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Thursday, July 8, 2021

You Respond To Everyone But Me - Songs For The EMT

 

The Cyanotic Blues

You Respond To Everyone But Me
Songs For The EMT
Executive Producer: Ed Hauser
Engineer: Pete Bastoni
Recorded and mixed at The Recording Center, Norwalk, CT
Graphic Design: Edward A. Casker
Cover Photograph: Vincent A. Greco
Cover Concept: Alex Butman
General Production: Alex Butman
Ambulance courtesy of Ace Ambulance, Fairfield, CT
ETI Emergency Training
A Division Of Educational Direction, Inc.
STEREO ET-1096
1981

Musicians

Ray Gantek: Acoustic Guitar, Pedal Steel Guitar, Dobro, Banjo, Tenor Banjo, Fiddle & Mandolin
Dennis Pedersen: Vocals, Acoustic Guitar & Bango
Jim Tutunjian: Electric Bass
Leigh Henry: Vocals & Percussion
Michael Lehmann: Piano
Nancy Ruth Gilbane: Vocals
Barbara LaValle: Vocals
Ed Hauser: Acoustic Guitar & Synthesizer 
Marty Cutler: Banjo
Kenny Kosek: Fiddle
"Magic" Dave Therault: Harmonica

You Respond To Everyone But Me
Haul And Run
Comin' Or Goin'
I'm Just Sit-in' And Waitin'
The Cyanotic Blues
Can't Trust This Crew (The Ringmaster)
I'm Damn Proud (To Be An EMT)
He Dropped On The Line
Intravenous Confusion
Every Friday, Saturday and Sunday Night
EMS Express

101 Strings Play & Sing The Songs Made Famous By Olivia Newton-John

 

I Honestly Love You

101 Strings Plays & Sing The Songs Made Famous By Olivia Newton-John
Featuring The Alshire Singers
Alshire International STEREO 5327
1976

Have You Never Been Mellow
Please, Mr. Please
Time Of Your Life
Loving You Ain't Easy
Home Ain't Home Anymore
I Honestly Love You
Let Me Be There
Once Upon A Summertime
If You Love Me (Let Me Know)
To Olivia

Turn, Turn, Turn - Modern Sound MS1018

 

Turn, Turn, Turn

Turn, Turn, Turn
Producer: William Beasley
Recorder & Compatible Mastering: Columbia Recording Studio - Nashville, Tennessee
Cover Design: McPherson Studio - Nashville, Tennessee
Modern Sound MS 1018

Turn, Turn, Turn
May The Bird Of Paradise Fly Up Your Nose
Pay It No Mind
As Usual
Be Yourself
England Swings
Make The World Go Away
Baby Love
Come Back To Me
Dancing Party

'swonderful - The Bel Air Voices

 

Lady Luna

'swonderful
The Belaire Voices with Strings Unlimited
Cover Design: Merle Shore
Tempo Records STEREO TS 1006
An Alshire Production

Besame Mucho
'wonderful
Paul Lincke Meloides No. 1
Lady Luna
Moonlight In Vermont
Begin The Beguine
Paul Lincke Melodies No. 2
Yearning
Brazil



Wednesday, July 7, 2021

Today's Golden Hits - Andre Kostelanetz

 

Michelle

Today's Golden Hits
Andre Kostelanetz and His Orchestra
Produced by Teo Marcero
Stereo – CS 9334
1966

Michelle
What Now My Love
Try To Remember (from "The Fantaskics")
A Taste Of Honey (from "A Taste Of Honey")
Unchained Melody
Mame (from "Mame")
September Of My Years
Love Me With All Your Heart
Yesterday
If I Were A Rich Man
Help! (from "Help!")

Al Jolson Overseas

 

Whispering/Peg O' My Heart

Al Jolson Overseas
Selections Originally Records for Kraft Music Hall Broadcasts
Decca Records DL 9070
1959

From the back cover: This album is a tribute to Al Jolson's personal contribution to the servicemen of his country. Many, many people (GI's, ex-GI's, up to and including at least one ex-five star general) have asked for such a remembrance. Actually, these songs are taken from the famous Kraft Music Hall broadcasts, since no known recordings of Jolson's front-line performances exist. However, the songs here are the kind of songs he sang; the spirit the kind spirit which which he sang them. This is the very first time these performances have ever been released on records.

