Samba So! - Walter Wanderly

Sad Samba

Samba So!
Walter Wanderly

A Richard Bock Presentation

Art Direction: Woody Woodward

Design: Bernard Yeskin
World Pacific WP-1856
Division of Liberty Records

Recorded live in Brazil by Fermata Productions.

From the back cover: The New Music of Brazil has notably been both vocal and instrumental, with perhaps a slight edge in importance going to the singers. One thinks of Astrud and Joao Gilberto, and even Jobim to verify that, and, except for American jazz instrumentalists, there haven't been any players who have made it in the United States primarily on their playing abilities. But organist Walter Wanderley, he of the peculiarly un-Brazilian name, changes all that, for he sings not at all, but plays with a verve and gusto... and a virtuosity that has taken him squarely to the top of the latest Bossa Nova crest of popularity. 

Wanderley is perhaps the last of the true progenitors of the music called Bossa Nova to win a large following among the lovers of good popular and jazz music in the U.S., and now that he has, it is difficult to understand why it took so long. Difficult, but may I advance my idea of why there has been a delay? First of all, Walter Wanderley is an organist. Second of all, the last few years have seen his instrument, the Hammond Organ, become the most ubiquitous of all instruments in small group jazz. Third of all, although the organ is capable of about as wide a range of sounds as any musical device known to man, jazzmen have shown an unparalleled rigidity of approach to it. Day in and day out, countless lips are employing one or two combinations of "stops" on that vast console of buttons, plungers, levers and pedals, in what has become known as the hip stops-that same rigidity that makes every darn saxophonist in the world get a narrow gauge metal mouthpiece and chant John Coltrane's sound and ideas, that same rigidity that makes every trumpet player stick his mute into the mike and try to be Miles, and finally that same fear and rigidity that makes every record company A & R man say play those hip stops or get that 'Trane sound or use that Miles mute or you don't make records or play clubs or...? 

And then, suddenly, as if it hadn't been so neverendingly frustrating, Walter Wanderley was discovered. His light- hearted, open, fresh sound was dancing out of every car radio on its way to August beaches. Disc Jockeys who don't even know where Brazil is were saying..."That one was by good old Walter Wanderley..." or "here's Walter Wanderley's latest..." or "Yeah, Walter Wanderley, isn't he something?" and forgetting their highly inaccurate and tossed-off descriptions of his sound as like that for an accordion or a calliope. 

Oh, well, what the heck. Isn't the important thing that Walter Wanderley is finally getting the recognition he deserves? And that his blatant, overt, extroverted form of the Bossa Nova is being so well aired? And that this means more Walter Wanderley records? And that this is a Walter Wanderley record, and that you are its owner? Isn't it, hmmmm?. 

Sure and it is! Find Walter here with his own good group including an honest saxophonist and a spritely guitarist. Find the whole group having more fun than 9 out of 10 small jazz groups (most of whom these days of strife are preaching harder than they're playing-which I'm not knocking, just feeling a bit sad about). Find even some funny fun, like Walter imitating an airplane landing at the end of "Samba Do Aviao" (just Where Tony Bennett would be saying something about Rio my love, we're finally here, etc.- I forget the lyrics). And, find a lasting long playing record that should be played at least once a day for best results. Try it for breakfast with orange juice, or after dinner with brandy and soda. Or frug to it when nobody's watching. But don't tell me it doesn't sound like Jimmy Smith. You watch. Walter Wanderley isn't going to change, but if more organists don't sound like Walter Wanderley in the next year, then I'll sell my autographed Cotrane metal mouthpiece and white plastic saxophone. – John William Hardy

Jet Samba
Morning Samba
Prelude Samba
Samba Of My Town
Only Samba
Beggar's Samba
Samba In Japan
Samba De Bossa
New Samba
One Note Samba
Brazilian Samba
Sad Samba

Stan Kenton Plays For Today

Michelle

Stan Kenton Plays For Today
Capitol ST 2655
1967

From Billboard - March 25, 1967: Kenton continues to be one of our most inventive arrangers and his work on this exceptional program of pop tunes makes them sparkle anew. "Spanish Eyes," "Strangers In The Night" and "Michelle" are infused with a jazz flavor, making this a double threat album.

