Howdy Folks! Welcome to The UnEarthed In The Atomic Attic album blog! Here you will find a wide variety of unusual Space Age Vinyl finds that feature good quality cover scans, jacket notes and audio samples for you to enjoy. I'm here to have fun and hope you will share in my process of discovery!
Walkin' Beat
Sandy Nelson
A&R Coordinator: Ed Barsky
Art Directions: Woody Woodward
Cover Photo: Ivan Nagy
Sunset - A Product Of Liberty Records
SUM-1114
1966
I'm Walkin'
Party Time
Drum Stuff
Tijuana Jail
Jump Time
House Party Rock
Soul Drums
Teen Beach
Beat From Another World
Here We Go Again
I'll Sing For You
Vic Damone
Mercury Wing
WING MGW 12113
1963
The Girl Next Door
There's No You
And This Is My Beloved
Why Was I Born
This Love Of Mine
Time On My Hands
Walkin' My Baby Back Home
Until You Came Back To Me
Nina Never Knew
Alone At Last
Afraid
A Village In Peru
Something To Remember You By
She's Crying For Me (3 Oct. 1934): Wingy Mannone (tp); George Brunies (tb); Sidney Arodin (cl); Terry Stand (p); Unknown (g); Bonnie Pottle (b); Bob White (dm).
West Wind; Shoe Shine Boy (10 March 1936): Mannoe (tp); Brunies (tb) Matty Matlock (cl); Eddie Miller (ts); Gil Bowers (p); Carmen Mastren (g); Artie Shapiro (b); Ray Bauduc (dm).
Red Allen And His Orchestra
Believe It Beloved (23 Jan. 1935); Henry Allen (tp and vo); Pee Wee Erwin (tp); George Washington (tb); Buster Bailey (cl); Luis Russell (p); Danny Barker (g); Pops Foster (b); Paul Barbarin (dm).
Body And Soul; Rosetta (29 April 1935): Allen (tp); Dicky Wells(tb); Cecil Scott (cl); Chu Berry (ts); Horace Henderson (p and arr.); Bernard Addison (g); John Kirby (b); George Stafford (b).
Roy Eldridge And His Orchestra
Wabash Stomp; Heckler's Hop; After You've Gone (23-28 Jan. 1937): Roy Eldridge (tp); Scoops Carey (as); Joe Eldridge (as & arr.); Dave Young (ts); Teddy Cole (p); Johnny Collins (g); Truck Parham (b); Zutty Singleton (dm).
Frankie Newton And His Cafe Society Orchestra
Jitters; Frankie's Jump; Tab's Blues (12 April 1930); Frankie Newton (tp); Tab Smith, Stanley Payne (as); Kenneth Hollan (ts); Kenneth Kersey (p); Ulysses Livingston (g); John Williams (b); Eddie Dougherty (dm).
