Moscow Jazz '65 - Youth Ensemble

 

Jazz '65

Jazz '65

Moscow Youth Jazz Ensembles

Melodiya USSR Records Firm

Stereo C 01159-60

Moscow Youth Jazz Ensembles

V. Kull's Quartet

Vladimir Kull - piano

Alexei Kuznetsov - Guitar

Vladimir Smolianitsky - bass

Alexander Salganik - drums

Evening Song (V. Soloviev-Sedoi)

G. Garanian's Sextet

Georgi Garanian - alto-saxophone

Alexei Zubov - tenor saxophone

Konstantin Bakholdin - trombone

Victor Prudovsky - piano

Adolf Stanovsky - bass

Alexander Goretkin - drums

In The Folk Style (U. Naissoo)

Ballad (G. Garanian)

When There Is A Lack Of Technique (K. Bakholdin)

I. Brill's Trio

Igor Bril - piano

Alexei Isplatovsky - bass

Vladimir Zhuravsky - drums

That's How I Want  You To Be (A. Fliarkovsky)

Horse-riders (V. Zhuravsky)

Awakening (I. Brill)

Yu. Chugunov's Quintet

Yuri Chugunov - tenor saxophone

Vladimir Arefiev - guitar

Sergei Berezin - piano

Byacheslav Rakhmattulin- bass

Gennadi Lebedev - drums

Waltz (Yu. Chugunov)

V. Prudovsky's Trio

Victor Prudovsky - paino

Adolf Satanovsky - bass

Alexander Goretkin - drums

Don't Be Blue (V. Muradeli)

From the back cover: This is a recording of the best performances by Moscow youth jazz ensembles which appeared at the "Jazz '65" Festival held under the auspices of the USSR Composer's Union and Moscow City Komsomol Committee in April 1965, at the "Yunost" Concert Hall. The Festival was a great creative assembly of performers, musicians  and young people of Moscow. The jury headed by composer Vano Muradely, included prominent Soviet composers, music critics, variety orchestra conductors, and representatives of Moscow Komsomol. The entrants demonstrated a great diversity of styles – from the traditional to the most up-to-date jazz. More than half of the pieces performed were original compositions of the participants. Another important showcase for the Festival are many improvisations on themes of popular tunes by Soviet composers. Young participants demonstrated vivid gifts, great enthusiasm and original ideas in arranging and performing jazz. In addition to many professional musicians and students of music who took part in the Festival, a good number of students of technical schools, engineers and scientist also performed.

Vladimir Kull's Creative personality is reflected in the style of performance of his quartet. Kull's play is usually light and melodically lyrical. The guitarist Alexei Kuznetsov is a versatile musician noted for his particularly skillful handling the instrument. He has been working for quite some time in the USSR Radio Variety-Symphony Orchestra. Rhythmically diverse lively accompaniment is proved by Vldimir Smolianitsky (bass) and Alexander Salganik (drums). Like Kull, both of them are engineers by profession and have won popularity at the youth club-cafes "Romantic" and "Blue Bird". This troop is known for its partiality for dance rhythms. The record presents a bossa-nova version of V. Soloviev-Sedoi's "Evening Song" arranged by V. Kull.

Jazz fans have long been devotees of Georgi Garanian's Sextet. In 1957, Garanian, Zubov, Bakholdin and Goretkin (then students of technical colleges and members of the orchestra under composer You. Saulsky) performed to win silver medals at the International Jazz Contest during the Sixth World Youth Festival. Later Garanian, Zubov and Bakholdin became leading musicians in O. Lundstrem's orchestra; they frequently appeared on the air and made recordings. For the "Jazz '65" Festival they got together with Prudovsky's trio. All the members of the sextet are brilliant musicians and their performance is marked by brilliance, diversity of moods and harmony. This equally applies to U. Naissoo's unusual set "In The Folk Style", Garanian's deeply emotional, moody "Ballad" and Bakholdin's full of humor, virtuoso "When There Is A Lack Of Technique". Alto saxophone Garanian is a gifted arranger whose jazz experience proved him authority in this sphere; his virtuoso improvisations are always interesting in form. Alexei Zubov, tenor-saxophone, is known for his energetic, emotional improvisations; with hie fine sense of swing, he is able to play with equal success in small and large groups. Trombonist Konstantin Bakholdin wins over audiences by his temperamental style of performance and creativity.

