Bossa Nova + Soul - Marian McPartland

With You In Mind

Bossa Nova + Soul
Marian McPartland
Time Records S/4001

Marian McPartland - Piano
Ben Tucker - Bass
Dave Bailey - Drums
Ralph Dorsey - Conga Drum
Bob Crowder - Tambourine
1963

Artist and Repertorie - Bob Shad
Original Recording Engineer - Tom Nota
Re-recording Engineer - Frank Abbey
Mastering - Hal Diepold
Liner Notes - Marian McPartland
Production Coordinator - Harry Ringler
Album Coordinator - Sandra Danesi
Typography - The Composing Rom, Inc.
Printing and Fabrications - Globe Album, Inc.
Album Design - Murray Stein
Cover Photo - Joe Weitz

Creative Latin flavored jazz set featuring excellent engineering.

From the back cover: This album is quite different from anything that I have ever recorded. One of the interesting and unusual features is the addition of the conga drums and tambourine to my regular group. We have been playing the Bossa Nova since Dave Bailey joined the trio several months ago and demonstrated this new rhythm that he and Ben Tucker had heard while on tour in Brazil earlier this year.

Bossa Nova literally means "something new" and though it is based on the samba and has the same basic "two" feeling. It is actually a variation of the standard clave rhythm which is changed to coincide with the guitar accompaniment used in most South American groups. A relaxed sensuous rhythm, it is intensified by the use of the bander or tambourine, cabassa, bass, guitar and one or more horns. We used the conga drum (although it is not part of the "authentic" Bossa Nova combination) and Ralph Dorsey played on it a rhythm similar to the one used by the South American drummers, (that is played across the tom-tom with the left hand) while Dave kept the basic samba beat going.

I decided that I must have a tambourine on the date too, after hearing Dizzy Gillespie play it one night in Birdland. At the session, we all started to smile when we heard how great it sounded. Since Bob Crowder, the tamborine player had not rehearsed with the rest of us, there was a sort of excitement as we heard the tunes with the tambourine added for the first time. We, in fact, used it to good effect on every number, some of which were not Bossa Nova but straight jazz with a Latin flavor. I also decided to experiment with the Wurlitzer electronic piano on Love For Sale, Stranger In A Dream and Coming Home Baby. After hearing the playback we were pleased with the funky sound of the little electronic piano. At times, it seemed reminiscent of a guitar, especially in the low register. Just for fun, I played some "eights" on a chorus of Love For Sale - eight bars on piano, eight on the electronic piano, on Coming Home Baby (written by Ben Tucker, who also wrote Baby You Should Know It), I used it on the introduction and ending.

My own tunes With You In Mind and Stranger In A Dream lend themselves effectively to the feeling of the Bossa Nova. Ben and I worked out a little blues with a six-eight feeling, called Tell Me. We also used the same six-eight pattern on Sweet And Lovely, Straight No Chaser features Dave and Ralph alternating twelve bar solos and Green Dolphin Street just happens to be one of my favorite tunes.

Love For Sale
With You In Mind
Stranger In A Dream
Sweet And Lovely
Coming Home Baby
Tell Me
Green Dolphin Street
Straight No Chaser
Baby You Should Know It

Mellow Guitar - George Van Eps

Tango El Bongo

Mellow Guitar
George Van Eps
Columbia Records CL 929
1957

Occasional touches of period orchestral mood, blended with Van Eps' special guitar work is the surprise feature heard on this excellent mid-50s set.

From the back cover: Apart from the nimble fingering that Van Eps provides, one of the most interesting facets of his presentation is his guitar itself, a seven-string guitar which he designed. He is the only performer among the major instrumentalists to use such an instrument and has added the extra string, enabling him to attain the remarkable effects that are particularly noticeable in Let's Do It, 'S Wonderful and Tango El Bongo. The concept of the guitar as a complete instrument, harmonically speaking, one capable of producing lead, harmony and bass line, is basic in the soloist's approach, and produce a richer result the is customarily the case.

