tag:blogger.com,1999:blog-52714538571789068982024-03-19T01:46:29.977-07:00Unearthed In The Atomic AtticHowdy Folks! Check out my Atomic Age Vinyl Finds! If there are copyright issues or a problem with any post, just contact me and I will make corrections. I'm here to have fun and hope you will share in my process of discovery!By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.comBlogger7999125tag:blogger.com,1999:blog-5271453857178906898.post-65154875768294427812024-03-19T00:32:00.000-07:002024-03-19T00:33:23.834-07:00Liszt Hungarian Rhapsodies Vol. III - Edith Farnadi<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LpyQMYrXEqL1c99S6Us8njiSHbs2wA9R98ov64LJelg8iIn3H6MSXGBiY9KPRpbwwVjMtzKu5fqNZvqb-P4J6LcKjbmNUioaJh2u6aWvRIfGhmSLQJyvm60EOAyZKwsDFOZyRrjKDXLElHVcLB_SLVwnBqK-Sa5QVhrRyvJtwhPWTsEQ_f0-FAOvLAY/s1624/Screenshot%202024-03-19%20at%202.18.42%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1606" data-original-width="1624" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh4LpyQMYrXEqL1c99S6Us8njiSHbs2wA9R98ov64LJelg8iIn3H6MSXGBiY9KPRpbwwVjMtzKu5fqNZvqb-P4J6LcKjbmNUioaJh2u6aWvRIfGhmSLQJyvm60EOAyZKwsDFOZyRrjKDXLElHVcLB_SLVwnBqK-Sa5QVhrRyvJtwhPWTsEQ_f0-FAOvLAY/s320/Screenshot%202024-03-19%20at%202.18.42%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZGXZ5ZepMbUajudBZioIM7pcmjtP41t4UnXNoHNW78hx2Q0ClshMI15FmZKoxQyq0zA5pfGETNRmmK0I0AUys01mLGNyZEB3QhhkjXRSSEe9Ux4uf_JhHATVrqJNbJ9x48hqOhXgsU_5yiPh9TWEMF3DJsCjDzVKxvLCNrCTQHl3065ceG4Saf9ZiU0/s1640/Screenshot%202024-03-19%20at%202.20.40%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1628" data-original-width="1640" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjKZGXZ5ZepMbUajudBZioIM7pcmjtP41t4UnXNoHNW78hx2Q0ClshMI15FmZKoxQyq0zA5pfGETNRmmK0I0AUys01mLGNyZEB3QhhkjXRSSEe9Ux4uf_JhHATVrqJNbJ9x48hqOhXgsU_5yiPh9TWEMF3DJsCjDzVKxvLCNrCTQHl3065ceG4Saf9ZiU0/s320/Screenshot%202024-03-19%20at%202.20.40%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Hungarian Rhapsodies Vol. III</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/dv4jbm67mgj29gmjhc0uy/Liszt-Edith-Farnadi.mp3?rlkey=uqj4ybpw8vnxko0vyc3xms2ec&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Liszt</div><div class="separator" style="clear: both; text-align: left;">Hungarian Rhapsoides (Complete)</div><div class="separator" style="clear: both; text-align: left;">Volume III</div><div class="separator" style="clear: both; text-align: left;">Rhapsodie Espagnole </div><div class="separator" style="clear: both; text-align: left;">6 Consolations </div><div class="separator" style="clear: both; text-align: left;">Edity Farnadi - Piano</div><div class="separator" style="clear: both; text-align: left;">Photo: Joseph Bottwin</div><div class="separator" style="clear: both; text-align: left;">Candelabra Courtesy of Plummer, Inc.</div><div class="separator" style="clear: both; text-align: left;">Westminster XWN 18338 (XTV 21554 Made in USA)</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">No. 16 in A Minor</div><div class="separator" style="clear: both; text-align: left;">No. 17 in D Minor</div><div class="separator" style="clear: both; text-align: left;">No. 18 in F Sharp Minor</div><div class="separator" style="clear: both; text-align: left;">No. 19 in D Minor</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">No. 1 in E Major</div><div class="separator" style="clear: both; text-align: left;">No. 2 in E Major</div><div class="separator" style="clear: both; text-align: left;">No. 3 in D Flat Major</div><div class="separator" style="clear: both; text-align: left;">No. 4 in D Flat Major</div><div class="separator" style="clear: both; text-align: left;">No. 5 in E Major</div><div class="separator" style="clear: both; text-align: left;">No. 6 in E Major</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-89727279378050186482024-03-18T22:36:00.000-07:002024-03-18T22:36:38.764-07:00The Goombay Kings<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3BhSfpMy7GtslIy4yCBprDl9uds6mCszxOKd-CcvdPUsImHz-1hCnRPEJRttbAP1RcgfbwSpLVRlcwgC1kXqnZA1QxBEDzL44CefTkb6CZiZ712B99HMwgHkpzUReL5gate41aPvU7gFomROlPqz-uEjkIXBrTQTTWHA53z2RAVXWUjxyFfKa5_rpnQ/s1638/Screenshot%202024-03-19%20at%201.08.03%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1608" data-original-width="1638" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhc3BhSfpMy7GtslIy4yCBprDl9uds6mCszxOKd-CcvdPUsImHz-1hCnRPEJRttbAP1RcgfbwSpLVRlcwgC1kXqnZA1QxBEDzL44CefTkb6CZiZ712B99HMwgHkpzUReL5gate41aPvU7gFomROlPqz-uEjkIXBrTQTTWHA53z2RAVXWUjxyFfKa5_rpnQ/s320/Screenshot%202024-03-19%20at%201.08.03%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">The Goombay Kings </div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/o83iw9emc8kpsdb5zyzr4/The-Goombay-Kings.mp3?rlkey=t70aac5xzn14jexflb5gxyh0n&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">The Goombay Kings</div><div class="separator" style="clear: both; text-align: left;">Featuring Richie Del Amore</div><div class="separator" style="clear: both; text-align: left;">RCA Victor LPM-1514</div><div class="separator" style="clear: both; text-align: left;">1957</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Goombay</div><div class="separator" style="clear: both; text-align: left;">Mommie On The Light</div><div class="separator" style="clear: both; text-align: left;">Bahama Lullaby</div><div class="separator" style="clear: both; text-align: left;">John B. Sails</div><div class="separator" style="clear: both; text-align: left;">Linsted Market</div><div class="separator" style="clear: both; text-align: left;">Bimini Gal</div><div class="separator" style="clear: both; text-align: left;">Don't Touch Me Tomato</div><div class="separator" style="clear: both; text-align: left;">Calypso Men</div><div class="separator" style="clear: both; text-align: left;">The Cricket Calypso</div><div class="separator" style="clear: both; text-align: left;">Rockin' Eight Babies To Sleep</div><div class="separator" style="clear: both; text-align: left;">Don't Go Away</div><div class="separator" style="clear: both; text-align: left;">Conch Ain't Got No Bones</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-76414360436921419162024-03-18T01:28:00.000-07:002024-03-18T01:28:56.908-07:00Byrd's Word! - Charlie Byrd<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1CEqeDbTp4NTyRzzP-w0V61873mvuZtv3CcdPe6lHoWc8IU8S1bgjQuy8DXeQFMi3jvFw73TWojFQvokbbPqO3k_SzEdJGgEGTNUa7N6ErNwSMnpzPxjgOoM0q851uVjKwlGzEJNvTh1iPT0wtCYT-oH48ILTJ6H8654CITm5_V5v4oyhrrkRGT0NPPg/s1678/Screenshot%202024-03-18%20at%203.46.00%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1648" data-original-width="1678" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg1CEqeDbTp4NTyRzzP-w0V61873mvuZtv3CcdPe6lHoWc8IU8S1bgjQuy8DXeQFMi3jvFw73TWojFQvokbbPqO3k_SzEdJGgEGTNUa7N6ErNwSMnpzPxjgOoM0q851uVjKwlGzEJNvTh1iPT0wtCYT-oH48ILTJ6H8654CITm5_V5v4oyhrrkRGT0NPPg/s320/Screenshot%202024-03-18%20at%203.46.00%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Don't Explain</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/isf5t6vd8teiy5fvqhdl4/dont_explain_byrd.mp3?rlkey=f1rzbsxzbnljvpkhut9ir7qns&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Byrd's Word</div><div class="separator" style="clear: both; text-align: left;">Charlie Byrd</div><div class="separator" style="clear: both; text-align: left;">Produced by Bill Grauer Productions</div><div class="separator" style="clear: both; text-align: left;">Recorded by Edgewood Recording Studio, Washington, D.C.</div><div class="separator" style="clear: both; text-align: left;">Album Design: Ken Deardoff</div><div class="separator" style="clear: both; text-align: left;">Riverside RS 9448</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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." </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>"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."</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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. </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Byrd's Word</div><div class="separator" style="clear: both; text-align: left;">Blue Turning Grey Over You</div><div class="separator" style="clear: both; text-align: left;">Bobby In Bassoonville</div><div class="separator" style="clear: both; text-align: left;">Satin Doll</div><div class="separator" style="clear: both; text-align: left;">Tri-X</div><div class="separator" style="clear: both; text-align: left;">Conversation Piece</div><div class="separator" style="clear: both; text-align: left;">What's New</div><div class="separator" style="clear: both; text-align: left;">Stompin' At The Savoy</div><div class="separator" style="clear: both; text-align: left;">Don't Explain</div><div class="separator" style="clear: both; text-align: left;">Buck's Hill</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-20137508392692828302024-03-18T00:14:00.000-07:002024-03-18T00:14:07.619-07:00Bossa Nova - Ramsey Lewis<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VRgTxTLHHqodrtxAps-n87iYUxxJHAaIC42jZ0q1ip-t4-Zt3i_RiPWg7TwshjkpanX3AwBdL96tS0TiygyHzTegOH4QNHXUoEpnrcVRtW6OIxDLs632xF1qo-4PLwtDWkjWE8dypsuzPoVRIVXyewkgnTw9aj84i-q_tTQjE8TS4EOJuvsp5Af2vjQ/s1676/Screenshot%202024-03-18%20at%202.28.56%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1644" data-original-width="1676" height="314" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg3VRgTxTLHHqodrtxAps-n87iYUxxJHAaIC42jZ0q1ip-t4-Zt3i_RiPWg7TwshjkpanX3AwBdL96tS0TiygyHzTegOH4QNHXUoEpnrcVRtW6OIxDLs632xF1qo-4PLwtDWkjWE8dypsuzPoVRIVXyewkgnTw9aj84i-q_tTQjE8TS4EOJuvsp5Af2vjQ/s320/Screenshot%202024-03-18%20at%202.28.56%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">A Noite Do Meu Bem</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/150sjrs13ozq8x6zis9vg/noite_do_meu_bem_lewis.mp3?rlkey=29m89va2ewtltyc00f0rfvarv&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Bossa Nova</div><div class="separator" style="clear: both; text-align: left;">Ramsey Lewis Trio</div><div class="separator" style="clear: both; text-align: left;">Featuring Carmen Costa and Josef Paulo</div><div class="separator" style="clear: both; text-align: left;">Produced by Ralph Bass</div><div class="separator" style="clear: both; text-align: left;">Cover: Wardell Gaynor</div><div class="separator" style="clear: both; text-align: left;">Engineer: Reice Hamel</div><div class="separator" style="clear: both; text-align: left;">Recorded September 22 and 25, 1962 at Yamaha Studio, San Francisco, California</div><div class="separator" style="clear: both; text-align: left;">Argo LP 705</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Ramsey Lewis - Piano</div><div class="separator" style="clear: both; text-align: left;">Eldee Young - Bass</div><div class="separator" style="clear: both; text-align: left;">Red Holt - Drums</div><div class="separator" style="clear: both; text-align: left;">Josef Paulo - Guitar & Pandeiro</div><div class="separator" style="clear: both; text-align: left;">Carmen Costa - Cabaca</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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".</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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." </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>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 </i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From Billboard - November 24, 1962: <i>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.</i> </div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Samba de Orpheus</div><div class="separator" style="clear: both; text-align: left;">Maha de Carnaval (The Morning Of the Carnaval)</div><div class="separator" style="clear: both; text-align: left;">As Criancinhas (The Children)</div><div class="separator" style="clear: both; text-align: left;">A Noite Do Meu Bem (The Night Of My Love)</div><div class="separator" style="clear: both; text-align: left;">O Pato (The Duck)</div><div class="separator" style="clear: both; text-align: left;">Generique (Happiness)</div><div class="separator" style="clear: both; text-align: left;">Roda Moinho (Whirlpool)</div><div class="separator" style="clear: both; text-align: left;">Cara de Palace (The Face Of The Clown)</div><div class="separator" style="clear: both; text-align: left;">Canacao Para Geralda (A Song For Geraldine)</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-69470178650098682122024-03-17T23:20:00.000-07:002024-03-17T23:20:53.778-07:00Barbara Carroll Trio<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKqo_AqEs903Jgk8XzDd6_T_hZVxROCu3SUitY0SJwbyqZzlDaZ6he8OnUAxWzfo1CouYs1T6aA1qs7RWlFaJwpSjsN1OqZ2mG4xkIocLwm5FYBWtb-lrlHH8sOIua-Jj8bwfUUQComR6ehrg0gKo3vyXNWsIDf8XQkGDRUPn1o46dlZX_B7j4Zg-YhU/s1632/Screenshot%202024-03-18%20at%201.35.11%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1620" data-original-width="1632" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEidKqo_AqEs903Jgk8XzDd6_T_hZVxROCu3SUitY0SJwbyqZzlDaZ6he8OnUAxWzfo1CouYs1T6aA1qs7RWlFaJwpSjsN1OqZ2mG4xkIocLwm5FYBWtb-lrlHH8sOIua-Jj8bwfUUQComR6ehrg0gKo3vyXNWsIDf8XQkGDRUPn1o46dlZX_B7j4Zg-YhU/s320/Screenshot%202024-03-18%20at%201.35.11%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9CYvmxUohstrjy5XVjx2VyBZkGSJT0ekbwjI1zRE5JWJe-8D7W_E_JcC79FLvgMl14WkKlzHCIb0-_nWZU4vOY6GIQvER67fqHhnwpo-LUUSEE5hU1316FZIu8y0VQEifsaI89if-UTzrLh7ecv57n6NJrKDFJ7O_fi1ZQEVj_sGUqWxINUMjytWEVA/s3310/Screenshot%202024-03-18%20at%201.32.33%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1614" data-original-width="3310" height="156" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhH9CYvmxUohstrjy5XVjx2VyBZkGSJT0ekbwjI1zRE5JWJe-8D7W_E_JcC79FLvgMl14WkKlzHCIb0-_nWZU4vOY6GIQvER67fqHhnwpo-LUUSEE5hU1316FZIu8y0VQEifsaI89if-UTzrLh7ecv57n6NJrKDFJ7O_fi1ZQEVj_sGUqWxINUMjytWEVA/s320/Screenshot%202024-03-18%20at%201.32.33%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">I Want A Little Girl</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/4svzx4wr7sd777mjxblxa/i_want_a_little_girl_carroll.mp3?rlkey=lud6lkugh17esc9f3atshjuik&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Barbara Carroll Trio</div><div class="separator" style="clear: both; text-align: left;">RCA Victor LJM-1001</div><div class="separator" style="clear: both; text-align: left;">1954</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Liner Notes: <i>History is made at night. It was in the early hours of the morning, long past bedtime fro children, that, a couple of hundred of years ago, an astonished group of grown-ups discovered the infant George Frederick Handel seated at his spinet, pouring forth magnificent music. And it was again in the early hours of the morning, long past what should have been her bedtime, that another astonished group discovered, a couple of years ago, on a side street in the West Fifties of Manhattan, a very young lady named Barbara Carroll, playing a brand of piano that, though undeniably rooted in the jazz tradition, has a style and a sound all its own.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This discovery quickly led to the arrival of Miss Carroll at "The Embers," an East Side New York café noted for the quilty of its spare ribs and its hot music, where she has, quite understandably, been a sort of household pet ever since. Her appearance in these fashionable surroundings led in turn to appearances on radio, on television, and at a great many parties. Hearing her at one of them, Richard Rodgers decided to rewrite a role in his forthcoming musical comedy Me And Juliet, and to ensconce Miss Carroll in the part – as a waling, talking and playing pianist.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The next logical step in Barbara's brisk little history was this, her first RCA Victory album. These are lullabies – lullabies because she plays them mostly to people who regard her music as a nightcap before they take off for home and bed – twelve of her favorite songs, culled largely from the Broadway stage and screen. As perceptive performers should, she has looked upon all forms of musical expression, absorbed what she wished of each, and rephrased it in her own special idiom. Thus there is amole evidence of conservatory training in her incisive touch, her facile fingering, and the subtleties of her pedal work; there are overtones of her forerunning, George Frederick Handel, in her fugal passages in Good Bait; there are implications of carefully regimented bebop in the bright figures that soar out into the wild blue yonder without ever forgetting the theme from which they stem; highly involved, but always recognizable.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Barbara Carroll is a young lady of many moos; anyone who has felt an involuntary tear start at the quiet sorrow of her Goodbye or the lovely, brooding final phrases of her Cabin In The Sky is scarcely prepared for the breakneck pace and sly humor with which she attacks Serenade For A Wealthy Widow and Mountain Greenery, in both of which the jocular interplay of piano, drums and bass tells the story almost as clearly as would the lyrics. Nor do any of these prepare one for the dynamic passages of I Want A Little Girl, Let's Fall In Love or Give Me The Simple Life, in which what stat out as two-finger exercises gradually develop into what sound like twenty-finger crescendos.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>There are other distinctive characteristics in Miss Carroll's pianism – the constant varying of mood with a series of crescendos and diminuendos, the use of the left hand not merely as background but as an instrument with a mind of its own, her sudden departure from a straightforward statement of a theme into a brilliantly imaginative paraphrase of it. Rarely, by the way, does she ever play one of these freehand passages twice the same way.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The bass and drum accompaniment are the contributions of, respectively, Joe Shulman and Herb Wasserman, who have long been co-workers with Miss Carroll in a vineyard that promises even more strange and wonderful fruit in the years to come.