bass; Rodrigo Gavidia, first trombone; Gonzalo Moreira, second trombone; Angel Samaniego, tenor saxophone. They now have two singers: Pepe Cobos and Lalo Medina.

One more example of why Los Jokers are champions of rhythm, top sellers, and audience favorites.

Caminito y Pena

Canto A La Montana

Con Una Canción

Rico Mambo

Mi Merengue Tiene Salsa

Campesino

Vasija De Barro

Los Clarinetes y El Reganon

Besitos Del Corazon

El Velorio 

Mosaico: Mi Cafetal / La Cinta Verde / El Pichirilo

Herman's Hermit's Greatest Hits Played By The Liverpool Strings

 

Herman's Hermits Greatest Hits

Herman's Hermits Greatest Hits Played By The Liverpool Stings

Arranged and Conducted by Bill McElhiney

Produced by Jim Vienneau

Director of Engineering: Val Valentin

A&R Coordinator: Irv Stimler

Cover Photo: Sigred Owen

Manufactured by Reverse Producers Corp.

Metro Records MS-560 (repackage of MGM's E/SE-4309)

1966

I'm Henry The VIII, I Am

Silhouettes

Can't You Hear My Heartbeat

Wonderful World

I'm Into Something Good

Mrs. Brown You've Got A Lovely Daughter

Mother-In-Law

Show Me Girl

Sea Cruise

For Your Love

Jazz Abroad - Roy Haynes & Quincy Jones

 

Jones' Bones

Jazz Abroad

Featuring Roy Haynes and Quincy Jones

EmArcy/Mercury Records MG 36083

1957

From the back cover: Ever since the end of World War II, the exchange of musical ideas between jazzmen of various nations has gained increasing incidence, particularly in Scandinavia. It was in Sweden that the first outstanding modern jazz soloists were contributed by Europe to the international discograghies; and it was in Sweden, during the past five or six years, that a number of happy unions took place between American and Swedish jazzmen, resulting in the production of such successful sessions as the two represented on this album.

Quincy Jones, arranger and musical director of the band on the first side, has had one of the most meteoric careers in contemporary jazz. Only 23 years old, he has been an important part of the musical scene in at least four cities: first in Chicago, where he was born; later in Seattle, where he started his trumpet practices in 1947 and studied with Clark Terry in 1950; then in Boston, where he studied on a scholarship at Schillinger House, and lastly, for the past two or three years, as a highly successful freelance arranger in New York City.

Though best known as a composer-arranger (he has written the music for many of EmArcy's sessions), Quincy is enough of an instrumentalist to have held down both the trumpet and piano chair in Lionel Hampton's band at one time or another. In the spring of 1956, putting down his pen and picking up his horn after a two-year lull, he visited the Middle East on the historic State-Department-subsidized tour by Dizzy Gillespi's big band.

Coupled with Quincy's date is a session under the leadership of Roy Haynes, the diminutive drummer from Roxbury, Mass., who for several years has been part of Sarah Vaughan's accompanying trio. When these tunes were recorded in the fall of 1954, Roy and the bass player, Joe Benjamin, were visiting Stockholm with Sarah as part of a concert package that also included the Illinois Jacquet Band. Two members of Jacquet's orchestra are heard-Sahib Shihab on baritone and alto sax; Adrian Acea on piano. Completing the group are Bjarne Nerem on tenor sax and Ake Persson on trombone.

These performances are less arranged and more informal than Quincy's. Sahib's baritone is especially effective on Little Leona, a minor-key original by Adrian Acea. Mrs. Mopsy, an agreeable swinging riff tune by Joe Benjamin, has some outstanding muted trombone by Persson. Gone Again, a ballad popularized by Wini Brown with Hampton's band a few years ago, features Shihab's alto, Nerem's tenor and Acea's piano. Hagnes, dreamed up by Haynes and Shihab, features a long and provocative drum intro by Roy, followed by some alto ad libbing with Latin rhythm touches.

Jazz Abroad indicates decisively that men like Quincy Jones, Roy Haynes and their confreres are musically at ease in the company of such distinguished Swedish contemporaries as are heard with them here. Because so many of the musicians involved are even better known to jazz fans today than they were at the original time of recording, these are among the most interesting examples available of the ever-broadening policy of "Bands Across the Sea."

Pogo Stick, Liza, Jones' Bones and Sometimes I'm Happy were recorded in Stockholm in 1953 when Quincy was on a visit to Europe with Lionel Hampton's band. The personnel was as follows:

Art Farmer, trumpet; Jimmy Cleveland, Ake Persson, trombones; Arne Domnerus, alto and clarinet; Lars Gullin, baritone; Bengt Halberg, piano; Simon Brehm, bass; Alan Dawson, drums.

