The Party's On Me - Cy Coleman

 

Love Will Keep Us Together

The Party's On Me

Cy Coleman

Arranged by Cy Coleman and Mike Berniker

Produced by Mike Berniker, Cy Coleman and Mike Lipskin

Associate Producer: Eric Colondne

Strings and horns conducted by Cy Coleman

Recording Engineer: Mike Moran

Recorded in RCA's Studio "C", New York City

Cover Photo by David B. Hecht

Liner Photo by Newsday

Art Directors: Dick Smith, Acy Lehaman

RCA Recors AP1-1252

1976

Personnel: 

Keyboards - Cy Coleman

Acoustic Guitar - Dick Frank

Electric Guitar, Banjo - Cliff Morris

Bass - John Miller

Drums - Roy Markowitz

Percussion - David Friedman

Horns - Burt Collins, Wayne Andre, Phil Bodner, George Marge

Concertmaster - David Nadien

Vocalists - Patti Austin, Laurie Beechman, Frank Floyd (courtesy of Wing & Prayer Records and Atlantic Recording Corporation), William Ruthenberg, Maeretha Stewart

Chole

Love Will Keep Us Together

Touch Me In The Morning

The Party's On Me

Bring Back Those Good Old Days

Speak Low

Never Can Say Goodbye / Doctor's Orders

There's Gotta Be Something

Better Than This

Time In A Bottle

Sunless Cycle (Mussorgsky) - Five Songs (Prokofiev) - Six Songs (Gretchaninoff) - Kurenko & Pastukhoff

 

Sunless Cycle / Five Songs / Six Songs

Moussorgsky: Sunless Cycle

Prokofiev: Five Songs

Gretchaninoff: Six Songs

Maria Kurenko - Soprano

Vsevolod Pastukhoff - Piano

Capitol Records P8310

From the back cover: The soprano voice of Maria Kurenko is widely known both in the United States and Europe. She has appeared with major symphony orchestras, in recital, as a featured artist on her own radio show, as a recording artist. It was she who sang the Sunless Cycle in its premier concert stage performance.

Madame Kurenko's brilliant musicianship and the matchless character of her voice admirably qualify her to interpret the variety of moods and color expressed in this selection of art songs.

SUNLESS CYCLE

From one of the most sorrowful periods of a life domi- nated by sorrow come the six songs of the Sunless Cycle. Modeste Moussorgsky, born in St. Petersburg in 1839, was writing this work at the time that his opera Boris Godounov, though greeted with grand acclaim by audiences, was banished from the stage because of political intrigue. The composer was then living in unrelieved poverty and seclusion with his friend Golenitscheff- Kutuzoff, the poet whose words became the text of the Sunless Cycle.

The work is a vivid reflection of Moussorgsky's disappointment and absolute frustration. In it, as in Boris Godounov, the composer achieves a technical triumph – the perfect fusion of melodic lines and harmony with poetic lines, accomplishing a beautiful, masterfully-designed work. Its enduring appeal is two-fold: it expresses the universal emotions of bewilderment and sorrow, and it affords moving and powerful music. IN FOUR WALLS: Alone in my little room I live in my dreams, memories, moments of rapture, doubts, uncertainty, sorrow, and suffering... such are my lonely nights.

AFTER YEARS: Last night in the crowd you did not see me, but I caught your gaze, and oh, what a flash of remembrance came to me at that instant! All madness of passion long vanished, all sorrow of parting and tears.

RETROSPECT: The vain and noisy day is over and the night brings to me memories of all that kept the flame of my soul alive. Now they are only phantoms of the past. Only the memory of one dearest to me remains alive and brings warm tears to my eyes.

BITTERNESS OF LOVE: You are not capable of reciprocating love, so you are doomed to sadness and boredom.

ELEGY: Through the dimness of a foggy night a single, silent star moves through the clouds; so lives again in my mind the past, with no regrets, no hopes. I gaze at the star above, hoping to have the answer to my questioning, but there is none.

BY THE WATER: The beauty and calmness of the flowing water and the waves tempt me. They call me. Shall I flee this temptation or shall I obey the call?