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>As many be easily recognized from the accompanying photographs, Barbara Carroll is as modern in appearance as she is in the way with which she attacks the piano keyboard. Although it cannot be said that she is primarily a visual act – certainly not after the effects of these recordings has sunk in – she is the possessor of a set of mannerisms which more than showcase the sly innuendos of her musical style. Happily ensconced in a semi-dark, happy, smoke-filled atmosphere, surrounded by her two fellow musicians, she moves in perfect feeling to the particular piece she is playing, swaying, bending, flirting with the music and the customers – in effect, adding considerably to the ivory notes which come so deliciously to life under her fingers.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>It is undoubtedly true that "noodling" is a word not quite in keeping with the character of modern jazz, yet it is one of the few which may reasonably be assigned to the method which accounts for Barbara' fanciful flights. From a strong, melodic introduction, in which the outlines of the tune are firmly announced, Barbara invariably progresses to a point where her imagination runs away. It cannot be said that she gives it free rein, for there is no question about its limitless possibilities from the moment she begins to play. But at this one point, she gives herself over completely to "noodling" of the most inventive kind, toying with the tune's melody, and emerging with a logically progressing improvisation which contributes markedly to the tune's coherence and entity.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Lightness of touch, flexibility, versatility – these, too, are inherent in Barbara's style. It does not matter on what she focuses her attention; the mere fact that art is sharply focused on the possibilities of the particular tune in question, guarantees that the tune will be performed with a spontaneity and freshness which could not be possible if played note for note from its original manuscript – it is definitely of the true essence of jazz.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Barbara Carroll is, finally, one of the growing of distaff musicians who have made jazz their own special province. They are especially at home at the piano where their femininity is easily adaptable to the demands of the keyboard. This is true to the greatest extent in modern jazz where a clear, orderly procession of ideas is demanded, and in which the same delicate refinement which makes a woman's touch so light and firm is steadily at work. Here, one finds the direct antithesis of the older heavy-handed tub-thumping jazz tradition – and here one finds Barbara Carroll, in the midst of the excitement and new musical values which she has helped to create.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From Billboard - April 17, 1954: <i>Barbara Carroll gets a chance to show off a lot of her slick piano work on this new LP release. Miss Carroll plays in what would have to be called a commercial jazz idiom. That is, it is jazz-based, and yet it is the type of piano work that even squares can get the hang of and enjoy with little trouble. Usually she is to be heard at the Embers in New York, playing melodies for people who stay up late. Sometimes her style is brisk; at other times it is lushly sentimental. Little doubt that a lot of people will find this set a good one for parties or to enjoy at home when alone late at night. The liner notes are extravagant but the package is exceptional, with an extra leaf containing pictures and copy.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Serenade For A Wealthy Widow</div><div class="separator" style="clear: both; text-align: left;">From This Moment On</div><div class="separator" style="clear: both; text-align: left;">I Want A Little Girl</div><div class="separator" style="clear: both; text-align: left;">What's The Use Of Won'rin'</div><div class="separator" style="clear: both; text-align: left;">Goodbye</div><div class="separator" style="clear: both; text-align: left;">Good Bait</div><div class="separator" style="clear: both; text-align: left;">Let's Fall In Love</div><div class="separator" style="clear: both; text-align: left;">Lullaby Of Broadway</div><div class="separator" style="clear: both; text-align: left;">Folks Who Live On The Hill</div><div class="separator" style="clear: both; text-align: left;">Give Me The Simple Life</div><div class="separator" style="clear: both; text-align: left;">Cabin In The Sky</div><div class="separator" style="clear: both; text-align: left;">Mountain Greenery</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-52678801367964018162024-03-15T00:44:00.000-07:002024-03-15T00:44:21.730-07:00Jazz West Coast - Various<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6z9qHlTdC3xDc1mMbNd-pjZ8vOG1EOm3Zi96p_HaAyKS8VpGgS3Rb7i-wSAO6AeZAkcyijPLr02LDEWPJcUBexmVLVpFSQy9efgXdQJHClYeuy5mrW_zSc5HNtB5GCDuwea2jczK9jzBRPNH1Y2i5hSL4BJrbArALmDzgRaX3Ym-U5j-OfTedF0ZylJo/s1632/Screenshot%202024-03-15%20at%201.26.37%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1632" data-original-width="1632" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg6z9qHlTdC3xDc1mMbNd-pjZ8vOG1EOm3Zi96p_HaAyKS8VpGgS3Rb7i-wSAO6AeZAkcyijPLr02LDEWPJcUBexmVLVpFSQy9efgXdQJHClYeuy5mrW_zSc5HNtB5GCDuwea2jczK9jzBRPNH1Y2i5hSL4BJrbArALmDzgRaX3Ym-U5j-OfTedF0ZylJo/s320/Screenshot%202024-03-15%20at%201.26.37%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Jazz West Coast</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/zniahgpy8vill31tb2zdj/jazz_west_coast_500.mp3?rlkey=hum9c7twud8vanmniti3105ye&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">An Anthology Of California Music</div><div class="separator" style="clear: both; text-align: left;">Jazz West Coast</div><div class="separator" style="clear: both; text-align: left;">Pacific Jazz Records JWC-500</div><div class="separator" style="clear: both; text-align: left;">1955</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Bockhanal - Chet Baker Ensemble</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Jack Montrose</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Chet Baker, trumpet; Jack Montrose, tenor; Herby Geller, alto; Bob Gorden, baritone; Russ Freeman, piano; Joe Mondragon, bass; Shelly Manne, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Soft Shoe - Gerry Mulligan Quartet</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Gerry Mulligan</div><div class="separator" style="clear: both; text-align: left;">Previously Unreleased Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Gerry Mulligan, baritone; Jon Eardley, trumpet; Red Mitchell, bass; Chico Hamilton, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Tiny Capers - Clifford Brown Ensemble</div><div class="separator" style="clear: both; text-align: left;">Compositon - Clifford Brown. Arrangement - Jack Montrose</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Clifford Brown, trumpet; Zoot Sims, tenor; Bob Gordon, bariton; Stu Williamson, valve trombone; Russ Freeman, piano; Carson Smith, bass, Shelly Manne, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I'll Remember April - Zoot Sims Quartet</div><div class="separator" style="clear: both; text-align: left;">By Gene DePaul, Don Raye, Patricia Johnson</div><div class="separator" style="clear: both; text-align: left;">Previously Unreleased Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Zoot Sims, tenor; Bob Brookmeyer, piano, Red Mitchell, bass; Larry Bunker, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Wailing Vessel - Bud Shank And 3 Trombones</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Bob Cooper</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Bub Shank, alto; Bod Enevoldsen, valve trombone (solo); Maynard Ferguson, valve trombone, Stu Williamson, valve trombone, Claude Williamson, piano, Joe Mondragon, bass; Shelly Manne, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Happy Little Sunbeam - Chet Baker Quartet</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Russ Freeman</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Chet Baker, trumpet; Russ Freeman, piano; Carson Smith, bass, Larry Bunker, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">It Had To Be You - Bill Perkins and Bud Shank</div><div class="separator" style="clear: both; text-align: left;">By Isham Jones and Gus Kahn</div><div class="separator" style="clear: both; text-align: left;">Arrangement by Bill Perkins</div><div class="separator" style="clear: both; text-align: left;">Previously Unreleased</div><div class="separator" style="clear: both; text-align: left;">Personnel: Bill Perkins, tenor, Bud Shank, tenor, Hampton Hawes, piano; Red Mitchell, bass Mel Lewis, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Low Life - Bud Shank and Bob Brookmeyer</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Johnny Mandel</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Bud Shank, alto; Bob Brookmeyer, valve trombone; Claude Williamson, piano; Buddy Clarke, bass; Larry Bunker, drums (strings)</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">There Will Never Be Another You - Chet Baker Quintet with Jimmy Giuffre</div><div class="separator" style="clear: both; text-align: left;">By Harry Warren-Mack Gordon</div><div class="separator" style="clear: both; text-align: left;">Arrangement by Russ Freeman</div><div class="separator" style="clear: both; text-align: left;">Unreleased</div><div class="separator" style="clear: both; text-align: left;">Personnel: Chet Baker, trumpet; Jimmy Giuffre, clarinet; Russ Freeman, piano; Carson Smith, bass; Bob Neel, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Lotus Bud - Bud Shank and Shorty Rogers</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Shorty Rogers</div><div class="separator" style="clear: both; text-align: left;">Original Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Bud Shank, flute; Shorty Rogers, flugle horn; Jimmy Rowles, piano; Harry Babasin, bass; Roy Harte, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Darn That Dream - Gerry Mulligan Quartet</div><div class="separator" style="clear: both; text-align: left;">By James Van Heusen and Eddie De Large</div><div class="separator" style="clear: both; text-align: left;">Arrangement by Gerry Mulligan</div><div class="separator" style="clear: both; text-align: left;">Alternati Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Gerry Mulligan, baritone; Chet Baker, trumpet; Carson Smith, bass, Larry Bunker, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Speak Low - Laurindo Almeida Quartet</div><div class="separator" style="clear: both; text-align: left;">By Orden Nash and Kurt Weill</div><div class="separator" style="clear: both; text-align: left;">Arrangement by Laurindo Almeida </div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Laurindo Almedia, concert guitar; Bud Shank, alto; Harry Babasin, bass; Roy Harte, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Two Can Play - Bob Gordon & Jack Montrose</div><div class="separator" style="clear: both; text-align: left;">Composed and Arranged by Jack Montrose</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Bob Gordon, baritone; Jack Montrose, tenor, Paul Moer, piano; Joe Mondragon, bass; Billy Schneider, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Oh, Lady Be Good - Lee Konitz Plays With The Gerry Mulligan Quartet</div><div class="separator" style="clear: both; text-align: left;">By George and Ira Gershwin</div><div class="separator" style="clear: both; text-align: left;">Arrangement by Gerry Mulligan</div><div class="separator" style="clear: both; text-align: left;">Alternative Master</div><div class="separator" style="clear: both; text-align: left;">Personnel: Gerry Mulligan, baritone; Chet Baker, trumpet; Lee Konitz, alto; Joe Mondragon, bass, Larry Bunker, drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>The music enclosed here gathers together a sampling of the cream of the West Coast crop, presenting them in selections that typify their finest efforts, and offering the jazz follower – dedicated or casual – a varied program of current jazz at its best. This anthology of West Coast Jazz was complied both as a companion piece for the book of photographs called Jazz West Coast and as a progress report on California jazz activity as it stands in 1955.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Jazz on the West Coast in the first half of the 'fifties has enjoyed a status it has seldom experienced in many time or any city. It's probably unnecessary to enlighten most non-coastal residents as to this boom, but for those few still foggy about what has been happening on the wester front, reference is made to the introduction of the picture book Jazz West Coast which outlines at greater lenght the causes and characteristics of this internationally recognize movement. (Portions of that introduction were adapted for use here.)</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Very nearly every key figure in West Coast jazz (and Jazz West Coast, the book) is represented here. While it is interesting to speculate as to whether these musicians can be grouped into a musical school of thought, that is not one of the limitations laced on selection. The chances are, history will reveal that there is a aWest Coast school; a group of musicians playing calmer, gentler jazz, placing at least as much emphasis on writing as on slowing. But the task of definitive summation is left to later years or less biased observers. It is hoed that by disclaiming any restrictions of School we may by-pass much of the clamor about presumptuous inclusion of musicians comply associated with other areas. Eastern will spot many of their old and-bys; the fact remains that this music was recorded in Lost Angeles by musicians in residence here, and to the extent the label "Jazz West Coast' is meaningful.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Wherever possible – happily, in every case but one – new performance were used to represent the group's. In many instance of course, the arrangements themselves have been offered bore, but as even the newest jazz listener knows, the essence of jazz in sin the soloing, and where material does overlap that simply adds a bonus opportunity for comparison of soloist approach.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The first to pooh-pooh the possibilities of a West Coast School in the making have been the musicians themselves; no one ducks a pigeon-hole like a creative artist. However, the better players needn't fear a blurring of their individuality. California music is built around powerfully individual voices: Chet Baker is a laureate whose poetic phrased and pastoral tone have worked which mosaics of recorded music. Gerry Mulligan, through his composed, friendly soloing and superb writing, has been an inspiration and pace-maker of the first order. Shorty Rogers is a paragon of consistent good taste in writing and trumpeting. Lost in a shuffle of altoists scant years ago, Bud Shank has shot up at the prodigious rate and now, with Bird gone, looms as one of the top contenders for the crown. Hardly a California settler, compared to the others, Clifford Brown nonetheless recorded heavily here and his breezy, twinkling style flourished under the Pacific sun. Another fleeting colonist, Lee Konitz, is represented by a fresh gem that recalls his memorable brush with the Mulligan quartet. Bob Brookmeyer has became a confirmed Coaster; he continues to come a hair-raising during-do with an official aplomb. As a Hollywood citizen, Zoot Sims waxes Zootier than ever; he needs no greater praise. Russ Freeman is one of the formulators of that modish style of piano playing which mixes a lusty revivalism with a new worldliness; with its delicate balance. The roster of praiseworthy names goes on and on: Shelly Manne, the omnipresent and seemingly omnipotent Einstein of the drums... Jim Guiffre, a paradox of rustic, romping horn and intricate, far-sighted writing... Brazilian virtuoso Laurindo Almedia, a successful welder of new form out of disparate parts... Bob Gordon of the surging, powerful baritone... Jack Montrose, sauce writer-arranger, considered supreme by many of his contemporaries. There are new faces as well as old: Kenton-Hermanite tenors Bill Perkins for instance, whose work here indicated why his star is in the ascendancy.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Many of the rest of the men represented here are legitimate stars in their own right and of equal importance to the scene with those already mentioned. But the names have been touted in no particular order and failure to include other names certainly isn't intended as a qualitative comment; space limitation dictate an arbitrary halt. The idea has been to indicate the wide range of West Coast figures included.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This wide range was possible because a significant portion of the important musicians are apart of the Pacific Jazz fold, and because contractual barriers to the inclusion of other jazzmen were bridged by an understanding on the part of companion companies as to the importance of a validly representative collection of the local output. The one exception, thorough no fault of the performers is the work of the Dave Brubeck Quartet and a few related San Francisco artists. Fortunately Brubeck has had ample coverage, both musical and verbal, and in any case the music generally spoken of as "West Coast Jazz" is Los Angeles-centered. The San Francisco people are covered in the book of course, where everyone pertinent to the Coastal picture – include here or otherwise – is covered in a brief sketch that accompanies his photograph.