The Many Moods Of Ethel Smith

Smithtown Special

The Many Moods Of Ethel Smith
Organ Solos With Rhythm Accompaniment
Decca Records DL 4145
1961

Great space age set driven by inventive arrangements which nicely nest Smith's feature organ work with the studio group or orchestra.

Tico-Tico
I've Found A New Baby
Theme From "Carnival"
Carinhoso
Honeysuckle Rose
Ethel Meets The Count (With Orchestra conducted by Don Sebesky)
Quizás, Quizás, Quizás
That Old Black Magic
Love For Sale
Brazil (Aquarela Do Brasil)
The Gypsy In My Soul
Smithtown Special (With Orchestra conducted by Don Sebesky)

Songs Of Vice And Virtue - Julie Meredith

The Cuckoo, etc. (Medley)

Songs Of Vice And Virtue
Julie Meredith
Imperial Records, Inc.
LP 9114
1961

Medleys:

Come All Ye Fair
Zulaika
Vaine Ladye Gaye

The Cuckoo
Monday Morning
Katiarina

The Lady And the Unicorn
The First Groomsman
The Ruined Maid

Rue
The Bold Robber Lad
Hilo

Martha Schlamme Says: Kissin's No Sin

Come A Landsman

Martha Schlamme Says:
Kissin' No Sin And Other Folk Wisdom
Arranged and Conducted by Robert DeCormier
Produced by Jim Davis
Cover Photography: Howell Conant
Recording Engineer: Val Valentine
Recorded October 1963: A&R Studio, New York City
MGM E/SE4190
1964

Personnel:

Gerard Silverman, guitar and banjo; Martin Orenstein, flute; Charles Russo and Ernie Bright, clarinets; Joseph Wilder, trumpet; Eli Carmen, bassoon; Abe Marcus, percussion; All Goldberg, cello; Harold Kohon, violin; Abe Stokman, piano.

Vocalists:

On Highland Lad and I Once Was A Maid only – John Wheeler, Gretchen Rhoads, Harley Streiff, Robert Carter, Arne Markussen, Constance Tredwell, Mary Brown

Robert DeCormier, musical director of the Robert DeCormier Folk Singers, is among the most-respected and in-demand arranger/conductors in the field. He majored in voice and was graduated by Juilliard with a Master's Degree. He taught music for six years at the high school or the Little Red Schoolhouse, then was musical director for Harry Belafonte for three years. He formed the Belafonte Folksingers, touring with them and making records. He wrote incidental music for the play, "The World Of Sholem Aleichem", and composed two songs for the Broadway production of "The Wall." Two years ago he was musical director for the series "Around The World In Song," for the BBC in London.

Kissin's No Sin
I One Was A Maid
Moon Above Me
The Cruel War
Crow On The Cradle
Because I Were Shy
Put The Moon In The Dust Bin
Aldermaston To Trafalgar Square
Man With A Microphone
The Dove
Come A Landsman
Pull Off Your Old Coat
Highland Lad
Turn Around
Johnnie Lad

Dolores - Dolores Hawkins

Goodnight My Love

Dolores
Dolores Hawkins
Epic LN 3250
1956

From the back cover: This toothsome singer was born in the heart of the Bushwick section of Brooklyn, and got an unusually early start on the way toward stardom. When she was only five, she began chirping on many of the radio shows of the time that featured children. Among them were the Horn and Hardart Hour, several of Nick Kenny's enterprises, and somewhat later the Coast-to-Coast-on-a-Bus show under the direction of Madge Tucker. Piping away on such programs, Dolores picked up that rudiments of showmanship as she grew up and was ready for her career when the call came.

She remained with the radio programs until she was seventeen, when, a child no longer, she began working with various society dance orchestras around New York, giving a vocal lift to the round of business-men's bouncers and rhumbas that made up the program. One night, when she was singing for one of those orchestras, she was heard by Gene Krupa, who asked her to join his orchestra as featured vocalist. At almost the same time, she had similar offers from Sammy Kaye, Woody Herman, Blue Barron and Benny Goodman.

Throwing in her lot with Kruppa, she soon found she had made a splendid choice. Despite the hardships of one-night stands on tour with the orchestra (on-the-run meals, draughty auditoriums and dance-hall and the like) she consolidated her knowledge of show business and developed her singing style into the distinctive delivery that first made her stand out from other vocalists. With the great variety of audiences, plus the solid musical values of the Krupa outfit, she was soon singing to enormous applause. Around this time she recorded Bop Boogie with Gene and the band, a number that Krupa himself selected as one of her stepping-stones to success, and found herself becoming famous.

Deciding to leave the orchestra and go out as a single, she began making appearances on television shows and was soon signed by Epic Records. Then she developed a striking night-club act, and overnight won rave notices, not only from the public and critics, but from club operators as well. From that time on, Delores has been one of the ranking stars among vocalists, a girl who understands instinctively what should be done with a song, and who, moreover, has the voice to do it with, in addition to her looks.