George Van Eps began his instrumental career on the banjo, when he was twelve; two years later he switched to the guitar and has been enlarging his versatility ever since. Among the orchestra he has played with are those of Freddy Martin, Benny Goodman and Ray Noble; as a free-lance musician in radio and on records he has played for Jo Stafford, Dick Haymes, Peggy Lee, Frank Sinatra, George Cates and of course Paul Weston.

Along with the incomparable standard ballads he offers in this program are a pari of originals, Van Eps' now Tango El Bongo composed especially for the seven-string guitar, and Lost Canyon, written by his daughter Kay. The bongo is played by Alvin Stoller and the vibraphone by Frank Flynn. Whether musing over one of the tender melodies in the collection or giving a fleet-fingered exhibition of virtuosity, George Van Epps has worked out some splendidly intricate jazz arrangements for his instrument, delightful presentations of guitar music in an unusual view. With the added tonal spectrum of high-fidelity recording, the presence of the guitar becomes almost tangible: vibrant provocative and mellow.

From Billboard - February 16, 1957: Van Eps, playing a special seven-string guitar, of his own design makes some wonderfully satisfying sounds in a easy-going, neo-jazz vein. This is the same Van Eps who was heard in the Paul Weston "Solo Mood" album, here taking his first outing as the billed attraction. Most of the tunes are moody and melodic with the spotlight on imaginative but gimmicked stylings. The liquid, refreshing backing is a strong extra value. A nice production that can come in for jockey exposure and thence good retail action as well.

I'll Remember April
What Is This Called Love
Let's Do It
Yesterdays
They Can't Take That Away From Me
Have You Met Miss Jones
Tango El Bongo
Dancing On The Ceiling
Lost Canyon
The Boy Next Door
I Never Know

How Sweet It Is For Lovers - Jackie Gleason

How Sweet It Is

How Sweet It Is For Lovers
Jackie Gleason
Produced By Richard Jones
Arrangements by George Williams
Recording Engineer: Robert Arnold
Cover photo/Capitol Photo-Studio/Ken Vender
Capitol Records SW 2582
1966

From the back cover: Jackie, some three dozen strings, a galaxy of fine songs in limpid, lush, languid Gleason treatments, plus the tenor sax of Charlie Ventura and the trumpet of Pee Wee Erwin.

From Billboard - October 29, 1966: Rich strings, subtle brass and superb melodies new and old, make this one of the finest Gleason mood albums to date. Aptly titled and defined for top sales, he has cleverly programmed from the evergreen, "I Wanna Be Loved By You" to the beautiful "If He Walked Into My Life" from B'ways "Mame."

If He Walked Into My Life
Stranges In The Night
The Shadow Of Your Smile
Lara's Theme
You're Gonna Hear From Me
The Second Time Around
How Sweet It Is
I Wanna Be Loved By You
Autumn Waltz
I Will Wait For You

Havana, 3 a.m. - Perez Prado

Mosaico Cubano

Havana, 3 a.m.
Perez Prado and His Orchestra
RCA Victor LPM 1257
1956

Terrific mid-50s Latin set that features a variety of inventive arrangements that plays through nearly as though Prado was producing a concept album.

From the back cover: It is interesting to observe that Prado's versions, of his own works as well as those of the other composers represented here, while they are so modern, so much a part of our complicated and fleeting time, are far from being over arranged as one might expect, but instead are rather simple. Perez Prado converts his feelings through the plainest mediums; and whether it is a vocal excerpt or an instrumental piece, he manages to give us the true, direct, engaging and nostalgic impression of a night in Havana...

From an article found in Billboard - February 23, 1957: Rack Field Gets Censorship Itch - Too Snappy Cover Art & Spicy Lyrics Nixed by Chains on Housewives' Beefs - Censorship is rearing its troublesome head in the record field here, particularly along the grocery chain circuit, which caters to the family trade.

"Daring" LP cover art is the primary target for the housewives' complaints, while so-called suggestive lyrics in show-tune packages also draw their share of beefs. The A&P chain here (New York), for instance withdrew RCA Victor's "Havana 3 A.M." by Perez Prado, which features an exotic rhumba dancer on the cover...

