Evening In The Islands - The Maile Serenaders

 

Whispering Lullaby

Evening In The Islands
The Maile Serenaders
Producer: Don McDiarmind, Jr.
Engineer: Bob Land
Writer: Jean Sullivan
Artist: Lee Born, Nieman Advertising Agency
Cover Photographer: Werner Story, Camera-Hawaii
Recorded in Hawaii for Hula Records
Warner Bros. W 1584
1965

From the back cover: The Maile Serenaders are consistent in only two respects: they are heard only on record, and each musician is the best of the best. The membership varies according to the requirements of the project at hand... and is drawn from the major performing groups in the islands. Slack-key guitar? Gabby Pahinui, of course, from the Sons of Hawaii. Solo ukulele? Eddie Kamae, from the same aggregation. Bass? Kaipo Miller is one of the regulars of this group... live, he's heard at Duke's and the Royal. Conducting and arranging he shines, too, as this album testifies. Sol Kamahele of the Village Men is another who's almost always present with his guitar when the Maile Serenaders meet. Hard to choose which... Eddie Pang or Barney Isaacs... so include both... the twin steels of Hawaii Calls. Six top men from five top groups... make this a collector's item when it's brand new.

Lei Of Stars
Hula Breeze
Soft Green Seas
Whispering Lullaby
White Ginger Blossoms
Evening In The Island
Hana
Hawaiian Wedding Song (Ke Kaki Nei Au)
Pearly Shells (Pupu O Ewa)
Blue Hawaii
Love Song Of Kalua
Hawaii Calls

Andre Previn At The Piano

 

Just One Of Those Things

Andre Previn At The Piano
RCA Victor Musical Smart Set WP 214
45 RMP Box Set
1949

But Not For me
This Can't Be Love
Mad About The Boy
Hallelujah
My Shining Hour
Just One Of Those Things

Pleasure Time - Fred Waring

 

Besame Mucho

Pleasure Time
Fred Waring and His Pennsylvanians
Decca Album 9-27
45 RPM Box Set
1941

From inside the box: About Fred Waring

To Fred Waring, who pioneered professional choral singing, and whose famous chorus was the forerunner of many successful professional choral groups which followed, is due much of the credit for the growing popularity of choral music in this country

Fred Waring first gained famed with his Glee Club in theaters, recordings, and motion pictures. He carried his continuous experimentation with choral methods into the new field of radio, and development additional techniques to meet this special requirements of broadcasting.

Fred believes that making words understandable is as important as singing notes correctly. In the method of enunciation which he has developed, the group sings every component sound in every word in a careful defined unison. He calls each of them individual sounds a "Tone Syllable".

With good reason, Fred is genuinely proud of his arranging staff, and his relationship with them is unique in the music business. Most of his arrangers are developed from the ranks of performing musicians. Fred gives his arranging staff a free rein on interpretive ideas, neither limiting them to specific assignments nor harnessing them to rigid production schedules.

Fred Waring was born in Tyrone, Pa., June 9, 1900. As a Boy Scout he led the local Drum and Bugle Corps, and from it founded what is today the Pennsylvanians. The first "band" played local parties and was made up of Brother Tom Waring (piano), Freddie Buck (banjo), Poley McClintock (drums), and Fred Waring himself on banjo. All rehearsals then, and for many later years, were held in Mother Jessi Waring's parlor. And then, as now, they sang.

When Fred went off to study architectural engineering at Pennsylvania State College, of which his great-grandfather William G. Waring was one of the founders and its first president, the band continued to function. Fred booked week-end jobs at the fraternity house dances, and added a couple of new men to the group.

Waring, always on the look-out for promising talent, by his second year in college had assembled a group of men so able that even today some are still members of the organization. While Brother Tom and Poley hold the record for longest service, more than 25 years, there are 14 other who have been with Waring more than 10 years. Fred Culley, violinist and assistant conductor, joined the Pennsylvanians in 1924, following his brother George, trumpeter, who had been with the group for several months. Nelson Keller, another trumpeter, joined the band in 1922, and Fred Campbell left the Sousa band to join Waring in 1923, after an attack of arthritis was made chief librarian – a library, incidentally, that is insured for a half-million dollars.

The Waring organization today is not simply a band. Its musical activities spread in many directions. They have organized and trained choral groups for radio, Broadway musicals, symphony concerts, industry, community and even educational projects. The Pennsylvanians have always collected top honors in radio polls. When on the air at night, Fred Waring's show was, for five consecutive years, named the "Best Quarter Hour Program" by newspaper radio editors in the United States and Canada. Changed to a daytime hour, Waring continued to lead the field and has twice been awarded the honor of "Best Daytime Show."