The young pianist Igor Brill's Trio has been performing for several years. This is a well-knit gourd whose members are talented composers and arrangers of popular voices by Soviet Composers. Recorded are the jazz arrangement of A. Flarkovsky's song "That's How I Want You To Be" performed by I. Brie, quick rhythmic piece "Horse-riders" composed by V. Zhuravsky, and I. Bril's composition "Awakening" reflecting the main tendency of the trio. Igor Boil is a graduate of the Moscow Conservatory Music School. His performance is marked by nobility, lyricism and fullbodied tone. Alexei Isplatovsky (bass) is a student of Moscow conservatoire; resourcefulness  and fine, rich sonority are characteristic features of his solo efforts. Vladimir Zhuravsky is the most experience performer of the three, with many years of concert activity behind him. His energetic, diverse rhythms are an interesting contrast to the lyrical technique of the pianist.

Yuri Chugunov's Quintet is comparatively young even though most of its members have been playing jazz for some time. Their style is marked by soft, calm lyricism and is an example of "cool jazz". Chugunov has been playing the saxophone for over six years; he makes arrangement and original jazz compositions. Recorded is his thoughtful, slightly sorrowful "Waltz". All the other members of the quintet are amateur musicians, Guitarist Vladimir Arefiev and pianist Sergei Berlin are engineers, while Vyacheslav Rakhmattulin (bass) and Gennady Lebedev (drums) are college students. All of them were frequent performers at the "Sail" youth club.

Also included is an arrangement of V. Muradely's popular "Don't Be Blue" set by pianist Victor Prudovsky for his jazz trio. Victor is a young pianist whose energetic style and musicianship make the listener follow intently the development of his effective improvisation. Two other members of the trio are Adolf Satanovsky, an experienced bass player with an excellent feeling for ensemble, and Alexander Goretkin (drums), a temperamental and sensitive musical. The fine cooperation of the three in providing steady beat and vivaciousness contribute greatly to the trio's success.

Tahitian Paradise - Eddie Lund

 

Hypocrite D'Amour

Tahitian Paradise

Mutiny On The Bounty Drummers

Eddie Lund And His Tahitians

Composed and Arranged by Eddie Lund 

Cover Photo and Design: Frank Gauna

Liner Design: Joe Lebow

Recording Engineer: Jim Walters

ABC-Paramount ABC-444

1963

From Billboard - March 23, 1963: Each year many, many Polynesian-flavored albums appear, but here's one that stands out a bit over the rest for its authentic flavor, good vocal performances in the traditional manner, and fine ukulele, guitar and percussion backing. The tunes include a Tahitian-styled rock and roller, a cha-cha, and many with strong folk flavor of the Islands. Set has good sound and a legitimate ring.

Manea (Rarotonga Love Song) - Loma with Eddie Lund & His Tahitians

Directly translated as "You're Lovely," this is a romantic ballad of Rarotonga, one of the Cook Islands

Hypocrite D'Amour (Love's Hypocrite) - Lafine with Eddie Lund & His Tahitians

A typical Tahitian conception of Rock 'n' Roll

Na Te Monan (You Came To Me From The Sea) - Loma with Eddie Lund & His Tahitians

The current No. 1 hit song in Papeete.

E Piko (Sleep, Sleep) - Eddie Lund & His Tahitians

A charming lullaby from the Low Islands, telling the child that all his dreams will come true when he awakens.

Oriori Cha Cha Cha (Come Cha Cha Cha With Me) - Eddie Lund & His Tahitians

This is a typical Tahitian version of the Cha Cha.

Adieu Cherie (Farewell, My Love) - Eddie Lund & His Tahitians

The traditional Bora Bora song of parting

Tiare Taporo (Line Blossoms) - Mutiny On The Bounty Drummers

The Mutiny Drums take the featured role on Tiare Tapora, a typical Tahitian dance.

