Caesar Plays - Caesar Giovannini

 

Ritual Fire Dance

All The Things You Are

Caesar Plays

Caesar Giovannini, Pianist

At two Steinways, through the magic of Sound-On-Sound recording

Concert-Disc CS-40

1959

From the back cover: It is an unusual picture, at that. Our cover picture.

How else could we get the point across? The point being that nobody can stand a piano on its ear like Caesar Giovannini. Nobody can hold the listener – including our beauteous Miss Concert-Disc – in the palm of his Steinway. None but our Maestro Cesare.

By the way, that's two Steinways you hear. Through the magic of sound-on-sound recording, Caesar is heard playing duets with himself. and it true stereo, too. Each of the "two" pianos has been recorded stereophonically, in its proper spatial placement: first piano on the left, second piano on the right, as you face your speaker system. And the stereo is truly Concert-Disc's Balanced Acoustic Stereo, the real, full sound of the live performance, resounding with life and depth, free of any exaggerated, distortion separation. The recording was made, incidentally, in an actual concert hall; this accounts for the live, warm acoustics.

Giovannini earned his Bachelor of Music and his Master's degree (in composition) at the Chicago Conservatory of Music. In World War II he was pianist for the official U. S. Navy Band in Washington, D.C. He was the first to broadcast live music via FM in Chicago. In 1949, Giovannini joined NBC in Chicago, and, until 1956, was the delight of millions via appearance on the Dave Garroway and Ransom Sherman shows, and many others.

Not for nought did Oliver Dragon (of Kukla, Fran and Ollie fame) respond in such lusty song to the pianism of his music director – for it was indeed Giovannini! Caesar, Kukla, et al. worked together until the Kukla show left the networks recently. Giovinaaini is now busy freelancing on radio and TV, arranging and performing. And he records exclusively for Concertapes/Concert-Disc.

Caesar's playing is forceful, yet delicate; imaginative, urbane, polite. Good listening. You'll be playing this record often, and for many varied occasions.

For the technically-minded: this recording was made with Telefunken U-47 microphones, Ampex 350-2 recorders, and Western-process disc-cutting equipment. No echo or other coloration of any kind has been added. Nothing but the true concert-hall sound is heard in this recording.

Begin The Beguine

All The Things You Are

Vienna, City Of My Dreams

Malagueña

Somewhere Over The Rainbow

Dizzy Fingers

Canadian Capers

The Lamp Is Low

Reflections

Stardust

Poinciana

Yesterdays

Ritual Fire Dance

Swing College At Home - The Dutch Swing College Band

 

Swing College At Home

Swing College At "Home"

Dutch Swing College Band

Recorded at the Kurhaus Scheveningen Holland, September 1955

Philips Minigroove Records B 08001 L

From the back cover: There are few people who haven't heard the time-honored adage "All good things come to an end" – not to mention discovering the inevitable truth of this statement of themselves. And it's equally true of this great record, too, for although it is his third Minigroove and first live-concert record, it nevertheless marks the end of the professional career of Holland's all-time most popular jazz musician, the founder and leader, up to the date on which these recordings are made, of the Dutch Swing College Band: Peter Schilperoot.

The original idea for this "live" farewell concert came from Mr. Pieter Sweens of the Netherlands Phonogram organization, the music being recorded on the 13th and 19th September, 1955. Scheveningen is actually the seaside resort of The Hague – in fact they form one large city – and The Hague is home of the Dutch Swing College Band. Where then, could the band be more at home than in the Kurhaus?

This is a live-recording, we said, which means that it differs form all the other Minigroove records by the Dutch College Swing Band released to date, with one important exception, however... the high standard of their playing, which is an invariable as it's breathtaking! We refer, of course, to the fact that you'll find "combo's within the band" on this record, in addition to the well-known combination employing either two clarinets or two trumpets, and there is even one number in which yet another musician joins the band, but more about that later on. Now, let's turn our attention to the music. The record naturally opens with the band's signature tune, "Way Down Yonder In New Orleans". A trombone slur and then, slowly, the melody. Suddenly Wybe Buma comes in with his break, followed by a fast one as a prelude to the finish with its classical Dixieland close. First on the program is "Sensation Rag", an old number as is obvious from the word "Rag", and a firm favorite on the repertoire of the original Dixieland Jazz Band of 1917. Way back, this number was syncopation than swing. In the hands of these extremely capable musicians, however, every bar of it is jazz, swinging jazz. The clarinet solo is by leader Peter Schilperoot.