FIVE SONGS

The familiar freshness and daring of Serge Prokofiev's work are eloquently revealed in this song cycle. Prokofiev studied composition in his native St. Petersburg, where he was born in 1891. From something of a boy wonder there, full of promise and admired by avant- garde musicians, he matured into a talented, inventive composer.

In the total character of his work there is a quality reminiscent of Moussorgsky, who, a few years earlier, had also broken from the restrictions of traditional classical form. But however reminiscent in character to Moussorgsky, Prokofiev's work is completely original in its conception-technically brilliant and astonishingly descriptive.

In his many song cycles there is a paradoxical com- bination of lyrical melody and daring harmonies. The Five Songs of this cycle are among the most famous and best known of those that he has composed. The poetry is by Anna Akhmatova, prominent Russian poetess. SUNLIGHT IN MY ROOM: Sunlight streaming in my chamber. I awaken, darling, to thy birthday morn. I slept undreamingly, thinking of you.

TENDERNESS OF LOVE: A young girl tells her beloved that she is not interested in a superficial attraction which he may feel for her. She only wants the real tenderness of true love.

THOUGHTS OF THE SUNLIGHT: Memories of the sunlight are dim and distant. Sad are my thoughts of our love. Maybe it is better that I did not become your wife. Winter is come, cold as my heart.

GREETING: A girl entreats her beloved not to scorn her love for him and not to grieve her with his coldness. 

THE GREY-EYED KING: The wife's lament over the death of a king who was murdered by her jealous husband. She soulfully remembers that the grey eyes of the king are mirrored in her own child's eyes.

SIX SONGS

Born in Moscow, Russia in 1864, composer Alexander Gretchaninoff is famous both as a composer and as a conductor. His education includes study at the Moscow Conservatory, and with Rimsky-Korsakov at the St. Petersburg Conservatory. For a time he served as pro- fessor of composition at the Moscow Institute.

On the American concert stage Gretchaninoff has been greeted with consistent critical acclaim, for here, in the role of composer-conductor, he frequently appears directing performances of his own works.

The scope of his works is vast, for he has written not only symphonies and chamber music, but operas, sacred choral music, and songs. He is best known as a composer of liturgical music, and as a creator of memorable songs.

Those included on this record are some of the loveliest of them-romantic songs, children's songs, Russian folk songs. The poets' names, except for the folk songs. where there is no known source, appear in parentheses following the titles.

NIGHT (Pushkin) Opus 20 – In the silence of the night I dream of you, I see you smile, I see your eyes and hear your voice whispering to me. My dearest one, I love you, I am thine.

RUSSIAN FOLK SONGS

RAIN Opus 66-Oh, rain, rain as fast as you can, I shall drive among the bushes; to pray God, to bow before Christ. God grant a rain as thick as driving- reins, to water all day long our barley and Johnny's rye.

THE RAINBOW Opus 66-Rainbow, rainbow, don't give rain! Give us sunshine! Oh, sun, look, shine! Rainbow, rainbow, take me to the meadow, not to this end but to the golden end. Sun! Look, shine! Rainbow, don't give rain!

LULLABY OF THE WIND (Gorodetzky) – Bye-o-bye, here I am flying above your head to bring you sleep. Far away I have a field of red flowers. Above your head there is a blue sky. They call me back but I will not leave you before you fall asleep. Bye-o-bye.

LITTLE FAIRY'S SONG (Balmont) – I will make a thread and will bring you to the beautiful palace of my dreams. TOM THUMB (Zukovsky) – There lived a little boy as big as a thumb, with hair like thistle down and spar- kling eyes. He bathed in dew and his carriage was drawn by a bee. 