From Billboard - October 13, 1956: The thrush embarks on a tour of a dozen tunes of a slightly touchy nature. Gal has a carefully practiced style which gets over warmly on these selections. Backing too, is just right, with a small rhythm group furnishing just the right spotlight for the vocalizing. Tunes include "Lover Man," "Just Squeeze Me," " No Love, No Nuthin'," etc. Cover has sex appeal aplenty.

I've Got My Eyes On You
Lover Man
Dream Of You
I'm In The Mood For Love
You'd Be So Nice To Come Home To
No Love, No Nothin'
Baby Won't You Please Come Home
The Man I Love
Just Squeeze Me
Good Lovin'
I Must Have That Man
Goodnight My Love

Swingin' Suite - Red Callender

Swingin' Suite
Red Callender
Telesonic Sound/Ultra High Fidelity
Made in Hollywood, U.S.A.
Crown Records 5025
1957

Available from online vendors so I will not be posting a sample. Presented here to share the jacket bio information.

Reissue of Modern Records LMP 1201 (1956)

From the back cover:

As for 'Red', he has a musical background as quietly and dynamical solid as his own personal being. An artistic natural talent and ability was soon recognized by his family at a very early age. He began his career at the age of 12, studying for five years at Bordentown, N.J., with such students as Dizzy Gillespie and Charlie Shavers. The trumpet was his first instrument, then can the tuba, and of course later excelling in the bass. He went on the road at the age of 17 with a show called 'Brown Skin Models' and ended up in California where he made his home permanently. He has worked with practically every known name in the music world; Charlie Ventura, Lester Young, Vic Dickenson, Mel Powell, Red Novo, Wardell Gray and Dexter Gordon. Also Billie Holiday, Hazel Scott, Rose Murphy, Kay Starr, Ella Mae Morse, Rosemary Clooney and Lena Horn. In recent radio interview with Mitch Miller, Miss Horne gave 'Red' credit for being a particular aid in her musical grooming. 'Red' has played with practically all the top bands. Naming just a few; Benny Goodman, Louis Armstrong, Billy Eckstine and Jerry Fielding.

Frank Bode (UFFE) (bongos) Studied percussion with Copenhagen symphony in Denmark from fourteen to seventeen. Came to the States with Stan Hasselgarde. Worked with Benny Goodman Trio, Harry James and Claude Thornhill. Thinks bass in New York is more 'sincere'... says if the music is sad or happy... make it that way. Likes working with Red out here.

Clyde Dunn (bariton) Worked with Gerald Wilson and before that was in Jefferson High School in Los Angeles. (He's that young) Recently recorded sides with Dizzy Gillespie on his last trip out here. Has done a lot of miscellaneous recording. Studies with William Green. "He is as good a classical musician as jazz."

John Ewing (trombone) Played with Cab Calloway, Earl Hines and Jimmy Luncefor. Studied with Louis Maggio in 1953. Says Louis helped him tremendously in his development of range. Just recently with Gerald Wilson

Eddie Beal (paino) Started out on the piano then played other instruments during his school years – primarily the drums. He came to California as a Drummer. He worked with the Buck Clayton Band (piano) just before going with the Count Basie Band. Eddie Had his own trio for some time accompanying Herb Jeffries and others. Re: the Album. I think here they finally gave Jazz back to the musicians. There are not too many young musicians trying to prove something; so they run ten notes in one bar on an augmented eleventh. A too close calculated approach to music rather than free and uninhibited. They are trying too hard to compete before reaching musical maturity.

Bill Douglas (drums) Bill is a native of Los Angeles where the greatest part of his career centered around the West Coast. He attributes his knowledge of percussion to the great Cozy Cole. He studied at Westlake College of Music in Hollywood. Formerly with bands of Benny Goodman, Benny Carter, Art Tatum and many others too numerous to mention. Bill is currently doing recording, Television and Nite Clubs work.

William Green (alto) Holds Bachelor and Master of Music Degree and working on thesis towards Doctorate. Regular faculty member of the Los Angeles Conservatory of Music and Arts. Former member of Billy Eckstine and Benny Carter bands. His statements about Red seemed to encompass and express pretty much the reactions of all the men on this date. Namely: "I had the feeling... my part was the most important. In Red's outfit... every part seems to be the most important. I sense his Musicianship. And he seems to be a man-of-his-word which is just as important as he musicianship."

