Get Up My Brother - Shirley Caesar

Study War No More

Get Up My Brother
Shirley Caesar
With The Thompson Singers
Produced by John Bowden
Cover Photo: Bill Smith - Aristocrat Studios
Art Director: Dick Smith
Recorded at Scepter Recording Studios, New York City
Audio Engineer: Josh Pridgen
Hob Records - A Division of Scepter Records, Inc.
HOB HBX 2144
1972

From the back cover: The past year has brought Shirley more honors and recognition than ever before. She won the Grammy Award from best Soul Gospel performance of 1971; starred on the nationally syndicated television program Soul; was featured in Ebony and in the book, The Gospel Sound: Good News and Bad Times. Her successful appearances at colleges like Florida A. And M. have further expanded her audiences.

Everyone knows Shirley as an extraordinary showman, a great storyteller, and a mistress of rocking gospel. This album suggests the range of her talent. I've always considered her among the most imaginative gospel stylists of her generation. One reason is her solid grounding in a down-home North Carolina quartet; her father, Big Jim Caesar was one of the great Carolina quartet leads. Notice the warm quartet feel in her re-arrangement of Down By The Riverside. Or if you want the modern sound, Shirley give People Get Ready its finest gospel performance, and fills Get Up My Brother with contemporary messages. Her sister Anne is also featured on this tune.

Get Up My Brother
Have Thine Own Way Lord
When The Savior Reach Down For Me
Study War No More
The Prayer
People Get Ready
Nobody But You Lord
Teach Me Master
The Healer

Kai Winding

The Ice Cream Man

Kai Winding
Photography: Don Bronstein
Recording Engineer: Phil Ramone
Director of Engineering: Val Valentine
Produced by Creed Taylor
Verve V/V6-8556
1963

From the back cover: Some people say "Kay," some say "Ki," some say Winding, and some say "Winding." This is a side discussion which is irrelevant to the music on this album, music of swinging rhythmic, extremely danceable variety. It is not required that you dance to enjoy, however, for the music is every bit as listenable as well as danceable. As you play this album, I predict you will not remain seated for long. Some portion of your anatomy will undoubtedly move in time to the rhythmic excitement generated by Kai Winding.

A record such as this can only be conceived by a musician of considerable experience and training. Kai Winding is such a musical. His formal musical education has been honed by a whole lot of experience, playing, arranging, and composing. Kai is best known to jazz fans for his work in the Stan Kenton band and for his successful collaboration with J. J. Johnson in a jazz quintet. The latter musical alliance was rewarding in all possible ways. The group was critically acclaimed, popular in the extreme, and, best of all from a musician's viewpoint, very highly thought of by Kai's colleagues. All of these areas of success are rewarding, but receiving the acclaim of one's fellow musicians tastes sweet indeed.

Kai is currently engaged in myriad musical endeavors. His group plays college dates every weekend and his recording sessions are numerous and varied. Kai handles the musical direction of New York's plush Playboy Club. All in all, he's a very busy man. With this album as well as his previous hit album "More," Kai extends his musical world into heretofore uncharted passages which will undoubtedly prove equally rewarding as past experiences.

From Billboard - December 28, 1963: Exciting readings of some big singles hits by other artists on this album. Trombonist Winding, with strong pop-styled backing swings through Claus Ogeman and Garry Sherman arrangements of such big 1963 hits as "Only In America," "Hey, Girl." "Mockingbird" and "Washington Square." There are also some fine originals. One is "Get Lost."

Get Lost
Only In America
Hey, Girl
The Lonely One
Theme From "Mr. Novak"
Washington Square
The Ice Cream Man
Mockingbird
China Surf
Burning Sands
Far Out East
Oltre L'Amor

Modern Country - Kai Winding

Busted

Modern Country
Kai Winding
Vocal Accompaniment Antia Kerr Singers
Arranged by Kai Winding & Bill McElhiney
Orchestra Conducted by Grady Martin
Director of Engineering: Val Valentine
Cover Design: Any Lehman
Cover Photo: Murray Laden
Recorded August 5 & 6, 1964
At Columbia Recording Studios, Nashville, Tennessee
Antia Kerr Singers appear through the courtesy of RCA Victor Records
The 1965 Mustang 2+2 is pictured on the album cover through the courtesy of the Ford Motor Company, Detroit, Michigan
Verve V/V6-8602

Personnel:
Leader, Arranger & Trombone: Kai Winding
Guitars: Grady Martin, Harold Bradley, Ray Edenton & Wayne Moss
Trombones: Gene Mullins & William Watrous
Bass: Joe Zinkan
Drums: Murray Harman, Jr. & Doug Kirkborn

From the back cover: To record this album, Kai and Verve producer Creed Taylor went to the home of the country and western movement, Nashville, Tennessee. Among the welcoming committee that greeted them were some of the most gracious and talented names in the c&w music field: Anita Kerr, Bill McElhiney, Grady Martin, Floyd Cramer and Harold Bradely.