It Was A Very Good Year
Yesterday
Sabre Dance
Spanish Eyes
Cumana
The Sound Of Music
Somewhere My Love (Lara's Theme)
Never On Sunday
Michelle
Strangers In The Night
Anna

Modern Jazz - Ronnie Lang

Cantara

Modern Jazz
Ronnie Lang And His All Stars
TOPS L1521
1957

From the back cover: Ronny Lang - Tenor Sax

Started with Hoagy Carmichael's Teen-Age Band and progressed from there to Skinnay Ennis in '47. He joined Les Brown in '49, leaving Les for two years of Army Service. Returning to Lew Brown's Band, he was one of the featured side men that made the Brown Band of the 50s one of the top bands in the country. Capitol seated Ronny on an album called the Les Brown's All Stars.

Dave Pell - Baritone and Tenor Sax (courtesy RCA Victor)

Born in New York, played around the East with bands such as Bob Astor, Bobby Sherwood, Tony Pastor, came to the West Coast in 1945. Joined Bob Crosby for two years, then eight years with Les Brown's Band as featured soloist. Currently on RCA Victor recording artist.

Marty Pacich - Piano

Stared in 1938 right around San Francisco Bay area sunil he went into service in 1946... in charge of Army band... came to L.A., went to L.A. Conservatory, and graduated with Master's Degree in Composition... Accompanist to Peggy Lee and Dorothy Dandridge... played with Shorty Rogers... Dave Pell Octet... has arrangements in the books of Stan Kenton, Les Brown, and Dave Pell Octet... one of progressive jazz's leading arrangers and pianists.

Bob Enevoldsen - Valve Trombone

Born in Billings, Montana... graduated University of Montana... Bachelor of Music degree. Went into service, and upon his return to civilian life, played with the Salt Lake City Symphony as Solo Clarinetist for two years. Came to L.A., recorded with Gery Mulligan, Bill Holman, Lennie Neihaus, Bobby Troop, Skinnay Ennis, Francis Faye... Has two albums of his own on Nocturne label... Plays bass tenor sax, clarinet, and on this date, valve trombone.

Johnny Lais - Drums

Started in New Orleans and after a hitch in the navy worked with Frankie Carle, Will Osborne, Louis Prima, George Auld and Matt Dennis... Married to Emma Lou Welsh, the well known singer.

Ray Leatherwood - Bass

A Texan... graduate of S.M.U... played with Tommy Dorsey, Les Brown, Jack Teagarden and appeared on Julie London's hit album with Barney Kessel.

From Billboard - January 26, 1957: Quality, more than price, usually dictates jazz sales. This 12-incher is tagged at $1.49, the cover is intriguing and the 12 good tunes (mainly well-known standards) are listed on the cover, where the rack buyers can spot 'em. With Lang, but not listed on the front, are Dave Pell, Marty Palch and Bob Enevoldsen, all of the West Coast clique. The jazz is bland and uninspired. Possibly there will be some "impulse" sales, but the "cats" will probably shun this.

Devil And The Deep Blue Sea - Arranged by Bill MacDougald

How About You - Arranged by Marty Paich

They Can't Take That Away From Me - Arranged by Bob Drasnin

I'll Be Around - Arranged by Bill MacDougald

Basin Street - Arranged by Marty Paich

Taking A Chance On Love - Arranged by Bob Drasnin

Skylark

Midnight Sun

'S Wonderful

A Foggy Day

Cantara

Lullaby In Rhythm

Kent State Jazz Date - Bobby Brack Trio

Small Hotel

Kent State Jazz Date
Bobby Brack Trio

Cover Photo: Basil Tuir / Rex Lanning

Cover Design: R. Kennedy / C. Clatterbuck

Recorded by the Audio Recording Co., under the supervision of Vlad Maleckar

Packaged by Helm Graphic, New York
Colpix CL 405
1959

From the back cover: ALBUM CRITIQUE – In order for an album of jazz to meet with any measure of professional success it must answer in the affirmative at least two questions: first will the record stand up to repetitive listenings so that the listener gains something new with each audience; and second-have the musicians done some- thing original with the standard tunes which form the framework of jazz, both in writing and in improvisation?

