Rendezvous In Rome - The Melanchrino Strings

Volare

Rendezvous In Rome
The Melachrino Strings and Orchestra
Musical Travelogue
World Wide Series
Cover Photo: Giuliano R. Somerville
RCA Victor LPM-1955
1959

From Billboard - August 24, 1959: An appealing, restful and for those who know Rome, a nostalgic set. The Melachrino ork with heavy bank of strings featured, plays "Three Coins In The Fountain," "Volare," "Arrivederci," the lovelocks "Castel Saint Angelo" scene from "Tosca," plus less familiar selections, all strongly identified with Rome. A delightful mood album, handsomely recorded.

Rome The City
Volare (Nel blu dipinto di blue)
Scene from "Castel Sant' Angelo" (from "Tosca")
Tesoro Mio
Three Coins In The Fountain
View of the Vatican ("St. Peter's")

Colosseum

Autostrada ("Grand Prix")

Ragazza Romanza (Ladies of Rome)

Vista Roma
Italian Fantasy
Arrivederci Roma

Music Of George Gershwin - Andre Kostelanetz

Mine

Music Of George Gershwin
Andre Kostelanetz and His Orchestra
Cover Design: Weber / Monogram
Columbia Records CL 770
1955

Fascinatin' Rhythm
Mine
The Man I Love
Embraceable You
Soon
I Got Rhythm
Bess, Oh Where's My Bess
'S Wonderful
Maybe
Someone To Watch Over Me
Oh, Lady Be Good
Embraceable You
Strike Up The Band

Luiz Bonfa's Brazilian Guitar

Xango

Luiz Bonfa's Brazilian Guitar
Front Cover Color Photo by Otto Stupakoff
Bonfa Photo by Indalecio Wanderley
Capitol Records T10134

From the back cover: Down in Brazil, Luiz Bonfa is regarded as a super-musician. Musicians who hear only his records, and haven't seen him perform, charge him with "overdubbing" in the Les Paul manner to achieve the remarkable sounds for which he is so renowned.

But Bonfa uses no mechanical tricks. His incredible technique is enough. Probably no guitarist in the world has Bonfa's skill – speed – with the fingers. Segovia himself cannot match the fabulous Luiz for sheer technical virtuosity.

He started at 11, in Rio de Janeiro, where he was born October 17, 1922. At first Bonfa's father taught Luiz. But the boy's progress was rapid. Soon he was studying with Uruguay's great classical master, Isaias Savio.

Even Savio could take the young Luiz Bonfa no father. And so Luiz, still in his teens, took to touring the various states of Brazil with his instrument. From each of the provinces he learned something of the people. and their cultures.

Back in Rio, Bonfa's first records made an impact (not only in Brazil, but throughout South America) much as Les Paul did in 1950. But few listeners accepted the truth. "No man has technique so remarkable," they argued. But Bonfa convinced all who came to see him perform, in a series of spectacular personal appearances in Rio, that his amazing dexterity and musicianship are legitimate.

Bonfa is aware of the great North American guitarists. Georg Van Eps, Barney Kessel, Hal Farlow and John Smith, he says, are his favorites, judged solely by their records. Luiz also is partial to the orchestra of Nelson Riddle, Les Baxter and George Shearing. He is a fishing enthusiast and, eventually wants to live in California and perhaps teach young guitarists and make records.

This album was recorded in Rio in superb high fidelity, and Capitol is privileged to present the genius of Bonfa for the first time on records in North America.

Batucada
Sambolero
Monique
Tenderly
Serenata
Xango
Mambolero
Cajita De Muscia
Over The Rainbow
Garoto
Cancao De Outono
Calles De Espana

The Magnificent Piano - Ted Auletta

The Odd Couple 

The Magnificent Piano

Featuring Ted Auletta

Design Records STEREO SDLP-298

The Lullaby Of Rosemary's Baby
The Odd Couple
Sixth Symphony
Andante Cantabile
Valse Triste
Theme From Romeo & Juliet
Clair De Lune
Romance
Swan Lake
Waltz Of The Flowers

Swing Is King - Ted Heath

Elks' Parade

Swing Is King
Ted Heath and His Music
Phase 4 Stereo
London SP 44104
1968

From Billboard - April 20, 1968: London's Phase 4 Stereo Entering The Swing Phase

London Records' Phase 4 Stereo line is swinging to the swing era with a new series of albums. The project will be kicked off with an album by Harry James re-creating his big band classics like "Two O'Clock Jump," "Chiribiribim," "I Cried For You" and "I Had The Craziest Dream," among others. The James album was produced in Tutti Camarata's Sunset Sound Studios in Hollywood.