Kai and Creed went to Nashville to do something new – to team the fine Winding trombone with the fabled Nashville Sound. In the process they found out what goes to make the sound – people. The musicians, singers and arrangers in Nashville's artistic first team are a cooperative and versatile group and they make a point of contributing a lot more than just the sound of an instrument or a voice.

Both Creed and Kai were extremely enthusiastic about the concern these Nashville people feel for their craft. "After listening to a take," Creed said, "they criticized the result and suggested ways of embellishing and improving it. In some cases, it meant more work for them, or a major change in the arrangement. But, if this meant a better record they were all for it." – Jack Maher

From Billboard - November 28, 1964: Kai Winding treats country standards like "Slipping' Around" with a bright tempo and a pop trombone style. The Anita Kerr Singers provide effective vocal background, particularly on "Cool Water."

I Really Don't Want To Know
Busted
Wolverton Mountain
Bye Bye, Love
Cool Water
Wildwood Flower
Detroit City
I Walk The Line
Oh, Lonesome Me
Slippin' Around
Gotta Travel On
Dang Me

Frankie Carle's Finest

Symphony

Frankie Carle's Finest
Frankie Carle with Rhythm and Orchestra
Photo by Wendy Hilty
Gown: Ceil Chapman
RCA Victor PLM-1153
1956

From Billboard - August 6, 1956: Frankie Carle's piano style – lace-like and nimble – is virtually a standard commodity with a known sales potential. His performance is as pleasant as ever, the album's repertoire including such standards as "Whispering," "Sunrise Serenade," "Blue Moon," etc. Dearler can expect to move this package okay.

Whispering
Oh What It Seemed To Be
Sunrise Serenade
A Lover's Lullaby
Falling Leaves
Symphony
Blue Moon
My Silent Love
Twilight Time
Beg Your Pardon
Intermezzo
Moonlight Cocktail

Easy Living With Mary Ann McCall

'Deed I Do

Easy Living
With Mary Ann McCall
Ernie Wilkins and His Orchestra
Supervision" Ozzie Cadena
Engineer: R. Van Gelder
Engravings: Fidelity Engraves, Inc.
Regent Records Co.
REGENT MG-6040
1957

From the back cover: Mary Ann is a jazz singer. She has been associated with the finest in jazz domain and acknowledged as one of the expressive voices in the medium. She was a mainstay in the great Woody Herman band that "Played the Blues". And when Woody broke up she appeared with the fine group Charlie Ventura fronted. Since that time she has appeared in the best clubs throughout the Nation, ever maintaining her ability to sing a song in her own way and squeeze every drop of emotion from its core.

The folks at Regent have been long impressed by Mary Ann's vocalizing, and were pleased when she agreed to do this album. They believed she should be afforded the best musical background and consequently contacted Ernie Wilkins to do the arrangements and conduct the orchestra. That Ernie's task was successfully completed is evidenced on every track throughout this disc as he provides Miss McCall with a musical base which offers sympathetic as well as stimulating assistance. The group Ernie assembled for the session is as similarly distinguished as its leader, for here he has gathered some of the leading men in East Coast Jazz. They include the more-than-fabulous Joe Wilder on trumpet, a new setting of "Brothers" in the sax section, including Zoot Sims, who was a member of the original cast, Seldon Powell, George Barrow on tenors and Pee Wee Moore on baritone. The men of rhythm are Nat Pierce, piano; Wendall Marshall, bass; and Kenny Clarke, drums. Under Ernie's baton the orchestra ever provides a stimulus for Mary Ann, though never interfering with her singing. – Jack McKinney

From Billboard - January 26, 1957: At the $2.98 retail tag, this is a pretty fair name item. The thrush, to not one of the prime jazz stylists, should have maintained some sizable following since her Woody Herman and Charlie Ventura days. She achieves some neat jazz touches in a good program which includes the title tune, and a good "Deed I Do." Some of the writer credits on the liner ought to be checked. Fine work backing from Erinie Wilkins, and some beautiful trumpet bits by Joe Wilder.