– Notes and Translations by Maria Kurenko

Really Livin' - J. J. Johnson

 

Decision

Really Livin'

The J. J. Johnson Sextet

Columbia CL 1383

1959

J. J. Johnson - Trombon

Nat Adderley - Trumpet (Courtesy Riverside Records)

Bobby Jasper - Flute and Tenor Sax

Cedar Walton - Piano

James (Spanky) De Brest - Bass

Albert Heath - Drums

From the back cover: J. J. Johnson is undisputedly a giant of jazz. Few musicians have received the continuing acclaim and honors which J.J. has earned through his trombone sensitivity and virtuosity. To achieve greatness is a beautiful thing when done in the honest fashion of a true man, and this has been the Johnson route. To have the respect and admiration of your colleagues as well as of your more distant audience is the supreme compliment. Determined in his beliefs and direction in jazz, and continually gathering greater momentum, J. J. Johnson is Mr. Trombone of today.
The J. J. Johnson Sextet brings together for the first time on a J. J. album two men who have been featured on recent J. J. recordings, Nat Adderley and Bobby Jaspar. Nat has rightfully reached big name status on his instrument and will be setting new standards for jazz trumpet in the months and years ahead. "Cannonball's" brother really is moving, and he doesn't hesitate to prove a few more points with taste and skill on these selections. Soft-spoken Bobby Jaspar, Belgian jazz artist, completes the front line. If you were fortunate enough to hear him recently at New York's "Five Spot," you know he has quite a few continental things to say to us, not to repeat to us. Bobby is a perfect courier of the fine new jazz that is coming out of Europe.

The man with the intense and unyielding cymbal tap is Albert Heath, Percy's little brother. Familiar to J. J. audiences, Albert is metrically teamed with newcomer to the group, bassman "Spanky" De Brest on piano for J. J., rounding out this great young rhythm section. Red Cross, a Charlie Parker tune, features this trio, a tribute to them and to J. J.'s ability to spot the new stars. J. J.'s group is constantly reaching a wider and wider audience and without bending to the temptations of commercialism, a practice which he is willing to condone in others but which has no attraction for him. In aiming high, J. J. has experienced the reward of accumulating quite a list of new cities and clubs which he has recently visited, including his triumphant return to New York clubs after winning his and all musicians' battles against antique licensing systems. J.J. is widening his scope even further as a writer-arranger in the preparation of major jazz pieces such as those presented by him at the Monterey Jazz Festival.

The tunes in this album range from standards given the J. J. touch to a couple of stimulating J. J. originals. Me Too and Sidewinder fall into the latter category. J. J. gives a beautiful reading on a lightly swinging Stardust. The pace is up on Speak Low and Almost Like Being in Love, while Duke Ellington's I've Got It Bad and That Ain't Good lies just where it means the most. The unusual staccato figures of Decision belong to Sonny Rollins, and God Bless the Child will always belong to the great Lady who so recently left us. – Bob Morgan

Me Too

Decision 

I've Got It Bad And That Ain't Good

Red Cross

Almost Like Being In Love

Stardust

Sidewinder

God Bless The Child

Speak Low

Race Recording by Stan Bergstein

 

Race Recordings / Northville Downs

Race Recordings by Stan Bergstein

From Northville Downs

June 29, 1953

Winning Horse: The Explorer

Owner: Col. E. D. McQuown

Driver: Walt Dispannette

12-inch 78 rpm Acetate Disc

Jazz At The Bilmar - Arnie Mossler

 

Jazz At The Bilmar

Jazz At The Bilmar

With Arnie Mossler

And The Suncoast Dixielanders

Engineer: M. L. Emerman

Mastering: Jack Davis

Bilmar Records 6244

1968

Arnie Mossler - Cornet

Bern Yonker - Trombone

Wiffy Walter - Clarinet

Lee Lockwood - Piano

Red Seal - Bass

Sammy Fletcher - Drums

From the back cover: According to one of the latest international dictionaries, Dixieland music is "a style of Jazz, originating in New Orleans, played by a small group of instruments, marked by strongly accented 4-4 rhythm and vigorous, quasi-improvisational solos and ensembles."

According to avid Dixie fans from coast to coast who've visited the Beach Room of the Bilmar Beach Hotel in Treasure Island, Florida, Dixieland means only one thing: Arnie Mossler and his Suncoast Dixielanders.