However, Martin (Joe Martin, record buyer for N. W. Moody which services A&P, Valley Fair and King Kullen grocery chains among others) stressed that censorship for the racks by no means implies a cover or tune is "dirty," but merely that it is too sophisticated or "too naked" for the chains' somewhat ultra-conservative tastes...

La Comparsa
Desconfianza
La Faraona
Bésame Mucho
The Freeway Mambo
Granada
Almendra
Bacoa
Peanut Vendor
Baia
Historia De Un Amor
Mosaico Cubano

El Debke - Naif Agby

Saffi El-Nia

El Debke
Naif Agby & His Orchestra
Music Of The Middle-East
Audio Fidelity Stereodisc AFSD 5980
1962

From the back cover: Naif Agby is a native of the Lebanese town of Ahden, and has traveled and lived in every corner of the Middle East. A seasoned musician trained in every phase of instrumental and vocal music, he came to the United States after a long and successful career including appearances on the stages of major cities throughout the Middle East – Beirut, Bagdad, Damascus, Cairo and many others. His success in the public eye was further achieved in numerous series of theatrical and radio tours in the roles of singer and composer. Here in the United States, Agby has won notable success and a large following among scores of Arab communities and organizations as an outstanding specialist in music of the Middle East.

From Billboard - December 15, 1962: Music of the Middle East, recorded in high fidelity stereo and played with excitement by the Nalf Agby Ork, makes this an outstanding album of its genre. Abby, a native of Lebanese composed most of the music, along with Sid Frey, head of the A-F label. The rhythmic music is even more intriguing in stereo, and the cover should grab attention.

Btestahil (You Deserve It)
Mahal (Solo)
Rouh, Rouh (Go Go!)
Rakset Wadad (Amity Dance)
Saffi El-Nia (Fullfil You Vow)
Surtax (Your Portrait)
Samra Ya Jamil (Beautiful Brunette)
Mili Ya Hilwa (Swing My Beloved)
Kabbir Aklatack (Be Wise)
Raksat El-Houria (The Mermaid Dance)
Haji Teoulli (Don't Tell Me)
Mahal (Solo)

Sea Of Dreams - Nelson Riddle

Sea Of Dreams
Nelson Riddle
Cover Photo: Tom Kelley
Capitol Records T915
1958

Available from online vendors, so I will not be posting a sample. Presented here to share the cover art which certainly sets the tone for this collection of light, flowing arrangements. Some buyers may have been looking for more drama out of this set, especially for a 1958 release which pitted Riddle against a number of other "exotica-styled" releases. I enjoy the smooth, almost one dimensional sonic quality the project delivers.

From the back cover: The California home of arranger-conductor Nelson Riddle is situated on the shoreline of the vast and ever-changing Pacific. It was in such a setting that he conceived the theme, and wrote the arrangements for this album, "Sea Of Dreams." Actually, there are two themes, the sea and dreams. Delicate fusion of the two results in music that is especially moving and romantic.

Out Of The Night
My Isle Of Golden Dreams
Tangi Tahiti
Dream
There's No You
Drifting And Dreaming
Easter Isle
Let's Fall In Love
Polka Dots And Moonbeams
Put You Dreams Away
Autumn Leaves
Sea Of Dreams

Turn On With The World's Most Sensuous Music

Turn On With The World's Most Sensuous Music
Cover Design: Carol Marunas
The Moss Music Group (Canada) TD 1001
1978

Apparently (from the back cover), Moss released at least 8 of these "Turn On" themed LPs. This is the first release in the series.

This set features a stock (unknown artist) classical music compilation. However, the Vox-Turnabout Catalog receives a bold mentioned on the back cover in association with the Bolero track as if there was some business connection at the time between Moss and Vox-Turnabout.