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Published some months prior to the issuance of this album, Jess West Coast: A Portfolio Of Pictures has already garnered a respectable sheaf of critical acclaim for the photofraer, William Clayton. The acceptance comes as no surprise. Especially, Claxton's work is praiseworthy for the purity of its composition. Equally impressive is his functional a reporter. Probably more than any other factor except the music itself, Laxton's photography has been responsible for the wide acceptance of West Coast Jazz. If his approach to picture-taking seems particularly appropriate to the music identified with California, it is no accident; Clayton has consciously striven to capture the spirit of the scene. That he has succeeded is obvious; yet far from being merely adjust to the music, his work has attained a following it its own, earning praise as much from artistic sources as from the musical world.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Owners of one half of the Jazz West Coast Report – either the book or the album – will find it rewarding to acquire the other half. The compilers of the two – Linear Publications for the book, Pacific Jazz for this album – suggest that together these companion pieces form a double window, opening onto a jazz vista as charming as any locale has thus far been able to offer. – Will Mac Farland</i></div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-86636135086561422892024-03-14T22:12:00.000-07:002024-03-14T22:12:39.037-07:00Monday Night At The Village Gate - Herbie Mann<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2uSfshbUSrG2aFZif4Bv63mWtVFV8hWEKL6zrSzfcTcl_0DeoecLovmpLjTojMXkiHUowtTLkRijfO9n_wJJt_2fKWMFkHgdKor8GLVM7lCxB8r3yCKIi7mcgt7z_vwdoh722oJ5Qvjsyszfh5_0QKE3dbp58z0TTIKVF09puhIIdJD5BOfz6u4h2LE/s1642/Screenshot%202024-03-15%20at%2012.40.48%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1640" data-original-width="1642" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgm2uSfshbUSrG2aFZif4Bv63mWtVFV8hWEKL6zrSzfcTcl_0DeoecLovmpLjTojMXkiHUowtTLkRijfO9n_wJJt_2fKWMFkHgdKor8GLVM7lCxB8r3yCKIi7mcgt7z_vwdoh722oJ5Qvjsyszfh5_0QKE3dbp58z0TTIKVF09puhIIdJD5BOfz6u4h2LE/s320/Screenshot%202024-03-15%20at%2012.40.48%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">The Young Turks</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/7ucr9u18c0e954isnsmzo/young_turks_mann.mp3?rlkey=dlob4pfffuk2j3see3qyknjbb&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Monday Night At The Village Gate</div><div class="separator" style="clear: both; text-align: left;">Herbie Mann</div><div class="separator" style="clear: both; text-align: left;">Recording Engineers: Tom Dowd, Phil Lehle & Joe Atkinson</div><div class="separator" style="clear: both; text-align: left;">Cover Painting: Abidine</div><div class="separator" style="clear: both; text-align: left;">Cover Design: Boring Eutemey</div><div class="separator" style="clear: both; text-align: left;">Supervision: Nesuhi Ertegun</div><div class="separator" style="clear: both; text-align: left;">Atlantic 1462</div><div class="separator" style="clear: both; text-align: left;">1966</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Herbie Mann - Flute</div><div class="separator" style="clear: both; text-align: left;">John Hitchcock, Mark Weinstein - Trombones</div><div class="separator" style="clear: both; text-align: left;">Chick Corea - Piano</div><div class="separator" style="clear: both; text-align: left;">Dave Pike - Vibes</div><div class="separator" style="clear: both; text-align: left;">Earl May - Bass</div><div class="separator" style="clear: both; text-align: left;">Bruno Carr - Drums</div><div class="separator" style="clear: both; text-align: left;">Carlos "Patato" Valdes - Conga Drums</div><p></p><p style="text-align: center;"></p><div class="separator" style="clear: both; text-align: left;">This album was recorded at The Village Gate in New York. Atlantic Records is grateful to Art D'Lugoff for his kind cooperation during the recording of this album.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>Six years ago the Village Gate started a series of Monday evening jazz sessions. At that time the club played only folk and international attractions through the week. Herbie Mann's band became such a smash on Monday nights that we decided on Thanksgiving of 1960 to book the group for an entire week.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This, too, was successful, as Herbie Mann became the first of many jazz groups to play the Gate regularly. In fact, Herbie Mann holds the record of playing the Gate more weeks then any other single attraction. His first live recording from the club made four years ago and naturally titled Herbie Mann At The Village Gate has sold over half a million copies and thus far holds the record as the biggest album ever recorded live at the club. Incidentally, the Gate has more live recordings released than any other club in the world.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Whenever Herbie Mann comes to the Gate there's lots of excitement in the air. Herbie like to keep changing his book and his instrumentalists. He adds a drum here, subtracts a guitar there, adds trombones and through it all you can hear the great swinging flute of Herbie mann. Whether it's Afro-Cuban, Bossa Nova, blues or just plain jazz his groups are always up with the audience. And, boy, does that audience react!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Unlike most night clubs, the Gate is acoustically a very live room. We absolutely shy away from fancy drapes, chandeliers and headwaiters. We have a real professional stage with a light and sound man to program every attraction. Most important, our patrons pay an admission, just like at any concert, to hear their favorite artist. We have liquor and food but no one is obligated to purchase anything.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Funny, but Herbie's customers not only pay admission gladly, they also drink. I wish there were a dozen more acts like Herbie Mann in the business. Maybe there would be more jazz clubs opening rather than closing. – Art D' Lugoff</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From Billboard - May 14, 1966: <i>Recorded live at New York's Village Gate, the album should top the sales of the flutist's earlier LP, "Herbie Mann At The Village Gate," which went over the 500,000 mark. Excellent Mann-made jazz</i>.</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Away From The Crowd</div><div class="separator" style="clear: both; text-align: left;">Motherless Child</div><div class="separator" style="clear: both; text-align: left;">In Escambrun</div><div class="separator" style="clear: both; text-align: left;">The Young Turks</div><div class="separator" style="clear: both; text-align: left;">You're Gonna Make It With Me</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-82999478446570462432024-03-14T21:25:00.000-07:002024-03-14T21:26:06.831-07:00Somebody Love Me - Jerri Winters<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhgoJWaaXSn6xvCENSQGSGnJLJIuYWj9F0cIPJ71vWlLsrra7hINMYltZWFbDMCtOfhwowPD-zE6z9VpAHoQ9_jLFxbOGciOYsIBXSdPC2hvhTUIFK6QoWYZomD5o5dnaNqykKGRynwDFV4DHX4UW69KkAuSkwkBQ2dmZ4-iDjxFKX0FhF6whMRUY9rI/s1644/Screenshot%202024-03-14%20at%2011.53.13%E2%80%AFPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1622" data-original-width="1644" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjxhgoJWaaXSn6xvCENSQGSGnJLJIuYWj9F0cIPJ71vWlLsrra7hINMYltZWFbDMCtOfhwowPD-zE6z9VpAHoQ9_jLFxbOGciOYsIBXSdPC2hvhTUIFK6QoWYZomD5o5dnaNqykKGRynwDFV4DHX4UW69KkAuSkwkBQ2dmZ4-iDjxFKX0FhF6whMRUY9rI/s320/Screenshot%202024-03-14%20at%2011.53.13%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">I Can't Believe That You're In Love With Me</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/l691lyxovog616qvezgoj/cant_believe_that_youre_in_love_with_me_winters.mp3?rlkey=nnozcqsdm109zq6hydrwhfzrs&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Somebody Loves Me</div><div class="separator" style="clear: both; text-align: left;">Jerri Winters</div><div class="separator" style="clear: both; text-align: left;">With The Al Belletto Sextet (courtesy Capitol Records)</div><div class="separator" style="clear: both; text-align: left;">Recorded February and March, 1957 in Chicago, Illinois</div><div class="separator" style="clear: both; text-align: left;">Bethlehem Records BCP-76</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>Jerri Winters is a "new" singer, an exciting, vibrantly fresh new talent who has severed a strict apprenticeship in the Midwest, and who now has emerged from the fabulous spawning ground of Jazz as another important contribution to this most dramatic musical form. Unlike the myriad of girl vocalists who have been highly publicized in recent years, only to fade, for the most part, into oblivion, Jerri has been given little national exposure, and no high-powered press build-up. Bug whispers which had their beginnings in the small Chicago nightery where Jerri has been singing, have grown into shouts of praise wherever Jazz buffs gather.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>What is it that sets Jerri apart from so many other young singers who never quite make the musical grade? Well, there's feeling in her singing, feeling for the lyrics she is singing, the story she is telling. And then there is the beat which is always present, always felt, but never over-powering. And finally there is an obvious knowledge of music and musicianship, a working marriage with the men who are performing with her to produce a finished product, complete with the styling that is Jerri's trademark.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>In this, Jerri's first Bethlehem effort, she has carefully selected a program which can and does show off her command of every musical situation, her imagination, and her amazing versatility. Tunes which were meant to be emotional emerge emotional, while those denoting gaiety are happy, laughing songs maintaining the mood throughout. It's Always You, for example, gets a warm, soulful treatment which is rich and full to the earth, while All Or Nothing At All is vocally and instrumentally done in a wild Latin Beat that breathes for recognition.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>While Jerri is a dominant singer, she has wisely used four male voices as background on several of the elections, including the all-time favorites, Sometimes I'm Happy, and the difficult Kind Of Moody ballad which handled in a most accomplish manners.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>I Got It Bad is bound to bring comparison, for many of the great feminine Jazz singers have done this one, but Jerri gives it her own reading, and backed by some excellent trumpet work by Willis Thomas, it emerges as a sure winner.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Somebody Loves Me is an example of how well Jerri can change a mood, move from a ballad to an upbeat under, yet hold her audience in the palm of her hand. Here again strong instrumental support from the quint, plus a male vocal background are evident, but always subordinate to the effective Winters' style.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Dark Shadows perhaps is best known for the "Bird" (Charlie Parker) instrumental of several years past, but Jerri proves that as a vocal it also deserves recognition, giving it originality and strong interpretation, In the same vin, listen to Crazy In The Heart, which offers a perfect combine of vocals plus musical aptitude of the highest quality.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>When Jerri sings There Will Never Be Another You, she is telling a lyrical story, telling it tastefully, excitingly an most importantly, convincingly. And in the same mood, who can doubt her when she ways "I Can't Believe That You're In Love With Me?" Certainly not the men who will be listening to this album in the semi-darkness of their home, listening to Jerri sing directly to them.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Finally there are two direct opposites in composition, and beat, Ridin' On The Mood, a fast, swinging tune, and In Other Words, a ballad, Both are given a well-rounded treatment, each welded into a Musial delight by the interpretation vocally and instrumentally.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>As noted above, Jerri is obviously aware of, and deeply interested in musicianship, and for this reason she has selected one of the Windy City's finest groups to accompany her. Al Belletto, leader of the Belletto Quintet which has worked with Jerri at the Colisters, plays alto and clarinet, Jimmy Guinn, trombone, Williw Thomas, trumpet; K. O'Brien, bass, and T. U. Montgomery, drums, completing the grou. Gillette, Crane, Quinn and Thomas also combine to form the vocal background for Jerri.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Augmenting Belleto's fine aggregation are two of the Jazz giants, Ray Brown on bass and Louis Marion, drums, who are featured on four of the sides, Somebody Loves Me, Carzy In The Heart, Dark Shadows and It's Always You.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>We hope you will listen to this album with one other through in mind – the excellence of the recording quality. Here is true high fidelity reproduction, the highs are high, the lows low, and the over-all sound quality is one we think is truly representative of the term high fidelity. The entire album was recorded in a series of sessions conducted at Universal Studios in Chicago during February and March, 1957, with Bill Putnam personally handling the controls. He has produced a frame of sound beauty for the piece do resistance, Miss Jerri Winters. – Norman Weiser, Music Editor, Family Weekly, Argosy</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Sometime I'm Happy</div><div class="separator" style="clear: both; text-align: left;">It's Always You</div><div class="separator" style="clear: both; text-align: left;">I Got It Bad And That Ain't Good</div><div class="separator" style="clear: both; text-align: left;">Somebody Loves Me</div><div class="separator" style="clear: both; text-align: left;">Dark Shadows</div><div class="separator" style="clear: both; text-align: left;">Ridin' On The Moon</div><div class="separator" style="clear: both; text-align: left;">All Or Nothing At All</div><div class="separator" style="clear: both; text-align: left;">In Other Words</div><div class="separator" style="clear: both; text-align: left;">Crazy In The Heart</div><div class="separator" style="clear: both; text-align: left;">There Will Never Be Another You </div><div class="separator" style="clear: both; text-align: left;">Kind Of Moody</div><div class="separator" style="clear: both; text-align: left;">I Can't Believe That You're In Love With Me</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-89514032716529743342024-03-13T00:01:00.000-07:002024-03-13T00:01:53.655-07:00Rocky & His Friends<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggd-wlcX6LfUKokdQXLVHDIaArn19GaZJTN57NrPFYdtT0rD14OwRiLkoL2x8vPVQ-ToUVaygmjSlMWtd4b8TKteoGKIs248nTYwhOOg2e75CwA3yB7Qm8js-fdFURV96IyewyAb8Z2IpTKEXPGW5AesOZ3LwrGmfIBjG2bAPEWPE52W7rJotPhXxwJf0/s1642/Screenshot%202024-03-13%20at%201.15.46%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1618" data-original-width="1642" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEggd-wlcX6LfUKokdQXLVHDIaArn19GaZJTN57NrPFYdtT0rD14OwRiLkoL2x8vPVQ-ToUVaygmjSlMWtd4b8TKteoGKIs248nTYwhOOg2e75CwA3yB7Qm8js-fdFURV96IyewyAb8Z2IpTKEXPGW5AesOZ3LwrGmfIBjG2bAPEWPE52W7rJotPhXxwJf0/s320/Screenshot%202024-03-13%20at%201.15.46%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Rocky & His Friends</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/efxjhsl6e5ry850tj9b5u/Rock-Friends.mp3?rlkey=hvz990ul6faude4t8db3n28g8&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">TV Orignal Cast Album</div><div class="separator" style="clear: both; text-align: left;">Rocky The Flying Squirrel & His Friends</div><div class="separator" style="clear: both; text-align: left;">Starring the voices of June Foray, Paul Frees, Walter Tetley and Bill Scott</div><div class="separator" style="clear: both; text-align: left;">Written by Paul Barnes</div><div class="separator" style="clear: both; text-align: left;">Music Arranged and Conducted by Dennis Farina</div><div class="separator" style="clear: both; text-align: left;">Jay Ward Productions, Inc.</div><div class="separator" style="clear: both; text-align: left;">Golden Record LP 64</div><div class="separator" style="clear: both; text-align: left;">1961</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">I Was Born To Be Airborne</div><div class="separator" style="clear: both; text-align: left;">I'm Rocky's Pal</div><div class="separator" style="clear: both; text-align: left;">Bullwinkle's Corner: Tom, Tom, The Piper's Song And Pied Piper</div><div class="separator" style="clear: both; text-align: left;">Peabody Here!</div><div class="separator" style="clear: both; text-align: left;">Peabody's Adventure: "Ponce de Loen"</div><div class="separator" style="clear: both; text-align: left;">The Re-Goodnik's Sons - Boris And Natasha</div><div class="separator" style="clear: both; text-align: left;">Sherman: "I Wanna Go Back"</div><div class="separator" style="clear: both; text-align: left;">Peabody's Improbable History: "Stanley And Livingston"</div><div class="separator" style="clear: both; text-align: left;">Cloyd And Sidney - "Moon Men"</div><div class="separator" style="clear: both; text-align: left;">"You Gotta Have A Crook!"