The first recording of "Riverside Blues" was made by Joe "King" Oliver's Creole Jazz Band in 1923, in which Louis Armstrong played second cornet, with Joe himself in the lead. In order to continue this tradition, Peter Schilperoot sat down in the Kurhaus behind the drums, while the regular drummer, André Westendorp, played cornet to Wybe Puma's trumpet. "Riverside", by the way, refers in this case to the bank of the Mississippi on which New Orleans lies.

At A Georgia Camp Meeting" is one of the numbers in which you can listen to a special instrumental combination. There's no trumpet this time, but a melody section consisting of Peter Schilperoot (soprano sax), Dim Kesber (clarinet) and Wim Kolstee (trombone). Something as funny as it was unexpected happened during the recording of this number, although it wasn't particularly funny as far as the "victim" himself was concerned. One of Arie Ligthart's banjo strings suddenly broke without warning. He turned with a "what-do-I-do-now?" look on his face towards recording engineer Jos Ditmars high in his control-room above the stage, but as everyone simply carried on playing as if nothing had happened, he picked up his guitar and followed suit. The next number, "Peter Swayin's" is a completely on the spot improvisation, the title of which gives Pieter Sweens' name written down phonetically. The first clarinet solo is by Peter Schilperoot, while the order in which the soloists appeared was only decided during the actual session. But the result is real jazz!

"South", from Benny Moten's Band in Kansas City, is played with two trumpeters Wybe Buma and André Westendorp with Peter on the drums again. Before the band started off with "Weary Blues", Peter Schilperoort introduced his clarinetist-successor to the thousands of jazz-fans present at this memorable concert. His name is Jan Marks and where Jan goes, his clarinet goes too! Next on the program, therefore, is a really remarkable version of that old Artie Matthews number, with no less than three clarinets in the melody section! The first solo is by Jan Marks, followed in turn by Dim Kesber and Peter Schilperoort. This latter order is also adhered to for the second chase.

Leader Schilperoort was the soprano-sax soloist in "Basin Street Blues", which is followed by a number invariably associated with the white Chicago jazzmen of the Twenties – "Copenhagen" in which there's some fine clarinet-playing by Dim Kesber. In "Lazy River", it was then Peter Schilperoort's turn for a special solo-spot on clarinet, which provides him with a wonderful opportunity to display his fine taste and virtuoso qualities. "Kitty's Dream", in which the personnel are Dim (soprano sax), trombonist Wim Kolstee at the ivories, Bob van Oven (bass) and André Westendorp behind the drums, is a composition by Dim Kesber.

Dim' really got something to say in this number, especially in the second chorus!

"The World Is Waiting For The Sunrise" features both Peter Schilperoort and Dim  Kesber on clarinet. In this number, which certainly set the whole hall rocking, Dim takes the first solo. He's followed by pianist Joop Schrier and then it's Peter's turn, after which Peter and Dim really get going. As you'll certainly need to relax for a moment after all that excitement, the Band follows up with "Savoy Blues", that beautiful Louis Armstrong classic, in which trumpeter Wybe Buma blows a fine solo.

And finally, there's another great number by one of New Orlean's most famous pianist and bandleader, Jelly Roll Morton. So off we set again along the old Mississippi in "Steamboat Stomp", heading as our final destination, for the place where it all began... "Way Down Yonder In New Orleans". 

It's all over then, both the first live-recording by the Dutch College Swing Band and the leadership of the man who made this orchestra what it is today, the "top", to say the least, in Dixieland music in Holland. The Band will now carry on with Joop Schrier in the leader's chair and Jan Marks instead of Peter Schilperoort. And if There ever was a grand farewell concert, then it was this one. Truly unforgettable!

