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!
Joe Williams With Songs About
That Kind Of Woman
Arranged and Conducted by Jimmy Jones
Photo: Bob Ritta
Forum SF 9033 & F 9033
A Division Of Roulette
1960
That Kind Of Woman
Candy
You Think Of Everything
Stella By Starlight
Louise
It's Easy To Remember
I Only Want To Love You
Cherry (Arranged by Frank Foster)
Why Can't You Behave
Here's To My Lady
When A Woman Loves A Man
Have You Met Miss Jones
Flautista Herbie Mann Plays Afro-Cuban Jazz Cover Photo: Garrett/Howard Art Direction: Sheldon Marks Verve Records MG V-8336 1959
Personnel: Herbie Mann, Flute and Bass Clarinet Johnny Rae, Vibraphone and Marimba Carlos Valdés, Conga Drum Jose Luis Mangual, Bongos Santos Miranda, Drums and Timbales Knobby Totah, Bass
Available from online vendors so I will not be posting a sample. Presented here to share the cover art and jacket notes excerpt.
From the back cover: The wedding of jazz melodies and harmony with Afro-Cuban rhythms is a process that has evolved during the past decade as a result of concerted efforts on both sides of the since-removed musical fence. While Machito, Tito Puente, Joe Loco and others found a new stimulus in the incorporation of jazz concepts, simultaneously jazz-men from Kenton and Rogers and Rugolo to Charlie Parker were becoming increasingly fascinated by the rhythmic challenges of Latin and Afro-Cuban music. (The terminology remains a little haphazard: many musicians use "Latin American" and "Afro-Cuban" as a virtual synonym but prefer the latter term.)
The advent of Herbie Mann on this scene is of more recent origin and has evolved from an occasional flirtation into a full-time romance. Born in April 1930 in Brooklyn, Mann studied clarinet, later developing a reputation as a jazz tenor saxophonist. He had dabbled with the flute, but had no idea of playing jazz on it when he was asked to team up with Mat Mathews, the Dutch accordionist whose quintet he joined in January 1953.
At that time Herbie had heard Jungle Fantasy, a strange and enchanting record featuring the flute of the last Esy Morales. For two or three years, after working with Mathews during most of 1954, he tried to develop the jazz ideas he had previously confined to the saxophone and the seemingly irreconcilable values of the Morales approach.
Gradually he became aware that of the various recorded efforts he was dedicating to the flute, those with the exotic rhythmic undercurrent invariably became the most popular. Among then was the much-requested Evolution of Mann in his pervious Verve LP, the MAGIC FLUTE set (Verve MG V-8247). As a direct result of the plugging of these items by Symphony Sid and other disc jockeys, he assembled an Afro-Cuban combo for a one-night stand at Birdland. Before long he found himself in demand for dates of this type, as well as for recording sessions of which his composing and arranging talents were required to be slanted in the Afro-Cuban direction.
The outcome of these developments, naturally, was Herbie's decision to form his own Latin-type band on a permanent basis. "I realized what had been staring me in the face all along," he said recently. "The flute, in the mind of the average layman, has more direct association and logical place when it's linked with this type of music. When I played straight four-four jazz on flute, they couldn't quite see that the instrument and the music belonged to each other. But this new approach was a way of appealing to the jazz audience and at the same time bringing in a large fringe element of people who normally wouldn't have been receptive to jazz."
Herbie's group opened early in June 1959 at Ralph Watkins' Basin Street East, a plush club off Lexington Avenue in Manhattan that had only recently been converted from an earlier existence as Casa Cugat. Presumably able to hang on to some of the crowd who had frequented it during the Cugat era, and at the same time bring across many of those who had dug him at Birdland, Herbie was an immediate hit at the club and has since returned there several times. By now he is also firmly associated with the Afro-Cuban groove that his career as a jazz tenor player seems like something in another, long forgotten world. – Leonard Feather (Author of The Encyclopedia of Jazz)
From Billboard - November 30, 1959: Flautist Herbie Mann and a group of Afro-Cuban rhythm men get together for an occasionally interesting album of Afro-Cuban music featuring Mann's flute work. But mostly it is rather uninspiring. Tunes are almost all originals, except for the oldie, Duke Ellignton's and Juan Tizol's "Caravan".