APPLYING these questions to the album at hand we must answer with a strong, unequivocal "yes" in both instances. For here is jazz, pure and simple, that is unpretentious and yet here is a jazz of considerable complexity. Whenever such a paradox exists in music we invariably have a composition or performance which reveals some new facet of its body or soul with each listening to hear all of it at once. In the case of the Bobby Brack Trio, we have three young musicians who play a lot of music and probably live even more. Their music is the product of three highly-spirited, active minds; reflected in every chorus, in every chord, is an enthusiasm for life, for the ecstatic and the esthetic for jazz. Here is a music that is at once restrained and exciting, casual and violent, serious and happy. Here is an almost perfect fusion of spirit and intellect. It is a music that lures the listener back for more, offering new discoveries each time.

"The second "yes" does not require so much explanation and qualification. The special treatment given to traditional jazz standards by the Bobby Brack Trio happens to be one of its great attractions. One need only witness a single rehearsal to discover the great efforts these men make for originality and freshness one need only hear a single com- position to realize the completeness of their success. In the "written" sections of these standards they are never content with hackneyed, threadbare approaches; once something has been said, it is not worth saying again seems to be their philosophy. Having created their own springboard, as it were, the trio goes on to jam and swing in its own idiom.

On one occasion the writer mentioned to the group that a certain musician had just released a recording of a jazz standard, giving it a particularly novel interpretation. Bobby's reaction: "Don't play it for me. Don't tell me about it. We are planning to do that tune and I don't want to be influenced."

BUT of course the influences are there. Every creative mind owes a debt to the past, for his creations are but a result of his experience; and before a person can create he must study what was done yesterday and what is being done today. As a result, any work of art is either the extension of a tra- dition or a rebellion against it. The Bobby Brack Trio produces a sound of its own, yet, at the same time, the group is ever aware of jazz's rich past; the Trio is historically geared and subjectively driven. Just what the specific influences are, is something difficult to determine. Let the listener detect and decide for himself, if he must, what threads of jazz have been woven into the fabric of the Brack sound. However, we think it only fair to warn the listener that any attempt to bracket the sounds in this album into a definite school will result in time spent in vain. For what really matters here, is that the Trio works within the jazz idiom, never exceeding its limits, while employing shades and tones which have the sound of a new voice.

THE MEN

SINCE this is the Trio's first album, the time is favorable for an introduction of its members and a brief history of its existence.

DAVE MASKE, bassist, born in 1932 in Akron, Ohio, began his musical studies on piano, later switching to bass and jazz where he has found a home providing a pulsating, swinging backbone to the Trio's structure. Having played with many groups, Dave is happiest with the Brack Trio because he likes the immediacy and intimacy of communication required by the musicians in such a small organization. Dave is a graduate of Kent State University and is now teaching in a public school in Ravenna.

RON SURACE, pianist, from Lorain, Ohio, born in 1933, has been studying piano for seventeen years and has been playing jazz for almost as long. Ron lists his "great awakening" as coming during the time he served in the Army where he had the opportunity to meet a number of jazzmen with widely varying conceptual approaches to jazz. Ron is now in his final year of the School of Music at Kent State University and plans to go on to conservatory study from there.