The diminutive musician-artist-cartoonist leads one of the strongest aggregates of the nation's Dixie adherents through their paces as they alternately bounce, stomp, lilt and wail their way through a variety of tunes that many never knew existed but now will, never forget.

The cold style of a dictionary definition, however, leaves much to be desired. For Mossler and his merry men, Dixieland isn't an exclusive product of New Orleans. It's a rich blend of the best styles and tunes of that fabled Delta city and the more blatant, commanding style made famous in Chicago decades ago.

The blend of personnel, setting and style is unique. At the live session beside the sparkling Gulf of Mexico, the group plays to residents and vacationers from all parts of the nation. The Chicago based strains of Mossler's cornet are abetted by the strong New Orleans honed trombone of Vern Drapey Yonkers, the cosmopolitan clarinet of Wifty Walters, the solidly swinging piano of Lee Lockwood and the pulsating bass of Red Seal. Rounding out the artists and providing impetus is the exhilirating drum sound of Sammy Fletcher.

Mossler leads off Side I with musical introductions and, in the newest tradition, swings gently into the soft "Baby Won't You Please Come Home" featuring Yonkers who, as a disciple of the late Jack Teagarden, vocally recreates the magic atmosphere that Dixieland always brings.

From the soft touch, the group takes a deep breath and struts its way through the "Tailgate Ramble," followed closely by a novel ballad approach to the familiar "Jada," which is played in medley with another beautiful tune, "It's Wonderful."

The set roars out for a break with a rousing rendition of the "Washington & Lee Swing."

Side II swings into high gear with the "Wolverine Blues". The group takes a tour of Wolverine country at a rapid pace, then settles down into a smooth rendition of the old Armstrong favorite, "Sugar," featuring Mossler on the vocal.

The "Sugar," after setting a sweet mood, is suddenly spiced up as the group finds itself in "Jungle Town." A swift romp follows with the entire ensemble guiding the audience through everything from clarinet-studded palm trees to a solo bass safari through the palmetto bush.

"What's The Use" provides an ideal medium for self-expression in moderate Dixie tempo, leading the group to its bell-ringing finale "When The Saints Go Marching In."

The session, as alive as today, with personal introductions for each number by the rotund Mossler, represents telling evidence of the revival of a truly original American art form.

On Florida's Suncoast, a melting pot for people and musical tastes, the Suncoast Dixielanders represent, perhaps, the first stage of a revival of a stirring, happy, intelligible music that appeals to all age groups and knows no real geographical boundaries.

It proves once again that music, as a means of communication, is the only one that doesn't need an interpreter. – ERIC MCFAIL, ST. PETERSBURG (FLA.) TIMES

Baby Won't You Please Come Home

Tailgate Ramble

Jada & It's Wonderful (medley)

Washington & Lee Swing

Wolverine Blues

Sugar

Jungle Town

What's The Use

When The Saints Go Marching In

Jay & Kai - J. J. Johnson / Kia Winding

 

Jay & Kai

Jay & Kai

J. J. Johnson / Kai Winding

Savoy MG-12010

1955

J. J. Johnson - Trombone

Kai Winding - Trombone

Billy Bauer - Guitar *

Charlie Mingus - Bass

Wally Cirillo - Piano **

Kenny Clarke - Drums

Ozzie Cadena

From the back cover: In Savoy's distinguished recording history, which precedes these notes by fifteen years, there have been many select moments when the all-elusive greatness of jazz has been captured, and, needless to say, the supervisors and directors here were quite proud of their achievements. These notable moments include, among others, the brilliant CHARLIE PARKER catalogue, the FATS NAVARRO sessions, the American debut of GEORGE SHEARING, the initial STAN GETZ recordings, ERROLL GARNER'S romps, and, of late, a marvelous PHIL URSO-BOB BROOKMEYER collaboration and a recent JOHNNY MEHEGAN pressing with CHUCK WAYNE. The list has been impressive; the finest artists have flourished under the Savoy aegis, and now we proudly offer to jazzdom another "great", in the fullest sense of the word's meaning.