Shake Down The Stars
You Can Depend On Me
Easy Living
Mean To Me
In My Solitude
I Thought About You

Deep Purple
"Deed I Do
It's You Or No One
It's Been So Long

Just You, Just Me - Jaye P. Morgan

As Time Goes By

Just You, Just Me
Jaye P. Morgan
With Marion Evans and His Orchestra
RCA Victor LSP-1682
1958

From the back cover: At age three, as the youngest member of a family vaudeville and radio act that also comprised four brothers, a sister and her emcee-ing father, Jaye P. Morgan made her initial mark in show business when she trundled out, as the climax of the act, to sing a raucous little ditty entitled I May Be Little But I'm Loud. It never failed to sew up the performance.

Twenty-odd years later Jaye P. Morgan remains a tough act to follow, whatever the medium. No longer is she little, but she still sings up a storm in the top cafes on television and on records. Through her RCA Victor recordings, she has become what is commonly referred to in the trade as a "standard seller." A new Jaye P. disc is always a signal for a fresh wave of record-buying.

After an early band-singing career with Frank DeVol's orchestra in California, Miss Morgan successfully auditioned for the Robert Q. Lewis show and gained national recognition during the two years that she appeared with the horn-rimmed comedian.

In the last couple of years Jaye P. has branched out as a single act and has played practically all the top musical shows on television, in addition to her appearances at smart supper clubs.

From Billboard - January 23, 1958: Petite thrush Jaye P. Morgan tees off on a fine collection of standards on this new collection of standards on this new release to fairly good results. She is helped immensely by the superb arrangements of Marion Evans and the swinging ork performance and sound. Title tune and "I See You Face Before Me" and "Day By Day" are standouts. Steady sales indicated here.

Just You , Just Me
I See Your Face Before Me
The Song Is You
You are My Lucky Star
Why Shouldn't I
Day By Day
Love Your Spell Is Everywhere
I Wanna Go Where You Go - Do What You Do Then I'll Be Happy
There's A Small Hotel
As Time Goes By
Where Are You?
All I Do Is Dream Of You

Movie Themes - John Carlton

Man With The Golden Arm

Movie Themes
John Carlton and The Craftsmen All-Stars
Cover Model: Kim Novak - Star of Columbia Pictures
Craftsmen C8002
A Division Of P.R.I.

Around The World
The Third Man Theme
The Bells Of St. Mary's
The Merry Widow Waltz
Spellbound
Man With The Golden Arm
The Quiet Man Theme
Young At Heart
Gigi
Some Enchanted Evening

Blue Smoke - Johnny Desmond

Blue Smoke

Blue Smoke
Johnny Desmond
With Tony Mottola (Guitar) & Bob Haggart (Bass)
Cover Photo: Columbia Records Photo Studio - Henry Parker
Columbia Records
REGULAR CL 1477
1960

From the back cover: Originally this collection began as an experiment. Johnny Desmond had appeared in clubs with both Mottola and Haggart, and found that one of the most warmly-received parts of his act consisted of just such intimate numbers. Hesitant about its result on records, he arranged for a trail session, and so delighted was everyone with the outcome that the experiment blossomed into the present album.

As one of the nation's top singing stars, Johnny Desmond had been responsible for a long string of hits. He first attained fame as the featured vocalist with Glenn Miller's Air Force band, performing in England and on the Continent for GI's during World War II. (This period of Johnny's career was recently documented, with the original arrangements and many of the original sideman in "Once Upon A Time," CL 1399/CS 8194). Thereafter he began his recording career, producing an enviable string of best sellers, including Symphonie and The High And The Mighty. Nightclub and television appearances spread his fame still farther, and in 1958 he made his stage debut in "Say Darling." He also starred on television in "Your Hit Parade."

I'm Thru With Love
No One Ever Tells You
The Party's Over
I Gotta Right To Sing The Blues
It's A Lonesome Old Town
Blue Smoke
Last Night When We Were Young
Why Shouldn't I
Imagination
That Old Feeling
You Go To My Head
I'm Glad There Is You

Blue Swing - Eileen Rodgers

I Guess I'll Have To Dream The Rest

Blue Swing
Eileen Rodgers
Orchestra Under The Direction Of Ray Conniff
Columbia CL 1096
1958

From the back cover: For a girl who had no particular interest in a singing career – in the beginning – Eileen Rodgers has come a long, long way, and she proves it conclusively in this fine, swinging album. Eileen, one of the brightest young stars around, is not one of your whispery singers, although she can get as pleasantly intimate as anyone; rather she sings out in a good, old-fashioned way that gives both the song and the audience a refreshing lift. Her selections here are predominantly lonesome in character, but there is nothing fretful about Eileen's performances – she gives the songs bracing, outgoing treatments that result in a collection which fully lives up to its title.