Also from the back cover: Al Jolson sang for anyone who would listen.

All America, all the world, for that matter, wanted to listen and he entertained.

Soldiers, sailors and marines, stationed in various corners of the globe – during three wars – loved Mr. Show Business.

A favorite during World War I, his tours in the course of World War II and the Korean conflict that followed, cemented his bond with the GI's.

After Pearl Harbor, he immediately volunteered for war service. Under the USO banner, he worked "the circuit" from Alaska to the Southwest Pacific, and from England to North Africa, India and Brazil. He even went out of his way to give independent shows at out-of-the-way posts, where entertainers seldom, if ever, appeared.

Jolson's tours were officially recognized as having great value. (He numbered among his personal friends Generals Patton and MacArthur.) Jolson truly gave of himself. As it turned out, much more than he realized. He developed malaria, and later, a lung infection that turned into double pneumonia. He eventually lost that lung.

Jolson spent two years recuperating (1943-1945).

With the coming of the Korean War, "GI Al" got his old private's uniform out of moth balls, and again, was on his way. He beat out every other entertainer by paying his own way to Korea to sing for the fellows at the front.

On his return, Jolson admitted that the trip had been tough, that he was weary, but most important, that he had found it fulfilling.

A month after coming back from the Far East, Al Jolson died suddenly.

We all remember him. It's a good bet, however, that the guy's he played for at the battle fronts remember him best of all... standing with his hands on his hips, smiling, hollering: "You ain't heard nothin' yet!"... And then proving it.

As Walter Winchell wrote the day of his death: "Jolson's most essential living quality was his glorious voice – and it well never be stilled." – Burt Korall

At Sundown
Margie
Whispering
Peg O' My Heart
– And Mine
Where Did Robinson Crusoe Go With Friday On Saturday Night
I Wonder What's Become Of Sally
Chinatown My Chinatown
What'll I Do
Medley: My Melancholy Baby/My Blue Horizon
A Fellow Needs A Girl
Hannah In Savannah
I Got Lucky In The Rain
Remember Mother's Day

Tuesday, July 6, 2021

Mac Arthur Park - The Stone Canyon Rock Group

 

Mac Arthur Park

Wild Times

Mac Arthur Park
The Stone Canyon Rock Group
Custom STEREO CS 1124

Mac Arthur Park
Baby Can't You See
Most Of All There's You
Light Show
Gotta Get Rid Of My Old Heart
I Can't Stand It
Wild Times
I Love You, I Do
A Life I've Never Known

Nat King Cole - Camay Records

 

Calypso Blues

Nat King Cole
Camay Records CA 3004 S
1963

Nature Boy
Calypso Blues
The Trouble With Me Is You
Too Young
Route 66
Because Of the Rain
Little Girl
Always You

Saturday, July 3, 2021

Sidney Bechet Jazz Classics - Volume 1

 

Summertime


Sidney Bechet Jazz Classics
With Bunk Johnson & Sidney De Paris
Blue Note BST 81201

From the back cover: It is possible that there is in the world a more famous saxophonist than Sidney Bechet, though I am inclined to doubt it. It is beyond dispute that no other musician has come within wailing distance of him on the particular saxophone of his choice, the soprano, an instrument he has virtually monopolized through most of his life.

Bechet has, of course, a second ax to grind in the clarinet, which he began to play not long after the turn of the century. Born May 14, 1987 in New Orleans, he was six years old when he borrowed his brother Leonard's instrument, and eight when he became a protege of Georgie Baquet, clarinetist with the John Robichaux orchestra. Bechet's career has been so fabulously colorful that it is possible in this brief space to touch only on a few of the highlights.

Bunk Johnson, one of the musicians heard with him on these sides, helped Sidney to get a job around 1912 with the famous Eagle Band of New Orleans. By that time he had gained some teen-aged experience with the local bands of Freddie Keppard, Mutt Carey and Buddy Petit. Before and during World War I he was on tour in Texas and all over the south with Clarence Williams and Louis Wade. After working in New Orleans with King Oliver and in Chicago with Tony Jackson, he migrated to New York in 1919 and joined Will Marion Cook's Southern Styncopators.