Buddy Collette (tenor and flute) Besides studying privately with Marty Ruderman, flute and Merle Johnston, saxophone, Buddy attended the Los Angeles Conservatory of Music and the California Academy of Music, plus he American Operatic Laboratory. This educational background in addition to his own native talent accounts somewhat for this man's musical merit. Presently with the Chico Hamilton Quintet and before that: Jerry Fielding, Benny Carter and Louis Jordan. Other than recording prolifically, Buddy teaches composition and arranging, writes and does considerable T.V. and studio work. Re: this date with Red, Buddy says: ...here I wasn't afraid of blowing freely... didn't have the feeling that I was (might) over-shadow someone... They know how to work with a soloist... Red and Bill are always there and you know it... completely relaxed. And, here you have a lot of guys that should have been heard a long time ago... Everybody respects each other. Red is a real great leader too. Always open to the suggestions of the other guys."

Parr Jones (trumpet) Worked with Benny Carter, Eddie Heywood and Lucky Millander. His friendly feeling of a Harry Edison flavor may stem from the fact that the two have been such close friends for so many years.

Skyline
Sleigh Ride
All For You
Outlines
Walking On Air
You're Part Of Me
On Again
Greenry
Pastel
October Blue
Dance
Bihari

Sport Car - Oscar Brand

Atomic Hot Rod

Sports Car
Songs For Big Wheels Sung By Oscar Brand
Production Supervisor: Jac Holzman
Engineering: Hoyt Hughes (Gotham Recording Corp.)
Editing: Mark Abramson
The Elektra Corporations EKL-188
1960

From the back cover: The HUBCAPS who ride with Oscar in this album include Ted Type, Fred Brooks, Russell Savakus, Gene Raskin, Billy Faier, Brad Spinney and Dick Strome.

Sports Car

That's What I Should Have Said
Grand Prix Of Monaco
Viva La Milie Miglia
What'll We Do With The Baby O
Accessories After The Fact
Atomic Hot Rod
Old Crocks To Brighton
The Lair's Club
Rally Song
Classified Ads
Sports Car Heaven
How To Be A Hero Driver
Beep Beep

In A Jazz Mood - Charlie Ventura

Perdido

In A Jazz Mood
Charlie Ventura And His Orchestra
Supervised by Norman Granz
Cover Photo: Alex de Paola
Liner Photo: Herman Leonard
Norgan Records
MG N-1073
1956

From the back cover: Ventura, a native of Philadelphia, has played in as many different types of jazz groups as he plays saxophones. He started out with Gene Krupa's band, moved on to Teddy Powell's and later formed his own band; he has also had his own smaller unit, most notably the "Big Four", which featured Buddy Rich, drums; Marty Napoleon, pian, and Chubby Jackson, bass. He has garnered his share of awards from such publications as Down Beat, Metronome and Esquire.

In addition to Ventura, ace trumpeter Conte Condoli is featured on this album. You will also hear the Ventura Blentones on four tunes, on side B, who blend wonderfully with the instrumentations by Charlie Ventura.

From Billboard - September 29, 1956: Some of the selections are reissues from N-8 and Clef C-118. Some, feature Ventura's saxes with vocal group, are newly issued, apparently Ventura, in his restrained ballads, is appealing. In most of the up-tempo numbers he is merely flashy and tasteless. Dyed-in-the-wool Ventura fans will find him true to form, and moderate sales should result there form. "Yesterdays" is a good one for jocks.

Ain't Misbehavin'
Limehouse Blues
Bugle Call Rag
That Old Feeling
I'm Confessin'
Peridio
Lover
Yesterdays
There's No You
Rose Room
Can't Get You Out Of My Mind

African Sounds - Carl Stevens

Tiana-Tche

African Sounds
Carl Stevens
f:35d Perfect Presence Sound Stereo
Mercury Records
PPS 6030
1962

Baby Elephant Walk
Afrikaan Beat
Wimoweh (The Lion Sleeps Tonight)
Botha-bothe
Jolly Zika
The Call Of The Jungle
Skokiaan
African Waltz
Wa-Chi-Bam-Ba (Valley Of A Thousand Hills)
King Kong
Tsetse Fly
Tiana-Tche (The Jungle Roars)

Holiday In South America - Pedro And His Amigos

The Breeze And I

Holiday In South America
Pedro And His Amigos
International Awards Series AK 124

Granada
El Gallo
Tico Tico
Amoroso
No Llores Corazon
Jarabe Tapatio (Mexican Hat Dance)
Andalucía (The Breeze And I)
El Relicario
La Pancha
Tri Color
Que Puntava

Hey! Let's Go Latin

Epilogue

Hey! Let's Go Latin
Wyncote SW-9197

There are no artist credits or "Latin-inspired" tunes on this set. Vibrant art graces the cover and a few decent jazz numbers can be found on the disc.

Hey! Leroy, Your Mama's Callin' You
Mercy, Mercy, Mercy
Blues For Bernard
Wind Jammer
El Senor Joe
New Jersey Waltz
Kimberly
Epilogue