</div><div class="separator" style="clear: both; text-align: left;">Fractured Fairy Tale: "Riding Hoods - Anonymous </div><div class="separator" style="clear: both; text-align: left;">Reprise And Farewell - Rocky's Song</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-16237299164503918282024-03-12T22:03:00.000-07:002024-03-12T22:03:32.987-07:00Dee-Latin Hi-Fi Organ - Lenny Dee<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi39ld3nZUZFaIcIxsJU6-JHukqa14mBB0Y3i-k80a-M_JaVwRfGTkxIkFSygACh2A5Tm_5NXMg6chMJ4rp7gY3ZeO-pV1u3x1T9JaUPdOqcA7r-bV5LZfw13EIX7fbL2l7taFypwhG_3oDXNnvgp-pMApjh7Je9Aru6H5JhysJrCf182WyAfKewlAiJFI/s1650/Screenshot%202024-03-13%20at%2012.31.40%E2%80%AFAM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1596" data-original-width="1650" height="310" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEi39ld3nZUZFaIcIxsJU6-JHukqa14mBB0Y3i-k80a-M_JaVwRfGTkxIkFSygACh2A5Tm_5NXMg6chMJ4rp7gY3ZeO-pV1u3x1T9JaUPdOqcA7r-bV5LZfw13EIX7fbL2l7taFypwhG_3oDXNnvgp-pMApjh7Je9Aru6H5JhysJrCf182WyAfKewlAiJFI/s320/Screenshot%202024-03-13%20at%2012.31.40%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Adios</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/pp2y3mmoyqwlx15xb6pls/adios_dee.mp3?rlkey=50f1vrmlzsq3ngb6p5ffm8xzp&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Dee-Latin</div><div class="separator" style="clear: both; text-align: left;">Hi-Fi Organ</div><div class="separator" style="clear: both; text-align: left;">Lenny Dee with Latin American Rhythm</div><div class="separator" style="clear: both; text-align: left;">Decca Records DL 8718</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>The trouble with a lot of music-lovers, as somebody once remarked, is that they don't have any fun with music. Too knowledgeable for comfort and too highbrow by half, they listen to music with a cooly discernible ear and look down their patrician noses at anything even faintly resembling a syncopated beat. To suggest to them that Bach, Brahms or Beethoven can be fun is sacrilege. To suggest that the other famous three B's – barrelhouse, boogie-woogie and the blues – can be music is an outrage. Fortunately, that kind of music-lover is so in the minority that if you're extremely careful about the friends you make you may be spared ever meeting one. Meanwhile, the fun to be had out of music of any kind is almost boundless.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>One gentlemen who has a great deal of fun out of music is Lenny Dee. Staring with the accordion and the banjo when he was a boy, he switched to the organ at the Chicago Conservatory after a three-year stint in the Navy. He's been having a great time ever since playing for club dates, radio and television and for a series of highly successful Decca albums.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>A large part of the fun Lenny Dee gets out of playing his custom-built, specially modified Hammond organ is in the amazing variety of sounds he can make it produce. He can make it strum like a banjo, beat like a tom-tom and, happily enough for this particular album, sound like an entire rhumba band.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Mambo Jambo</div><div class="separator" style="clear: both; text-align: left;">Walther Winchell Rhumba</div><div class="separator" style="clear: both; text-align: left;">Ja Da</div><div class="separator" style="clear: both; text-align: left;">(When We Are Dancing) I Get Ideas</div><div class="separator" style="clear: both; text-align: left;">Begin The Beguine</div><div class="separator" style="clear: both; text-align: left;">Sweet And Gentle (Me Lo Dijo Adela)</div><div class="separator" style="clear: both; text-align: left;">El Cumbanchero</div><div class="separator" style="clear: both; text-align: left;">Cherry Pink (And Apple Blossom White)</div><div class="separator" style="clear: both; text-align: left;">Mambo No. 5</div><div class="separator" style="clear: both; text-align: left;">Te Quiero Dijiste</div><div class="separator" style="clear: both; text-align: left;">Morena</div><div class="separator" style="clear: both; text-align: left;">Adios</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-67840605183630879042024-03-12T21:02:00.000-07:002024-03-12T21:02:16.075-07:00Shorty Rogers And His Giants<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifO1nSLK9bT2gObYbYcB0GE7SUjWXO7WvaN2vt9RpG78A-2DPfb7uXq6tEe_M1bu2osVzHUbq1tHFg0q-RUMFF1kCg-9MphMXFD6bwPdfjQSmrlNO7NC1V8a4rerUhh5rwxXG6Lnj1vAgWjrqEfcL30L4OxfTV2chbwSJA64zDMeoNArev7OyUR-kp2gM/s1618/Screenshot%202024-03-12%20at%2011.20.34%E2%80%AFPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1610" data-original-width="1618" height="318" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEifO1nSLK9bT2gObYbYcB0GE7SUjWXO7WvaN2vt9RpG78A-2DPfb7uXq6tEe_M1bu2osVzHUbq1tHFg0q-RUMFF1kCg-9MphMXFD6bwPdfjQSmrlNO7NC1V8a4rerUhh5rwxXG6Lnj1vAgWjrqEfcL30L4OxfTV2chbwSJA64zDMeoNArev7OyUR-kp2gM/s320/Screenshot%202024-03-12%20at%2011.20.34%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Mambo Del Crow</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/sqp1vqjz8mowxdh43csty/mambo_del_crow_rogers.mp3?rlkey=ebjxj86xuksclrxms8bwkanha&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Shorty Rogers And His Giants</div><div class="separator" style="clear: both; text-align: left;">RCA Victor LPM 1195</div><div class="separator" style="clear: both; text-align: left;">1956</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>Modern jazz is today in need of a leader, a fresh source of ideas and an inspirational fountainhead. The leaders of the bast will hold their positions only until new men are album to publicly prove themselves and they ideas in bidding for popular acclaim. In this album, RCA Victor features Shirty Rogers, whose musical ideas are making the most potent in the present jazz movement. In order to let Shorty express these ideas in his own way, he is given free rein as to composition, arrangement and choice of musicians.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Beginning his career with Red Norvo, who became his brother-in-law, Shorty was later drafted into the Army where he played trumpet in numerous service bands. After his discharge, he joined the original Woody Heron Herd. In composing such great instrumentals as Back Talk and Keen And Peachy for the full Herd and the majority of numbers performed by the Woodchoppers, Shorty soon became a bulwark of the fabulous Woody Herman arranging staff. Later, with Stan Kenton, he scored brilliantly on trumpet and with such compositions as Jamba and Jolly Rogers. At the moment he lives in Southern California where his time is divided between leading a jazz group, writing for films and teaching composition.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>On this record you will hear two of Shorty's aggregations. The members of the first ensemble are: Shelly Manne, drums; Joe Mondragon, bass; Hampton Hawes, piano; Art Salt, alto sax; Gene England, tuba; Milt Bernhart, trombone; Johnny Grass, French horn; and Jimmy Giuffre, tenor sax. Opening their collection is Morpo, described by Shorty Rogers as having "that fundamental swing quality necessary t all jazz." This quality, said to be independent of rhythm, is illustrated by Johnny Graas in what is perhaps the first recorded jazz solo on French horn, followed by Bernhart, Salt, Shorty and an improbable quote by Hampton Hawes. Bunny musically incarnates a very real person with delicate and expressive solo work by Salt and Grass, steeped in a more contrapuntal idiom than is usual for jazz. Powder Puff is a Latin original by Shelley Manne, who is known for his brilliant resolution of the number's final chord. During Mambo del Crow a very "hip" crow happened to fly into the studios where he participated as vocalist; the work features Milt Bernhart and Shelly Manne and proves rhythmically that jazz can borrow from Latin music to the enhancement of each.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The Pesky Serpent is a Jimmy Giuffre original arranged not unlike his great Four Brothers, and featuring him along with Milt, Shorty, Hamp and Art. Diablo's Dance showcases the taut, crackling piano of Hamp Hawes in a Latin manner, complete with tambourine introduction by Shelly Manne. Pirouette is Roger's graceful impression of a ballet which he once scored for a film, while the finals section is another number by Giuffre entitled Indian Club which combines Indian and swing motifs in an exceptionally clever way.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Shorty's second group displayed in this recording includes; Shorty Rogers, trumpet; Pete Jolly, piano; Shelly Manne, drums; Curtis Counce, bass and Jimmy Giuffre, tenor sax. Over and above the wonderfully imaginative work of the individual soloists, it is Shorty's writing which immediately sets his aggregations off from all others. Both the Rogers original, Joycycle, and the Rodgers and Hart standard, The Lady Is A Tramp, are cases in point. Their very structure is so excitingly (and often contrapuntally) formulated that the ensemble passages are as brilliantly conceived as the extemporaneous wailing by the variety of soloists. But even more than this, it is Shorty's closely styled, interdependent harmonies that make of each of his productions a thing of simple aural brilliance – simple, that is, in everything but the way they are put together.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>In addition to the tunes already mentioned, this session of September 10, 1954, also produced the wonderfully stimulating version of Al Cohn's The Goof And I, and the trip-hammer wailing over the Bird's My Little Suede Shoes.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>As we can at once hear in this recording, these were session like all those Rogers has led in the past and like those which he will undoubtably go on leading as long as his conception of jazz maintains its present high level of intelligence – full of vital perception which cannot but fall easily on tired ears. </i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Morpo</div><div class="separator" style="clear: both; text-align: left;">Bunny</div><div class="separator" style="clear: both; text-align: left;">Powder Puff</div><div class="separator" style="clear: both; text-align: left;">Mambo Del Crow</div><div class="separator" style="clear: both; text-align: left;">Joycycle </div><div class="separator" style="clear: both; text-align: left;">The Lady Is A Tramp</div><div class="separator" style="clear: both; text-align: left;">The Pesky Serpent</div><div class="separator" style="clear: both; text-align: left;">Diablo's Dance </div><div class="separator" style="clear: both; text-align: left;">Pirouette</div><div class="separator" style="clear: both; text-align: left;">Indian Club</div><div class="separator" style="clear: both; text-align: left;">The Goof And I</div><div class="separator" style="clear: both; text-align: left;">My Little Suede Shoes</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-87304285414337571302024-03-12T19:58:00.000-07:002024-03-12T19:58:58.279-07:00Johnny Smith's Kaleidoscope<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqK9kegC362JraeILJ5MRnu4d3En-rNHcGKqNE6sdi1jRwS3AuCtk7lfoXo7Xy3Ox_Rw_b9Z4i0Enb0pOYwnv8qLH8uBtxVgDIr3tSKgqsdBRSL-vycNJCJo-WivJakTeV5yr7ub_mLXSTmCia0moBdbVmlIPKOyveX2s5jnvq5Oi7_RxKdDBt6wekwk/s1658/Screenshot%202024-03-12%20at%2010.20.25%E2%80%AFPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1630" data-original-width="1658" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjHqK9kegC362JraeILJ5MRnu4d3En-rNHcGKqNE6sdi1jRwS3AuCtk7lfoXo7Xy3Ox_Rw_b9Z4i0Enb0pOYwnv8qLH8uBtxVgDIr3tSKgqsdBRSL-vycNJCJo-WivJakTeV5yr7ub_mLXSTmCia0moBdbVmlIPKOyveX2s5jnvq5Oi7_RxKdDBt6wekwk/s320/Screenshot%202024-03-12%20at%2010.20.25%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">My Foolish Heart</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/bddhem34mgreoma53e1sy/cordo_da_saudade_smith.mp3?rlkey=t45g5kjua0skphikoklcrv8sr&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Johnny Smith's Kaleidoscope</div><div class="separator" style="clear: both; text-align: left;">A Teddy Reig Production</div><div class="separator" style="clear: both; text-align: left;">Director of Engineer: Val Valentine</div><div class="separator" style="clear: both; text-align: left;">Engineer: Bob Arnold</div><div class="separator" style="clear: both; text-align: left;">Recorded at Capitol Studios, New York City</div><div class="separator" style="clear: both; text-align: left;">November 27, 28, 29 and 30, 1967</div><div class="separator" style="clear: both; text-align: left;">Cover Art: Robert Kennedy</div><div class="separator" style="clear: both; text-align: left;">Cover Design: Jack Anesh</div><div class="separator" style="clear: both; text-align: left;">Verve V6-8737</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From inside the (gatefold) cover: <i>When writing about Johnny Smith, one must exercise great restraint. For if you are even remotely acquainted with the man, of if you believe a jazz artist's true and basic personality is reflected in the sound and character of his solo voice, then you are aware of Johnny's total lack of voice, then you know he may be embarrassed if you praise him too highly.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Had Johnny not chosen to go into semi-retirement about nine years ago, praising, evaluating or re-starting his greatness would be unnecessary. His popularity at that time was unequalled on the East Coast. Since then, however, new guitar voices have reached prominence and the instrument itself has become musically symbolic of our electronic age.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>But with all the fine players who have materialized during this time, it is interestingly, as movingly and with as much harmonic depth as does Johnny. Kile Lester Young, you have the feeling his mind is very much on the lyrics of any ballad he plays. This feeling is supported by the tag he plays on Old Folks, whereby he finally takes the liberty, after all these years, revealing the venerable gentleman's true commitment ("Did he fight for the Blue or the Gray?") in the War Between The States. And Johnny is no less effective the ballad context playing The Girl With The Flaxen Hair, Dreamsville and My Foolish Heart (with a bow to Bill Evan's masterly harmonic plumbing of the tune).</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>But the speed cum accuracy of Johnny's playing whether in up tempi (Walk Don't Run and By Myself) or medium tempi playing double-time (Days Of Wine And Roses, Sweet Lorraine [a classic rendition] and I'm Old Fashioned) are what, in all probability, will really turn the listener on.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>But the speed cum accuracy of Johnny's playing, whether in up tempi (Walk Don't Run, and By Myself) or medium tempi playing double-time (Days Of Wine And Roses, Sweet Lorraine [a classic rendition] and I'm Old Fashioned) are what, in all probability, will really turn the listener on.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>But enough already! These very mild comments will surely be considered too hyperbole might not serve to express the admiration he bears (and rightly so) for his fellow musicians on this date: Hank Jones, piano; George Duvivier, bass; Don Lamond, drums. They are, as anyone reasonably familiar with jazz in the last two decades knows, masters, all.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Critic Ralph Gleason, in a recent edition of Jazz & Pop, related the story of "a long haired young man," the lead guitarist and featured soloist of a prominent rack group, who "went to all the record stores in San Francisco and bought all the albums he could find by the French gypsy guitarist, Django Reinhardt." And the Berklee School of Music in Boston, a foremost institution for the teaching of jazz, reports guitarists to be the second leading group of enrollees. With these two salient facts in mind (and taking into consideration the excellence of this recording) one might wish MGM could issue Johnny Smith's KALEIDOSCOPE en masse. Its beneficial effects on young guitarists (or on music in general) may more than balance the consequent loss of revenue. – Sidney Eden</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From Billboard - March 23, 1968: <i>Guitarist Johnny Smith plays "Old Folks," "Days Of Wine And Roses" and "I'm Old Fashioned" with all the passion and vitality of a moody voice woven into the string. Smith's long-recognized virtuosity, a beacon in the fog of electronic guitar psychedelics, continues to bear out the idea that longevity is guaranteed by talent. His depth and command of the harmonic qualities to be found in the guitar are a tribute to this fine artists.