This affiliation was one of deep significance for Bechet, since it led to his first European tour, as a featured soloist with Cook's concert unit. There were many more European trips during the 1920s and '30s, once with a Negro revue that got as far East as Russia, and later with the Noble Sissle band, in which Bechet was featured off and on for a decade.

Then, in 1938, came temporary retirement. The music business seemed to offer no substantial future; Sidney settled down with a small tailoring business in New York.

Blue Note Records played a significant role in his slow but sure climb up the ladder from inactivity to newly found global fame. It was after a major record company had refused him permission to record a certain popular song that Sidney cam to Alfred Lion of Blue Note and arranged to cut the tune for this new, independent label.

The tune was recorded in June 1939. Bechet and Blue Note thrived mutually on the success of what was to earn lasting fame as one of the great Bechet performances of all time. The number, of course, was Summertime, now made available again on BLP 1201

The 1940s saw the gradual return of Sidney Bechet to the limelight. There were frequent concerts at Town Hall, in Greenwich Village. Not long after the end or World War II Bechet heard Europe beckoning again. In recent years he has spent most of his time in France and has visited the U.S. only occasionally.

The music to be heard on Blue Note's first pair of 12 inch Bechet LPs covers a wide range of sessions, featuring Bechet's artistry on both soprano sax and clarinet in a variety of settings. Though the personnels vary, the results have one important element in common: they are in the New Orleans groove, with the stamp of the Crescent City in every one of the ensemble improvisations and in the individual styles of the soloists surrounding Sidney.

From Billboard - May 24, 1956 (BLP 1201): This package is great jazz inventory and should be stocked by all dealers with this type of clientele. Converted from 10-inch wax, the disk contains great mood-evoking sides, including "Muskrat Ramble," "Summertime," "Dear Old Southland," etc. In addition to the clarinet and soprano sax of Bechet, there are outstanding trumpet solos by the late Bunk Johnson and Sidney De Paris, piano by Meade Lux Lewis and performances by other noted instrumentalists of the New Orleans school. The sides were gleaned from six sessions and will fascinate any collector.

Muskrat Blues
Blue Horizon
Weary Blues
Summertime
Blame It On The Blues
Milenberg Joys
Days Beyond Recall
Salty Dog
Dear Old Southland
Weary Way Blues

Java - Music Of Mystical Enchantment

 

Side Two

Java
Music Of Mystical Enchantment
Cover Photo and Record Notes: Doreen Powers
Back Cover Photos: Anita Lynn Miller
Album Design: Beau Gardner
Special Thanks to Marcia Eldelman
Lyrichord Stereo LLST 7301

Doreen Powers is an ethnomusicologist, who made these recordings while doing field work in Java in 1974.

Side One

1. Untitled Composition
Recorded in the town of Yogyakarta, this short excerpt from a very lengthy composition, serves to illustrate the typical sound of a small, but traditional Javanese gamelan. This piece, like many other compositions, is sung in an old Javanese poetic language. Although these pieces are generally understood to be about famous epics, myths, and love stories, the average Javanese audience is usually not able to discern the exact meaning of the words being sung. This composition is performed in the slendro scale, patet sanga.

2. Gending Kututmanggung
Also recorded in Yogyakarta, this composition begins with an introduction that includes a male singer and gamelan. The major part of the ending or composition illustrates typical female vocal style, which is highly decorative and nasal. This composition, performed in the slendro scale, patet mayura, is entitled Gending Kututmanggung, meaning "Turtle Dove Sings".

Side Two

1. Gending Anglirmendung
The Gending Anglirmendung is traditional music used to accompany the slow, stylized movements of the classical Serimpi court dance. This highly revered ceremony was at one time only performed in Javanese courts and palaces. More recently, it is being performed for public audiences. The composition, played in pelog scale, patet barang, employs ancient poetical Javanese texts, usually about historical battle scenes. The texts are sung by a mixed male and female choir, known as sinden. The hypnotic effect created by the rhythmic pattern that is repeated throughout the sending, produces a style that is quite different from other Javanese gamelan music.

2. Manggala Gita
This excerpt is part of a lengthy bawa or vocal introduction to the gamelan composition. The song of this partially improvised haha is entitled Manggala Gita. It is a fine illustration of a decorative male voice line performed in traditional, classical style.