Todos Locos Cuban Potato Chips Come On Mule The Amazon River Caravan
Unrestrained! Jo Ann Miller Benn Arden & His Palmer House Orchestra Musical Arrangements & Piano by Dick Marx Photography: Bob Witt Audio Fidelity AFLP 1864 1958
From the back cover: Jo Ann Miller has the good fortune to be endowed with not only good looks and intelligence, but the kind of creative instinct that would probably succeed at anything. Her rise in show business has been nothing short of meteoric, having gathered in the space of three short years a list of professional credits that would do an old timer proud.
Born in Texas, Jo Ann attended Texas Woman's University, where she majored in art. Having no eyes for show business at the time, she decided to study archaeology, and came to New York City's Columbia University for post graduate work in this subject. During her first summer in the city, some friends invited her to help out in various chores in a summer stock theater they ran. One night, when bandleader Tommy Dorsey caught her in a show, he invited her to join his band. Jo Ann started with a series of one-night stands. She interspersed her singing with more summer stock work, and eventually landed engagements at some of the country's top hotels and night clubs. She has appeared at the Fontainbleau and Americana Hotels and Night Clubs in Miami Beach, the Empire Room at Chicago's famous Palmer House, at the Black Orchid in Chicago, the Statler Hilton Hotels in Dallas, Cleveland and Detroit, and the Monteleone in New Orleans.
Good Little Girls Woe Is Me Gimme A Pigfoot St. Louis Blues When The World Was Young Baubles, Bangles, Beads Look To The Rainbow Nobody's Sweetheart Now New Orleans House Of The Rising Sun Am I Blue None Of My Jelly Roll There'll Be Some Changes Made
Bobcats On Parade
Bob Crosby And His Orchestra
Marches In Dixieland Style
Cover Photo by Jerry Tiffany
Notes by Burt Korall
Tiger on Cover Photo - Courtesy of Bankograph Co., Importers
Musical Instruments on Cover Photo - Courtesy of Emenee Industries
Coral Records CRL 57061
1957
From Billboard - May 27, 1957: All 12 of these Crosby bands are on a Dixie marching kick. Four were cut this year with some of the big sidemen of the late '30s reassembled. The others feature the smaller Bobcats' crew and were waxed more than seven years ago. Contrast in fidelity is very marked. Cover, showing toy tigers blowing band instruments is good for the impulse trade, and this, with the prominent display display of Crosby's name, should pull a share of sales. Worth a try.
From the back cover: Four of the selections were recorded on the West Coast recently, January 24, 1957, with a band of full complement: four trumpets – Conrad Gozzo, Frank Beach, Johnny Best and Charlie Teagarden; trombones – Sy Zentner, Elmer Schneider and Eddie Kusby, four saxes – Eddie Miller, Babe Russin, Jack Dumont and Dean Eckels; Matty Matlock, clarinet; Clarence Karella, tuba; Al Pellegrini, piano; Morty Corb, bass; Nappy LaMare, guitar and Jack Sterling on drums... The tunes: Memphis March, Skipping' John, Bobcats On Parade and Happy Valley Trek. Look for solos by Charlie Teagarden, Matlock and Eddie Miller, the power-house strength of the band and some wonderful drumming by Jack Sperling. In spite of the size of the band, it is to be noted that the music retains the vigor and many of the accouterments of the small band... Take note of the typical dixie ensembles...