From the back cover:
Joe "Wingy" Mannone is a New Orleans trumpet player, uptown New Orleans, that is. In personality and career, he was very much a figure of the 1930's trumpeter. He is a tasteful, melodic, Dixieland player of marked comic talent. "She's Crying For Me" is decidedly melodic, "West Wind" decidedly Dixie and "Shoe Shine Boy" decidedly comic (in dialogue and vocal). The personnel of his band is drawn from the formerly Gil Rodin Band, later Bob Crosby Band, and his personal style is a happy combination of high-jive Louis, a taste of Big, a dash of Bing. Henry "Red" Allen comes from New Orleans, downtown. He is both more jazz player and more evolved in Swing style than Wingy, but there is an oblique kinship in their playing and singing, derived from their source – Louis – through "Red" carries the mark more definitely, as in "Body And Soul", which was his biggest record. He and most of his band personnel came from one of the first great, big bands, Fletch Henderson. "Red" led some of the consistently jumpingest bands in the thirties and early forties, always playing exciting Swing horn – Rosetta. "Little Jazz" Roy Eldridge, more evolved than "Red" Allen, led equally swinging, jumping bands, Roy was the next important trumpet influence after Louis. Just as, up to a certain time, all trumpet players learned to first play like Louis, those who followed learned first to play like Roy. And Roy's "After You've Gone" is derived from Louis's first big band recordings. Roy is surely the most exciting trumpet player in the history of Jazz. His playing is indisputably hot, yet there already appears a certain coolness, in that Swing as a music of special technique and ideas anticipates the Contemporary era of Jazz. "Heckler's Hop," Roy's great record, is sheer jazz music. Roy is commonly referred to as the "bridge". After him came Dizzy Gillespie and The Deluge of new ideas: the attitudes and formal change of Bop. Franke Newton, who died in 1954 at the age of 48, was a modern trumpet player. Quietly underplaying excitement, always swinging, he was a most sophisticated and yet blues player, and completely, openly individual. His entrance on "Frankie's Jump" is thoughtful, humorous, melodic, very modern. His style and personnel were completely New York, and suck a style certainly existed during the Ellington-influenced era of Cafe Society Downtown, and urbanization of Kansas City jump – "Jitters." And happily, for all our talk of trumpet players, up jumps Tab Smith, swinging on alto saxophone, on all three records. – Albert Avakian
Wingy Mannone And His Orchestra
She's Crying For Me
West Wind
Shoe Shine Boy
Henry "Red" Allen And His Orchestra
Body And Soul
Believe It, Beloved
Rosetta
Roy Eldridge And His Orchestra
Wabash Stomp
Heckler's Hop
After You've Gone
Frankie Newton And His Orchestra
Jitters
Frankie's Jump
Tab's Blues
Dick Katz: Piano & Pen Supervision: John Lewis Cover Photo: Lee Friedlander Cover Design: Marvin Israel Recording Engineer: Tom Dowd Atlantic SE 1314 1959
Available from online vendors so I will not be posting a sample. Presented here to share the cover and back cover information.
Personnels
On Timonium Duologue No. 1, Glad To Be Unhappy & Scrapple From The Apple, the personnel is: Dick Katz, piano; Chuck Wayne, guitar; Joe Benjamin, bass; Connie Kay, drums.
On Aurora, Round Trip, Afternoon In Paris & Ain't Misbehavin', the personnel is: Dick Katz, piano; Jimmy Raney, guitar; Joe Benjamin, bass; Connie Kay, drums.
From the back cover: Dick Katz was born in 1924 in Baltimore where he began to study piano when he was about eight, and became involved with jazz at twelve, partly through the extensive and readily available record collection of his brother Leslie, partly because of the jazz he heard in Baltimore, and, particularly because of the encouragement he received from trumpeter Stanford East.
Dick pursued advanced musical studies at the Peabody Institute, the University of North Carolina, and the Navy School of Music during World War II. In 1950, he graduated from The Manhattan School of Music and then did further work with Teddy Wilson at the Juilliard School – all this while doubling as an active jazzman in Greenwich Village and Fifty-Second Street clubs. A further effort at doubling, working during the day in his father's advertising agency, was eventually abandoned for jazz piano.
Katz chose his associates here with care; first, a jazz guitarist as a contrast and foil to his own piano. He approached Jimmy Raney, "a good maker of lines and musical ideas, one of the very best jazz guitarists". Meanwhile, Katz and Chuck Wayne were both working (separately) at the same club and often found themselves playing together for the fun of it. Connie Kay, the thoroughly musical drummer of The Modern Jazz Quartet, was an obvious choice. "Less obviously", Katz says, "I realized only after we began to play them that several of the scores fit Connie's own conception of time perfectly". Joe Benjamin has played with many great musicians, including Dave Brubeck, Duke Ellington, Sy Oliver and Billy Taylor.
Also from the back cover: This is the first LP to be devoted in its entirety to the several talents of Dick Katz; his compositions, his arrangements and his extended piano solos.
In an era when jazz often is seemingly dominated by musical Angry Young Men, it is refreshing to come across a personality who exhibits selective musical intelligence. This album reflects Dick Katz's concern with unity, taste, selectivity, and the integration of group performance.