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Walk Don't Run</div><div class="separator" style="clear: both; text-align: left;">Olf Folks</div><div class="separator" style="clear: both; text-align: left;">Days Of Wine And Roses</div><div class="separator" style="clear: both; text-align: left;">The Girl With The Flaxen Hair</div><div class="separator" style="clear: both; text-align: left;">My Foolish Heart</div><div class="separator" style="clear: both; text-align: left;">By Myself</div><div class="separator" style="clear: both; text-align: left;">I'm Old Fashioned</div><div class="separator" style="clear: both; text-align: left;">Sweet Lorriane </div><div class="separator" style="clear: both; text-align: left;">Choro Da Saudade</div><div class="separator" style="clear: both; text-align: left;">Dreamsville</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-80428898894605091602024-03-11T18:23:00.000-07:002024-03-11T18:23:05.721-07:00Rockin' Hammond - Milt Buckner<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5865C4XcoG1xnTXaM0Sq8LBHfJwUfxhPV8UowNclkBBwGXwRKG5IM4HL6sDuQAZO0XERTBKKNHWTYZs3dWA4MQH9L4myXdznMxO26h9UcemGS1tFi2C5QcJiYTeXIqhHUqW-A948H9X0dApmxEvfItST2b42p6dt_7r7XHN05WqYAQQKy5v6s5KKGxO8/s1650/Screenshot%202024-03-11%20at%208.44.39%E2%80%AFPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1632" data-original-width="1650" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEg5865C4XcoG1xnTXaM0Sq8LBHfJwUfxhPV8UowNclkBBwGXwRKG5IM4HL6sDuQAZO0XERTBKKNHWTYZs3dWA4MQH9L4myXdznMxO26h9UcemGS1tFi2C5QcJiYTeXIqhHUqW-A948H9X0dApmxEvfItST2b42p6dt_7r7XHN05WqYAQQKy5v6s5KKGxO8/s320/Screenshot%202024-03-11%20at%208.44.39%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Mighty Low</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/m949vlgrrj1dqvm29waj0/mighty_low_buckner.mp3?rlkey=4a33cca3t5edn387z38k3cr3q&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Rockin' Hammond</div><div class="separator" style="clear: both; text-align: left;">Milt Buckner</div><div class="separator" style="clear: both; text-align: left;">Recorded February and March, 1956, in New York City</div><div class="separator" style="clear: both; text-align: left;">Capitol Records T722</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Milt Buckner - Organ, Piano</div><div class="separator" style="clear: both; text-align: left;">Mickey Baker & Everett Barksdale alternating on Guitar</div><div class="separator" style="clear: both; text-align: left;">Milt Hinton - Bass</div><div class="separator" style="clear: both; text-align: left;">Osie Johnson & Shadow Wilson alternating on Drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>This album features Milt Buckner at his swinging best. Backed by a powerful, driving rhythm section, he rocks the Hammond in dynamic fashion. And for added spice, there are occasional bits of the distinctive Buckner piano style. The moods vary from slow blues to up-tempo "screamers"; at either extreme, of in between, the music sounds just like the good jazz it is.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Proper training and hard work give a musician the skill he seeks, the kind Milt Buckner unquestionably has. But the jazz "beat" is something else; no amount of study can instill it. And here Milt is one of the fortunate ones. He was born with a beat, and he's been swinging since the day he was born.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This album's performances are ample evidence of the versatile Buckner talent. Count's Basement, One O'Clock Jump, The Late, Late Show, and Jumpin' At The Woodside showcase Milt's one-man-ensemble organ style, with light piano embroidery in the Basie vein. Blue And Sentimental recalls the late Herschel Evans' flair for relaxed and irrepressible noodling. On the frantic Wild Scene Milt again alternates between organ and piano, and the tunes winds up with a big, swinging bash. We'll Be Together Again, Deep Purple, and When You Wish Upon A Star combine melodic charm and a solid beat. Mighty Low and The Beast are slow and sensuous, displaying Milt's great feeling for the blues, and Jumpin' At The Zanzibar is a free-wheeling number that highlights his amazing keyboard facility.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>So here is music that really swings, music that exploits the full jazz potential of the organ, giving Milt Buckner a better than usual chance to demonstrate his extraordinary technical and creative skills at the Hammond.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Count's Basement</div><div class="separator" style="clear: both; text-align: left;">Mighty Low</div><div class="separator" style="clear: both; text-align: left;">We'll Be Together Again</div><div class="separator" style="clear: both; text-align: left;">Jumpin' At The Woodside</div><div class="separator" style="clear: both; text-align: left;">The Beast</div><div class="separator" style="clear: both; text-align: left;">One O'Clock Jump</div><div class="separator" style="clear: both; text-align: left;">Wild Scene</div><div class="separator" style="clear: both; text-align: left;">Blue And Sentimental</div><div class="separator" style="clear: both; text-align: left;">Deep Purple</div><div class="separator" style="clear: both; text-align: left;">Jumpin' At The Zanzibar</div><div class="separator" style="clear: both; text-align: left;">When You Wish Upon A Star</div><div class="separator" style="clear: both; text-align: left;">The Late, Late Show</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-51705124733876937062024-03-09T23:01:00.000-08:002024-03-09T23:01:33.199-08:00Jazz For Lovers - Various<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYF3r1p2BdiTpqTkoJEw4nttlJhj-BUO_RLx_wEd-5SNYLdvQM1VG2ADNZEZJAE6ePaqvv4fWxojMvBf0XnTAkIpHjJLZVtRorQxq2Q0qzLK95dkGGZCVu2K28WAXULcJirZBUzSaQ5LI3rpTXnp_Tbo-OpVFXizMdeT7X9mfkxhWf-bYma9797okLJM/s1660/Screenshot%202024-03-10%20at%2012.26.14%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1612" data-original-width="1660" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjZYF3r1p2BdiTpqTkoJEw4nttlJhj-BUO_RLx_wEd-5SNYLdvQM1VG2ADNZEZJAE6ePaqvv4fWxojMvBf0XnTAkIpHjJLZVtRorQxq2Q0qzLK95dkGGZCVu2K28WAXULcJirZBUzSaQ5LI3rpTXnp_Tbo-OpVFXizMdeT7X9mfkxhWf-bYma9797okLJM/s320/Screenshot%202024-03-10%20at%2012.26.14%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">You're My Thrill</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/u9myy34lnwilu7nkay8ho/your_my_thrill__drew.mp3?rlkey=qyppvr7yv0qrnyksm8c8cjunl&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Jazz For Loves</div><div class="separator" style="clear: both; text-align: left;">Tender Ballads Played By Top Jazz Stars</div>Riverside Records RLP 12-244<div>1957<br /><div><br /></div><div>Laura - Coleman Hawkins, with J.J. Johnson: Hawkins, tenor sax; Johnson, trombone (courtesy Columbia Records); Hank Jones, piano; Barry Galbraith, guitar; Oscar Pettiford, bass; Jo Jones, drums</div><div><br /></div><div>I Should Care - Ernie Henry Quintet, featuring Kenny Durham: Dorham, trumpet; Henry, alto sax; Kenny Drew, piano; Wilbur Ware, bass; Arthur Taylor, drums</div><div><br /></div><div>Speak Low - Mundell Lowe, guitar; with Al Klink, flute; Trigger Alpert, bass: Ed Shaughnessy, drums</div><div><br /></div><div>Fools Rush In - Zoot Sims Quintet, Sims, tenor sax; Nick Travis, trumpet; George Handy, piano; Wilbur Ware, bass: Osie Johnon, drums</div><div><br /></div><div>You're My Thrill - Kenny Drew Quartet, featuring Donald Byrd: Byrd, trumpet (courtesy Columbia Records); Drew, piano; Wilbur Ware, bass; G.T. Hogan, drums</div><div><br /></div><div>Stardust - Clark Terry Quintet: Terry, trumpet; Johnny Griffin, tenor sax (courtesy Blue Note Records); Wynton Kelly, piano; Paul Chambers, bass; Philly Jones, drums</div><div><br /></div><div>When The Sun Comes Out - Herbie Mann Sextet: Mann, alto flute; Urbie Green, trombone, and Jack Nimitz, bass clarinet (both courtesy ABC-Paramount Records); Joe Puma, guitar; Oscar Pettiford, bass; Charlie Smith, drums. Arrangement by Herbie Mann</div><div><br /></div><div>My Old Flame - Kenny Durham, with Sonny Rollins: Durham, trumpet; Rollins, tenor sax; Hank Jones, paino; Oscar Pettiford, bass; Max Roach, drums; Betty Glamman, harp; Arrangement by Gigi Grace</div><div><br /></div><div>Moonlight In Vermont - Don Elliott Quartet: Elliott, vibes; Bob Corwin, piano; Vinnie Burke, bass; Jim Campbell, drums</div><div><br /></div><div>Easy To Remember - Rusty Dedrick, trumpet; with Dick Hyman piano; Mundell Lowe, guitar; Eddie Safranski, bass; Don Lamond, drums<br /><br /></div></div>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-33288926500210580702024-03-09T21:02:00.000-08:002024-03-09T21:02:14.593-08:00Session At Midnight - Jazz Reunion At Melrose<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60yLrPw6kv5M7k96KK9ntaEB9T3F_bLp7tQG0JXYa43EtHxyo-lZG3wQmslwrPdcA97RlwV5RoRWF9y397V0m2Yfncw24uP5qLmY7DLyIN2NzNXcr6AQZihTXpEv4PPXDstbjP7ksBW0R0_vdhm2EenaRjOhjdKMuzprAxydPedsaGvYqaTyfFrHb2H8/s1650/Screenshot%202024-03-09%20at%2011.23.22%E2%80%AFPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1616" data-original-width="1650" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj60yLrPw6kv5M7k96KK9ntaEB9T3F_bLp7tQG0JXYa43EtHxyo-lZG3wQmslwrPdcA97RlwV5RoRWF9y397V0m2Yfncw24uP5qLmY7DLyIN2NzNXcr6AQZihTXpEv4PPXDstbjP7ksBW0R0_vdhm2EenaRjOhjdKMuzprAxydPedsaGvYqaTyfFrHb2H8/s320/Screenshot%202024-03-09%20at%2011.23.22%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Blue Lou</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/ouuz56hv5ets4u7ab8e7k/blue_lou_session_midnight.mp3?rlkey=hd7w3spvik4tyuwpnyntiu8t6&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Session At Midnight</div><div class="separator" style="clear: both; text-align: left;">Jazz Reunion At Melrose</div><div class="separator" style="clear: both; text-align: left;">Capitol Records T707</div><div class="separator" style="clear: both; text-align: left;">1956</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Note from back cover: <i>Shortly before this recording was released, Capitol Records consolidated its studios and many offices in the Los Angeles area into new headquarters, the Capitol Tower in Hollywood. Session At Midnight turned out to be one of the last jazz sessions held at the old Melrose Studios, and so, in its way, commemorates the end of one era and the beginning of another.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>From the back cover: Most of the best things in jazz come the free, easy and informal way. So it was with Session At Midnight, which virtually "just happened". It all started late one night in December, 1955, at Nickodell's on Melrose Avenue. This is a restaurant whose clientele consists largely of musicians taking a lunch or dinner break from one of the numerous studios in the vicinity. (The RKO, Paramount, Decca-Coral, and Capitol Melrose studios are all well within easy walking distance.) If not actually recording, musicians often drop in to see what's happening, inquire about record session coming up, and in general keep a finger on the musical pulse of Hollywood.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>On this particular night, a group of prominent jazz stars and sidemen who had received their basic training in the 1930s and early '40s were talking about the exciting music of the Swing Era – the opportunities they had at that time to play the way they wanted to, and the few chances today to blow in a free, swinging session. Suddenly someone came up with the observation that just about everyone needed for a top-flight swing band was right there in Nickodell's.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Dave Cavanaugh, Capitol artist-and-repertoire man, had been sitting quietly in a corner, taking in the discussion. He knew that memorable record dates are often made out of such situations. Cavanaugh told the musicians to hang on while he arranged quick clearance on the use of the studio. Things rolled fast from that point on. Soon twelve of the country's top jazz musicians were putting together their instruments in Capitol's Studio A on Melrose. Thus was Session At Midnight born.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>All of the arrangements in this album are "head" or impromptu. The manner in which they evolved was simple and quick. The musicians would agree on a tune, then arrange the order of solo and ensemble choruses, and work out sections in figures or riffs. From that point on, it was simply "Go!" – and go they did, as the riffs and rhythm section formed a dynamic setting for some of the most skilled and inventive jazz solos ever blown into the microphones of Studio A.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Individually and collectively the men on this date had participated in some of Capitol's most outstanding recording sessions, and had worked together many times outside the studios. But this was the first time that this particular group with this particular instrumentation ever recorded together.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>It is to the musician's credit that almost from the first, the band had a rapport and cohesion that usually comes only after months of rehearsing and playing engagements and, very often, not even that. The men tremendously enjoyed working with each other, and their happy feeling run through the fresh and vigorous jazz in this album.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Gus Bivona</b> - clarinet: Born in New London, Conn. Started with Bunny Berigan; subsequently worked with Benny Goodman, Tommy Dorsey, Bob Crosby, Jan Savitt; has fronted his own band. Member of the MGM studio orchestra for past eight years.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Benny Carter</b> - alto sax, trumpet: Born in New York, N.Y. One of jazz's most versatile musicians; worked with Fletcher Henderson, Chick Webb, McKinney's Cotton Pickers; has led several bands of his own. Winner of the 1955 Down Beat Award as the Best Solo Artist.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Irv Cotter</b> - drums: Born in New York, N.Y. Started with Red Norvo's big band, then went on to Claude Thronhill, Les Brown, Tommy Dorsey. Has been on both the CBS-New York and NBC Los Angeles staff orchestras, and has made records with Andre Previn, Paul Smith, and Barney Kessel. Musician on the Dinah Shore television show for past five years.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Harry "Sweets" Edison</b> - trumpet: Born in Columbus, Ohio. Key man with Count Basie for almost fifteen years. Toured with "Jazz At The Philharmonic," and has led outstanding combos of his own. Winner of both Metronome and Down Beat awards.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Al Hendrickson</b> - guitar: Born in Eastland, Texas. Started with Artie Shaw and then went into the famous Coast Guard Band during World War II. Joined Benny Goodman as featured vocalist as well as instrumentalist. Has also worked with Billy May, Freddie Slack, Woody Herman, and Boyd Raeburn. Now a member of Bob Crosby's television band.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Plas Johnson</b> - tenor sax: Born in New Orleans, La. Young in years (twenty-four), but not in concept and technique. Plus is one of the country's most promising tenor men. Background to date consists primarily of recording dates for Capitol's television band.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Murray McEachern</b> - trombone, alto sax: Born in Toronto, Canada. Started with Benny Goodman, then joined Glen Gray's Casa Loma band; later worked with Paul Whiteman, Bob Crosby, Harry James. Murray McEachern appears in this album through courtesy of KEY Records.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Jimmy Rowles</b> - piano: Born in Spokane, Wash. Started with Lester Young, then joined Benny Goodman; has also played with Woody Herman, Les Brown, Tommy Dorsey, Bob Crosby. Has worked in combos with Stan Getz and Zoot Sims. Noted for his exceptional accompanying ability, and has backed Peggy Lee, Billie Holiday, and other singers.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Mike Rubin</b> - bass: Born in Harford, Conn. Started in Greenwich Village, working with Bud Freeman and Joe Marsala in clubs and on recordings, then went with Raymond Scott. Since moving to the West Coast, has been with 20th Century-Fox studio orchestra.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Babe Russin</b> - tenor sax: Born in Pittsburgh, Pa. Started with Ben Pollack; primarily association has been with Benny Goodman. Has also worked with Tommy Dorsey, Jimmy Dorsey, and the Armed Forces Radio Orchestra.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Shorty Sherlock</b> - trumpet: Born in Minneapolis, Minn. Started with Ben Pollack, and subsequently played with Tommy Dorsey, Bob Crosby, Gene Krupa, Tommy Dorsey, and Raymond Scott. Fronted his own band for six years, and has been doing television work for the past several years.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i><b>Willie Smith</b> - alto sax: Born in Charleston, S. C. Started with Jimmy Lunceford, and then worked with Charlie Slovak, Benny Goodman, Duke Ellington, and Billy May. His longest association has been with Harry James. Has won a number of Esquire Awards, and is ranked with Johnny Hodges and Benny Carter as an alto star.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Moten Swing</div><div class="separator" style="clear: both; text-align: left;">Making The Scene</div><div class="separator" style="clear: both; text-align: left;">Sweet Georgia</div><div class="separator" style="clear: both; text-align: left;">Blue Lou</div><div class="separator" style="clear: both; text-align: left;">Stompin' At The Savoy</div><div class="separator" style="clear: both; text-align: left;">Session At Midnight</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-21693493160593749532024-03-09T19:41:00.000-08:002024-03-09T19:41:05.080-08:00New Orleans To Los Angeles - Pete Fountain<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg-7dZHypYxLlbWS83HuUXgippu5Cj6uGseijhrmA2cjsUC0sbwMWgfNjJcm6evGN08A18NOgdbVmTIk46xdksqKabKI41ouzEOHVLCy8TKFHDtYiX6WbRMle5DUuSG1sO1BE02dkssb81mq89yEDY6k1lVU4EptOHS4uOrbNGcl_QTLbPiKnlL3xMeJ4/s1612/Screenshot%202024-03-09%20at%209.52.49%E2%80%AFPM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1608" data-original-width="1612" height="319" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgg-7dZHypYxLlbWS83HuUXgippu5Cj6uGseijhrmA2cjsUC0sbwMWgfNjJcm6evGN08A18NOgdbVmTIk46xdksqKabKI41ouzEOHVLCy8TKFHDtYiX6WbRMle5DUuSG1sO1BE02dkssb81mq89yEDY6k1lVU4EptOHS4uOrbNGcl_QTLbPiKnlL3xMeJ4/s320/Screenshot%202024-03-09%20at%209.52.49%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Home</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/ad4vrgieah709peji96hv/home_fountain.mp3?rlkey=h3xa6mwmdzcfmkauq4qupbb32&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">New Orleans To Los Angeles</div><div class="separator" style="clear: both; text-align: left;">Pet Fountain And His Three Coins</div><div class="separator" style="clear: both; text-align: left;">Cover Design by Johnny Donnels</div><div class="separator" style="clear: both; text-align: left;">Picture by John Kuhlman</div><div class="separator" style="clear: both; text-align: left;">Southland Records SLP S-LP 215</div><div class="separator" style="clear: both; text-align: left;">1956</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>Side 1 – Each Fall heralds an event of the West Coast that's become known as the "World Series" of Jazz, and rightfully so, for upon opening the tinted program one is immediately impressed by the "Big League" calibre of the artists appearing at these Dixieland Jubilee's presented y Jazz Impresario's Frank Bull and Gene Norman.