Bell, Book & Candoli - Pete & Conte Candoli

 

Pagoda

Night Walk

Bell, Book & Candoli

Pet & Conte Candoli

Dot DLP 3168

1959

From the back cover: Planning a recording artist's second album presents several problems not generally encountered in the first venture. One of these is the simple, basic question: What shall we call it? After a straightforward album named "Elvis Boone Sings," many a fan has been content with a sequel entitled "Elvis Boone Sings Again" or "More Elves Boone." But after Pete and Conte Candoli had extended themselves to surpass their first joint album effort, "The Brothers Candoli" (DLP 3062), it seemed to all concerned that in this case the easy way out would just not do, and that the sequel's title should match in freshness and imagination the performances and arranging ideas contained in the new album.

Luckily, Columbia Pictures signed the Brothers to appear in the movie "Bell, Book and Candle" at about the same time this recording was being planned. It was then no problem for Dot album director Tom Mack, somewhat of an epigrammatist, to hit upon the title as it now stands. One phase of the problem was thus resolved.

Of much more significance, thought, are certain other differences between "Bell, Book and Candoli" and the previous album. One comes from the totally unpredictable, almost magical rapport that can occur in a studio, and which no musical director, A&R man, or engineer can blueprint in advance. Happily, this seemed to take place on these sessions. It can be attributed in part to the stimulating development of each of the Brothers – Conte overlaying his familiar gentle, introspective, delicately-woven style of improvisation with a new certain, a sureness that these notes and this expression were right;  Pete contributing largely through the pacing, balance, and built-in excitement of his writing. He seems to have produces an even greater variety of mood and content in these arrangements and composition than in "The Brothers Candoli." Witness the near-classical impressionism of Pagoda, in contrast to the carefree Night Walk, for example.

The rhythm section is predictably excellent. some mention must surely be made, however redundant to the listener. of the piano artistry of John "Bud" Williams, himself a talented composer and arranger. And Barney Kessel, who appears here through the courtesy of Contemporary Record, is a great contributor to the freedom of the solos, and to the general climate of swingingness. He is also called upon to fill out the orchestration and become, as it were, the third trumpet in concerted passages, in which he manages a remarkable blend with the others. Alvin Stoller is at his tasty-percussion best, and Joe Mondragon alternates with Red Mitchell to provide the perfect fundament. Without benefit of cat, broom, or incantation, the Brothers Candili have invalid their own particular brand of witchcraft and have here wrought exciting miracles.

Boulevard Of Broken Dreams

Pavane

Spanish Carnival

Old Devil Moon

What Is This Thing Called Love

Bell, Book And Candoli

Hey, Bellboy

Pagoda

Night Walk

I May Be Wrong

The Liquidator - Lalo Schifrin

 

The Liquidator

The Killer

The Liquidator

Music Composed and Conducted by Lalo Schifrin

Featuring Shirley Bassey signing the Title Theme

Produced by Jesse Kaye

Engineer: Thorne Nogar

Director of Engineering: Val Valentin

Cover Art: Bob Peak

Cover Design: Acy R. Lehman

MGM Records E-4413 ST

1966

From the back cover: MGM's thrilling spy-spoof, THE LIQUIDATOR, was filmed in Panavision and color on location at Nice, Monte Carlo, Cape Martin, Eden Roc and Antibes. The screenplay by Peter Yeldham is based on the best-selling John Gardner novel published in England in 1964.

Rod Taylor portrays Boysie Oakes, an unassuming British ex-Army sergeant who, during V-E Day celebrations in Paris, inadvertently saves the life of Intelligence Major Mostyn (Trevor Howard). The grateful Mostyn marks down his well-built saviour as a coldblooded killer. Nothing could be further from the truth. Bloodshed upsets him and he loathes violence.

Several years later Mostyn drafts Boysie into the Secret Service for a job as hatchet man. Boysie's assignment: To liquidate security risks whose activities are known but against whom nothing legally can be proved. Boysie also meets Major Mostyn's personal assistant, Iris MacIntosh (Jill St. John), whom he pursues with some success.