Following the James project, Duke Ellington is set for sessions covering a selection of his top songs. The sessions are scheduled for the Sunset Sound Studios Monday through Wednesday (22-24).

Concept for the new series developed out of the favorable response accorded the recent Ted Heath Phase 4 LP, "Swing Is King," issued during the company's January national sales meeting, and incorporating such titles as "Woodchoppers' Ball," Opus 1," "In The Mood" and "One O'Clock Jump." Heath now has a second volume in the works.

London has planed a heavy point of sales merchandising campaign as well as a sustained promotional drive at the FM stereo radio audience.

Flying Home
Cherokee
Begin The Beguine
One O'Clock Jump
Song Of India
The Woodchoppers' Ball
Elks' Parade
In The Mood
Two O'Clock Jump
Contrasts
Take The "A" Train
Sing, Sing, Sing

Andre Previn Plays Fats Waller

Stealin' Apples

Andre Previn Plays Fats Waller
Produced by Dave Pell
Tops Music Enterprises, Corp.
TOPS L1593

From the back cover: Andre Previn has so many musical talents, his artistry is all-encompassing. Though celebrated as a piano performer of both jazz (modern style) and classical music, he is also a staff arranger-composer at MGM and is widely respected as one of the most promising young conductors in the classical field. According to Previn, himself, as reported in an April 1957 interview in Down Beat magazine, "You know what I really want to do, what my true, deep love is" Conducting. I'd rather conduct than play, than write – than eat, almost. It's rather difficult to explain, just a need, something I must do."

This was on the occasion of his tenth anniversary as a musical executive at MGM, after he had 26 pictures to his credit, the most recent being Silk Stockings. Aside from that, the indefatigable Mr. Previn, turns out songs (e.g., title song from MGM's Designing Woman); writes music for television; is a much sought after attraction in the country's leading jazz clubs. And... Andre Previn is only 27.

His music teacher father grounded him early in the classical masters, sent him to study at conservatories in Berlin and Paris before he was 10. After fleeing Hitler Germany in 1939, he continued study in the United States, first with his father, later with Joseph Achorn and Mario Castelnuovo-Tedecco. As a mater of fact, he is still one of the latter's students. Then, when he graduated from high school, MGM was quick to snap up this flowering young genius.

Supported by an excellent bassist and drummer in this swinging tribute to Fats Waller, Previn is wholly at ease with the songs of the master. With his own tune, Fatstuff, a medium tempted romper, he takes the intriguing, cheeky line for a ride that's always pleasant, delightful in places – yet remains swinging jazz. It's a lighthearted labor of love. Were he around, Fats Waller would surely nod beaming approval.

From Billboard - March 31, 1958 (review for Zenith L 1593): Andre Previn's piano interpretations of the late Fats Waller's music are performed with great imagination, verve and feeling. Included are "Ain't Misbehavin'," "Black And Blue," "Honey Suckle Rose" and a beautiful adaptation of "Stealin' Apples." The music is light, the beat strong all the way. Use of only rhythm accompaniment adds to the lure. Good sell indicated here.

Ain't Misbehavin'
Stealin' Apples
I've Got A Feeling I'm Falling
Squeeze Me
Honeysuckle Rose
Oh, You Sweet Thing
That's Where The South Begins
Fatstuff
Black And Blue

Ebb Tide - Frank Chacksfield

Peter Gunn

James Bond Theme

Frank Chacksfield Plays
Ebb Tide and Other Million Sellers
A Bonus Pak Two Record Set
Promotional Copy
Producer: Tony D'Amato
Engineer: Arthur Lilley
Album Design: Trantor/Impac Associates
Cover Photographs: Rayment Kirby
Phase 4 Stereo London RSP 23
1970

From Billboard - November 20, 1970: "Ebb Tide," a worldwide hit for Frank Chacksfield, is, of course, the major sales impetus for this special package, but the LP is actually brimming over with beautiful tunes – "Zorba's Dance," "Hey Jude," Bali H'ai" and "Bridge Over Troubled Water." Beautiful music to assure hours of pleasant entertainment to the purchaser.

