Super Hits 1974 - Volume 5

Honestly I Love You

Superhits 1974
Volume 5
Power Pak Records SA 265

One of a series of "hits" covers albums produced by Power Pak studio artists.

Check out Volume 1

The Sound Of Latin Brass - Tarragano

Baia

The Sound Of Latin Brass
Tarragano And His Orchestra
Arranged by David Terry
Medallion/Knapp Records ML-7511

Surprisingly good big band Latin produced to compete with the stuff Command was releasing in the early 60s. The recording also features very good engineering which delivers a full, rich sound.

El Cumbanchero
In A Little Spanish Town Cha Cha
Tabu
Rockambo Baby
Besame Mucho
Anna
Carioca
Fascination
Orchids In The Moonlight
Mama Inez
Baia
Mambo Jambo

Lullaby Of Broadway - Georgie Auld

Harlem Nocturne

Lullaby Of Broadway
Georgie Auld
Tenor Saxophone Solos
Coral CRL 57029
1956

From the back cover: The biggest, worldliest city of all has provided the title song, "Harlem Nocturne" and, of course, "Manhattan." The latter, in fact, has become most closely identified with this late modern mood approach of Georgie's, and it's a great personal favorite with the nation's disk jockeys.

But sometimes, hearing the way he sounds today, it's difficult for one to believe that this is the same tenor man the late Bunny Berigan sponsored back as far as 1937. In those days Bunny had a pretty fair big swing band, but he was no leader and somebody gave him a lot of terrible pop tunes to record. On most of these there were steel fibre tenor solos by the young Canadi n "find," Georgie Auld, in a sort of jagged, vintage Charlie Barnet style. Still, there was something here that made the jazz aficionados perk up their ears.

Gradually the sharp corners rounded off and he joined Artie Shaw during the peak years of '38 and '39.

Then came Shaw's dramatic exit (the first of several) and Georgie took over the band briefly while Artie looked for a new perspective in Acapulco. (It has been recalled by Artie that part of the provocation for his departure was the resentment expressed by the rest of the band when Georgie came to work for the then impressive sum of $125.)

In the middle of the '40, he joined Benny Goodman for a year, and it was here he blended into the mainstream of jazz and laid the foundation for a perpetually progressive style. This was Benny's "Basie Period" wherein the sturdy strain of Negro jazz out of Kansas City and thereabouts crowed with the Chicago New York strains to produce a freer, more sensuous and swinging music... especially in the smaller groups. Goodman's great Sextet included besides Auld, Cootie Williams on trumpet, the late Charlie Christian on guitar and sometimes Basie himself on piano.

Then, around this time, Ben Webster was making his singularly expressive style left as a member of Duke Ellington band ("Cottontail," "All Too Soon," etc.). Coleman Hawkins came back from Europe and recorded "Body And Soul," and Chu Berry did his "Ghost Of A Chance" with Cab Calloway. That same year too, Lester Young was doing all those tremendous romping things with Basie. The tenor era was on, and there was plenty to absorb. It's our guess that Georgie learned the most about jazz interpretation of ballads at the Webster school, which is timeless.

He went back with Shaw in '41 - '42, and after an army turn formed his own band which functions and recorded between '44 and ' 46. During that period he recorded for the now-defunct Guild and Musicraft companies, producing several sides that added impetus to the modern jazz movement as carried forward by Woody Herman and such. Among his sidemen on various dates were Dizzy Gillespie, Erroll Garner, Al Cohn, Serge Chaloff, etc. One memorable date was shared with Sarah Vaughan.

It was in 1951 that Georgie began recording for Coral and for it's jazz subsidiary label, Brunswick. In recent years, too, he has succumbed to the urge which hits many jazz men, to operate his own club. He had one in New York for a time, them moved to Hollywood, where he opened the Melody Room in '54.