'Way Down Yonder In New Orleans

Sensation Rag

Riverside Blues

At A Georgia Camp Meeting

Peter's Swayin's

Weary Blues

Basin Street Blues

Copenhagen

Lazy River

Kitty's Dream

The World Is Waiting For The Sunrise

Savoy Blues

Steamboat Stomp

'Way Down Yonder In New Orleans

Rene Paulo Plays In Person

 

Moon River

Rene Paulo 

Plays In Person

Recorded Live at The Famed Shell Bar of The Hilton Hawaiian Village at Waikiki Beach, HonoluluRecording Engineer: Bob Lang

Cover Design: Victor Amiel

Mahalo Records M-3004

1962

From the back cover: An enthusiastic and excited audience crowded the Hawaiian Village's Shell Bar in Waikiki the evening of May 7, 1962.

For it was the opening night of Rene Paulo, the gifted pianist whose refreshing and highly original style had captured the musical fancy of the islands. Rene's first album for Mahalo Records, Here Is Happiness, had become the best-seller local LP throughout Hawaii in the two short months following its release, the young artist was at the peak of fame on the island musical scene, and the evening promised to be a high mark in the fabulous Paulo career.

It was all of that. The rare and electric stimulation between a thrilled and receptive audience and a sensitive artist was evident from start to finish, and certainly some of Paulo's greatest performances were heard that evening.

The producers of Malalo Records have captured the excitement of that evening in this album, recorded during the performance; it is an album which will be a treasured entry in the collection of all connoisseurs of popular music.

Introduced by Tom Moffatt, popular Honolulu radio personality of Station K-POI, Rene first caresses the melody with which he has become so closely associated, Here Is Happiness. The crowd's responsive applause and recognition of the theme keynotes the program to follow.

The night's performance includes many memorable renditions, but none more carefully constructed nor warmly executed than the lovely Moon River, the Henry Mancini-Johnny Mercer Academy Award winner. The Paulo style embraces the haunting tune, and the young pianist develops the melody through hushed, bell-like tones, harmonic changes and chord progressions of unsurpassed beauty.

Notice, also, the audience's delight and acceptance when Rene swings into Mack The Knife, one of his most requested numbers. He ambles through the piece in a jocular mood, bouncing the melody about in a series of swinging variations.

A great admirer of Leonard Bernstein's music, Rene, to the complete satisfaction of the audience, delivers a stunning concert version of Maria, the hit tune from West Side Story. It is doubtful whether the song has ever been performed with more affection.

No Paulo performance would be complete without his unique arrangement of the nursery rhyme, Three Blind Mice. Rene's training at the famed Juilliard School Of Music manifests itself as the melody appears again and again, each time in the style of a different composer. Listen carefully and you will hear how this familiar melody would have sounded had it been the work of Bach, Beethoven, Rachmaninoff, Chopin or Mozart.

With the pianist on this recording are the three island musicians who have become members of the Rene Paulo Quartet: Ed Shonk, bass; Bruce Hamada, drums; and Tomo Fukui, guitar. Their expert accompaniment contributes to an unforgettable evening with Rene Paulo at the Hawaiian Village. – Dick Howard

Here Is Happiness

Hiilawe

Moon River

Three Blind Mice

Mack The Knife

Sakura

Maria

Midnight In Moscow

Rock-A-Bye Basie (Swingin' High) - Francis Bay

 

Swingin' High

Rock-A-Bye Basie

Swingin' High

With The Bay Big Band

Conducted by Francis Bay

Recorded at The Brussels World's Fair

Produced by Dave Hubert

Product Design by Leon McFadden

Cover Photo by Ray Avery (Cover Variation)

Stereophonic Engineering and Artist Direction by Peter Plum, Elite Musical Productions

Omega OSL 26 (1258-1087)

1958

Armand Van De Walle - Drums

Freddy Saunder - Guitar

Francis L'Eglise, Jef Verhaegen, Benny Courier, Pres Creado, Guy Dossche - Saxophones