BOBBY BRACK, leader, drummer, from Cleveland, Ohio, born in 1931, has played drums since the age of four. Now in his last year of study at Kent State, Bobby plans to enter law school after graduation. He has provided the beat and swing to many big bands, including those of Ralph Flanagan, Ralph Marterie, Johnny Long, and the great band of Tommy Dorsey. Although Bobby has seen much of the world. from behind a set of drums his interests and activities include so many fields that his conception of jazz has not become static or narrowly introspective. With Bobby each set is a new adventure and each tune a fresh experience, one that is to be enjoyed as well as played.

So there you have them. Collectively they form the Bobby Brack Trio, a group of young, energetic men with a sense of humor who are destined to carve for themselves a rather sizable niche in the world of jazz.

And, as might be guessed by this time, the three members. of the Trio happened upon one another at Kent State University in Ohio where, at a chance meeting, they struck up an accord, an understanding, and a sympathy in their musical concepts. Since its inception at Kent State, where the group developed a large acclamatory audience practically overnight, its fortunes and acceptance have risen in a steadily ascending path. They soon passed beyond the borders of Kent and performed for many jazz clubs throughout Ohio.

The fortunates who have heard the trio, have persistingly demanded an album, a permanent record, as it were, of the Brackian sound, and this album is an answer to that demand. With this album you can now enjoy a new sound in jazz, something which, if you haven't experienced it yet, you will become addicted to after your first exposure.

THE SELECTIONS

Lover (3:38) opens the first side, an exciting up-tempo tune which well exemplifies the Trio's aptitude and sto for gusto a fast-driving, swinging beat. Bobby's big sponges with delicate definitions and midway through his drums answer with an exceedingly complex polyrhythmic solo. This piece is an exhibition in pyrotechnics.

You Stepped Out of a Dream (3:04) follows as a change of pace, beginning as a tenderly treated ballad that soon de- velops into a hard-swinging number, demonstrating the unity that the Trio is so well known for. They move and swing as one mind and one body.

Bobby opens Small Hotel (4:36) soloing on the congal drum, setting a Latin mode. At the second chorus the group moves into 4/4 evolving into an almost bluesy feeling. In the next chorus Bobby takes to his drums, continuing his use of the hands neither stick nor brush is employed throughout this.

In All The Things You Are (3:22) Surace is spotlighted on piano, demonstrating his lyrical feel for the ballad without a beat behind him. In the second chorus Dave and Bobby join in, with Surace establishing the tempo, and the Trio wails for two choruses, closing out the number.

Dave is showcased on bass with Lover Man (3:39), one of his favorite tunes. Dave feels that Billy Holiday has done more for Lover Man than anyone in jazz, and his treatment of it sometimes suggests this feeling.

To conclude Side One the Trio collaborates once again on an interesting Mountain Greenery (3:44). This one takes off contrapuntally, changing into a swinging four beat in the second chorus. Bobby's drums feel the skin of his fingers again here, and Greenery is wrapped up and brought home by a return to the original contrapuntal statement.

Side Two is initiated with Cheek To Cheek (5:29). The melodic line is given an agitated heavy-sounding riff at the outset with all three men playing in unison. At the bridge a latin beat is established, followed by two choruses of excited piano by Surace. Bobby answers with an eight bar solo. Then Dave speaks up on bass for an interlude; the Trio consolidates its forces again and brings to a conclusion a truly happy Cheek To Cheek.

What Is This Thing Called Love (3:29) begins at the bridge with a soft, impromptu piano solo; then a modification of the melodic line suddenly explodes on the keys which is echoed by Bobby's drums. Now swinging in up-tempo, Ron and Bobby exchange fours. The Trio has fun with this one and their sense of humor comes to the fore.

Spontaneous (7:15) is the one original composition in the album; it was designed by Bobby to best explore his conception of solo drumming. Using mallets through its entirety, Bobby gives himself a free hand here. Listen for the point where Bobby has four rhythms running simultaneously while following a melodic line. Half-way through Bobby sets his sensitive foot moving and maintains this motion almost until the end of the piece. Close listeners will hear a strange sound in places during Spontaneous. It is only Bobby's feeling for rhythm escaping from his body through his teeth.