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The evening of September 29th, 1956 will be long-remembered as one of the greatest of these annual events, and also as the second time that the New Orleans Jazz shepherd Joe Mares herded eminent Crescent City musicians westward, this time bringing to the huge stage of the Shrine Auditorium the incomparable Pete Fountain, and the astounding Al Hirt; two show-stoppers, indeed!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The Jazz World has for some time recognized that in Pete Fountain is entwined an old tradition, his clarinet-work having been rated by many critics as ofttimes superior to the immortal Irving "Faz" Fazola. Perhaps superior recording equipment influences such statements, but rather than compare, I would prefer to analyze, for like the music itself Pete is a "home-grown" product, raised in the environment and tradition that so bountiful follows from his mind (by wa of his reed) for all of us to enjoy.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This same evening offered West Coast fans the opportunity to hear in person Al Hirt the trumpet-man who has consistently thrilled them by way of his Coast-to-Coast CBS broadcasts and Southland records. Like his clarinet-partner of the evening, Al's playing captured the audience in a manner most deserved such a stirring artist.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Surrounding these two New Orleans contemporaries for the evening was an all-star group befitting the spectacular Saturday nite performance, Joe Mares was possessed with the idea of documenting these men, so much so that they waited only until Monday to gather in the recording studio.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This all-star group included two other native New Orleans musicians, Eddie Miller on Tenor Sax, and Ray Bauduc at the drums, both perhaps best known for their work with old Bob Crosby, "Bobcats". Completing the "front line" the sensational trombone of Abe Lincoln. On bass is heard Morty Corb, one of the finest rhythm men on the West Coast today, as we might also say of Stan Wrightsman whose keyboard artistry completes the lineup.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The age-old, ever-new Farewell Blues opens this session and is highlighted by the spirited trombone of Abe Lincoln, and the "infectious rhythms" of Ray Bauduc. Then too, there's solos by everyone, outstanding being the combination of Al Hirt's trumpet and Eddie Miller's tenor sax. Ever since its introduction by the Original Dixieland Jazz Band, At The Jazz Band Ball has been a "must" whenever jazzmen get together for a session, this one being no exception. Here again everyone is heard in solos, Pete Fountain and Al Hirt contributing immensely to the HOT feeling of the moment. Brief, but memorable, is the tremendous bass solo by Morty Corb. When ex-Bobcats get together you can count on hearing one of the selections they enjoyed playing so much. March Of The Bobcats, as played here, seems to have that added something that transpires this performance about all others. So much could be said of this one track alone, of how Lincoln shines like never before, now Wrightsman's keyboard becomes a showcase of finger work, of Fountain's solo, of Bauduc's parade beat, and Miller's sax being heard as never before. We could go on and on, and I know you'll be playing this one over and over. Pete Fountain thrills us next with his most interpretive playing on the Jazz Me Blues, which also spotlights tremendous solos by Miller, Lincoln, Wrightsman. A rollicking and soft-spoken ensemble soon reaches its climax which ends our listening pleasure for this session. </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Words can never describe the lasting impression made on the West Coast by the creative and imaginative clarinet-work of Pete Fountain, or that of the torrid trumpet-work of Al Hirt. Although the tumultuous roar of the crowds of several nights previous had died down and the quietude of the recording studio was no compare, preserved the present here IS "New Orleans to Los Angeles" Jazz. – Art Anderson, October 7, 1956</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Mr. Anderson is a well-known San Diego record collector and jazz authority. His "Jazz Informal" radio programs over KFMB have attracted wide attention.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Side 2 – Seldom indeed, does any musician attain such virtuosity to be rated by his audience (and other musicians) as one of the best in the business. Even more rare is it when the same man is able to qualify for top honors on two instruments. But do not let our enthusiasm influence you. Let the music within these grooves talk for itself, and Pete will prove just this point on both clarinet and sax...</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Growing from the ranks of "The Junior Dixieland Band", Pete adolescently displayed his wares before a tolerant but enthusiastic N.O. Jazz Club some seven years ago. The stature of this musician has forced itself among the ranks of the all-time greats of jazz in less than a decade.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Combining the mellowness of tone and extreme good taste of Fazzola, the technical skill of Benny Goodman and the gut-bucket style of Edmond Hall, Mr. Fountain has developed a style all his own on the clarinet. Switching over to tenor saxophone, he then proceeds to demonstrate That Eddie Miller and Bud Freeman had better look to their laurels.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Joe Mares has made a particularly fine selection in professional and solemn-looking Roy Zimmerman as pianist. Roy has been perfect foil for many of the greatest lead men in the business, and lays down a solid platform upon which Pete my strut. His chording, plus the ability to embroider beautifully when his own turn comes renders Mr. Zimmerman invaluable in such a "tight: little outfit.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Phil Darios, using his string bass to perfection, enhances the sound of the band by laying down a big, round tone alongside Zim's left hand. Also an excellent tuba man, Phil sometimes employs the upward slanting chords of this wind instrument on the string bass to increase the interest and attention of the listener.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The choice of drummer Johnny Edwards (no relation to Daddy Edwards of ODJB fame) has been most fortunate. His good taste and delicate handling of the rhythm in such a small combo is beautifully adequate, yet completely unobtrusive. You "feel" the rhythm rather than concentrate on the drum beats and it all winds up as a very fine blend. Not once does he let the music lag, nor does he hurry it along.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Altogether, it is a happy combination, which is even more enhanced by one of the best recording jobs that Joe Mares has done. Be sure to obtain at least two or more copies, so that you may play one all you want - but make certain a stash away one of the others, for you can mark it down as "Collector's Item" of tomorrow. Southland is proud to have been the first to record Pete Fountain fronting his own combination from Southland and New Orleans to the Jazz World. – Dr. Edmond Souchon - Dr. Souchon is an eminent New Orleans Physician Jazz Scholar and Musician </i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">New Orleans To Los Angeles</div><div class="separator" style="clear: both; text-align: left;">Al Hirt - Trumpet</div><div class="separator" style="clear: both; text-align: left;">Pete Fountain - Clarinet</div><div class="separator" style="clear: both; text-align: left;">Eddie Miller - Tenor Sax</div><div class="separator" style="clear: both; text-align: left;">Abe Lincoln - Trombone</div><div class="separator" style="clear: both; text-align: left;">Stan Wrightsman - Piano</div><div class="separator" style="clear: both; text-align: left;">Morty Corb - String Bass</div><div class="separator" style="clear: both; text-align: left;">Ray Bauduc - Drums</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Farewell Blues</div><div class="separator" style="clear: both; text-align: left;">Jazz Band Ball</div><div class="separator" style="clear: both; text-align: left;">March Of The Bob Cats</div><div class="separator" style="clear: both; text-align: left;">Jazz Me Blues</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Pete Fountain And Hi Three Coins</div><div class="separator" style="clear: both; text-align: left;">Pete Fountain - Clarinet - Tenor Sax</div><div class="separator" style="clear: both; text-align: left;">Roy Zimmerman - Piano</div><div class="separator" style="clear: both; text-align: left;">Johnny Edwards - Drums</div><div class="separator" style="clear: both; text-align: left;">Phil Darois - String Bass</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Cherry</div><div class="separator" style="clear: both; text-align: left;">Struttin' With Bar-B-Q</div><div class="separator" style="clear: both; text-align: left;">Home</div><div class="separator" style="clear: both; text-align: left;">Song Of The Wanders</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-5217412063911150022024-03-09T17:58:00.000-08:002024-03-09T17:58:41.020-08:00King Kong - Cherney Berg<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk14atvByBYY5019U3XzYT2xovMEjyCGtldxhK-nQuQucqZE9sfvV371Ahri2kXqk2IgSxH58DFIfUBNJwtTc1EHVggQmuSDwIe9FFPmNBbvLtkRCzntIEBM1Xcvnu4PILrPscShr3_BielHZ-AmNghUJkONYQ0jUBY4mF9iV4TxPLku2nmntzDg-eLBQ/s1646/Screenshot%202024-03-09%20at%208.22.39%E2%80%AFPM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1626" data-original-width="1646" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjk14atvByBYY5019U3XzYT2xovMEjyCGtldxhK-nQuQucqZE9sfvV371Ahri2kXqk2IgSxH58DFIfUBNJwtTc1EHVggQmuSDwIe9FFPmNBbvLtkRCzntIEBM1Xcvnu4PILrPscShr3_BielHZ-AmNghUJkONYQ0jUBY4mF9iV4TxPLku2nmntzDg-eLBQ/s320/Screenshot%202024-03-09%20at%208.22.39%E2%80%AFPM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">King Kong</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/l9symwg3eahd7i7kvn0kg/King-Kong-Wonderland.mp3?rlkey=io08anx7ogbmr5dupimvv13u3&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">The Original R.K.O. General Motion Picture Classic</div><div class="separator" style="clear: both; text-align: left;">King Kong</div><div class="separator" style="clear: both; text-align: left;">Complete Story, Sound Effects And Music</div><div class="separator" style="clear: both; text-align: left;">Adapted for Recording by Cherney Berg</div><div class="separator" style="clear: both; text-align: left;">Wonderland Records LP 151</div><div class="separator" style="clear: both; text-align: left;">Division of AA Record, Inc.</div><div class="separator" style="clear: both; text-align: left;">1974</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-17100108652996839512024-03-09T00:33:00.000-08:002024-03-09T00:33:44.872-08:00Altura Do Sol (High Sun) - Paul Horn<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUM11SkN5UEjuLYCLz8SE0UmvLQE2orimuHPJUVOEw-JC2UBkioKp3Xc92-RIAvvCacgCM2tSEESTEyGCjr582Xx9ylUZhEChqXF0IprNCRWaM-JOtIbefc54Y9v8s70ap9dExNMHdfS5ZmmMb7I_rqXnsdZgc8IVMoxYzx97fsOYlm1hvu0liJxvGYbo/s1670/Screenshot%202024-03-09%20at%202.55.04%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1650" data-original-width="1670" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEiUM11SkN5UEjuLYCLz8SE0UmvLQE2orimuHPJUVOEw-JC2UBkioKp3Xc92-RIAvvCacgCM2tSEESTEyGCjr582Xx9ylUZhEChqXF0IprNCRWaM-JOtIbefc54Y9v8s70ap9dExNMHdfS5ZmmMb7I_rqXnsdZgc8IVMoxYzx97fsOYlm1hvu0liJxvGYbo/s320/Screenshot%202024-03-09%20at%202.55.04%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSBn3edmN61UJBCS5KBpqLpbeVchETqudcGSFGkqP9moRor3Wdz_QhaUKzkG2jDGfH8Y3FlQCFVg-cSYZSKUPpiWPUnRor3kNKsd8U2Gp2dg_VWZ2Xt6b5fsZPyREzldAPKo2iqJx_0zzqEPNz16nR-YYkrLuuAgV4k0Kg7nh9drWKAJo_s9hb52QjWk/s1672/Screenshot%202024-03-09%20at%202.57.07%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1632" data-original-width="1672" height="312" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjJSBn3edmN61UJBCS5KBpqLpbeVchETqudcGSFGkqP9moRor3Wdz_QhaUKzkG2jDGfH8Y3FlQCFVg-cSYZSKUPpiWPUnRor3kNKsd8U2Gp2dg_VWZ2Xt6b5fsZPyREzldAPKo2iqJx_0zzqEPNz16nR-YYkrLuuAgV4k0Kg7nh9drWKAJo_s9hb52QjWk/s320/Screenshot%202024-03-09%20at%202.57.07%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><span style="text-align: left;">Salvador</span></div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/9918og9q8aji8pr3kl91i/salvador_horn.mp3?rlkey=00je6uuzpjfkjpsntwjflv47c&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Altura Do Sol (High Sun)</div><div class="separator" style="clear: both; text-align: left;">Paul Horn</div><div class="separator" style="clear: both; text-align: left;">Produced by Ted Macero for VIP (Vancouver Island Productions Ltd.)</div><div class="separator" style="clear: both; text-align: left;">Recorded at Columbia Recording Studios, N.Y.</div><div class="separator" style="clear: both; text-align: left;">Recording Engineer: Stan Tonkel</div><div class="separator" style="clear: both; text-align: left;">Editing Engineer: Russ Payne</div><div class="separator" style="clear: both; text-align: left;">Design: Ed Lee</div><div class="separator" style="clear: both; text-align: left;">Cover Art: Carol Wald</div><div class="separator" style="clear: both; text-align: left;">Photo: Baron Wolman</div><div class="separator" style="clear: both; text-align: left;">Epic PE 34231 </div><div class="separator" style="clear: both; text-align: left;">1976</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From Billboard - October 9, 1976: <i>The music of Brazilian Egbert Gismonit, who also plays on the LP, is the thematic constant of this LP. Horn concentrates on flute and captures the sometimes haunting, sometimes muscular essence of this very Brazilian and very jazzy music. Gismonti is by no means merely a bossa nova latecomer. His music can be as unearthly as the classical compositions of Vila-Lobos or a fast-flying as any jazz heroics. Horn Seems perfectly attuned to each of the composer's moods and the production of veteran Two Macero recalls his great albums with Miles Davis and the big band of Gil Evans as they explored music of Spain and other exotic sources.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Danca Das Cabecas (Head Dance)</div><div class="separator" style="clear: both; text-align: left;">Bodas De Prata (Silve Wedding)</div><div class="separator" style="clear: both; text-align: left;">Altura Do Sol (High Sun)</div><div class="separator" style="clear: both; text-align: left;">Carmo</div><div class="separator" style="clear: both; text-align: left;">Tango</div><div class="separator" style="clear: both; text-align: left;">Quarup (Worship Ceremony)</div><div class="separator" style="clear: both; text-align: left;">Parque Laje (A Park In Rio)</div><div class="separator" style="clear: both; text-align: left;">Salvador</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-46487695152053269732024-03-08T23:46:00.000-08:002024-03-08T23:46:27.801-08:00Carlos Montoya<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6WqqOzLIjWHNOR7oDuyjs1fp5A3jSe-GXl7C9SgNriqcNfvMOqTI_3_uUd12TZqctdDOCCHSB3ALUYEVrOfjMYgoq1QyXkFwFzyXT4bOJhvtBVpUcyLoNsA4JqjwBHoVGgu0SQwYf5EfPn-8iq9XG1JMTP5R5JgELlnT7cLs-j4Fl5qXwT07ItlF7gM4/s1672/Screenshot%202024-03-09%20at%202.08.49%E2%80%AFAM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1648" data-original-width="1672" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEh6WqqOzLIjWHNOR7oDuyjs1fp5A3jSe-GXl7C9SgNriqcNfvMOqTI_3_uUd12TZqctdDOCCHSB3ALUYEVrOfjMYgoq1QyXkFwFzyXT4bOJhvtBVpUcyLoNsA4JqjwBHoVGgu0SQwYf5EfPn-8iq9XG1JMTP5R5JgELlnT7cLs-j4Fl5qXwT07ItlF7gM4/s320/Screenshot%202024-03-09%20at%202.08.49%E2%80%AFAM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Cante De Sevilla</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/12nd9fmjnb4wn221joqz6/cante_de_sevilla_montoya.mp3?rlkey=dnlf6xiu5qh3oxdj31feyuc2g&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Carlos Montoya</div><div class="separator" style="clear: both; text-align: left;">Produced by Marty Gold</div><div class="separator" style="clear: both; text-align: left;">Recorded in RCA Victor's Studio A, New York City</div><div class="separator" style="clear: both; text-align: left;">Recording Engineer: Bob Simpson</div><div class="separator" style="clear: both; text-align: left;">RCA Victor LSP-2251</div><div class="separator" style="clear: both; text-align: left;">1960</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>It would be downright impossible to find a better qualified musician to play Flamenco guitar than Carlos Montoya. Born in Madrid, Carols Montoya is, as they say in Spain, "gypsy on all four sides." It is usually agreed that playing Flamenco with a genuine feeling is something only a gypsy can do.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Carlos was a mere eight years old when his mother began to teach him to play the guitar. Then she sent him to the barber. This did not cut his musical career short, since the barber was also a talented guitarist and teacher. But after just one year, the amazing young Carlos had learned everything the barber could teach him. He left for more advanced instruction from various celebrated Flamenco guitarists. By the time he was fourteen, Carlos was playin in the "cafes cantantes" for such famous artist as Jaun el Estampio, La Camisole and Antonio de Bilbao.