Quincy, Art Farmer and Jimmy Cleveland were the only Americans on the date, though you would never know it to listen to the music. Domnerus, who played at the Paris JazzFestival in 1949, has long been regarded as one of the two or three top men in Europe both on alto and clarinet. Gullin is, of course, well known to EmArcy fans on albums such as MG 36012 and MG 37059, the latter featuring him with the Moretone Singers. Bengt Halberg, the 23-year-old pianist, has been a sensation with every visiting American jazzman; he numbers Miles Davis and Stan Getz among his most ardent fans, and Getz has been trying to arrange to bring him to the United States. Bassist Brehm, who runs a record company on the side, has toured with his own band, often featuring some of the same Swedish sidemen heard here. The Anglo-Swedish vibrations on these sides are so sympathetic that at times it is hard to tell, for example, which trombonist is playing when. The following guide should be of some help. Pogo Stick features a series of short alternations, starting with Persson. Liza features a chorus by Cleveland, one by Persson and then a series of alternations starting with Cleveland. Jones' Bones features four choruses apiece by Cleveland and Persson. On Sometimes I'm Happy, Cleveland plays the opening melody chorus. The later solo is by Persson.

Pogo Stick (Quincy Jones)

Liza (Kahn-Gershwin-Gershwin)

Jones' Bones (Quincy Jones)

Sometimes I'm Happy (Ceasar-Gray-Youman

Little Leona (Adrian Acia)

Miss Mopsy (Joe Benjamin)

Gone Again (Curtis Lewis)

Hagnes (Haynes-Shihab)

Studies In Improvisation - Lukas Foss

 

Studies In Improvisation

Studies In Improvisation

Lukas Foss

Improvisation Chamber Ensemble

Produced by Peter Dellheim

Recording Engineer: Edwin Begley

RCA Victor Red Seal LM-2558

1961

Lukas Foss - Piano

Richard Duvall - Clarinet

Charles Delancey - Percussion

Howard Colf - Cello

(assisting) David Duke - French Horn

From the back cover: Ideally speaking, an improvisation should not be recorded. It is music which, when heard live, varies with each playing. It is chance transformed into a moment of significance. The pinning down of the moment, the perpetuation through recording is in conflict with the very idea of improvisation. However, if one thinks of a record not as a perpetuator but as a means of making the new known and available, then the recording of these improvisations becomes imperative and all opposing arguments fade into the background.

Ensemble improvisation as attempted here is new. It is based on new premises. It is an informal, spontaneous type of chamber music, proposed not in lieu of traditional chamber music practice, but in addition to it.

The Improvisation Chamber Ensemble is a pioneering group of four, who believe in improvised chamber music: (1) as an essential new outlet for the many excellent performing musicians in the world; (2) as a new hunting ground for the composer; and (3) as a challenge to the musical curiosity of the listener. Says Lukas Foss, composer, originator of the technique and pianist of the group:

"The music on this record is the result of extensive research and practice, of constant critical listening to one another, of developing from childish beginnings to the rather complex structures attempted on this record. I should welcome other musicians to follow suit, to form improvisation ensembles, to build on what we have accomplished, and to learn from our limitations and errors. It will take more than one approach to establish the art of ensemble improvisation as a way of making music. May this record make new friends for the art."

Lukas Foss has been a professor of composition and conductor of the university orchestra at the University of California at Los Angeles since 1953. He studied in Berlin and Paris before coming to the United States in 1937. He continued his studies at Curtis Institute, the Berkshire Music Center and Yale University. He has appeared as piano soloist and conductor with American symphony orchestras and in Europe. His diverse interests and talents are reflected in his compositions, which include three operatic works, two piano concertos, a symphony and other works for orchestra, chamber music in various combinations and several works for voices.

Mr. Foss' interest in the possibility of ensemble improvisation dates back to the spring of 1957 when, together with Richard Dufallo and Charles Delancey, he formed the Improvisation Chamber Ensemble. Howard Colf joined the group in 1959. A year later the ensemble went on its first national tour which included appearances with the New York Philharmonic and the Philadelphia Orchestra. The music of the Improvisation Chamber Ensemble is documented for the first time on this recording.

Fantasy and Fugue for Piano, Clarinet, Percussion, Cello

Music For Clarinet, Percussion And Piano

Variations In A Theme In Unison for Clarinet, Horn, Cello, Percussion, Piano

Quintet (Moirai) for Clarinet, Horn, Cello, Percussion, Piano

Encore I (Bagatelle) for Piano, Clarinet, Cello, Percussion

Encore II (Air Antique) for Cello and Percussion

Encore III (Circus Piece) for Clarinet, Cello, Percussion, Horn, Piano