He is concerned as are Duke Ellington, Jimmy Giuffre and The Modern Jazz Quartet (among others) with form. "The kind of form I mean", says Katz, "is not confined to groups. Individual players like Miles Davis, Ben Webster and Stan Getz all have it. They select, they know how to edit themselves. The same applies to group players need to talk to each other and communicate musically.
Dick Katz first came before the jazz public playing with Tony Scott and made his first records with that poll-winning clarinetist. There are many who consider these records Tony's finest because in them he achieved the ideals Dick outlined above. Of Tony Scott, Katz says, "The six months that I spent with Tony at Minton's Playhouse were like a school to me, because just about every important jazzman used to come by to sit in from time to time. The experience I got was invaluable."
Katz then went on to work with the highly successful trombone team, J.J. Johnson and Kai Winding. Stints with Stan Getz, Kenny Dorham, Oscar Pettiford, singers Carmen McRae, Helen Merrill and many others followed. Among the people with whom Katz has recorded are Jay and Kai, Sonny Rollins, Oscar Pettiford, Carmen McRae, Al Cohn, Jimmy Raney, Coleman Hawkins and Buck Clayton. He was presented by John Lewis in his first solo LP appearance in four trio performances in the album, "Jazz Piano International" (Atlantic 1287).
Recognition has come to Katz from many quarters, in particular from fellow musicians. Pianist Billy Taylor, writing in "The Saturday Review", paid him the following tribute: "His melodic lines are well though out and even his most swinging passages have a delicacy rarely found in modern jazz – his sensitive improvisations reflect a perceptive and inventive mind". Tupper Saussy, in his comments in the "Jazz Review" on Katz's solos in "Jazz Piano International" called Dick a thoughtful pianist... his predominant appeal is his immaculacy, both melodic and rhythmic'. In reviewing the same record, I said that one heard a basically individual melodic imagination and willingness and ability to reach the materials at hand, rather than impose merely fashionable phrases onto them. – Martin Williams
From Billboard - October 5, 1959: Dick Katz, a new pianist who is gaining notice in critical circles lately, reveals himself as an interesting new talent here. Altho Katz has played with lot of top groups this is his first starring album. On it he show off sensitivity, imagination, and a strong melodic line. And most important his style is sparse and thoughtful, not overblown. With Katz on this set are Chuck Wayne, Jimmy Raney, Joe Benjamin and Connie Kay. Selectons include "Timonium," "Glad To Be Unhappy" and "Afternoon In Paris."
Timonium Aurora Duologue No. 1 Glad To Be Unhappy Round Trip Afternoon In Paris Ain't Misbehavin' Scrapple From The Apple
The Jay Gordon Concert Orchestra
Tops Music Enterprises L1551
1957
Feldermaus Waltz
March Of The Toys
American Bolero
Jockey On The Carousel
Jazz Pizzicato
Fantasie Impromptu
American Salute
Dream Sonata
In An 18th Century Drawing Room
Loin Du Bal
Finiculi Finicula
Hejre Kati
The Syncopated Clock
Guitar Music Of Latin America
Laurindo Almeida
Capitol Records P8321
1956
From the back cover: Laurindo Almeida has achieved fame in a widely diversified fields of music by creating beautiful and serious compositions for guitar, by performing brilliantly as solo guitarist with some of the nation's most distinguished jazz bands, and by playing with equal brilliance on the classical concert stage. His appearances at such places as Carnegie Hall, Chicago's and San Francisco's Civic Opera Houses, and the Hollywood Bowl, have been marked by enthusiastic acclaim of his inspired artistry.
From Billboard - February 4, 1956: Artist and composer Almeida, already represented by an album of guitar music from Spain, delves into the works of closer neighbors here. In a recording of impeccable quality. 11 complete short works are presented, highlighting not only the artistry of the soloist but the imaginative guitar scorings of four Latin composers, Mexicans Jose Barroso and Manuel Ponce, Brazilian Veitor Villa-Lobos, and Pataguayan Agustin Barrios, in addition to Almeida himself. Certainly there is no mass market appeal but for those who fancy this versatile instrument, this package promises rewards.