A creation of several different and contrasting musical genres is the bill of fare for Love Is A Simple Thing (2:23), the last selection on Side Two. A toy piano effect is implemented, succeeded by subtle allusions to the minuet and Charleston. The Trio then breaks into a driving jazz foray, and as it develops, love becomes quite a swinging thing indeed. – FRANK BRUNOTTS

Lover
You Stepped Out Of A Dream
Small Hotel
All The Things You Are
Lover Man
Mountain Greenery
Cheek To Cheek
What Is This Thing Called Love
Spontaneous
Love Is A Simple Thing

Greasy Kid Stuff - Al Caiola

Watermelon Man

Our Day Will Come

Greasy Kid Stuff

Al Caiola Guitar and Orchestra
United Artists
UAS 6287 & UAL 3287

1963

From Billboard - May 25, 1963: Guitarist Caiola applies his special talents to a group of current and recent pop singles hits for various artists, both vocal and instrumental. These treatments include smart arrangements which incorporate femme voices, organ, flute and rhythm. The "Greasy Kid Stuff" tag refers to the teen-styled material offered. Danceable and listenable wax includes "Surfing' USA," "Watermelon Man," "He's So Fine," "Walk Right It," and "Rhythm Of The Rain."

Watermelon Man

He's So Fine

Surfin' USA

Our Winter Love

Rhythm Of The Rain

Walk Right In

Pipe Line

Charms

Ruby Baby

Alley Cat

South Street

Our Day Will Come

Latin Holiday - Dante Varela

I Want To Be Happy

The Ravel Murder Case

Latin Holiday
Cha - Chas and Mambos
Dante Varela And His Orchestra
Decca Records DL 8851
1959

From the back cover: Born in Buenos Aires, Argentina, Mr. Varela is a triple-threat conductor-pianist-composer who has built himself a solid reputation as an authentic and highly original Latin music-maker. His talents are often directed, with equal authority, toward jazz and ballads. The composer of over 17 popular songs, he has also written important piano suites and several orchestral works.

Mr. Varela studied piano with Vincenzo Scaramuzza and studied saxophone and clarinet with his father, Benito Varela, Professor of Music at the "Don Bosco" schools in Buenos Aires for over 20 years. Organizing his first orchestra at the age of 20, he came to the United States soon after.

'S Wonderful
Younger Than Springtime
Just In Time
I Want To Be Happy
Body And Soul
The Song Is You
Bernie's Tune
Hello Young Lovers
Gone With The Wind
Sweet Sue, Just You
Angel Eyes
The Ravel Murder Case

Cha Cha - Pedro Garcia

Senor Juez

Cha Cha Cha - Vol. 3
Pedro Garcia and His Del Prado Orchestra

Photography: Bob Witt
Audio Fidelity AFLP 1837
1957

From the back cover: Pedro Garcia has been one of Mexico's outstanding band leaders ever since 1948, when he formed his world renowned orchestra especially for the spectacular opening of the Hotel del Prado in Mexico City, directly opposite picturesque Almeda Park. Like Havana, Kingston, San Juan and Port-au-Prince, Mexico City is one of the world's most popular centers for the international set. It is also a mecca for Latin American enter- tainment, and the Cha Cha rates highly in appealing to dancers at every night spot. Although Garcia has been identified chiefly as a popular bandleader, he has a solid training as a classical musician. He studied at the National Conservatory of Mexico, and as an accomplished solo 'cellist played with leading sym- phony orchestras and opera companies in his native country and abroad. Before he formed his own popular orchestra, he appeared repeatedly with the Symphony Orchestra of Mexico under the direction of the noted Mexican composer and conductor, Carlos Chavez.