Eileen, of Irish and Italian extraction, comes from Pittsburgh, Pennsylvania, where she attended the Firck Elementary School and St. Paul's Cathedral High School for Girls. Active in the glee club and appearing from time to time in school operettas, she never gave a thought to a singing career until it practically fell into her lap. After graduation, she went to work in the local offices of the Blue Cross Hospitalization Service, but soon found that office work was not what she wanted. Out on a date in the Carnival Lounge in Pittsburgh, she stood up one night and sang a few songs with the band and so impressed the club's owner that he asked her to become part of the show. Eileen thought it over, and made her debut on New Year's Eve. Option after option was picked up, and her first engagement stretched out for twelve weeks.

Chicago television and nightclubs followed, and one night Charlie Spivak stopped by one of the clubs in which she was appearing. Luckily, he was looking for a girl vocalist for his band, and he signed Eileen at once. After two years with the band, Eileen decided she had acquired sufficient experience to resume work as a single act, and she set out for New York. There she made an audition record which came to the attention of Mitch Miller, who asked for a repeat audition. Just ten days before she turned 23, Eileen was signed to a recording contract and made her first record a week later.

This is Eileen's first collection, although she has a score of highly popular single records to her credit. With Ray Conniff and his orchestra, she offers a dozen solid standards, most of them firmly associated with the swing era and most of them blue, not in the sense of the classic blues, but deriving from them. As Ray lays down a firm, swinging beat, Eileen carries through and presents a group of performances that amply demonstrate her extraordinary talent and show why she has so quickly become a major recording star. Her enthusiasm, her sure musical instinct, and her vibrant personality all combine to provide an enlivening and delightful musical offering.

From Billboard - March 31, 1958: In this first LP album by Eileen Rodgers, her fine, swinging voice, clear diction and keen sense of phrasing are showcased in a dozen blues-flavored standards like "Solitude." "Washbah Blues" and "Some Of These Days." A solid backing by Ray Conniff and an attractive cover. She has strong potential as an album artist.

Wabash Blues
Am I Blue
Some Of These Days
Don't Get Around Much Anymore
Solitude
I Guess I'll Have To Dream The Rest
Sunday
I'd Climb The Highest Mountain
I Ain't Got Nobody
Lonesome Road
I Cried For You
After You've Gone

Cha Cha Jubilee

Honeysuckle Rose

Cha Cha Jubilee
A Collection Of Cha Chas In A Variety Of Expressions
Cover Design: Sy Leichman
Photograph: Charles Varon
Jubilee Records
JUBILEE 1097
A Product of Jay-Gee Record Co., Inc.

From the back cover: Sy Oliver and His Orchestra lift "In A Little Spanish Town" right out of the past into today. Sy is the famous arranger-conductor, formerly with the great Jimmy Lunceford and Tommy Dorsey Orchestra

The Frank Ortega Trio, well-known on the West Coast for its swinging concert touch, treat classical and popular melodies to the new tempo

Mark Monte and the Continentals play for dancing at the Plaza Hilton in New York City. Their two medleys reflect the authenticity of the Latin lilt.

The Accents express their feeling, vocally. This group appears on "The Hit Parade" each week. Here, they sing with Sy Oliver and His Orchestra.

Moe Koffman, the jazz flutist best known for his original "The Swinging' Shepherd Blues," and the Sy Oliver Orchestra play "The Shepherd's Cha Cha.

Melino and His Orchestra blend the music of the American cowboy with the driving tempo of the Caribbean.

Notes by Mort Goodie

In A Little Spanish Town - Sy Oliver
The Gypsy - Frank Ortega Trio
Medley: Adele & Wham! - Mark Monte & The Continentals
My Yiddish Momme Cha Cha - Frank Ortega Trio
22 Del Rio Avenue - The Accents
Shepherd's Cha Cha - Moe Koffman
Third Man Theme - Frank Ortega Trio
Medley: Chi Chi Cha Cha Cha & Tremendo Cha Cha Cha - Mark Monte and The Continentals
Honeysuckle Rose Cha Cha - Frank Ortega Trio
Tumbling, Tumble Weed - Melino and His Orchestra