Ohio E (Lonely Shellfish Of The Shore) - Eddie Lund & His Tahitians

An ukulele solo is the highlight of this beautiful instrumental.

Ueue (Shake It Up) - Mutiny On The Bounty Drummers

The Mutiny Drums render another typical dance of Tahiti.

Oriorio E (Ancient Chant Of Bora Bora) - The Bora Bora Ceremonial Singers

Actually recorded recorded in Bora, Bora, with native singers and drummers.

Taviri (Whirling) - Mutiny On The Bounty Drummers

A Tahitian dance routine by The Mutiny Drums.

Ua Ama Te Mori (Light In The Window For Papa) - Eddie Lund & His Tahitians

Instrumental, featuring the Tahitian mandolin. Ua Ama Te Mori is one of the currently popular songs or Tahiti.

Mati (Strike A Match) - Mutiny On The Bounty Drummers

A Bora Bora dance, depicting the striking of a match.

Kirahu E (The Kirahu Bird) - Eddie Lund & His Tahitians

The instrumental featured in the Lesser release, Noa, Noa, the story of Paul Gauguin.

Penu (Stone Hammer Dance)

The penu is the Tahitian stone vessel used for preparing native foods. This is a Bora Bora dance, describing the pounding of roots for a native feast.

Place Pigalle - Stanley Black

 

The Sea

Place Pigalle

Stanley Black and His Orchestre Montmartre

London Records LL 1742

1957

From the back cover: Stanley Black is a master hand at setting the mood and the place of his music. He is especially well-known for his authoritative playing and recording of Latin American music – equally successful have been the fine swinging albums he has made such as the three albums featuring the music or Richard Rodgers, Irving Berlin and Cole Porter. You can be absolutely certain that Black's tours are the best organized in the world.

His long career as a professional musician is well-known. It all started with piano lesson at the Matthay School of Music in London from which he progressed to musical composition in one easy step. At twenty-three, he broke into the highly competitive world of film-music with a contribution to "Rhythm Racketeers" released in 1936. This association with the world of film music continues right up to the present and even into the future. When the current soundtrack is complete he will have 50 to his credit, including the recent "These Dangerous Years" and "Vicious Circle." On the way, at the time of writing are two more film-scores and a series of films for commercial TV.

Even during the war the musical career continued. Although Stanley was quick to volunteer his services as a soldier, it was considered that the most valuable contribution he could make would be in entertaining the Forces and this he did throughout his spell in the R.A.F. After his release, he free-lanced for a while and then became conductor of the B.B.C. Dance Orchestra, an appointment which lasted until 1952. During this time he appeared in the 1951 Royal Command Performance.

Broadcasting, television, films, records, composing, conducting, playing the piano – all these are at his fingertips and in each he is top of his profession, and always moving with the times. Not only in Britain, but in America as well, he is one of the most popular figures in light music today. – Peter Hammond

From Billboard - December 2, 1957: Another in London's far-ranging armchair tours of famed tourist attractions conducted by Black. This one skillfully captures the mood and sounds of Montmartre with fresh instrumental arrangements of Parisian favorites like "At Last," "C'Est Is Bon," "J'Attendrai," etc. Should do nicely with Francophiles, altho the mood music field is especially heavy with this kind of romantic fare. Sound is big and well-balanced, and the "Apache" cover will look well in displays.

Domino

Why Do You Pass Me By

At Last, At Last

Autumn Leaves

C'est Si Bon

The Sea (La Mer)

Waltz Of Paree

Chez Moi

Boom!

Mademoiselle Paree

When The World Was Young

J'Attendrai (Au Revoir)

Song Stylist Extraordinaire - Valerie Carr

 

Lazy Afternoon

Valerie Carr

Song Stylist Extraordinaire 

Orchestra Conducted by Glenn Osser

Produced by Hugo & Luigi

Cover Photo: Desmond Russell

Roulette R 25046

1958

From the back cover: The lady's name is Valerie Carr, but you needn't worry because after hearing what the lady has to say in terms of words and music, it isn't likely that you will be forgetting her name.