Perhaps, as all things must have a prime cause, this album should be dedicated to its director, OZZIE CADENA, for certainly he, above all others, was the dominant force behind its formation. OZ is the newest and among the most "hip" A. & R. men in jazz today. As a former musician (piano and bass) he understands their dilemmas, the enigma of contribution and commercialism, and offers sympathetic assistance to the creative artist. It was he who first saw the potential of the groups assembled. OZ believed that in the search for "new" sounds, the trombone and guitar had been most overlooked, and resolved to do something about it. Not one, but two trombones were mentioned, and some guidnunc looked askance, but OZ repeated, "I can hear it, it'll be great." So, two trombones are heard. Then, the guitar was selected, omitting the standard piano, and eyebrows raised again. And again the same argument, "I can hear it." Finally, to compliment the group, the accepted bass and drums were added. After the group assembled and began to blow, we could all "hear it", and as Cadena predicted, "It's great."

Still further evidence of the Directors foresight can be found by scanning the personnel list:

Trombones: What, JOHNSON and WINDING in the same group? Yes, a record rarity indeed, listing the two foremost trombonists jazz has offered in the last decade. JAY and KAI are great friends, and welcomed the chance to play side-by-side, surely benefiting one another by the double advantage of combined talents. In describing these two peers, words seem to lack the power to convey their triumphs here but, as a sincere "fan" of both, I can truthfully say I've seldom heard them better.

Guitar: BILLY BAUER. For years the most trained ear and even the casual observer has been startled by the impeccable taste and beauty of BILLY's guitar, and both seem to agree his is the most mature guitar-voice to appear in jazz, comparable to the classicist Segovia. Suffice to say that BILLY maintains his apex-level here.

Bass: CHARLIE MINGUS. Anent MINGUS one thinks of a plexus of energy, his bristling activity, his wit, his sincerity, his ability and his genius. CHARLIE's work on this record demonstrates all these qualities, and his composition "REFLECTIONS," the most advanced structurally, marks his arrival as composer.

Drums: KENNY CLARKE. KENNY swings as though it were his own peculium, and on virtually all the numbers he acted as the fillip with the rest moving accordingly. Recognition has been long coming to "KLOOK" but his day arrived long after the "drum-clods" and "bombers" descended into the drummer's limbo.

Piano: WALLY CIRILLO. WALLY was one of the stars of a recent Jazz Workshop Concert, and very impressive with his melodic enterprise. As Commitments kept BAUER from the second session, this young pianist was selected, and he ably filled his role. WALLY's talent is evidenced in MINGUS' abstract work with its difficult piano part which WALLY sight-read, quite an achievement!

Of the themes employed, four are either originals or arrangements by J. J., "BERNIE'S TUNE," "LAMENT," "WHAT IS THIS THING CALLED LOVE" and "BLUES FOR TROMBONES;" two are WINDING expressions, "CO-OP" and "BLUES IN TWOS;" "THE MAJOR" is CIRILLO's and finally there is MINGUS' pensive abstraction, "REFLECTIONS." They are all played either with a happy zest, with excitement king for the moment, or with tender pathos. Overall the performances are outstanding contributions to our jazz culture, offered to those aware, the cogniscenti, who comprise the listening audience to music's most inspirational and eristic branch. – JACK MCKINNEY

Bernies Tune **

Lament *

Blues For Trombones *

The Major *

Co-op **

Reflections **

Blues In Twos **

What Is This Thing Called Love *

Queen Of Country Music - Kitty Wells

 

Slowly

Queen Of Country Music

Kitty Wells 

With The Jordanaires (courtesy of Capitol Records)

Decca Records DL 4197

1963

Moody River

What Am I Living For

Pick Me Up On Your Way Down

Slowly

Wooden Heart

Heart Over Mind

Ev'rybody's Somebody's Fool

Am I That Easy To Forget

One More Time

Hello Walls

Your Old Love Letters

A Fallen Star

Frankly Speaking - Frank Rosolino

 

Slan

Kenton Presents

Frankly Speaking!