Jean Evans - Piano

Clement De Mayer - Bass

Edmond Harnie, Louis De Haes, Charlie Knegtel, Jean Cortois - Trumpets

Albert Mertens, Paul Anne - Trombones

From the back cover: The Bay Big Band salutes to the great American and English big bands at the Brussels World's Fair astounded and impressed all who heard their regular performances at the fair. Francis Bay, the leader and an extremely versatile musician and arranger, organized the Bay Big Band in 1954 to become the first regular Radio Dance Band after the end of World War II. The Bay Big Band recently won the highly coveted "Golden Gondol" trophy in a battle of the bands at Venice, Italy. The precision section work and fluid jazz improvisation of the soloists are a product of years of rehearsal and development shared by the same group of musicians without the constant changes in sidemen that have plagued our American bands in recent years. The musical rapport between sections of the band and between soloists is amazing. Francis Bay plays trombone, clarinet, alto saxophone and flute with equal ability and his regular programs on the Brussels N.I.R. Radio conceived by program manager Bob Boon can be heard weekly on the powerful station throughout England, France, Belgium and surrounding countries. – Dave Hubert

April In Paris

Rusty Dusty Blues

One O'Clock Jump

Jive At Five

Lester Leaps In

The Mad Boogie

Fiesta In Blue

Taps Miller

Rock-A-Bye Basie

Lady Be Good

Kinsey Report - Dr. Murray Banks

 

Kinsey Report

What You Can Learn From The

Kinsey Report

Dr. Murray Banks

Audio Masterworks LPA 1210

Released by Kinor Records

1956

From the back cover: Dr. Banks was formerly professor of psychology at Long Island University, and at Pace College in New York City, where he was the head of the psychology department for over five years. He has also been a visiting professor and special lecturer at several leading universities and colleges. At Brooklyn College, he conducted for several years, one of the most popular courses on Psychology of Everyday Life. Dr. Banks is a graduate of New York and Columbia Universities. He is the author of the best sellers, How To Live With Yourself, What To Do Until The Psychiatrist Comes, Just In Case You Think You're Normal!, and How To Overcome An Inferiority Complex. He is much in demand as a speaker before colleges, men's clubs, women's clubs, conventions, medical societies, and trade association throughout America.

Birthday In Britain - Stan Kenton

 

The Daily Dance

Birthday In Britain

Stan Kenton and His Orchestra

Producers: Stan Kenton, Dick Shearer, Wally Heider

Wally Heider Recording - Hollywood, California

Recorded at Albert Hall, Nottingham, on February 19, 1973 and Fairfield Hall, Croydon, February 23, 1973

Creative World ST 1065

Saxophones - John Park, Richard Torres, Chris Galuman, Willie Maiden, Roy Reynolds

Trumpets - Dennis Noday, Paul Adamson, Frank Minear, Mike Snustead, Bob Winter

Trombones - Dick Shearer, Harvey Coonin, Lloyd Spoon, Mike Wallace, Phil Herring

Drums - Peter Erskine

Bass - John Worster

Latin Percussion - Ramon Lopez

Piano - Stan Kenton

From the back cover: February 19, 1973, was just another busy day for the Kenton Orchestra. They were on the last lap of a European tour that had taken them to Italy, Switzerland, and Holland, and now they were in England, following a whirlwind schedule that had them playing London, Manchester, Sheffield, Birmingham, Farnworth – one-nighters that seemed to be an endless series of late nights and long, sleepy bus trips to the next location.

February 19 was also Stan Kenton's 61st birthday, but he wanted no fuss made about it; it was to be business as usual. However, 18 sentimental musicians had a secret, and they planned to give their leader a birthday present he wouldn't forget.

The moment of truth arrived in Nottingham. The full-house audience was enthusiastic and receptive, and Stan felt the concert was going well. He went to the microphone to announce the fourth number. As Stan addressed the audience, Dick Shearer slipped out of his trombone chair, walked quietly up behind Stan, and gave a downbeat. The band responded perfectly – by launching into a stunning and obviously well-rehearsed arrangement of "Happy Birthday To You"!

Stan says his first bewildered reaction was, "What is happening?"; then he sank onto his piano bench in realization and total surprise, fighting back tears. The best-kept collective secret the Kenton Orchestra ever had was out in the open, and it was a toss-up who was most pleased – the men in the band, Leader Kenton, or an enchanted British audience.

Not by accident, Wally Heider, the noted American recording expert, and his assistant, Bill Haseltine, were present. It was Heider who had commissioned arranger Bill Holman to write the "Happy Birthday" chart as a surprise for Stan. It was also Heider who just happened to have airlifted 900 pounds of two-track electronic recording equipment from California to Britain, and it just happened that he, Haseltine, and two English friends, Reg Wing and Arnie Chadwick, were able to record the moment for posterity.