Lullaby Of Broadway
Manhattan
A Room With A View
Early Autumn
On The Alamo
Harlem Nocturne
The High And The Mighty
Dark Green
The Man With The Horn
Crazy She Calls Me
Just You, Just Me
Cherry Time

Do The Hustle

Walk

The Hustle Factory Presents
Do The Hustle
With Instructions by the New York Hustle, Incorporated
Realm Records
1976

At The Roundtable - Tyree Glenn

Limehouse Blues

Tyree Glenn At The Round Table

Produced by Rudy Traylor
Roulette SR-25050

Session members includes: Hank Jones - piano, Jo Jones - Drums, Tommy Potter - bass and Mary Osborne - guitar.

From the back cover: Tyree, of course, is ever present on his golden trombone or on the vibes.

Also fron the back cover: One of the first jazz musicians to appear at New York City's newest and most "plush supper clubs, The Roundtable, was Tyree Glenn.

Teach Me Tonight
Sunday
Just A Wearyin' For You
All Of Me
Royal Garden Blues
Wonder Why
Dear Old Southland
Them There Eyes
Sweet And Lonely
Marcheta
Limehouse Blues

The Pop Machine

Close To You

The Pop Machine
Design Records SDLP 324

Collection of studio tracks roughly cobbled together.

Schlagerrallye

I Love You

Schlagerrallye
Ariola Eurodisc
Fiesta Record Company
FLP-1400

Renate und Werner Liebmann, Carmela Corren, Antia Traversi, Jan und Kjeld, Peter Hinne, Fredy Brock and Gunnar Wiklund

Gaucho Mexicano
Rosen Haben Dornen
I Love You
Geh Nicht Zu Den Indios
Piccolina
Im Tal Der Blauen Berge
Rosemarie
Siebentausend Rinder
Im Kleinen Dorg Am Rio Grande
Pepino
1999
Ob In Bombay, Ob In Rio
Schenk Mir Einen Talisman
Wilhelm Tell Twist

Love Sequence - Morris Stoloff

Rosetta and It Was A Beautiful Dream

Love Sequence
Themes And Counter-Themes
Morris Stoloff And His Orchestra
Decca Records DL 8407

From the back cover: His musicianship has won praise from many sources. He was nominated for the best scoring for a dozen different films, including "From Here To Eternity," and "5,000 Fingers of Dr. T." Moreover, he has been the recipient of two coveted Academy Awards: "Cover Girl" in 1944 and "The Jolson Story" in 1946.

I bought this album, drawn in by the curious title and pulp art styled cover. The record plays through differently than most mood music projects of the period.  The approach is small combo lounge with an unexpected orchestrated mood music overlay. At times tracks sounded somewhat like I was playing two records simultaneously.  The sample track above foregoes the layer of "mood" until about halfway through the piece.

Moonglow And Theme From "Picnic"
These Foolish Things
Love Come But Once In A While
Wrap Your Troubles In Dreams and There Was A Time
Sentimental Journey To You, Sweetheart
You Can't Run Away From It
Save Your Sorrow and Last Night
Exactly Like You and Wanna Go Back To You
Our Theme And Counter Theme
Prisoner Of Love and Dream Awhile With Me, Dear
Manhattan Romance and Sweet Sue, Just You
Rosetta and It Was A Beautiful Dream
Walkin' Thru A Rainbow

David Rose And His Orchestra

Love For Sale

David Rose And His Orchestra
MGM Records GAS-129

The album concept seems to be "strip club" music as a number of the tracks (but not all) feature the tell tale drum beat behind the mood music.

The Stripper
Love For Sale
I Can't Stop Loving You
And I Love Her
Gigi
Autumn Leaves
What Is This Thing Called Love
A Pretty Girl Is Like A Melody
Thank Heaven For Little Girls
September In The Rain

Patterns In Sound

Tony's Tune

Enoch Light Presents
An Emotional Experience In Musical Communication
Patterns In Sound
Project 3 Total Sound PR 101SD-S
1966

The LP packaging hints at an "conceptual" audio experience, however this is a compilation album with no focus. The tunes are enjoyable if you are into the early 60s Light sound, including several well executed Mottola tracks.

April In Portugal
Someone To Light Up My Life
Tony's Tune
Georgia On My Mind
Hold Me
A Tower Of Strength
Theme From The Sand Pebbles
Born Free
Blowin' In The Wind
Pussyfoot
Summer Samba
Workin' In The Coal Mine