The Frank Rosolino Quintet

Originally recorded in Hollywood - May 4 and 5, 1955 (Capitol T6509)

Affinity AFF 69 (reissue)

1981

Frank Rosolino - Trombone

Charlie Mariano - Alto Saxophone

Walter Norris - Piano

Max Bennett - Bass

Stan Levey - Drums

From the back cover: "Frank Rosolino" wrote Will MacFarland in his original notes for the release of this LP in Capitol's 'Kenton Presents' series "the bouncing boy with the seemingly unmeltable trombone, bounces back with more of his happy music for people in love with good jazz". MacFarland went on to refer to the first of Frank's albums in the series, the one already released as Affinity AFF61 (although the Affinity LP contains two additional titles which were not present on the original Capitol disc). Although Frank was associated in many people's memories with Stan Kenton he was, in fact, an accomplished and experienced soloist years before he moved into the Kenton brass section in 1952.

Born in Detroit on August 20, 1926 Frank came from a musical family and sleeve-note writer Brian Davis gave a concise summary of Rosolino's early years on the back of Affinity AFF61. During the time he spent with the Gene Krupa Orchestra he made what was probably his first appearance on film. Universal-International made a 15-minute short feature on the band, directed by Will Cowan, and Frank was featured on Lemondrop, the camera's zoom lens closing in on the Rosolino mouth as it enunciated the scat vocal on George Wallington's tune.

But Frank's attachment to bebop was more than just a passing novelty attraction. His amazingly proficient technique on an instrument seldom associated with fast articulation sparked the marvelous Georgie Auld Quintet, a little band comprising Rosolino, Auld, pianist Lou Levy, bass player Max Bennett and the late Tiny Kahn as drummer and arranger. A nod in the direction of this splendid little unit occurs here with Taps Miller, one of the more popular numbers from the Auld Quintet book. It would be difficult to imagine Rosolino being a part of any musical organisation which did not allow his natural effervescence and ebullience to bubble through. Stan Kenton gave him plenty of chances to swing for Frank was a member of a particularly fine band which included men such as Richie Kamuca, Stan Levey, Bill Holman and Lee Konitz. In 1954 he made his first records for Stan's "Kenton Presents" series (Affinity AFF61), utilizing the talents of kindred spirits from the band, for the most part, including Sam Noto on trumpet, Charlie Mariano on alto, Curtis Counce on bass and drummer Stan Levey. Bill Holman provided the arrangements for that first LP and for this present "Frankly Speaking" album much the same format was used. Charlie Mariano, a man who at the time spoke the language of Charlie Parker with more clarity than almost any other saxophonist, was again present. Born in Boston in 1923 Charlie came up with the local bands before moving on to national fame and fortune. Stan Levey was one of the very first of the great bebop drummers; he worked with Dizzy Gillespie in 1944 ("Dizzy kept telling me to play like Shadow Wilson" Stan once told me; "I'd never even heard of Shadow Wilson in those days but I sure learned a lot from Dizzy".) Max Bennett was one of Rosolino's team-mates in the excellent Georgie Auld Quintet; he was born in Dex Moines, Iowa, in 1928 and worked with Herbie Fields, Auld, Terry Gibbs and Charlie Ventura before joining Stan Kenton in 1954. Walter Norris, from Little Rock (born there in December, 1931) is the man who played piano on Ornette Coleman's first LP but he has blossomed into a very personal soloist in his own right since working with the Thad Jones-Mel Lewis band in the middle-seventies. All of the arrangements for "Frankly Speaking" were done by Bill Holman, with the exceptions of Slan and The missus, both the work of Charlie Mariano.