Rather than be found out, Boysie tries cunning. He hires a professional assassin, Griffin (Eric Sykes) to do his killing for him, while he and Miss MacIntosh run down to the Riviera for a relaxed weekend. This pathetic attempt to outwit the all-knowing, all-seeing Secret Service, fails. When Boysie arrives in Nice, agents, some from foreign powers, some from Mostyn's office, plunge him into a maelstrom of espionage and intrigue.

Intrigue is followed by counter-intrigue and even counter-counter-intrigue, during the course of which Boysie is kidnapped by the fat, sweating Sheriek (Akim Tamiroff) and his hip-swinging decoy, Coral (Gabriella Licudi), tortured, imprisoned, pursued, and almost killed in a frantic auto chase along a mountainous corniche.

Forced by the pressure of circumstances to perform unaccustomed feats of valor, Boysie, to his own surprise, ultimately justifies the expectations of his benefactor, Major Mostyn. Mostyn, of course, always knew his protegé, THE LIQUIDATOR, was a very special, most extraordinary agent.

Lalo Schifrin is certainly the perfect composer to do the score for this fine film. He has a strong jazz background, and has been most active composing scores for TV and movies. Among his movie credits are: "Once A Thief," "Cincinnati Kid," and two forthcoming films, "Venetian Affair" and "Murderer's Row." In TV he has done music for "The Man From U.N.C.L.E.," "Blue Light," "Wagon Train," and "Bob Hope Presents." He is also doing the score for two current TV hits from this sea- son, "T.H.E. Cat," and "Mission Impossible," and he will do the score for the coming Wolper documentary "The Rise And Fall Of The Third Reich."

SIDE 1

The main title credits roll to the sound of the excit- ing, throbbing voice of Shirley Bassey singing THE LIQUIDATOR. Miss Bassey, one of England's top popular vocalists, is also a favorite on the American side of the Atlantic. Peter Callander wrote the lyrics to Lalo Schifrin's fine music.

When Boysie (Rod Taylor), first enters his plush new bachelor pad, he switches on the phonograph and listens to a sax version of what is later to be- come his "make-out" music, Boysie's Bossa.

The Killer, an Afro-Cuban version of the main theme is heard under a series of scenes that show Boysie's accomplices hard at work, liquidating. Bikini-clad nymphs prance around a French Riviera Hotel swimming pool to the strains of Bikini Waltz.

The Bird blares out of a Cafe juke box. Featuring trumpet, trombone, and steel guitar, it is a driving, funky, rock-soul tune, laced with Latin-American inflections.

Casino Rhapsody. Gypsy music, sobbing violins. Lalo has fun with this.

SIDE 2

Carry On is Schifrin's jazz version of THE LIQUIDATOR theme. It is introduced by Tubby Hayes playing a lighthearted flute solo as Boysie grimly goes through the spy training bit.

While Boysie waits impatiently at home for the arrival of Iris, (Jill St. John), Schifrin's piano, backed by violins, evokes a mood as feminine and provocative as a see-through nightie.

Riviera Chase. Dispersing the romantic Iris mood, pulse-pounding reeds and brasses depict Boysie gunning his sports car over narrow, winding corniche roads in an attempt to escape his pursuers. Boysie is making love to a beautiful girl in his apartment, while the flute version of his favorite music, Boysie's Bossa, comes from his favorite mechanical invention: the phonograph.

Tilt has a wide-open, 40's big-band sound. Our hero plays this record to entertain Jill St. John. Shirley Bassey sings a tender version of THE LIQUIDATOR (My Liquidator) over the closing screen credits.