Valerie Carr is one of those once-in-a-lifetime singers, a girl with a natural talent and flair for making you feel as though the song had been written with you in mind. She gives every note its due respect and proper place and every word is treated with utmost care, diction and full meaning. Valerie Carr many be young in years, but in this album she practices an ancient art of hypnotic ways, an art that is seldom managed through the medium of song. There is in the background a lush string accompaniment rendering a smooth and perfectly fitted arrangement, but up front at all times there is always Valerie giving out with trust the right turn of phrase and just the right tremor in her voice. She sobs, purrs, coos, is sometimes mellow, and at other times outstandingly clear. Her rendition of "Over The Rainbow" is overpowering; it completely stuns you. Her approach to some of the other standards in this set is a reversal of this and at times rather an understatement.

To turn the clock back for a moment, it wasn't by any quirk of fate of some unique accident that Valerie Carr quit playing classical piano and began singing. It would make a nice story, but it didn't happen that way. It was all very simple. On day, not too long ago, Valerie decided that she would klide to try her hand at singing. She started right in working local clubs in Boston and, in just this manner, a new career was under way.

Valerie Carr was born in New York twenty-two years ago. She lived a normal school girl's life attending the High School of Performing Arts. After finishing high school, Valerie decided to leave the environs of her home, and make her own way in the world. She had friends in Boston and went there to live. It was while she was in Boston that she made the overnight decision to quit classical piano for a professional singing career. She studied voice with Lee Daniels, who is connected with the Berkeley School of Music and almost simultaneously began taking singing jobs.

Following this, Valerie decided that to further her singing aspirations, she would do better to move back to New York. The move proved to be the most important one in her life. She started making demonstrations records of songs so that the recording directors at the various labels could hear the songs to best advantage. One of the songs, "So Goes My Love," was brought to the attention of Hugo Peretti and Luigi Creatore, A&R Directors for Roulette Records. The A&R team liked the song and the voice, but thought the two didn't go together. They recorded "So Goes My Love" with Frankie Lemon and signed Valerie to an exclusive recording contract. The contract remained on file for months and Valerie was deep waiting. Hugo and Luging were waiting too; they were waiting for the right song. "You're The Greatest," Valerie's first release off Roulette was the song they were waiting for. Her second release for the label was a song entitled "When The Boys Talk About The Girls," which reached all the best seller lists and really entrenched Valerie as an up-and-coming name.

This album should o even further in winning new followers for Valerie Carr. In it she takes a fling at some wonderful, well-loved evergreens such as "My Funny Valentine," "I'm Glad There Is You," the immortal Victor Young classic, "When I Fall In Love" and the Jerome Kern gem, "They Didn't Believe Me."

Valerie Carr, song stylist extraordinaire, has recorded a remarkable warm and pleasing album. It will surely take its place as a favorite in your record collection.

From Billboard - November 3, 1958: The chick who has had a couple of good selling singles displays an emotion-charged voice on these sides – made up of standards as "I'm Glad There Is You," "They Didn't Believe Me," "My Funny Valentin," etc. Background is lush with strings and captures a mood.

I'm Glad There Is You

Make The Man Love Me

Try A Little Tenderness

They Didn't Believe Me

Lazy Afternoon

Over The Rainbow

Time After Time

My Funny Valentine

I Got It Bad And That Ain't Good

When I Fall In Love

In The Wee Small Hours Of The Morning

Jazz Kaleidoscope - Blue Ribbon Jazz Stars

 

All Blues

Jazz Kaleidoscope

The Blue Ribbon Jazz Stars

Blue Ribbon by Premier BRM-7006 Hi-Fi

Line For Lyons

Jumpin' With Symphony Sid

Groovin' High

The Preacher

Christopher Columbus

Whisper Not

C Jam Blues

Scrapple From The Apple

All Blues

Swinging The Blues

Shing Along With Ush - Don Costa

 