Ebb Tide
Up, Up And Away
Somewhere My Love
Zorba's Dance
Peter Gunn
Limelight
Mrs. Robinson
Alfie
Moonglow & Theme from Picnic
Ob-La-Di, Ob-La-Da
In The Still Of The Night
Hey Jude
Bali H'ai
A Man And A Women
Canadian Sunset
Night And Day
Come Together
Bridge Over Troubled Water
Red Sails In the Sunset
James Bond Theme

Morton Gould's Latin American Symphonette - Samuel Barber Overture

Conga

Morton Gould's Latin American Symphonette
Samuel Barber Overture to
"The School for Scandal", Op. 5
Adagio for Strings (from String Quartet, Op. 11)
Essay for Orchestra No. 1, Op. 12
Howard Hanson conducting the Eastman-Rochester Symphony Orchestra
American Music Festival Series Vol. III
Golden Lyre Series
Mercury MG40002
1953

From the back cover: Morton Gould (b. New York City, 1913) and Samuel Barber (b. West Chester, Pa., 1910) are two of the most brilliant figures on the creative musical scene of 20th century America; but in terms of their respective tonal languages they represent almost diametrically opposite points of view. For all his rigorously classical training and unerring craftsmanship, Gould is never too far afield from the milieu of modern-day Americana, be it folk tunes and rhythms, popular songs, jazz or the atmosphere of the musical theater. Yet it can be truly said that in his best works, such as the Spirituals for String Choir and Orchestra, Interplay for Piano and Orchestra, and the Latin-American Symphonette recorded here, Gould has achieved a true idealization of his musical materials in much the same way that the French of English keyboard suites of Bach constitute sequences of idealized dances. Indeed, Gould has achieved the near-impossible feat of avoiding vulgarization of his formal techniques while keeping his melodic substance free from the deadweight of academicism. His phenomenal command of symphonic and popular-style orchestration could readily lead to slick and empty stylizations; but in the above-mentioned scores Gould has successfully steered clear of this and has given us three marvelously vital and integrated musical creations.

Having been a virtuoso pianist almost from his childhood and with an enormous amount of experience in all phases of popular music and jazz as performer, conductor and arranger, it is not surprising that Gould's musical idiom should stress the bright coloration and complex rhythmic element that is so much a part of modern keyboard technique.

Samuel Barber, on the other hand, grew up in a milieu of song. His aunt was the celebrated Metropolitan Opera contralto, Louise Homer, whose husband Sidney was also a famous composer of songs. The years of study at Philadelphia's Curtis Institute of Music (where he became a charter pupil in 1924) saw Barber working with Mme. Vengerova at piano, Fritz Reiner in conducting and Rosario Scalero in composition. He himself also developed a fine baritone singing voice. Small wonder, then, that Samuel Barber's musical speech should be essentially lyrical and cosmopolitan, but touched with a very personal and powerful sense of the dramatic. Only in Barber's compositions after 1940 – notably in the Excursions for piano – do we find even a trace of the "Americanisms" that are so much part and parcel of Morton Gould's scores.

Together with Aaron Copland, Barber has been by far the most-played of American composers in the international symphonic repertoire. His School for Scandal Overture, Adagio for Strings, First Essay and First Symphony have become standard classics of the American orchestral literature.

From Billboard - March 14, 1953: Tho the disk features Gould's ultra-melodic modern suite, Barber's works get half the playing time and deserve at least half the attention. For many, the disk will be valued only as an excellent interpretation of Barber's compositions. Gould's work is of quite recent vintage, having been premiered about 13 years ago under Fritz Mahler's baton. The "symphonette" is actually stylized versions of the rhumba, tango, guaracha and conga. Barber's works are delightful listening and particularly well played by the Eastman-Rochester Symphony Orchestra, atoned by Howard Hanson. Cover, as expected from the diskery, is striking and an added sales feature.

Vocal Velvet - Henry Jerome

Tenderly

Vocal Velvet
Henry Jerome
His Chorus and Orchestra
Produced by Henry Jerome
Arrangements by Dick Jacobs
Chief Engineer: Charles Lauda, Jr.
Mixing Engineer: Lawrence McIntyre
Decca Stereo DL 74440
1963

Where Or When
I Left My Heart In San Francisco
Mack The Knife
Once In Awhile
Taking A Chance On Love
For All We Know
They Didn't Believe Me
Tenderly
Arrivederci Roma
I Understand
Walkin' My Baby Back Home
Auf Wiedersehen Sweetheart

Westward Ho! - Roland Shaw

Streets Of Laredo

Westward Ho!
Roland Shaw and His Orchestra
Phase 4 Stereo
Produced for records by Tony D'Amato
Recording Engineers: Arthur Lilley and Arthur Bannister
London SP 44045
1964

Riders In The Sky
The Yellow Rose Of Texas
High Noon
The Big Country
Streets Of Laredo
Don't Fence Me In
Wagon Wheels
She'll Be Comin' Round The Mountain
Red River Valley
The Magnificent Seven
I'm An Old Cowhand
Tumblin' Tumbleweeds