Bobcats On Parade
King Cotton
Hands Across The Sea
High School Cadets
The Thunderer
Skippin' John
Memphis March
Washington Post March
The Stars And Strips Forever
El Captain
Semper Fidelis March
Happy Valley Trek
Do The Hula
Complete Hula Instructions For 12 Songs
400 Full Color Pictures
Record On The Beach By Waikiki Records Company
Produced by Tommy Kearns
L.P. 123
Do The Hula
Pua Almeida and his Sunset Trio
Haole Hula
Bill Aliiloa Lincoln and his Hawaiians
Blue Hawaii
Honey Kalima and the Royal Hawaiians
Cockeyed Mayor Of Kaunakakai
Alvin Keleolani and his Original Hawaiians
Somewhere In Hawaii
Pua Almedia and his Sunset Trio
Keep You Eyes On The Hands
Sonny Nicholas and the Waikiki Serenaders
Kainoa
Alvin Isaccs, Jr. and the Moonlighters
Beyond The Reef
Alvin Isaccs, Jr. and the Moonlighters
Little Brown Gal
Kalani Bright and his S. S. Matsonia Serenaders
My Yellow Ginger Lei
Pua Almeida and his Sunset Trio
Lovely Hula Hands
Honey Kalima and the Royal Hawaiian Serenaders
Wedding Song
Iwalani Kamahele and the Royal Hawaiian Serenaders
Photography: Steve Silerstein
United Artists Records
UAS-5630
1972
From Billboard - October 14, 1972: The beautiful lush and plush instrumentals of Francis Lai would please anyone. Tunes include "Love Is Far Stronger Than We," "The Solitude," and "Snow Frolic," but nearly every tune features that Lai magic.
The Solitude
The Legend Of Frenchie King
Early Morning
Today It's You
We Believe It's Love (On Croit Que C'Est L'Amour)
The Wheel (Les Nuits Sont Trop Courtes)
Adagio For Organ, Choir And Strings
Smic, Smac, Smoc
Love Is Stronger Far Than We
Snow Frolic
I Think Of You (Il Faut Trouver Le Temps D'Aimer)
The Fountain (La Fontaine)
Colors
The Brass Company
Arrangements by Bill Lee
Musical Directors: Bill Hardman, Bill Lee, Billy Higgins
Producer: The Brass Company
Engineers: Ron Carron and Randy Alter
Cover: Sandra Williams
Photos: Curtis A. Brown
Background Mexica Blanket courtesy of Betty Dillard
Recording dates: June 4 and 3, 1974
Studio: Minot; While Plains, New York
Strata-East Records SES-19752
1975
Personnel:
Trumpets: Bill Hardman, Eddie Preston, Harry Hall and Lonnie Hillyer
Fluegehorns: Clif Lee and Kamal Abdul-Aim
Trombone: Charles Stephens
Tuba: Bob Stewart
Bass: Bill Lee
Drums: Billy Higgins and Sonny Brown
Guest Artists
Tenor Sax: Clifford Jordan
Piano: Stanley Cowell
Trumpet: Charles Tolliver
Legwork
Jeremy Steig
Produced by Sonny Lester
Art Direction: Frank Gauna
Cover and Liner Art: Jeremy Steig
Solid State Records SS 18068
1970
From the inside cover: The depth as well as breadth of Jeremy's accomplishments in this set requires, I think, some background about the Steig odyssey in order to indicate the range of musical experience he's been into. Born in New York's Greenwich Village on September 23, 1942, Jeremy is of a family that has impressive creative credentials. His father, William Steig, is a cartoonist of antic universals for The New Yorker and the author-illustrator of uniquely evocative children's books. Elizabeth Mead Steig, Jeremy's mother, is an artist and heads the art department at Lesley College. An aunt is Margaret Mead, the persistently probing anthropologist who keeps showing ways in which divergent cultures and generations can make connections.
After schooling in New York at the Little Red School House, City and County, and the Music and Art High School, along with three years of private study of the flute with Paige Brook, Jeremy began a wide-ranging journey into music. In addition to groups of his own, Jeremy has played in the past decade with, among others, Jim Hall, Feddie Redd, Paul Winter, Paul Bley, Tony Scott, David Amram and Bill Evans. He's also worked with bluesmen Junior Wells and Big Joe Williams, and has appeared in jazz clubs, rock rooms and in concerts that have encompassed Fillmore East and Fillmore West along with halls in Copenhagen, Munich, Frankfurt, Milan, Paris and London.