Bill Holman has perfected the art of making a small band sound considerably larger than it actually is; in addition he is adept at devising useful bridge passages between solos which act as spring-boards. The opening Frenesi is taken up-tempo over a latin beat in the theme choruses. The first soloist is Mariano, who is Bird-like and exciting over Levey's sizzling cymbal before the leader takes off on two happy and extrovert choruses of his own. Rhythm rascals is the first of two Holman originals and is dedicated to the high spirits of the quintet members; note Norris's strong continuity with his right hand during his solo. Moonlight in Vermont has an unusual format and a 26-bar chorus (6-6-8-6); taken as a slow ballad, Holman's arrangement makes use of Max Bennett's arco bass as a third line in the theme statements. Rosolino's filigree phrasing is in contrast with Mariano's passionate and Parkerish half-chorus. The up- tempo The missus was Charlie Mariano's tribute to the wife who had produced three daughters for him. Charlie and Frank split a chorus before Norris takes a complete chorus of his own. There's no you is one of those neglected ballads, complete here in just two choruses. But in those two choruses Frank exhibits his complete command of his horn, using beautifully controlled smears of sound in the second chorus. Tadd Dameron's Our delight closes side one in vintage bebop style with fine solos from the front-line. The unison paraphrase of the original theme which forms the fourth chorus here is based on Dameron's own closing King fish is by Holman and should not be confused with a Quincy Jones tune of the same name. This was written originally for a Capitol album titled "Kenton Plays Holman" and for the quintet arrangement Bill was forced to drop one of the three lines which formed the theme statement for the big band. A unison figure boosts the soloists into flight and there are excellent choruses from piano, trombone, alto and bass.

In the light of the happiness which pervades every minute of the music to be heard here it is almost unbelievable that Frank Rosolino elected to put an end to his own life in a most bizarre and horrific fashion in November, 1978. We will never know what motivated his actions and those who knew him well were profoundly shocked. Let us not try to analyse those final hours. Let us instead revel in the joyful music of Frank Rosolino as represented on the enclosed record.

Alun Morgan

Frenesi (Dominguez, Charles, Russell)

The Rhythm Rascals (Holman)

Moonlight In Vermont (Suessdorf, Blackburn)

The Missus (Mariano)

There's No You (Hopper, Adair)

Our Delight (Dameron)

Now I Lay Me Down (to dream of you) (Howard, Ferrari)

Taps Miller (Basie, Russell)

Slan (Mariano)

Stairway To The Stars (Malneck, Signorelli, Parish)

The King Fish (Holman)

Frank Rosolino appears by courtesy of Capitol Records

Je Vous Aime - Francoise Hardy

Je Vous Aime

Je Vous Aime

Francoise Hardy

4 Corners Of The World

A Division of Kapp Records, Inc

Recorded in France

A Vogue P.I.P. Production

FCS-4238

1967

From the back cover: She must be doing something right.

For whatever Francoise Hardy turns her hand or her voice to seems to come up with "success" written all over it.

This album is a case in point.

You may marvel at the Hardy voice, so fresh and saucy... so soft and warm... so just right for the songs...

But as you marvel about the singing Miss Hardy, pause for a second to marvel at the writing Miss Hardy. For each of the even dozen songs in this sparkling album was written by her! And they span a wide range, indeed. From the triplets-and-backbeat of "ET MEME" to the snappish "JE VEUX QU'IL REVIENNE." Clear out to the old-fashioned, heart- throbby "L'AMOUR S'EN VA."

She sings...she writes...

And she acts! (Francoise Hardy is the wild one who swings out of a Riviera discotheque to follow the auto racer in the film "Grand Prix.") A glance at the cover photo indicates clearly that she can draw admiring glances wherever she goes. But Francoise who came to fame while studying at The Sorbonne is more than a good-looking, musically-talented girl who makes movies.

In the last analysis, you've got to listen to the lass. That's where it really happens. She makes magic because you can't see how beautiful she looks or how professionally she per- forms. You just hear her... and her songs.

And that's when she does something so right.

Take a perky young French miss who captures the brass of the young in her songs, adds a dash of the bittersweet and the romantic, then sings it all with the style of a true original ...and you have Francoise Hardy.

She must be doing something right.

Listen...