The Liquidator 

Boysie's Bossa

The Killer

Bikini Waltz

The Bird

Casino Rhapsody

Carry On

Iris

Riviera Chase

Boysie's Bossa

Tilt

The Liquidator

Sole Forms - Brooks Arthur Ensemble

 

Sole Forms Parts 1 & 2

Sole Forms

Brooks Arthur Ensemble

Arranged and Directed by Garry Sherman and Fred Karlin**

Produced by Creed Taylor

Cover Design: Michael Malta

Cover Art: Marie Jones

Director of Engineering: Val Valentin

Recorded February 25, 1966 at Van Gelder Studios, Englewood Cliffs, New Jersey

Verve V6-8650

1966

Garry Sherman and Fred Karlin - Leaders

Art Kaplan (soloist) - Flute & Alto Flute, Tenor & Baritone Saxophone, Clarinet, Ocarina

Ray Beckenstein - Flute & Alto Flute, Piccolo, Clarinet

Joseph Grimaldi - Bassoon, Flute & Alto Flute, Bass Clarinet

Jimmy Buffington - French Horn

Eugenie Dengel - Viola

Harold Kohon - Violin

Andrew Svilokos - Violin

Bernie Leighton (soloist) Piano, Organ, Harpsichord, Electric Clavichord

David Morre - Cello

Richard Davis - Bass

Bill Suyker - Guitar

Grady Tate - Drums

Artie Butler - Percussion

Miriam Workman - Voice Obligatto

From the inside (gatefold) cover: The wall between classical and popular music didn't fall when Rachmanioff inadvertently wrote "Full Moon And Empty Arms". The fact is, there never was a wall; it's just that our memories don't reach as far back as our prejudices. You don't have any prejudices? Good: you'll enjoy what's going on here.

The whole idea of infusing the music of a particular period with the motifs of an earlier one goes back to antiquity. Later picked up the Latin Psalms, Mendelssohn picked up Luther picking up the Latin Psalms. The Medical German minnesingers picked up Gregorian Chant, the Lowland composers picked up the minnesingers, and Carl Orff picked up the works and blew it in the air like confetti with his deliciously irreverent "Carmina Burana". Brooks Arthur had somewhat the same thought – though admittedly in a distinctly lighter vein – when he first conceived the present album. Its original title was "Herod Forms" which, in a way, is a better clue to his aims. The point was to underscore the universality of music by putting different periods – Baroque, Classical, Romantic, Jazz – through a blender, to show how elements of one can straighten and reinforce the ideas of another. To this end he brought in arranger Garry Sherman (*) and Fred Karlin (**), and set them loose on a collection of standards and classics. They're listed above with a dutiful (*) or (**) next to each. There weren't any rules – except, perhaps, that this was to be a quest after the spirit of things, rather than a superficial cloaking of classics in jazz garb. For the most part, Garry sought out the elements of jazz in the classics, and for the most part, Fred drew standard tunes into a Baroque atmosphere – but there was a good deal of crossing of lines. The two-movement title number that starts off side two, for instance, is a Garry Sherman original, best described as a Baroque improvisation by a 20th century jazzman. And was it coincidence that worked scare of "Yesterdays" into the fabric? To complete the line-crossing picture, Fred Karlin has re-discovered for us a delightful, but ancient and very nearly forgotten harpsichord sonata by Seixax (José Antonio Carlos; b. Coimba, Portugal, June 11, 1704; d. Lisboa, August 25, 1742; organist, harpsichordist, composer; pupil of Domenico Scarlatti). As we said, there weren't any rules. How could there be when the first movement theme of Beethoven's "Moonlight Sonata" is coming out of a combo consisting of piccolos, wordless chorus and an electric clavichord? This "Moonlight", by the way, is a marvel of musical caricature.

Here is Soul Forms". It's something different. Brooks, Garry and Fred did their level best, and they hope you like the results as much as I did. – Chuck Briefer

Chopin's Fantasy*

My Ship**

Beethoven's Moonlight Sonata*

Moon River**

How Insensitive (Insensate)*

Sole Forms (Part 1)*

Sole Forms (Part 2)*

Once Upon A Summertime*

When I Fall In Love**

Stardust**

Seixas' Piano Sonata**

Bermstein: Backgrounds For Brando

 

Julius Caesar

Bernstein: Backgrounds For Brando

Dot DLP 3107

1958

From the back cover: Elmer Bernstein, who here conducts the music of noted film composers, is himself a distinguished writer for the medium. His own motion picture scores include an Academy Award nominee, "The Man With The Golden Arm"' "Desire Under The Elms" (Dot album DLP 3095), and the epic "The Ten Commandments" (Dot album DOP 3054-D). The versatile and youthful Mr. Bernstein, who is also an accomplished pianist, is equally at home in the popular and classical fields, and his achievements in both are indeed notable.