Etude No. 11
Composed by – Villa-Lobos
A2 Etude No. 5
Composed by – Villa-Lobos
A3 Prelude No. 4
Composed by – Villa-Lobos
A4 Prelude No. 2
Composed By – Villa-Lobos
Bullerias Y Cancion
Composed by – Barroso
Tehuacan (Lamento Y Danza)
Composed by – Barroso
Preludio - Para Guitarra, Op. 5 No. 1
Composed by – Barrios
Choro Da Saudade (Song Of Longing)
Composed by – Barrios
Vals
Composed by – Ponce
Preludio Y Tremolo
Composed By – Almeida
Invention In Two Parts
Composed by – Almeida
Cajita De Musica (Music Box)
Composed by – Almeida
Stompin' At The Village Inn
Eddie Baynard And His Bourbon Street Five
Picture of Art Sandly and Album Notes by Tom Teepen
Front Cover Photo by Don Johnson
Gunn Stereo LP 201
Baynard: Cornet and Vocal on "Dr. Jazz"
Jim Campbell: Clarinet and Bass Sax
Mark Lamphier: Trombone
Kenny Schaufuss: Piano
Art Sandly: Banjo
Joanie Riner: Bass
Kenny Hall: Drums
Clarence Hall: Vocal and Piano on "Honeysuckle Rose"
From the back cover: With the exception of the opening number, the tight and precise "March Of The Bobcats," which is the product of a later session, the jazz here was recorded during a lengthy night session March 4, 1968. Most of the tunes come from late in the session when the Bourbon Street Five was warm, loose and swinging easily.
For this recording, the Bourbon Street Five was enriched by the addition of Art Sandly, a jazz veteran who regularly plays with the greats of Dixieland in Chicago, where he is a member of the band at the well known Showboat. He is heard throughout, and his virtuosity is spotlighted in "Blue Skies" Also sitting in is Clarence Hall, Dayton's jazz professor and long a leader of bands in his own right. He sings "Honeysuckle Rose"; the piano work is his, too.
March Of The Bobcats
Blue Skies
Dr. Jazz
South
Basin Street Stomp
Chimes Blues
Yellow Dog Blues
Hindustan
Honeysuckle Rose
I Would Do Anything For You
Prostest In Percussion
The West Virginia University Percussion Ensemble
Conducted by Philip J. Faini
Cover Design by Peter McWhorter
Century Records 27981
1979
Soloists
James Mitenbeger - Piano
Clyde English - Organ
Members of The Ensemble
James Armentrout
John Barker
Galen Byrd
Kenneth Clelland
James Jackson
Ernest Manack
Frank Perry
David Platt
Ted Smith
Holt Theis
Michael Theis
Linda Whiteman
From the back cover: The percussion ensemble heard on this album demonstrates a facet of percussion training at W.V.U. which is not apparent to the average concert goer - that of "popular" percussion music. This type of percussion music is not often heard on campuses because of the emphasis on percussion "art" music in the formal concerts through-out the academic year.
Hence, "Protest In Percussion" affords an opportunity to show the results of percussion training in popular music, which makes up such a large segment of the professional demands made of percussionists in the music world today.
Also from the back cover: Philip J. Faini is a product of the Creative Arts Center, Division of Music, at West Virginia University, where he received his Bachelor of Music Degree in both Applied Percussion and Music Education and a Masters degree in Theory and Composition. He has studied percussion with Roy C. Knapp, Jose Bethancourt, Irvin Honsa, Harvey Biscun, and Frank Lorince. His professional career includes radio, television, symphony as well as work with a number of name bands and singers. He was also a staff member at the Fred Waring Music Workshop at Delaware Water Gap, Pennsylvania. He has had a continuing career as a professional arranger and has composed and arranged numerous works for Band, Orchestra, and Percussion. Since 1960, Mr. Faini has been on the staff of the Division of Music at West Virginia University.