Although immediately and unmistakably identifiable by sound and style, Jeremy is so open to all kinds of music that he can fit into an unusually heterogenous variety of musical situations with zestful attentiveness. From 1966 to the present, for example, among the players and units Jeremy has sat in with are Jimi Hendrix, the Jefferson Airplane, Blood, Sweat & Tears, Paul Butterfield, Elvin Bishop, Earth Opera, Buddy Miles, the Flying Burrito Brothers and James Cotton. I mention the to underline his refusal to be limited by traditional categories. As I noted, Jeremy is a motif directly from Howlin' Wolf. – Nat Hentoff
From Billboard - May 30, 1970: Flute player Steig has been moving, of late, in very mixed company. He appears on one date with jazz pianist Bill Evans and next sits in with the Flying Burrito Brothers or Jimi Hendrix. He reflects this wide open taste in his playing which sprinkles Miles Davis, Roland Kirk and Howlin' Wolf (as in "Howling for Judy") in one chorus. Small group backs him here but it is made large by some tricky overdubbing. Rock and jazz appeal here.
Howlin' For Judy
Permutations
Hot-Head
Alias (a li'as)
Nardis
Piece Of Freedom
Miracles Yma Sumac Produced by Les Baxter For Bob Kreppel, Jim Branciforti and Bob Covais Cover Design: Marcellino London SHU 8431 The Decca Record Company Limited 1972
Musicians: Chuck Cowan - Guitar Richard Person - Organ Roger Cowan - Bass Skippy Switzer - Drums
From the back cover: Miracles re-unites the extraordinary five-octave voice of Peru's Yma Sumac with Les Baxter, the producer of her first album, "The Voice Of Xtabay" (released in 1950). Acclaimed for her powerful and unique artistry, Miss Sumac achieved world fame during the Fifties with the use of Mr. Baxter's productions. He has chosen to record Yma in a contemporary setting with a four-piece rock band and modern recording techniques. The results are a stunning showcase for an unparalleled performer.
From Billboard - March 11, 1972: Last time Les Baxter and Yma Sumac teamed, they came up with the phenomenal classic "Voice Of Xtabay." They now reunite for a totally 'today' sound with original rock material penned by Baxter and delivered in an exceptional sound by the incredible voice of Miss Sumac. Four-piece rock band lends support to the vocal work. Already getting much FM and MOR attention, LP could prove a smash.
Remember Medicine Man Let Me Hear You Tree Of Life Flame Tree Zebra Azure Sands Look Around Magenta Mountain El Condor Pasa
Tchaikovsky - Capriccio Italien - London Symphony Orchestra
Rimsky-Korsakoff - Capriccio Espagnol, Op. 54 - London Symphony Orchestra
Rossini - William Tell - Philharmonic Symphony Orchestra of London
Rossini - Thieving Magpie Overture - Philharmonic Symphony Orchestra of London
Conducted by Herman Scherchen
FPG Photo by Tom Kelly
West Minster XWN 18598
From then back cover: Hermann Scherchen is acknowledged as one of the world's great conductors and is renowned for the wide range of his repertoire. He has been acclaimed as great an interpreter of Beethoven, Handel and Bach as he has of many modern composers. His Westminster recordings of all nine Beetoven symphonies and the twelve "London" symphonies of Haydn are considered milestone in the history of recorded music. Hermann Scherchen's early reputation was earned as conductor in Rigo, Berlin, Frankfurt Winterthur, and Konigsberg. An outspoken anti-fascist, he left Germany in 1932, and settled in Switzerland. Since the end of World War II he has conducted in all the leading European cities most recently in Rome, London, Paris, and Vienna, and in South America. In addition to his activities as a conductor Scherchen is well known as an author, having written authoritative books on music, including The Nature of Music and Handbook of Conducting.