A Cigarette, Sweet Music And You
So Beats My Heart For You
Day In - Day Out
Remember
Besame Mucho (Kiss Me Much)
Marcheta
My Ideal
Beyond The Blue Horizon

Innovations In Modern Music - Stan Kenton

 

Conflict

Innovations In Modern Music
Stan Kenton And His Orchestra
Volume One (45 RPM Box Set)
Capitol Records KDM 198
1950

From the inside box cover: In the summer of 1941, some fifty miles down the Southern California coast from Los Angeles, an unknown and somewhat musically fanatic Stan Kenton began unleashing from his fertile brain a music that was destined to make a unique contribution to the already flourishing music business. These ideas were amassed into the tangible form of "Artistry In Rhythm."

Growth was inevitable – stumbling at first like a child who has just discovered his legs, but always headed forward. Development and progress are synonymous; so after five years of indoctrination, the successful ideas were segregated and became known as "Progressive Jazz."

This was the second segment of Kenton's musical history. It found the band successfully departing from the smoke-filled, popcorn-littered, acoustically criminal ballrooms to the musical freedom of the concert stage. In this idiom the orchestra enjoyed its greatest success. There was one realization, however; one that was responsible for the startling announcement in December 1948 when Stan informed the band and the world that he was "throwing in the towel" at the time when he was perched high on a pedestal in the world of modern music. This was the limited number of performances that the band could present without returning, the balance of the year, to the slavery of he traditional demands made by "popular music." These would have been concessions that an undying integrity wouldn't allow him to make. Hence, seeing no immediate solution, "Progressive Jazz," so far as Kenton's active participation was concerned, came to an end.

Although the future was very vague for the time, the Kenton brain was far from sterility and was functioning constantly, formulating new ideas and mentally following the ramifications of each. New fields were even considered. Not too serious, however, inasmuch as Stan's thoughts would inevitably return to the realization that his first duty and obligations was to music – the field for which he was best suited.

After nine months of relaxation and rested thinking, plans for the future became positive. Those plans immediately became history, for in October of 1949 the news went out to millions of anxious ears that Kenton would return, but would utilize the only feasible medium in which his music could be advantageously presented - that of the concert stage.

It's obvious, then, that the stumbling brainchild which was born during the summer of 1941 has grown into manhood – and with manhood comes the musical maturity that is behind Kenton's third venture into a business which, more than any time in history, feels the need for creative music, examples of which are herewith evident in this, the first edition of "Innovations In Modern Music."

Trajectories
Theme For A Sunday
Conflict
Incident In Jazz
Lonesome Road
Mirage
Solitaire
Cuban Episode

Bobby Darin Born Walden Robert Cassotto

 

In Memoriam

Bobby Darin Born Walden Robert Cassotto

The Album was Written, Arranged, Produced, Designed and Photographed by Bobby Darin

Recording Engineer: Jerry Hansen

Mixing Engineer: Brent Maher

Direction Records 1936

Distributed by Bell Records, Inc.

1968

Questions
Jingle Jangle Jungle
The Proper Gander
Bullfrog
Long Line Rider
Change
I Can See The Wind
Sunday
In Memoriam

Songs For You - Happy Louie & Julcia

 

Aj, Aj, Aj

Songs for You
From The Happy Louie & Julcia Polka Band
Production and Direction: Happy Louie
Audio: The Gallery, E. Hartford, Conn.
Cover Idea: Denise, Lou, Diane and David
Photography: Misiaszek Studios, Danielson, Conn.
Halo Records SHL-5019

Oj Dana
Aj Aj Aj
Jabka (Freddie's Apples)
Barnyard
Siupaj
Stormy Atlantic
Fiddler's
Red Hat
Early Morning
Grandfather
Grey Goose
Mosquito

Eydie In Dixieland

 

Sleepy Time Down South

Eydie In Dixieland
Arranged and Produced by Don Costa
Special material by Dick Williams
Conductor: Joe Guercio
South Rampart Street Parade arranged by Manny Albam
Recorded at Bell Sound Studios, New York City
Engineer: Bill McMeekin
Package Design: ARW Production, Inc.
Cover Photo by Gary Wagner
ABC-Paramount ABC 343
1960

From Billboard - July 18, 1960: The thrush is at her dynamic vocal best in this package of exuberant Dixieland favorites. The tune line-up – all eminently spinnable – include "When The Saints Go Marching In," "Mississippi Mud," "Basin Street Blues" and a particularly sock rendition of "Bill Bailey."