Toot Toot Tootsie

Shing Along With Ush

Don Costa and His Freeloaders

Produced by Don Costa

Cover Design by Bacon-Braefren-Lewine

Photo by Marvin Sokolsky

United Artists Records UAL 3074

1960

From the back cover: This record is the result of some people saying "Let's get together and have a party," – a real party. One where everyone could be completely relaxed and everything directed toward having fun. That required a place big enough to hold all the people to  be invited and isolated enough for everyone to make as much noise as wanted without disturbance. The merrymakers chose 150 year old Bruno's Inn in Spark Hill near Nyack, N. Y. They took the place over, literally – moving out all the chairs and the innkeeper, and invited as many people as the barroom could hold.

As with every good party, everyone arrived in the mood for one. Busloads full of people emptied into Bruno's old barroom. All kinds of people showed up. Tired city folks who never get the country air. Country folk who get tired of taking trains to the city for a night out, suburbanites, secretaries, company executives, and several gentlemen farmers.

Tables were piled high with good food – none of that insubstantial hors d'oeuvre stuff. There was spaghetti, miles and miles of it, huge pots of home-made sauce and Italian meat balls, roast beef and big bowls of salad, with stacked loaves of garlic bread. And, of course, the best of barroom beverages in properly huge quantities was available to enhance the taste of the food.

As the evening grew warmer, so did the resellers. There is something about knowing that there is no limit on the noise level that makes everyone try a room out for sound. Barbershop quartets formed in various parts of the room, musical instruments were pulled out by home-practicing musicians made brave by the warm atmosphere, and an energetic few attempted a jig. Those merrymakers who couldn't carry a tune, lifted their voices anyway. As the innkeeper's beverage stock went down, the party spirit went up.

By the high point of the evening, the steppers calmed down, the quarters united and everyone began to sing the same thing at the same time. Nostalgia filled the air, and they sang all the old familiar melodies. the best of them are reproduced here with all the party sounds left in.

As you can surely guessed by now, this is a perfect record to play at your own party. The warmth and fun at Bruno's is alive on the record ready to blend with your own party sounds. The singing is infectiously in tune (as sometimes happens with groups of non-singers). It is the kind of record which encourages singing along with the songs are those which the old remember and the young have learned.

It's not necessary to be in good voice either, indeed, it's better if the voice is slightly beery – otherwise, you might cramp the style of the broom bass sitting in the next seat and ruin the spirit of the party

Goody Goody

Makin' Whoopee

If You Knew Susie

Moonlight And Roses

Toot Toot Tootsie

Heartaches

April Showers 

Little Girl

Dream

It All Depends On You

I'll Be Seeing You

Now Is The Hour

Noro Morales At The Harvest Moon Ball

 

Mucho Dinero

Noro Morales and His Orchestra

At The Harvest Moon Ball

Cover Photo: Lester Krauss

Forum SF 9013

1958

From the back cover: Very few Latin-American orchestras and personalities have been able to maintain the reputation and popularity that Noro Morales and his orchestra have over the past years. Whenever the names of great Latin-American music first became popular in America, it was Noro Morales who was among the first of the big orchestras to gain national following and prestige by playing this type of music. The Morales orchestra has played everywhere, in every well-known theater, dance ballroom and nightclub in America. There is, however, one annual event that the Noro Morales orchestra has been request to play for year in and year out of the past eleven years. This special event is the Harvest Moon Ball.

The Harvest Moon Ball which takes place each year in September in New York City has, over these many years, become one of the most anxiously awaited affairs to be held in any city in America. This celebrated occasion beckons countless avid amateur dance enthusiasts to step forward and exhibit, in highly competitive contests, their terpsichorean capabilities. For any dancer, the Harvest Moon award is a coveted honor which they all seek. Sponsored by the New York Daily News, for charity, it is truly a colorful and entertaining festival, and one of the most popular civic affairs in this great metropolis. 