Lover
Where Or When
The Little G Minor Fugue
W.V.U. Satin Doll
Tijuana Taxi
Peter Gunn
Charade
Downtown
Prelude In F Minor
Fugue In D Major
Spanish Flea
Surrey
Comin' Home
From the back cover: Jorgen Ingmann's advent on the American record scene is but one indication of the degree to which these fresh ideas have spread abroad. Ingmann, still a little short of his thirtieth birthday, has been heard during most of the past decade with a combo under the direction of the noted Danish violinist Svend Asmussen. A native of Copenhagen, Denmark, Ingmann also happens to be as handy a man with the plugs and volts as he is with sharps and flats; hence the present highly entertaining album.
Ingmann uses the so-called multiple recording technique, adding extra parts to his solos by re-recording himself several times on the same tape – some of his performances have included as many as ten different parts, all played by Ingmann. He has such an amazing knowledge of electronics and sound engineering that he has set up his own private studio in which all his special-effects recordings are made.
Ingmann's popularity is not in the least hurt by the fact that he happens to have a masculine, movie-star brand of good looks. At last reports he was touring the world in a group abroad a Swedish luxury liner and planning to return home to Scandinavia for some more of his unique recording sessions.
The twelve performance in this set are all guitar solos from start to finish; that monotony never sets in is a tribute both to Ingmann's musical taste and to his mechanical ingenuity.
From Billboard - May 7, 1957: Fine novelty instrumental stuff for jocks and for all varieties of guitar lovers. Danish Ingmann does a Les Paul with multiple taping, speed alterations, etc., but with a subtle tasteful style of his own. Great sound enhances some clever effects. Almost any one of the 12 tracks will sell it. Try "Bye, Bye Blues" or "Hallo Joe." If pushed it can sell.
Moonlight Cocktail
Twilight Time
Blue Moon
Old Moon
Jorgen's Boogie
Mean To Me
Blue Room
Pardon Me, Pretty Baby
Hallo Joe
Bye Bye Blues
Some Of These Days
The Darktown Strutters' Ball
Jazz a la Creole Sidney Bechet and Omer Simeon A Jazztone Society Classic J-1213
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and bio information.
From the back cover: "Pops" is an affectionate and respectful appellation given to just a few of the elder statesmen of jazz. Friends and fellow musicians call Louis Armstrong "Pops," and Benny Goodman, who started playing at the age of fifteen, has also reached both the age and the degree of accomplishment that warrants his being accorded the title too. But, to be just a little facetious, Sidney "Pops" Bechet is the daddy of 'em all.
Born in New Orleans, on May 14, 1897, Bechet began playing the clarinet while still in knee pants and is reputed to have "sat in" with the great Freddie Keppard's band at the age of eight. His musical precocity attracted the attention of famed clarinetist, George Banquet, who subsequently gave the youngster some formal instruction. At fourteen, young Sidney had his first steady professional job - with the Eagle Band. That was in 1914. The next year, Clarence Williams, the song writer, publisher, and pianist, took the teen-ager on a tour of Texas with a vaudeville unit, and, soon after their return, Sidney was grabbed up by King Oliver for the Olympia Brass Band.
Then, in the summer of 1917, he left New Orleans for Chicago. In the Windy City, he worked at both the DeLuxe Cafe with Freddie Keppard and at the Pekin with the lengenary pianist-singer, Tony Jackson. In 1919, he became a member of Will Marion Cook's Southern Syncopators and toured Europe with that band that year. It was in London that Ernest Ansermet, the famous Swiss conductor, heard Bechet and wrote what was probably the first published serious appraisal of jazz. Prophetically, Ansermet wrote, "His own way is, perhaps the highway the whole world will swing along tomorrow.
Bechet remained in Europe until 1922 and then returned to New York, where he recorded with Clarence Williams and Louis Armstrong. In 1925, he again left for the continent with a show called "The Black Revue," leaving after a year to join a band that toured the Soviet Union. Back in Paris in 1927, he rejoined "The Black Revue" and led the show's fourteen-piece orchestra. In 1930, he came back to New York with Noble Sissle, with whose band Bechet was to play intermittenly for the next decade.