When The Saints Come Marching In
Way down Yonder In New Orleans
Ja-Da
Sleepy Time Down South
Limehouse Blues
Basin Street Blues
Bill Bailey
Bye Bye Blues
South Rampart Street Parade
Lazy River
Mississippi Mud
Wang Wang Blues

For Those Who Think Young - Joanie Sommers

 

Out Of This World

For Those Who Think Young
Joanie Sommers
With Marty Paich and His Orchestra
In Very Live Concert
Cover Photo: Gene Trindl
Warner Bros. Records
HIGH FIDELITY W1436
1962

From the back cover:

The Band Side with the Orchestra of Marty Paich

Joanie Sommers, recently tabbed for Steve Allen as "just about the greatest young singer around today," pays a repeat call on a swinging big band, that of Marty Paich. It's a repeat call, since some two years ago, Marty backed Joanie on the LP that started it all swinging, Joanie's debut album. "Postively the Most!"

With two years of steady singing, behind her – on TV (with Ernie Ford, Steve Allen, Bobby Darin, and many others), on a long string of cross-country concerts with Mort Sahl, on radio where her albums and singles join with her swinging vocalizing for Pepsi Cola (hence the title of this album) – Joanie is ready to "move" as never before. One of the few vocalists around who isn't intimidated by a big swing band behind her. Joanie relishes and is even spurred to new inventions by a blast of brass backing her up.

For this set of six, leader-arranger Marty Paich has massed some of the most talented jazz musicians in Hollywood to create the movement behind Joanie. Names such as Bud Shank, Conte Candoli, Abe Most, Frank Rosolino, Jack Montrose, Alvin Stroller, Bill Perkins, Lou Levy, Bill Hood and Stu Williamson signed up for the recording session, and each of them (plus many others) blew as if realizing that in backstopping for Joanie they were working with the best.

No need to cover the tunes one by one here. They're the kind Joanie belts the best, from the rocking "Hard Hearted Hannah" (The Vamp of Savannah) to Theolonius Monk's "'Round Midnight," there's a wide variety of stylings here, and the kind of tunes Joanie's fans expect of her: Show Stoppers.

The Concert Side
Recorded December 9, 1961 at San Fernando Valley State, Northridge, California

Following her coast-to-coast concert trek with Mort Sahl, Joanie Sommers returned home to Souther California, for one of the highlights of her entire career, the much talked-about December Night concert at California's Valley State College. Working with the basis of her regular touring group, led by pianist Bob Florence, Joanie had the benefit of a year's break-in with the musicians. This meant a close-knit musical empathy within the group. Each member understood the others, and their jamming showed it, especially with the added boost of such men as Bill Perkins and Stu Williamson to bring the group up to sextet strength.

Picking up on a kind of home-town enthusiasm, Joanie sang as well at this one live session as she ever has before. The crowd helped immensely, for it knew three things: (1), that this concert was being recorded, and the audience wanted it to be good; (2) that Joanie was their girl, a product of their schools, and their own success story; and (3), that Joanie, from the outset, was elated about the whole idea of this appearance, her first live concert recording.

What was created that day was a very swinging concert, of which the six tunes collated here from the high points. Equally at home with the tender and mellow (as in, for example, "My Ship"), Joanie concentrated on her proved big numbers, the ones that time and again wowed her audiences from Bangore on west. "You Came A Long Way From St. Louis" is a good example, a rocking sock of song the builds all the way. With that kind of repertoire and that kind of singing it's little surprise that this concert was the success that it turned out to be.

From Billboard - January 20, 1962: The Pepsi Cola slogan, which Joanie Sommers sings in radio-TV Jingle from for the soft drink firm, makes an effective title for the canary's new album. She is in vivacious, tasteful vocal form on a group of show manly oldies. Marty Paich provides solid backing on one side of the LP, while the flip spotlites the thrush in exciting "live concert" takes.

A Lot Of Living To Do
Out Of This World
'Round Midnight
Hey! Jealous Lover
Hard Hearted Hannah
Blues In The Night
I Feel A Song Comin' On
You Came A Long Way From St. Louis
My Ship
Ev'rything I've Got
Why Shouldn't I
I Feel Pretty

The Nation's 12 Big Hit Recordings

 

The Stroll

The Nation's 12 Big Hit Recordings
Featuring Vocal Stars Of Radio & Television
With Famous Orchestra
All Full Length
Hollywood Records LPH-139
A Blue Ribbon Product

The Stroll
Get A Job
Don't
Catch A Falling Star
Don't Let Go
Oh Julie
Short Shorts
Dede Dinah
Swinging Shepard Blues
You Are My Destiny
Oh-Oh, I'm Falling In Love Again
26 Miles

Real Hot Polkas - Happy Louie And Julcia

 

Green Grass

Real Hot Polkas

Happy Louie & Julcia Orchestra

Production and Direction: Happy Louie

Audio: Creative Sounds, Inc.

Cover Idea: Denise, Louie and Diane

Photo: Misiaszek Studio

Halo Records 5010

1973

Green Grass

Boli Boli Głowa

Oberek Medley

Soldier Boy

Clarinet

Apples, Peaches, Pumpkin Pie

Where's Johnny?

Wishing Wel

Mountain Park

Peanuts