It seems only natural that the music played at the harvest Moon Ball be etched between the covers of an album, and it is equally natural that this music by played by Noro Morales and his orchestra. The Morales orchestra; continued appearance at this dance festival has become as much a part of this institution as the dance contest itself. It just wouldn't be a Harvest Moon Ball without Nor Morales and the orchestra.

Shine On Harvest Moon

Vuelve

Mucho Dinero

Coffee Break

Come To The Mardi Gras

La Cumparista

Waltz Medley: Spring Beautiful / Villa / My Hero

Ven

Morena

No Agite

A Los Muchachos

Mr. Ghost (Goes To Town)

When Day Is Done

First On Wax - Jimmy Palmer

 

C-Note By Two

First On Wax

Featuring Jimmy Palmer and His Hi-Fi Orchestra

Mercury Records MG 20191

1957

From the back cover: Mercury-Records takes great pleasure in presenting to you on this Long-Playing recording, one of the finest dance bands in the country, led by a man who follows the music trend for his popular appeal – Jimmy Palmer and His Hi-Fi Orchestra. Jimmy Palmer, who long has been a favorite in the dancing circles around the country, has found himself a new and intriguing style which he calls his "Hi-Fi Orchestra." The sound is an exciting, toe-tapping, danceable one that is bound to hit the jackpot. The new band is composed of four saxes, flour trombones, three trumpets, and three rhythm, plus Jimmy himself.

Jimmy Palmer, never known for wasting time, got started in show business at the grand old age of six, when he started to sing and dance professionally. The majority of his early career was devoted to dancing, later he switched to singing, and eventually he became a musician and band leader. He studied dancing under the famous New Wayburn, and after graduation, went on the road professionally, until he finally opened his own dance studio in Pittsburgh. His clientele grew until his school was one of the best in the entire area. While doing this, he won a Paul Whiteman "Youth Of America" contest as a vocalist, and was given, as a result, his own radio show over KDKA in Pittsburgh. While on the air, he was heard by Dick Stabtle who at the time needed a substitute for his ailing vocalist. Luck was with Jimmy again, and what was to be a short-term job turned out to be a permanent booking. Jimmy stayed with the Stabile unit until his name became known across the country, and then he sang with such units as Blue Barron, Les Brown, Lou Breeze and Bobby Byrne. Jimmy later returned to the Stabile orchestra and when Dick Stabile left for the service, Jimmy took over the band. In April 1944, Jimmy formed a band of his own, and his life-long ambition was finalized. His career from that point on is now part of the legend of show business. He currently rates as one of the most versatile band leaders in America for he plays, sings and dances, and has won the hearts of dancers the nation over for his unique styling and danceable musical point well taken when the band hits the stand.

A New Pair Of Shoes

Air Mail Special

Summit Ridge Drive

You Are Too Beautiful

Robin Hood

It's All Right With Me

Baubles, Bangles And Beads

Spring Is Here

Peanut Vendor

What A Difference A Day Made

Pennies From Heaven

C-Note By Two

Aloha Darling - Leilani Beach Boys

 

Silhouette Hula

Aloha Darling

Leilani Beach Boys

Clarion Records 619

1965

Aloha

Ta-Hu-Wa-Ha-Ha

Silhouette Hula

Mapuana

Farewell

Lovely Hula Girl

Papio

Pjamanal Sea Breeze

Lovely Miss Laughing Eyes

Vana Vana

An Evening With Shearing - George Shearing

 

Mambo Inn

An Evening With Shearing

George Shearing and His Quintet

MGM Records E3122

1954

From the back cover: George Shearing was long known as "Britain's Plenipotentiary Ambassador of Jazz To America". But, the title has become a bit passeé! George didn't come by diplomatic pouch; he wasn't lent us; nor was he leased. He's here in America to stay – and his millions of fans on this side of the Atlantic have hailed a new adopted son. George and his family have settled on a delightful little farm in upper New Jersey and, to all reports, the Americanization of the talented Mr. Shearing is not limited to musical idioms alone. But, let's begin where we should –

George was born George Albert Shearing in London, England on August 13, 1919. He was born totally blind and most of his education was gained at the famous Linden Lodge School For The Blind. Luckily, his training included music lesson, and the piano was soon George's chosen instrument. Most of his musical instruction was through the near-miraculous Braille method. Since most of the Braille musical materials available to him was classical in nature, he gained a thorough background in serious music and a solid technique. Both are easily spotted in his jazz stylings and, indeed, set the Shearing style in jazz off as something nearly unique.