Capullito De Alheli
Senor Juez
El Mandarin
El Maletero
Los Solterones
Agua Con Azucar
Satanas
Policias
El Alboroto
Norte Y Sur
Cha Cha Negro
Son Dos Luceros

Energy & The Atom - The American Nuclear Society

How Safe Are Nuclear Power Plants

Energy & The Atom

3-Disc Set
Produced by The American Nuclear Society, Hinsdale, Illinois

1975

A dozen, ten minute informal interviews with scientific and industrial leaders on the general topic of nuclear power

What Is A Reactor And How Does It Work?
How Safe Are Nuclear Power Plants?
Ecology And Atomic Power
Nuclear Power Plants, Where Shall We Put Them?
Diversion And Safeguards Of Nuclear Materials
Plutonium – Is It Really That Dangerous?
Environmental Impact Statements
Atomic Power... European Style
The Clinch River Drama... The Case For The Breeder
The Atoms Final Resting Place
The Public Acceptance Of Nuclear Power?
The Future Of Atomic Energy

Cool Hands - Buck Clarke Quintet

X-A-Dose (Clarke, McKenzie, Hampton, Williams and Hunter)

Ed's Blues (Hampton)

Cool Hands
Buck Clarke Quintet

Recorded in Washington, D.C., December 2 and 3, 1959
Offbeat Records OJ-3003
1959

Buck Clarke - Bongos & Conga Drum

Don McKenzie - Vibraharp

Fred Williams - Bass

Charles Hampton - Piano, Alto Sax, Clarinet & Wooden Flute

Roscoe Hunter - Drums

From the back cover: New Jazz groups usually are introduced to the reading public with a salvo of superlatives. It's a tradition. I remember when the Joe Mooney Quartet was "discovered" in New Jersey or some such wasteland, Mike Levin of Down Beat solemnly announced that the quartet was the greatest jazz group to appear since "Edward Kennedy Ellington" and his band. (What would disc jockeys and the more portentuous writers (Levin usually wasn't protentuous) do if they couldn't roll out "Edward Kennedy Ellington?" If Duke were named, say, Humbert Humbert Ellington, he probably would be playing piano today at an upstairs night club in Washington, D. C.)

Hyperbole is rampant in liner notes. Hardly a week went by when I was reviewing records that I didn't get an LP by some cocktail trio playing in Milwaukee or Seattle which was proclaimed a three-piece threat to the Modern Jazz Quartet. I wish I had a thousand dollars (I'm greedy) for every pianist who has been in- troduced as the new Art Tatum or the logical successor to Bud Powell. Because of all this puffery, I'm afraid that if I don't call the Buck Clarke Quintet (they play on this record) the greatest combo since the Original Dixieland Jazz Band, readers will become suspicious.

The Buck Clarke Quintet is, eschewing superlatives, a good band. The five members are skillful professional musicians who play modern jazz with refreshing enthusiasm. There is no jaded here-we-go-again feeling on this LP. Though Clarke plays bongos and conga drum, this is not an Afro-Cuban group. The Latin percussion blends in with rest of the Quintet and does not sound as if it were pasted on for effect. Clarke tries to fit his drums into the arrangements, adding something more than rhythm. The Quintet has a light, deft sound and, especially when Charles Hampton plays clarinet, a different flavor than most jazz combos. The goal of the Quintet, Clarke Says, is entertainment, but is always musical, never trivial.

The group, which is based in Washington, D. C., is capable of a variety of moods. On this record, they range from the passionate ("Lover Man"), through lowdown ("Ed's Blues"), lyrical ("Floretta"), and blithe ("Second Wind") to exuberant ("X-a-Dose"). Three members of the band write better-than-average original com- positions, a half-dozen of which are on this LP. My favorites are Fred Williams's "Second Wind," a fine example of idiomatic wind writing; Don McKenzie's "Floretta," a graceful ballad; and Hampton's perky "Cool Hands." Hampton plays a 19-cent wooden Japanese flute he bought in drug store on "X-a-Dose," He was more pleased, however, with his solo on "Lover Man", shaking his head in disbelief as he listened to the playback. "Ed's Blues" is that recording session standby an afterthought that required only one take and turned out well.