La Nuit Est Sur La Ville
Et Meme
Qui Aime-T-II Vraiment
Tu N'as Qu'un Mot a Dire
Saurais-Je
Je Veux Qu'II Revienne
Dans Le Monde Entier
Tu Ne Dis Rien
Comme Tant D'Autres
Je Pense A Lui
L'Amour S'en Va
Bien Longtemps

Stan Kenton Presents Gabe Baltazar

 

Stan Kenton Presents Gabe Baltazar

Stan Kenton Presents

Gabe Baltazar

Producer: Wayne Dunstan

Assistant Producer: Bill Cole

Mastering: Dave Ellsworth

Engineer: Hugh Davies

Cover Photograph: Courtney Harrington

Special thanks to Hy Lesnick, contractor

Recorded at Capitol Studios, Hollywood, California, January 9, 10, 11, 1979

Creative World Records CW 3005

1979

TRUMPETS - John Audino, Ray Triscari, Conte Condoli, John Madrid
TROMBONES - Lloyd Ulyate, Tommy Shepard, Gil Falco, George Roberts 

REEDS - Bud Shank, Bill Green, Jack Nimitz, Bob Cooper, Bill Perkins, Phil Ayling
FRENCH HORNS - Vince DeRosa, Richard Perissi, Art Maebe, George Price
PIANO - Pete Jolly
BASS - Chuck Domonico
GUITAR - Tommy Tedesco
PERCUSSION - Dale Anderson
DRUMS -  Steve Schaeffer, John Guerin, Earl Palmer
VIOLINS - Jimmy Getzoff, Concertmaster; Sid Sharp, Murray Adler, Alfred Lustgarten, Josef Schoenbrun, Bonnie Douglas, Jack Goodkin, Henry Roth
CELLOS - Ray Kelley, Igor Horoshevsky
VIOLAS - Virginia Majewski, Barbara Simons
HARP - Dorothy Remsen

From the back cover: To say a musician is "legendary" is to compound a cliche. But ask any jazz musician about Gabe Baltazar. He is a legend, partly because he is not heard very widely these days, partly because he is one of the finest alto saxophone players in the world. He is elusive, spending almost all his time in Hawaii, seldom touring, seldom recording. If you want to hear Gabe, provided you know of his estimable reputation through the jazz underground, you've got to go to the Islands.

Gabe was a joy to me all the years he was a member of my band. He is a master of his instrument, a great guy and a great artist. I am so proud to present him on the Creative World label.

Listen, and you'll see why it's all right to use the word "legendary" once in a while. – Stan Kenton

Gabe Baltazar – From his early years in picturesque Hilo, his birthplace, to his triumphal return following four years as lead alto with the Stan Kenton orchestra, Gabe Baltazar has personified jazz in the Hawaiian Islands. No Island musician nor few anywhere – has reached the International stature nor garnered the critical praise of this genius of the reeds.

But entertainment tastes change, and pure jazz artistry was somehow never accorded its due in Hawaii. Gabe was never really away from music he was Deputy Director of the world-famed Royal Hawaiian band, and his nights were devoted to jazz and working the big shows that came through Hawaii (Tony Bennett, Johnny Mathis, Liza Minelli, Glen Campbell, Marlene Dietrich) but only recently has his enormous talent re-emerged publicly.

When the Cavalier Restaurant in Waikiki decided to experiment with "new jazz", the Gabe Baltazar Quartet was booked for a two-week engagement. The group is now in its second year of a sizzling, standing-room-only-run. Jazz is finally "in" in Hawaii. And Gabe Baltazar, who had recorded a dozen albums with the Kenton band, who had appeared at the Monterey and Newport Jazz Festivals, who had performed both live and at recording sessions with Dizzy Gillespie, Benny Carter, Don Ellis, Cannonball Adderly and the greats of the past quarter century, is back.

This is Gabe's first solo album.

When Johnny Comes Marching Home (Traditional) - Arranged by Don Menza

What's New (Composed by Haggart- Burke) - Arranged by Bill Holman

Gabe - Composed and Arranged by Angel Pena

A Time For Love (Composed by Mandel- Webster) Arranged by Angel Pena - String Arrangement by Chuck Hoover

Take The "A" Train (Composed by Billy Strayhorn) Arranged by Don Menza - Soloists: Conte Condoli & Bob Cooper

Love Song (Composed and Arranged by Don Menza

Spanish Boots - Composed and Arranged by Don Menza