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>When the late and famous Antonia Mercé – known to her public as "La Argentina" – visited Madrid in search of a guitarist, she chose Carlos Montoya as the best of the many expert Flamenco musicians who were anxiously competing for this choice assignment. And so, for the first time, the young man whose genius was to take him in triumph all over the world, left his native Spain. For three years he worked with "La Argentina," touring most of Europe.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>All this time, Carlos Montoya was growing steadily as a musical artist. Let him explain in his own words just how this happens: "The only way you improve is by playing. You learn that you can do many new things. It becomes easier to improvise. That is the secret of our music – improvisation. And one must have the music in his heart before he can play it on the strings.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>After performing with such great stars as "La Argentina," "La Argentinita," Vicente Escudero and Carmen Amaya, the dedicated and enterprising Carlos Montoya decided to make an unprecedented move to advance the popularity of Flamenco guitar music. He would risk giving a complete recital devoted to this music. The repertoire of Flamenco guitarist being rather limited, it had been customary for them to subordinate themselves to a singer or dancer. But Monty, being a composer as well as a performer, determined in 1945 to put things in their proper perspective. He achieved great success giving solo recitals, and was able to climax his triumphs with an appearance at New York's famed Town Hall, where an audience which overflowed onto the stage gave him a tremendous ovation. This is as it should one, for Carlos Montoya is a Spanish gypsy, who wanders the earth, and offers people his music, and he says, "Now I Play Flamenco. Flamenco must come from the heart."</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Nana del Gitanito </div><div class="separator" style="clear: both; text-align: left;">Madrid 1800 Medley</div><div class="separator" style="clear: both; text-align: left;"> Agua Azucarillos y Aguardiente</div><div class="separator" style="clear: both; text-align: left;"> Donde Vas con Mantón de Manila</div><div class="separator" style="clear: both; text-align: left;"> Chotis</div><div class="separator" style="clear: both; text-align: left;">Sacromonte</div><div class="separator" style="clear: both; text-align: left;">Granaina</div><div class="separator" style="clear: both; text-align: left;">Duende Flamenco</div><div class="separator" style="clear: both; text-align: left;">El Vito</div><div class="separator" style="clear: both; text-align: left;">Potpourri Regional Medley</div><div class="separator" style="clear: both; text-align: left;"> Jota Aragonesa</div><div class="separator" style="clear: both; text-align: left;"> Sardana</div><div class="separator" style="clear: both; text-align: left;"> Rapsodia Valenciana</div><div class="separator" style="clear: both; text-align: left;"> La Lagarterana</div><div class="separator" style="clear: both; text-align: left;">Soleá por Medio</div><div class="separator" style="clear: both; text-align: left;">Cante de Sevilla (Petenera)</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-83099672214950697892024-03-07T21:17:00.000-08:002024-03-07T21:17:37.359-08:00Land Of Passion - Hubert Laws<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJGS7wtLk5taA63MwjoirUHDdAgcg-yUhAlWt5X29Wn76d6K0Ih7Y0qLSltdg8XYSoHvt5Z6QylQa3VCgb6Z6lYtaWZ6-Y5yiIGjiUCgeKL7cSgrLsNMB3pFBSZpwgegvToUqGkunBwUhd-8z390SlpBAaRfdSh1xlEYOAVtWZ031A8KgpRFUehHmEWI/s1664/Screenshot%202024-03-07%20at%2011.36.41%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1646" data-original-width="1664" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgMJGS7wtLk5taA63MwjoirUHDdAgcg-yUhAlWt5X29Wn76d6K0Ih7Y0qLSltdg8XYSoHvt5Z6QylQa3VCgb6Z6lYtaWZ6-Y5yiIGjiUCgeKL7cSgrLsNMB3pFBSZpwgegvToUqGkunBwUhd-8z390SlpBAaRfdSh1xlEYOAVtWZ031A8KgpRFUehHmEWI/s320/Screenshot%202024-03-07%20at%2011.36.41%20PM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja9dRYgJGG_iByR4MoF3xgiuDi4rXYfOLaNqIcsr86OsMtQFn0C9wEvH7fWzS1LyjePJP2g9WoafZPd_q6foP-B3WI4LWkhus8aOTqzqNsdCVtBqzRgqgXOcZkQWLX8zis_DIMHFyUSp9efXGXixuhGYSG2taOzziW04GJ3LKegLmEZfAsPPR7pLgBU_s/s1654/Screenshot%202024-03-07%20at%2011.40.32%20PM.png" imageanchor="1" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1640" data-original-width="1654" height="317" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEja9dRYgJGG_iByR4MoF3xgiuDi4rXYfOLaNqIcsr86OsMtQFn0C9wEvH7fWzS1LyjePJP2g9WoafZPd_q6foP-B3WI4LWkhus8aOTqzqNsdCVtBqzRgqgXOcZkQWLX8zis_DIMHFyUSp9efXGXixuhGYSG2taOzziW04GJ3LKegLmEZfAsPPR7pLgBU_s/s320/Screenshot%202024-03-07%20at%2011.40.32%20PM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Land Of Passion</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/hir8cods4xbm8jz6pa7mi/land_of_passion_laws.mp3?rlkey=cenn47v2e834w90tionddxt7p&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Land Of Passion</div><div class="separator" style="clear: both; text-align: left;">Hubert Laws</div><div class="separator" style="clear: both; text-align: left;">Composed, Arranged and Conducted by Hubert Laws </div><div class="separator" style="clear: both; text-align: left;">"We Will Be" written and arranged by Ronnie Laws</div><div class="separator" style="clear: both; text-align: left;">Produced by Hubert Laws for Spirit Productions, Inc.</div><div class="separator" style="clear: both; text-align: left;">Assistants: Ronnie Laws and William Jeffrey</div><div class="separator" style="clear: both; text-align: left;">Recorded in October and December 1978</div><div class="separator" style="clear: both; text-align: left;">Recording Engineer: Chris Brunt</div><div class="separator" style="clear: both; text-align: left;">Master Engineer: Vlado Meller</div><div class="separator" style="clear: both; text-align: left;">String and Brass Engineer: Buddy Brand</div><div class="separator" style="clear: both; text-align: left;">Photography: Rob Lewine</div><div class="separator" style="clear: both; text-align: left;">Design: Nancy Donald</div><div class="separator" style="clear: both; text-align: left;">Columbia/CBS Records <span style="font-family: "Helvetica Neue", Helvetica, "Nimbus Sans", Arial, sans-serif; font-size: 14.4px;">JC 35708</span></div><div class="separator" style="clear: both; text-align: left;">1979</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Music Forever</div><div class="separator" style="clear: both; text-align: left;">Land Of Passion</div><div class="separator" style="clear: both; text-align: left;">We're In Ecstasy </div><div class="separator" style="clear: both; text-align: left;">Heartbeats</div><div class="separator" style="clear: both; text-align: left;">The Key</div><div class="separator" style="clear: both; text-align: left;">We Will Be</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-51407664154458410902024-03-05T19:51:00.000-08:002024-03-05T19:51:12.524-08:00Picnic - Dorothy Collins<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkf78idPOcSwvWNIg5yWGvGZKKnKuLhCWhItwEL7Ou8JkWUX-CPW0HvZkdfiMCTve0KCyE2wsdK_dZBehZqY29hmuIXnKdfLC9j1UDVS3QnqqKQxLFRzD6Xz1J9zjeAUnDu7TYNGTGaAhJOkxWru311IQ2WaYHNH3uIllYqzfTY71HBj_JTmXOY2I0ksE/s1642/Screenshot%202024-03-05%20at%201.15.29%20AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1596" data-original-width="1642" height="311" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhkf78idPOcSwvWNIg5yWGvGZKKnKuLhCWhItwEL7Ou8JkWUX-CPW0HvZkdfiMCTve0KCyE2wsdK_dZBehZqY29hmuIXnKdfLC9j1UDVS3QnqqKQxLFRzD6Xz1J9zjeAUnDu7TYNGTGaAhJOkxWru311IQ2WaYHNH3uIllYqzfTY71HBj_JTmXOY2I0ksE/s320/Screenshot%202024-03-05%20at%201.15.29%20AM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Picnic</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/nr0md2vz7w81n3ei3vh5f/picnic_collins.mp3?rlkey=5nawsvw6r9jkzaxqomyb8v7la&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Picnic</div><div class="separator" style="clear: both; text-align: left;">Dorothy Collins Sings Steve Allen</div><div class="separator" style="clear: both; text-align: left;">Orchestra Directed by Jack Kane</div><div class="separator" style="clear: both; text-align: left;">Cover Photo by Garrett-Howard</div><div class="separator" style="clear: both; text-align: left;">Coral Records CRL 57150</div><div class="separator" style="clear: both; text-align: left;">1957</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>For the benefit of those of you who have often wondered, "how do they dig up the titles for record albums?" – we're about to give away a carefully guarded trade secret... Picnic means pleasure!</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This musical picnic – composed of "goodies" that are non-edible, but nonetheless highly digestible – is the result of a delightful blending of outstanding talents... Dorothy Collins singing the compositions of Steve Allen with arrangements and orchestration by Jack Kane.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Dorothy's first claim to nationwide fame was a crisply starched, high neck blouse, a black ribbon tie and a catchy cigarette jingle. She was singing the commercials on television's "Hit Parade" at the time, and before long she was a featured vocalist on the show. One of the top song-stylists today, her tasteful phrasing, warm and expressive style, and versatility have made her a favorite in every medium of entertainment. In this album she takes a dozen of Steve Allen's most appealing songs, and interprets them with a characteristic instinct for brining out the very best of a melody and lyric.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Steve Allen – TV's popular jack-of-all trades, master-of-many – in addition to being one of the most successful comedians and MC's in the business, is an accomplished musician and a prolific composer, responsible for many wonderful hit tune. Several of these are showcased in this album – interspersed with lesser known, but equally noteworthy Allen compositions. Among the hits: Picnic, on which he collaborated with George Dunning, the them for the exciting motion picture of the same name; and South Rampart Street Parade, a dixieland favorite, which was popularized vocally by Bing Crosby and The Andrew Sisters. In his role as songwriter, Steve has had many famous collaborators. For the songs in this collection, they include the previously mentioned George Dunning, Neal Hefti, Don Elliot, Bob Haggart and many others.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Jack Kane – an accomplished arranger-composer hitherto unknown in America – has been a key band-leader in Canada for some time, with a weekly TV show on CBC-TV Toronto. Recently, Mr. Kane was appointed Musical Director for the Eydie Gorge-Steve Lawrence Show, set to replace Steve Allen on his Saturday night spot for the summer. Trained in both classical and popular music, his technique is drawn from both areas and the blending is eminently listenable.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Listen now, as Dorothy Collins presents the songs of Steve Allen... in exactly the way he meant them to be sung.</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Picnic</div><div class="separator" style="clear: both; text-align: left;">Banana Split</div><div class="separator" style="clear: both; text-align: left;">Spring In Maine</div><div class="separator" style="clear: both; text-align: left;">What Is A Woman</div><div class="separator" style="clear: both; text-align: left;">Impossible</div><div class="separator" style="clear: both; text-align: left;">Oh What A Nite For Love</div><div class="separator" style="clear: both; text-align: left;">South Rampart Street Parade</div><div class="separator" style="clear: both; text-align: left;">C'est Tres</div><div class="separator" style="clear: both; text-align: left;">We're Together</div><div class="separator" style="clear: both; text-align: left;">Stay Just A Little While</div><div class="separator" style="clear: both; text-align: left;">This Could Be The Start Of Something</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-84191114755028676962024-03-05T19:36:00.001-08:002024-03-05T19:36:51.205-08:00The Harp Wears A Lei - De Wayne Fulton<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6gkfhjOWX7eWqxAemkR7DRuJPYx8CVg1z64-ShuI-RmM0LoOhBxVqTRkq4GLiiIEjMMNBHYHrmxUpLKDqoDQ6atI8QyGN0OwEZg5GHQJD2m3zrbflGbOu4M-UiwQehyphenhyphenyga6LI-tGw45YL6KQ2P6f4MxTdDXBePQ54FFtfYLynxrjb8s3ulqQQMHsxf4M/s1676/Screenshot%202024-03-05%20at%2010.08.56%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1652" data-original-width="1676" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj6gkfhjOWX7eWqxAemkR7DRuJPYx8CVg1z64-ShuI-RmM0LoOhBxVqTRkq4GLiiIEjMMNBHYHrmxUpLKDqoDQ6atI8QyGN0OwEZg5GHQJD2m3zrbflGbOu4M-UiwQehyphenhyphenyga6LI-tGw45YL6KQ2P6f4MxTdDXBePQ54FFtfYLynxrjb8s3ulqQQMHsxf4M/s320/Screenshot%202024-03-05%20at%2010.08.56%20PM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kQujsUcwNvL-kEwngHdroDUYBjmd9N4DZEWtVZTk_KfEaJ-1bWG0idISMMftSTJmaFMhd38jaVeDvcNncJLbL9yYsBmOQ5LOMbhJ28JcQOrBzbczPj-5cSKzUEFVIA3DTPXEimy3yBUsIFp3lrMdTkI3T1AwqAAyNlhLZJFJ2Zj8HRhxErh3y1H0u3I/s1664/Screenshot%202024-03-05%20at%2010.10.18%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1628" data-original-width="1664" height="313" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEj4kQujsUcwNvL-kEwngHdroDUYBjmd9N4DZEWtVZTk_KfEaJ-1bWG0idISMMftSTJmaFMhd38jaVeDvcNncJLbL9yYsBmOQ5LOMbhJ28JcQOrBzbczPj-5cSKzUEFVIA3DTPXEimy3yBUsIFp3lrMdTkI3T1AwqAAyNlhLZJFJ2Zj8HRhxErh3y1H0u3I/s320/Screenshot%202024-03-05%20at%2010.10.18%20PM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Un Like No A Like</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/8vkqclgryv4fq2h3qz2vl/like_no_like_de_wayne_fulton.mp3?rlkey=45ulpmjq3m2n3la2aloxvpgg5&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">The Harp Wears A Lei</div><div class="separator" style="clear: both; text-align: left;">De Wayne Fulton</div><div class="separator" style="clear: both; text-align: left;">Produced in Hawaii by Lewis Amiel & Bill Murata</div><div class="separator" style="clear: both; text-align: left;">Engineer: Bob Lang</div><div class="separator" style="clear: both; text-align: left;">Cover Photo and Design: Lewis Amiel </div><div class="separator" style="clear: both; text-align: left;">Liner Notes: Dick Howard</div><div class="separator" style="clear: both; text-align: left;">Mahalo Records M 3005</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>For more than a century the haunting music of Hawaii has captured the imagination of the world and has been presented in a multitude of settings, ranging from small instrumental groups to full symphonies. But never has the beauty of island music been so thoroughly developed and uniquely presented than in this exciting album, a great "first" for Mahalo Records.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The 13 melodies presented here comprise the golden favorites of Hawaii, romantic and rhythmic, breathtakingly beautiful.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Though the producers of Mahalo Records have presented many varied albums of island music in the past, they are particularly proud of this LP for it introduces on the label an artist of world renown.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>De Wayne Fulton, in 18 short months, has become the most exciting new star to hit the Waikiki entertainment scene in a decade. Appearing in the heart of Waikiki, De Wayne has created an ardent following of islanders who are eager to hear their beloved melodies given new life in the distinctly new and refreshing Fulton style.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>De Wayne began his study of the harp in San Francisco in 1948 under the guidance of Kajetan Attl, noted harpist of the San Francisco Symphony. This was followed by a year's work at Juilliard and further study with Edward Vito of the NBC Symphony.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>A long held ambition was realized in 1950 when he entered the Academy of Music in Vienna, Austria. He graduated four years later and from there spent two summers at the Mozarteum in Salzburg.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>De Wayne's fame grew throughout Europe and he accepted the position of Professor of Harp at the Conservatory of Music in Istanbul, Turkey, and continued in this capacity for three years. During this period he performed as first Harpist with the Istanbul Symphony.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Then came one year as first harpist of the Berlin Philharmonic Orchestra under the famed conductor, Herbert von Karajan.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Numerous concerts and appearances with leading orchestras throughout the continent were followed by a summer of advance study at the Accedemica Chigiana in Siena, Italy, under the Spanish virtuoso, Nicanor Zabaleta. More concerts followed, plus a season at the smart clubs along the Italian Riviera.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>In 1958 De Wayne's travels brought him to Hawaii, his present home, where he has performed with the Honolulu Symphony.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>His love for the islands is unbounded and is exemplified in his renditions of Hawaii's melodies. It is you doubtful whether this beautiful music has ever been performed with keener insight, touch, style and "heart."</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>We of Mahalo Records feel that when you hear De Wayne on this LP you will join us in stating flatly that "The Harp Wears A Lei" is definitely "The Album Of The Year."