Birthday In Britain is, therefore, the happiest album Creative World has ever offered. There is joy in every note, and love in every breath. Happy Birthday, Mr. Kenton, from your Orchestra. – Audree Coke

Happy Birthday To You

Composed by Mildred and Patty Hill

Arranged by Bill Holman

Solos: Bob Winter (trumpet), Harvey Coonin (trombone)

The Daily Dance

Composed and Arranged by Bill Holman 

Solos: Richard Torres (tenor saxophone), Bob Winter (trumpet), John Park (alto saxophone), Peter Erskine (drums)

Street Of Dreams

Composed by V. Young and S. Lewis

Arranged by Stan Kenton

Solos: Stan Kenton (piano), John Park (alto saxophone)

Of Space And Time

Composed and Arranged by Hank Levy

Solo: John Park (alto saxophone)

For Better Or Worster

Composed and Arranged by Willie Maiden

Solo: John Worster (bass)

No Harmful Side Effects

Composed and Arranged by Willie Maiden

Solos: Harvey Coonin (trombone), Richard Torres (tenor saxophone)

Ambivalence 

Composed and Arranged by Hank Levy

Solos: Chris Galuman (flute), John Park (alto saxophone)

Blues, Between And Betwixt

Composed and Arranged by Hank Levy

Solos: Richard Torres (tenor saxophone), Peter Erskine, (drums)

The Vibrant Guitar Of Robert Lawrence Luca

 

The Vibrant Guitar Of Robert Lawrence Luca

The Vibrant Guitar Of Robert Lawrence Luca

Mount Vernon Music MVM 144

1963

Step Lively

The Sighing Trees

Five Finger Movement

Home On The Range

Transition

When The Saints Go Swingin' In

Chopin Cuts Out

Soliloqui

O' Way Out Marie

Danny Boy

The Chicago Theme - Hubert Laws

 

Inflation Chaser

The Chicago Theme

Hubert Laws

I Had A Dream and Inflation Chaser arranged by Hubert Laws

All others arranged by Bob James

Produced by Creed Taylor

Photograph by Duane Michals

Album Design by Jonathan Andrews

Recorded at Van Gelder Studios 

Engineer: Rudy Van Gelder

Recorded February - April, 1974

CTI Records 8015 (Previously released as CTI 6058)

1975

Flute - Hubert Laws

Keyboard - Bob James

Piano Solo and Clarinet (I Had A Dream) - Don Grolnick

Bass - Ron Carter (Going Home, You Make Me Feel Brand New, Stanley Clarke (Inflation Chaser), Doug Bascomb (The Chicago Theme, Midnight At The Oasis, I Had A Dream)

Percussion - Ralph MacDonald

Guitar - Joe Beck (The Chicago Theme), George Benson (guitar solo Midnight At The Oasis), Eric Gale (guitar solo You Make Me Feel Brand New), Richie Resnicoff (Going Home), Phil Upchurch (The Chicago Theme)

Saxophone - Michael Brecker (courtesy of Arista Records) (tenor solo Inflation Chaser), David Sandborn (The Chicago Theme)

Trumpet - Randy Brecker (courtesy of Arista Records)

The Chicago Theme

Midnight At The Oasis

You Make Me Feel Brand New

Going Home

I Had A Dream

Inflation Chaser

Jimmy Dean Sings Pretty For The People

 

Pretty For The People

Jimmy Dean Sings

Pretty For The People

With Guest Star Elton Britt

Gladwynne GLS 2018 ("marked as "stereophonic" on the cover, however pressing is mono GL 2018)

Release Me

I'm Feelin' For You

Queen Of Hearts

Bummin' Around

Sweet Darlin'

Paper Love Affair

The Rovin' Gambler - Elton Britt

Cowpoke - Elton Britt

The Wild Wild World Of Jim H. Clark

 

The Wild Wild World Of Jim H. Clark

The Wild Wild World Of Jim (Jimmy) H. Clark

Cover by C. Brevik

Engineered by John Schwade and Potomac Sound Studios

Edited by John Schwade

Explosive Records, Inc. S-8946