Sayonara - Katsumi Theme - Franz Waxman

On The Waterfront - Love Theme - Leonard Bernstein

Viva Zapata - Serenata Mexicana - Manuel M. Ponce

The Men - Love Like Ours - Dimitri Tiomkin

Guys And Dolls - Fugue For Tinhorns - Frank Loser

A Streetcar Named Desire - Blanche - Alex North

The Teahouse Of The August Moon - August Moon - Saul Chaplin

Desiree - The Song From Desiree - Alfred Newman & Ken Darby

Julius Caesar - Brutus' Soliloquy - Miklos Rozsa

The Wild One - The Blues For Brando - Leith Stevens

Experiment In Terror - Henry Mancini

 

Nancy

Experiment In Terror

Music Composed & Conducted by Henry Mancini

Album Produced by Dick Pierce

Recorded at RCA Victor's Music Center Of The World, Hollywood, California

Recording Engineer: Al Schmitt

RCA Victor LPM-2442

1962

From Billboard - April 21, 1962: The Man With the Golden Tone Arm, Henry Mancini, has done it again. His new score for the suspense film starring Glenn Ford and Lee Remick is dramatic, driving and highly effective. It reflects many moods ranging from exuberant Twist-tempo items (best of which is "Tooth Twist") to the haunting title theme and poignant ballad, "Nancy." A sock sound-track package.

Fluter's Ball

Tooty Twist

Kelly's Tune

Golden Gate Twist

The Good Old Days

Experiment In Terror (Twist)

Experiment In Terror

Nancy

Down By The Wharf

Teen-age Hostage

White On White

Final Out At Candlestick Park

The Connection - Cecil Payne

 

Mighty Fine Wine

New Original Score

From The Off-Broadway Hip Success

The Connection

Composed by Ceil Payne and Kenny Drew

Conducted by Ceil Payne

Produced and Directed by Aubrey Mayhew

Cover Design: Blaise Art Studio, Inc.

Recorded RCA Victor Studios - New York City - March 14, 15, 16, 1962

Engineer (RCA): Bob Simpson

Charlie Parker Records

STEREO PACT! PLP-806-S

1962

Cecil Payne - Performing with A Le blanc "Noblet" Baritone Saxophone

Clary Terry - Trumpet

Bennie Gree - Trombone

Duke Jordan - Piano

Charlie Persip - Drums

Ron Carter - Bass

From the back cover: "The Connection" (or, "The Funky Junkie") is an off-Broadway avant garder belt in the senses, one of the must controversial stage works ever produced.

"A play with jazz," it opened in New York City on July 15, 1959, at the Living Theater on Sixth Avenue near 14th St., and at first its chance to become part of the repertory there seemed slim. Favorable reviews like Jerry Tallmer's in "The Village Voice" were scarce: "I dissent most vigorously from the dispraise for "The Connection." He prayed the show could be kept alive "until word-of-mouth overcomes the worst efforts of the (second-string, summertime) daily reviewers." Middle-grounders like Richard Watt, Jr., following up a subordinate's critique in "The New York Post," were also rare: "...frequently dull, generally naive, but it has a fascination." But "The New York Times'" Louis Calta spoke for the majority of opening night critics when he wrote: "...a farrago of dirt, small-time philosophy, empty talk and extended runs of 'cool' music."

The story, directed by Judith Molina, tells of a group of dope addicts expanding in semi-improvisational fashion in a loft, while awaiting the arrival of their heroin "connection," who is called "Cowboy."

The music was causing talk, too, because perhaps for the first time in any production progressive jazz was being used to advance the dramatic intent. Word-of-mouth was working and the repertory system kept it alive for a couple of month, when excellent reviews in the weeklies began to hype business.