</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Beautiful Kahana</div><div class="separator" style="clear: both; text-align: left;">Maui Chimes</div><div class="separator" style="clear: both; text-align: left;">Ke Kali Nei Au</div><div class="separator" style="clear: both; text-align: left;">Waipio</div><div class="separator" style="clear: both; text-align: left;">Kawohikukapulani</div><div class="separator" style="clear: both; text-align: left;">Makalapua</div><div class="separator" style="clear: both; text-align: left;">Kalua</div><div class="separator" style="clear: both; text-align: left;">Pua Carnation</div><div class="separator" style="clear: both; text-align: left;">Pua Tuberose</div><div class="separator" style="clear: both; text-align: left;">Ua Like No A Like</div><div class="separator" style="clear: both; text-align: left;">Akaka Falls</div><div class="separator" style="clear: both; text-align: left;">Old Plantation</div><div class="separator" style="clear: both; text-align: left;">Aloha Oe</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-12411103510630788052024-03-05T18:51:00.000-08:002024-03-06T00:00:08.187-08:00Jazz Rolls Royce - Howard Rumsey's Lighthouse All-Stars Plus Ten<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhggr25__fQVfkZ1BE7OOOoya2PffV_DFSZQgh_WGSqb9jrmktCBoRdDzIDy-CywuIJAYle6UuFj-Y8FjwtYs1KrvLz7lDst1FWxcMkurOP4r-5qAT_qfu6AleJxwpMuKoHATEjL3DAI-LCnL-X-jnXcwwU6TJmk0tnnUx0_uIBGZIgUigYhPMJd_b7goM/s1638/Screenshot%202024-03-05%20at%209.03.01%20PM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1618" data-original-width="1638" height="316" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEhggr25__fQVfkZ1BE7OOOoya2PffV_DFSZQgh_WGSqb9jrmktCBoRdDzIDy-CywuIJAYle6UuFj-Y8FjwtYs1KrvLz7lDst1FWxcMkurOP4r-5qAT_qfu6AleJxwpMuKoHATEjL3DAI-LCnL-X-jnXcwwU6TJmk0tnnUx0_uIBGZIgUigYhPMJd_b7goM/s320/Screenshot%202024-03-05%20at%209.03.01%20PM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">The Clown's Dance</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/i9o6v21mxthbvh1myyjg8/clown_dance_jazz_rolls_royce.mp3?rlkey=aqalfwtm6cj85buvw0c0tteff&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Jazz Rolls Royce</div><div class="separator" style="clear: both; text-align: left;">Howard Rumsey's Lighthouse All Stars Plus Ten</div><div class="separator" style="clear: both; text-align: left;">Concert At Royce Hall - Bruin Homecoming</div><div class="separator" style="clear: both; text-align: left;">Compositions & Arrangements by Bob Cooper</div><div class="separator" style="clear: both; text-align: left;">Produced by Dave Hubert</div><div class="separator" style="clear: both; text-align: left;">Engineer: John Hall</div><div class="separator" style="clear: both; text-align: left;">Product Design: Leon McFadden</div><div class="separator" style="clear: both; text-align: left;">Cover Photo: Stan Levey</div><div class="separator" style="clear: both; text-align: left;">Omega Stereophonic Disk OSL - 5</div><div class="separator" style="clear: both; text-align: left;">1959</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Trumpet - Pete Candolli, Al Porcino, Ed Leddy, George Worth</div><div class="separator" style="clear: both; text-align: left;">Tombone - Milt Bernhart, Harry Betz, Holy Bohannon</div><div class="separator" style="clear: both; text-align: left;">Bass Tombone - Marshall Cram</div><div class="separator" style="clear: both; text-align: left;">Tuba - Red Callender</div><div class="separator" style="clear: both; text-align: left;">Tympani & Vibes - Larry Bunker</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>Josiah Royce Hall, located on the Los Angeles campus of the University of California where last summer Stravinsky conducted his 75th birthday concert, provided the necessary incentive and atmosphere for this album. The occasion for the recording was the 1957 UCLA homecoming Show, October 28, when the Lighthouse All-Stars and ten added men headlined the evening's entertainment. The express purpose of the Show is to present the Homecoming Queen and her court in all the tradition due her. However, tradition saw innovation this year with the first professional Show in UCLA's annals to enhance "Her Majesty's" announcement. As the initial event of the week-long Homecoming, the Show set a fast pace for the activities which followed with the theme "Under The Bruin Big Top."</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The concert portion of the Show, heard in its entirety on this album, is the result of more than a year's preparation. It began in May, 1957, when Skip Keizer's, the Homecoming Chairman, asked me to produce a professional Homecoming show. With Howard Rumsey in mind I suggested a Jazz Concert. Skip agreed to the idea and so we began formulating what was to be the most spectacular aggregation of jazz talent on the West Coast.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>Our idea was to add ten men to the Lighthouse group, forming a sixteen-piece band. We knew the first song should be the traditional "Strike Up The Band," the song that George Gershwin wrote specially as a "fight" song for UCLA. First of all the students that accepted the responsibility of the 1957 Homecoming and particularly the producer of the Homecoming Show, John Brown, knew they wanted all new music written just for this occasion. The material should embellish the show, the traditional purpose being of course the selection of the Homecoming Queen and it should fit with the theme "Under The Bruin Big Top."</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>As we wanted to feature "new" jazz music we got in touch with Bob Cooper. "Coop" is the senior member of the Lighthouse All-Stars and watching his development as a soloist and a composer-arranger certainly has been a pleasure. As a musician he has every qualification: playing Tenor Saxophone, Oboe, English Horn or Clarinet he has traveled extensively as a member of Stan Kenton's Band and Kenton Innovations Orchestra; since becoming one of the best known members of the West Coast movement and joining forces with the Lighthouse he has made two European tours with Bud Shank. "Coop" is constantly studying and developing: at the moment he is studying composition with Mario Tedesco, one of the nation's best known classical composers; his oboe teacher, Henri de Busscher, has long been regarded as one of the professions leading players of a most exotic and difficult instrument.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>After deciding together on the program numbers, all written by Bob Cooper specially for the Show, we began the selection of the added men, players with much recording experience yet men with strong roots in jazz. More important, it was to be a big modern band, one that pointed ahead. Furthermore, we wanted a permanent record of it.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>This was a labor of love and all the players responded in a grand manner: after rehearsals they were on their own. No one conducted the performance or the recording.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>If it hadn't been for my good friend and business adviser, Mr. John Levine, owner of the Lighthouse in Hermosa Beach, this album might never have been released. John was present the night of the show and heard something he had been waiting a long time to hear. He heard the well-known Lighthouse All-Stars playing in front of a sparkling new background. This was the culmination of ten years of jazz progress: here is an extension of the Goodman Quartet and Shaw's Gramercy Five, the difference being a modern group, the Lighthouse All-Stars superimposed over a swinging modern background of ten added men. And so the inevitable continues. Jazz, the audible expression of all our inexpressible emotions, a subject bigger than al the individuals involved, continues to march forward just as surely as time itself. – Howard Rumsey</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The jazz record buyer is listening more and more to the soloist, as opposed to ensemble writing. This is evident in the decline of the big band and increasing popularity of soloists and small groups. This may be the result of over-arranging and lack of honest emotion except during an improvised solo. It is here the real communication between the listener and performer takes place.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>I have felt that the best points of the big band should be retained, especially since a big band can be a great source of inspiration to the soloists.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>With these things in mind we decided on the instrumentalist used here. The idea being to preserve the sound of the small group (Lighthouse All-Starts) and inject the excitement and color of a big band with freedom and ample space for improvised solos.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>We learned a great deal in recording and playing this music. I hope that the idea will be carried out and developed by others. I know we are all excited by its challenge. – Bob Cooper</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div>From Billboard - February 23, 1959: <i>The Lighthouse All-Stars were augmented for this scene by a flock of good brass and reed men plus Red Callendar on Tuba and Larry Bunker on vibes. The result is a big, exciting band sound with much color from the ensemble trumpet passages. Disk is the living record of a concert performed at UCLA late in 1957. There are six numbers but each, tho on the long side, retain interest thruout with a considerable number of instrumental voicings to sustain the drive. A real live album which retains the best of combo and big band ideas in a single set.</i><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Strike Up The Band</div><div class="separator" style="clear: both; text-align: left;">Prelude To The Queen</div><div class="separator" style="clear: both; text-align: left;">The Clown's Dance</div><div class="separator" style="clear: both; text-align: left;">Coop Salutes The "Co-Op"</div><div class="separator" style="clear: both; text-align: left;">Bruinville, My Bruinville</div><div class="separator" style="clear: both; text-align: left;">Mambo del Quado</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-81114569242075610572024-03-04T23:37:00.000-08:002024-03-04T23:37:54.233-08:00Iaora Tahiti - Orchestre Arthur Iriti<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRJo5X3lB_iX8DshG056ngc4lVYmMVVWu4sLOXlFXa29Wwo1_bWVKXX9okVeaCniiF5XmJoxCjqxMR_OW4A41jNmtSpSenI3IW2nivWWZki2YozEXdPK29ZZxrWCPwo61-PU9hvR95Os0c54nADBAPZe0abSXU7TlS84A0GXSagqPaIYj3pmCsoljgkU/s1664/Screenshot%202024-03-05%20at%202.00.01%20AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1638" data-original-width="1664" height="315" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEgNRJo5X3lB_iX8DshG056ngc4lVYmMVVWu4sLOXlFXa29Wwo1_bWVKXX9okVeaCniiF5XmJoxCjqxMR_OW4A41jNmtSpSenI3IW2nivWWZki2YozEXdPK29ZZxrWCPwo61-PU9hvR95Os0c54nADBAPZe0abSXU7TlS84A0GXSagqPaIYj3pmCsoljgkU/s320/Screenshot%202024-03-05%20at%202.00.01%20AM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Iaora Tahiti</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/osnv2tify195rriqfnx9f/Iaora-Tahiti.mp3?rlkey=6h1kmiyxorx1qfb68r3wn36vb&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Iaora Tahiti</div><div class="separator" style="clear: both; text-align: left;">Orchestre Arthur Iriti</div><div class="separator" style="clear: both; text-align: left;">Cover-Gestaltung: Atelier Paul u. Rath, Hamburg</div><div class="separator" style="clear: both; text-align: left;">STEREODIMENSION </div><div class="separator" style="clear: both; text-align: left;">Barclay KMLP 305</div><div class="separator" style="clear: both; text-align: left;">1969</div><div class="separator" style="clear: both; text-align: left;"><br /></div>Ia Orana<br />Tahiti Nui<br />Manuia<br />Tamoure<br />Nau Haka<br />Taranga<br />Ute Ote Uru<br />Minoi Minoie<br />Hoe Ana<br />Pine Pine<br />E Tu Piti<br />Topa Tune Te Hupe<div><br />Valse De Papa<br />Tamoure<br />Manea<br />Viens Poupoule<br />Gloire Immortelle<br />Himene Tarava<br />Ave Te Mamae<br />E Niate Te Marama<br />Karu<br />Maruru A Vau<br /><div class="separator" style="clear: both; text-align: left;"></div></div>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0tag:blogger.com,1999:blog-5271453857178906898.post-24332320164249431492024-03-03T22:04:00.000-08:002024-03-03T22:04:42.105-08:00Barbara - George Morgan<p style="text-align: center;"> </p><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNb0LmJORhLXxVVAVtDXvXvJzKP4eCs5SYhWTVxvgXqCQseijzJRusFKDh5VVzw7a5ZvhR4YZQM2w3RduxeqyNAae3SxR6yqcWKz9OufHmK5V4Qi3AgSsix7hCY8HPRHFjZje1jusLjP8uG_qgwEZvw0ps_HDx5lJ1Q8vPvFH8WPrtRZk_i2-4L0Nedw/s1646/Screenshot%202024-03-04%20at%2012.28.49%20AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1646" data-original-width="1638" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjyNb0LmJORhLXxVVAVtDXvXvJzKP4eCs5SYhWTVxvgXqCQseijzJRusFKDh5VVzw7a5ZvhR4YZQM2w3RduxeqyNAae3SxR6yqcWKz9OufHmK5V4Qi3AgSsix7hCY8HPRHFjZje1jusLjP8uG_qgwEZvw0ps_HDx5lJ1Q8vPvFH8WPrtRZk_i2-4L0Nedw/s320/Screenshot%202024-03-04%20at%2012.28.49%20AM.png" width="318" /></a></div><div class="separator" style="clear: both; text-align: center;"><a href="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVigRTu2bg8HiczXkwralHoPRw3GkzQWYcJaDmH49-3iIMK7sdpQ0UsE9LBh2KJB3IpPKdgfMLOh_SLPPYJqn_oQazOHIXiVmyCWLtdcfPZKVXyOfzpPCnYP_NGhjf0NM2ETtIZ2lziWdJ7x6Ua2kRjx4hWcPVAPW9obGDZoyHF-n3tuyeVMrm-UfainI/s1618/Screenshot%202024-03-04%20at%2012.30.13%20AM.png" style="margin-left: 1em; margin-right: 1em;"><img border="0" data-original-height="1616" data-original-width="1618" height="320" src="https://blogger.googleusercontent.com/img/b/R29vZ2xl/AVvXsEjVigRTu2bg8HiczXkwralHoPRw3GkzQWYcJaDmH49-3iIMK7sdpQ0UsE9LBh2KJB3IpPKdgfMLOh_SLPPYJqn_oQazOHIXiVmyCWLtdcfPZKVXyOfzpPCnYP_NGhjf0NM2ETtIZ2lziWdJ7x6Ua2kRjx4hWcPVAPW9obGDZoyHF-n3tuyeVMrm-UfainI/s320/Screenshot%202024-03-04%20at%2012.30.13%20AM.png" width="320" /></a></div><div class="separator" style="clear: both; text-align: center;">Barbara</div><div class="separator" style="clear: both; text-align: center;">
<p style="text-align: center;">
<audio controls="controls" src=" https://www.dropbox.com/scl/fi/3xlm9g6hl0hk7jfmbauai/barbara_morgan.mp3?rlkey=79u1cm0nsfyxdey1j6j7xvc9v&raw=1">
</audio></p>
</div><div class="separator" style="clear: both; text-align: left;">Barbara</div><div class="separator" style="clear: both; text-align: left;">George Morgan</div><div class="separator" style="clear: both; text-align: left;">Produced by Don Pierce</div><div class="separator" style="clear: both; text-align: left;">Cover Photo and Design by Dan Quest Art Studio, Nashville</div><div class="separator" style="clear: both; text-align: left;">Photo Location: Grassland Ranch Hendersonville, Tennessee</div><div class="separator" style="clear: both; text-align: left;">Starday SLP 417</div><div class="separator" style="clear: both; text-align: left;">1968</div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">From the back cover: <i>The last-minute assignment is often the one best filled. Below are the thoughts put forth by Charlie Dick on January 24, 1968, a he hurries to the Nashville airport for his next tour as Director Of Promotion for Starday Records. His assignment before departure – put forth in writing his thoughts about his very good friend, George Morgan. A man of few words, Charlie begins... Thought for the Day: George Morgan Good thoughts??</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The Great Softball Player: George Tells everyone that he is a great softball player. After playing softball with George for three years, I find this is not true. (Bad thought). </i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The Practical Joker: The stories go that George is a good practical joker. I know of the time that George was to stage a fake fight in a restaurant. The bouncer thought it was a real fight... and George got bounced. (Bad thought).</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>The Singer and Writer: George has written and recorded many great songs, I guess probably the biggest being "Candy Kisses". I think in this album you will find many more great ones. The title song, "Barbara", which is possibly his greatest since "Candy Kisses", and "I'm Just A Place" were written by A. L. (Doodles) Owens. Doodles say that one of his biggest thrills as a writer was to get George to record his songs. "No one could have done a better job," he said.</i></div><div class="separator" style="clear: both; text-align: left;"><i><br /></i></div><div class="separator" style="clear: both; text-align: left;"><i>I think another one of George's better efforts in both singing and writing is a song called "Living". And as you listen to this album, I believe you, like me, will have to think... Good, Good, Good Thoughts!! – Charlie</i></div><div class="separator" style="clear: both; text-align: left;"><br /></div><div class="separator" style="clear: both; text-align: left;">Barbara</div><div class="separator" style="clear: both; text-align: left;">Accidentally On Purpose</div><div class="separator" style="clear: both; text-align: left;">You Mean The World To Me</div><div class="separator" style="clear: both; text-align: left;">Color Of The Blues </div><div class="separator" style="clear: both; text-align: left;">The Man Behind The Wheel</div><div class="separator" style="clear: both; text-align: left;">Beyond The Sunset</div><div class="separator" style="clear: both; text-align: left;">Living</div><div class="separator" style="clear: both; text-align: left;">Invitation To The Blues</div><div class="separator" style="clear: both; text-align: left;">Turn The World Around</div><div class="separator" style="clear: both; text-align: left;">Rosebuds And You</div><div class="separator" style="clear: both; text-align: left;">The Worst Of The Hurt Is Over</div><div class="separator" style="clear: both; text-align: left;">I'm Just A Place</div><p></p>By Mark Betcherhttp://www.blogger.com/profile/12284668918367327017noreply@blogger.com0