The Quintet had been playing together regularly about 10 months when this record was made. They recorded shortly after appearing for a week at the Howard Theater in Washington and gained the finishing touches of confidence and polish. The five rehearse faithfully every Sunday morning in the basement of McKenzie's home (where the piano always is in tune because McKenzie is an expert piano tuner), no mean feat for musicians who work late on Saturday nights.

The Quintet started as a trio (bass, vibes, conga and bongos). Their first date was at a Washington art gallery, where Clarke was showing paintings of jazz musicians. Drums were added, and in February, 1959, Hampton joined to make it a quintet.

Since all five are newcomers to records, here are brief biographies:

William (Buck) Clarke, 26, was born in Washington and began playing bongos when he was 16. He turned professional a year or so later. His first job was traveling with a band that played carnival midways, working from 9 a.m. to 11 p.m. "Many times I couldn't put my hands in my pockets when I finished," Clarke recalls. He worked as a single for two years in New Orleans, spent two years in the Army, joined Arnette Cobb after service, worked as a single again, and returned to Washington. He has jobbed around Washington, accompanied Nina Simone, and worked as an artist on the exhibits staff of the Smithsonian institution. Clarke likes Miles Davies, John Coltrane, John Lewis, Philly Joe Jones, Kenny Clarke, Milt Jackson, Ray Brown, and Oscar Peterson.

Don McKenzie, 28, a native of Washington, started taking music lessons when he was seven. He was playing the marimba at 11 and got his first set of vibes a year later. McKenzie played concerts and recitals around Washington and appeared with a Negro opera company in Carnegie Hall. He became interested in jazz when he was about 17. After serving in the Army, where he was in military bands, McKenzie worked in New York for a year-and-a-half. He is in the building and decorating business with his father. Milt Jackson, Cal Tjader, Benny Golson, Art Farmer, and Hampton Hawes are among his favorite jazzmen.

Charles Hampton, 29, born in Greenville, S. C., started studying piano when he was 16. He now plays piano, alto sax, clarinet, and flute and is studying oboe at the Modern School of Music, Washington, where such musicians as Frank Wess and Charlie Byrd have attended. Hampton also attended the Howard University School of Music for three years. He likes writing both jazz and chamber music. His favorite arrangers are Benny Golson, Bill Holman, and Gil Evans.

Fred Williams, 29, born in Washington, did not start music until he served in the Air Force, though he was interested in playing the bass before then. Williams played with USO troupes in Europe, worked New York for a year, and now attends Howard full-time. He plans to teach when he graduates. His favorite bassists are Ray Brown, Paul Chambers, and Keeter Betts.

Roscoe Hunter, 29, a native of Washington, has been drumming since he was 10, when his equipment was two knives tapped on chairs in accompaniment to the radio. He bought a snare drum in 1947 and gradually built up to a full set. Hunter started playing dates around Washington in 1949. His favorites include Max Roach, Philly Joe Jones, Art Blakey, and Shelly Manne.

All are hard-working musicians with one goal to make entertaining, good music. I think they succeed on this record. – PAUL SAMPSON (Sampson formerly wrote a jazz column for the Washington Post and Times Herald.)

Cool Hands
What Is This Thing Called Love
Second Wind
Mil-Dy
Ed's Blues
X-A-Dose
Lover Man
I'll Remember April
Floretta

Mambo Jumbo - Carlos Molina

Cao Cao Mani Picao

Mambo Jumbo
Carlos Molina
Caliente Disco 
Division Of Pathe Records, Ltd.

From the back cover: Carlos Molina is making his debut on Caliente Records with this Long Play album, and will delight you with his beautiful interpretations.

This Latin-American singer is famous throughout America for his performance on TV and in night clubs. We here at Caliente Records are proud to present this outstanding album.

Tico Tico
Lengua Mala
Mambo No. 5
Cao Cao Mani Picao
Mambo No. 3
Love This Night Will Live
Eso No
Serentro Espagnola
Mambo Jumbo
Silverio
El Compas Del Mambo
Come To The Mardi Gras