The rest if almost legend. In June, 1960, "The Connection" received "The Village Voice's" coveted Obie as Best Production of the Year, author Jack Gelber was given one for the Best New Play and Warren Finnerty, who played Leach, was named Best Actor of the Year. The play was also turned into a movie. since then the show, with two other plays, became off-Broadway's first troupe to tour Europe – Italy, France, Germany and Greece. And immediately after recording this album of music from "The Connection," the company went overseas again.

Cecil Payne, the lead musician who composed this new score with Kenny Drew, recorded here on Charlie Parker Records for the first time, has worked with Patti Page, Miles Davis, J.J. Johnson, Dinah Washington and Dizzy Gillespie. His music is different from that originally used in the same area of deep feeling so as not to throw the actors off track. While four musicians play in the show, six have been employed for this album to give the score a richer, fuller sound.

So here is the music from "The Connection." Like the play, it will excite mixed emotions; but it is certain to EXCITE!

The connection has been made. – Douglas McClellan - Associate Editor, "Music Vendor"

From Billboard - August 18, 1962: This is the new music from "The Connection." These tunes were used for the improvisational interludes on off-Broadway over the past year. Cecil Payne and Kenny Drew are the composers and Payne is featured as soloist along with Duke Jordan, Clark Terry, trumpet, and Bennie Green, trombone. Most of this set is in up and middle tempos, but there is an abrupt snap with the blues-touched "Born Again." Other good tracks are "Mighty Fine Wine" and "Stop And Listen."

Stop And Listen

Born Again

Dear People

Kenny's One

Sister Carol

Might Fine Wine

It's Your Life

I Spy - Earle Hagen

 

U.S.A

Music From The Television Series

I Spy

Composed and Conducted by Earle Hagen

*Composed by Earle Hagen and Gene Less

** Composed by Hugo Friedhofer

Produced by Lex De Azevedo

Capitol Records ST 2839

1968

U.S.A

I Spy

Over The Wall

Mexico

Montezuma's Revenge 

Greece

Islands In The Sea

The Golden Age

The Voice In The Wind*

Italy

To Flornce With Love**

Sophia

Japan

Rots Of Luck

There's No Escape

Spain

Domingo

The International Set

For The Night People - Julie London

 

I Got It Bad

Julie London 

For The Night People

Producer: Calvin Carter

Arranger: Don Bagley

Art Direction: Woody Woodward

Cover Photographs Courtesy of Color-Sonics, Inc.

Engineer: Joe Sidore

Liberty LST-7478

1966

From Billboard - October 29, 1966: Julie London's husky voice is ideally suited for Don Bagley's slow, easy arrangements of standards like "I Got It Bad," "Dream" and "Am I Blue?" Miss London creates a mood tailor-made for a bachelor's will gathering. The mood is mellower and the sound is sensuous.

Won't You Come Home Bill Bailey

I Got It Bad (And That Ain't Good)

Saturday Night (Is The Loneliest Night In The Week)

God Bless The Child

Am I Blue?

Dream

Here's That Rainy Day

When The Sun Comes Out

Can't Get Out Of This Mood

I Hadn't Anyone 'Till You

I'll Never Smile Again

Lucy In The Sky With Diamonds - The King's Road

 

Lucy In The Sky With Diamonds

Kung Fu Fighing

Lucy In The Sky With Diamonds

Performed by King's Road

Pickwick SPC-3509

1974

Lucy In The Sky With Diamonds

Kung Fu Fighting 

Longfellow Serenade

One Man Woman/One Woman Man

Junior's Farm

Only You

Laughter In The Rain

When Will I See You Again

Everlasting Love

Memories Of Hank Williams

 

You Better Keep It On Your Mind

Memories Of Hank Williams

Vocals by Delbert Barker and His All-Stars

Hollywood Records LPH 18

1956

You Win Again

You're Just In Time

Honky Tonk Blues

You Better Keep It On Your Mind

Kaw-Liga

Your Cheating Heart

A Mansion On The Hill

Weary Blues For Watin'

I'll Never Get Out Of This World Alive

I Could Never Be Ashamed Of You

Jambalaya (On The Bayou)

Window Shopping

A Horse Without Love

I'm So Lonesome I Could Cry

Baby, We're Really In Love

I Can't Help It (If I'm Still In Love With You)