His first brush with jazz came when he was sixteen and some American jazz records came his way. He was fascinated by what he heard and sought out anything on the subject that he could find in Braille and on discs. On his graduation from Linden Lodge, he took a job as a pianist at a small London entertainment place called Mason's Arms. A series of other minor jobs followed until he found a place, in 1937, with the touring orchestra of Claude Bampton, a group of seventeen blind musicians.

When George left the Brampton band, he embarked upon a very successful solo career. There was a break in the solo rounds during the War, however, when he appeared as featured pianist for two years with the world-famed Ambrose Orchestra. Still later, simultaneously with his engagements with Ambrose, he carried on his own popular solo program over the B.B.C. and, that show continued long after he left Ambrose. A mark of his popularity in his native land is the fact that he placed as the outstanding British pianist in polls sponsored by England's important Melody Makers Magazine for seven straight years. In the meantime, he appeared as guest star with several British jazz units, large and small, and he enjoyed a side career penning arrangements for several well-known British orchestras. His contact with American "pop" music was kept alive through records – and, instinctively, George absorbed many a vital idea, latched on to many an important trend in American jazz. Another of the great pianistic influences of this period was the last "Fats" Waller, whom George met during a British tour by that beloved pianist-vocalist-composer. George himself reports that he went through just about every style of jazz piano playing possible before he found his last love: bop. He says punnishly that he was even "known as England's No. 1 boogie man – then I got tired of it." On the side, he continued to nurture his live for the classic – especially Bach and Debussy, the latter the favorite of his wife Trixie.

It was a difficult choice and a courageous one which led George to come to America for a brief professional visit in 1945. At home, he was the reining monarch of the keyboard – in America, he was little more than a name known by the inner circle of jazz cognoscente. The few engagements he filled were remarkable successful. Americans seemed to like George and George liked America and Americans. He returned with his wife and small daughter late in 1947 with the desire to become a permanent resident.

At first, it looked as though his decision was a wrong one. He had difficulty interesting agents and bookers in his talents. Engagements were few and far between. The golden promisee of the first visit had tarnished quickly. Then, The Three Duces, one of New York's famous 52nd Street jazzers, asked him to pool his talents with those or Oscar Pettiford and J.C. Heard to form a trio. George passed from that trouping to many anther – and slowly the Shearing fingers worked their magic. Soon, George entered the charmed circle of top-flight jazz progressives.

Then the Quintet was born – and, to all reports, by accident. George had been working with a quartet consisting of piano, clarinet, bass and drums. The group was approached to set down a few of its specialties on wax. At the last moment, the clarinetist learned that a previous contractual agreement made it impossible for him to fill the date. George quickly gathered together a new group, filling the missing place with guitar an vibraharp designed to blend in unison fashion with the piano. Thus, the famous Shearing "sound" was discovered! The first recoding session with MGM turned up September In the Rain – and the Sharing quintet became a permanent reality. Night club, jazzers, and theater engagements followed apace. Record hit after hit appeared. And the rest if history!

Gathered in this recorded collection are a bumper crop of Shearing efforts. There are wonderful arrangements of great melodic standards like The Continental and Body And Soul; there are stream-lined versions of old favorites from "memory lane" like Roses Of Picardy; Sid; and, just in case Hearing audiences might forget, George's delight in puns, there's something like Mambo Inn where the title can cut a couple of ways. That's what "An Evening With Shearing" added up to – and you'll find it a nightly pleasant event.

Mambo Inn

To A Wild Rose

The Continental 

Jumping' With Symphony Sid

Rose Of Picardy

Body And Soul

Little White Lies

I'll Remember April

The Breeze And I

Swedish Pastry

In A Chinese Garden