After leaving Sissle, Sidney Bechet retired temporarily from the music business to set up a small tailor shop in Harlem. But, with the resurgent interest in brought about by the Swing Era, Sidney once again turned to music and recorded and played with small groups in New York, Boston, and other jazz centers. Soon after the end of World War II, Bechet once more went to Europe and has since settled in Paris.
These recordings were made in Paris a few years ago with Zutty Singleton on drums and another expatriate, Lil Armstrong, on piano. Lil, of course, is the former wife of Louis Armstrong and the pianist who played on the famous Armstrong Hot Five recordings. The trio format is perhaps the best possible one for Bechet's formidable creative talents. Playing the unorthodox soprano saxophone, Bechet's trumpet-like attack creates one of the most virile and vital sounds in jazz, and his powerful drive on up-tempo numbers and his great lyrical solos on ballads are wonderful things to hear.
For more than thirty-five years, Omer Simeon, an obscure name to the casual jazz listener, has been on of the most creative and influential clarinet stylists in jazz. Widely respected by fellow-musicians, Simeon has been associated with many of the most important bands in jazz history, having both worked and recorded with such key figures as King Oliver, Jelly Roll Morton, Fletcher Henderson and Earl Hines.
Born in New Orleans, in 1902, Simeon, unlike most Crescent City natives, was not affected by the town's heady and contagious jazz atmosphere. Instead, he waited until he got to Chicago to take up music as a profession, getting his fundamental training there with Lorenzo Too, a master of New Orleans clarinet style. His first professional job was with his brother's Al Simeon's band in 1920, and his first big-time engagement came in 1923, when he was twenty-one years old. He became a member of Charlie Elgar's Creole Band, which played principally in Milwaukee.
During his stay with Elgar, Simeon made his first recordings with a Jelly Roll Morton pick-up band. This was in 1926. The next year marked Omer's joining King Oliver's Dixie Syncopators in New York, as a replacement for Albert Nicholas. This was, however, the beginning of Oliver's decline, and, after a few month of touch going, the band broke up.
Soon afterward, Simeon worked with Luis Russell's band at The Nest in Harlem and recorded again with Jelly Roll Morton as well as with some of Clarence William's groups. Then, in October 1928, he worked with Erskine Tate's theater orchestra in Chicago, playing accompaniments for both stage shows and silent movies. In 1929, he made the first of the few recordings to appear under his own name, with Earl Hines on piano. During the depression he joined up with Hines and played with the pianist's big band for nearly a decade.
Serious critics of jazz, as well as leading musicians, have long acknowledged Omer Simeon as being among the greatest clarinetists of our time and one of the major influences, for instance, in developing the style of Benny Goodman. Long before Goodman's famous trio recordings, it was Jelly Roll Morton who realized that the trio form was ideal for a clarinetist, and some of Morton's most famous records were trios featuring Johnny Dodds, Barney Bigard and Jelly's favorite, Omer Simeon.
On these high-fidelity performances made especially for the Jazztone Society, Simeon has once more been given the opportunity to display his brilliant New Orleans clarinet style. Four of the tunes done here are originals based on Creole themes, and the accompanying musicians – Sammy Price on bass and Zutty Singleton on drums – often Simeon sympathetic and solidly swinging support. – Paul Shapler
Sidney Bechet - Soprano Saxophone Lil Armstrong - Piano Zutty Singleton - Drums
Milenburg Joys Rockin' Chair Big Butter And Egg Man My Melancholy Baby Limehouse Blues Black Bottom I Gotta Right To Sing The Blues
Omer Simeon - Clarinet Sam Price - Piano Zutty Singleton - Drums
Lagniappe Qua-ti Blues Qua-ti Rhythm Grand Boubousse Frankie And Johnny Bill Bailey, Won't You Please Come Home