Bolero
Piano Concerto No. 2 In C Minor, Op. 18
Tristan & Isolde (Love-Death)
El Amor Brujo (Ritual Fire Dance)
Piano Concerto No. 1 In B-Flat Minor, Op. 23
Rhapsody On A Theme Of Paganini, Op. 430
Sheherazade, Op. 35
Romeo & Juliet (Love Theme)
Salome (Dance Of The Seven Veils)
Prelude To The Afternoon Of A Faun

Lovers In Rome - Monia Liter

Lovers In Rome
Monia Liter And His Orchestra
Richmond High Fidelity
A Product Of London Records B 20010
1957

Available from online vendors so I will not be posting a sample, however, the jacket art was worth sharing.

From Billboard - August 5, 1957 (London LL-1687 review): Here are 15 bands of Latin-tinged mood music. Well recorded and attractively interpreted, the music highlights strings and a mandolin is contrasting bright and quiet moods. It's similar to a goodly number of others both in quality and selection; also competition in name value alone is substantial. Play it cool on this.

I didn't expect much from this album, but as mood sets go, this is a decent thematic effort along the lines of something you might see produced by Jackie Gleason.

This colorful budget reissue features the price printed as part of the design.

London also released a Liter set titled Lovers In Paris (LL 1643),  which apparently preceded this attempt to create a series of Liter "romantic destination theme" packages.

Chianti Song
Tango Teneriffa
Andalusian Girl
Anna Marie
Italian Street Scene
Canzone D'Amore
Lovers In Rome
The Magic Fountains Of Rome
Tango De Casino
Sicilian Lullaby

Beat Beat Beat - The Spots

That's My Honey Bee

The Spots
Beat Beat Beat
Europa E 174
Miller International Schallplatten GmbH
1967

Gonna Get Me A New Girl
I Just Can't Wait To Be With You
It's Up To You
Cherries And Cream
Can't Set You Free
She... She Doesn't Love Me
I Think About You
I Don't Want To Go
You Didn't Think
I Wanna Spend My Life With You
I Can't Stand It Anymore
That's My Honey Bee

The Lamp Is Low - Robert Maxwell

The Lamp Is Low
Robert Maxwell
His Harp and Orchestra
MGM Records E3308

Available from a few online vendors, so I will not be posting a sample.

Although I can find no release date for this album, Maxwell's Harp Magic (MGM E3171) is listed on the back cover which was reviewed in a 1955 issue of Billboard.

Well executed orchestral mood arrangements that feature, but are not overwhelmed by, Maxwell's harp. The cover art and title nicely support the tone of the set.

From the back cover: The extensive listing of theaters, night clubs, hotels and television shows which have hosted harpist Robert Maxwell gives a hint of his popularity with the American public. Yet, to all intents and purposes this enormous success of a harpist defies the usual convention. But after a few moments of listening to this youthful entertainer performing on his chosen instrument, all doubt as to the reason of his popular following will disappear. First and foremost, Robert Maxwell is an entertainer. The harp is merely his channel to entertaining an audience. A natural showman as well as a highly trained musician, Bob turns his harp into theatrical property. Specially fitted with a system of colored lights which he operates with his feet to dramatic effect, the harp takes on a brilliant new role in the hands of Robert Maxwell. His repertoire is enormous, including classical selections, show tunes, current novelties and "pop" numbers. He can produce mood music – or he can "swing." His ability to use his instrument for comic effect as well as straight performance has endeared him to thousands of his fans. Bob's study of the harp is both unique and comprehensive – but the manner in which he started study is unique. While a student in a New York grammar school, Bob entered a competition with fellow pupils in a musical aptitude test. He won and was awarded a scholarship to Juilliard School Of Music. A choice of instruments was offered him, but he was so smitten at the sight of a harp that he chose it. His various engagements in orchestras in the vicinity of New York led to his becoming a member of the National Symphony Orchestra. He was seventeen at the time, the youngest member of that stellar group. Recitals in New York and Los Angeles and engagements as Arturo Toscanini and Serge Koussevitsky follow. It was not until Bob became a member of the Coast Guard during the war that featured solo work came his way and the chance to show his individuality on the harp. His C.O. in the Coast Guard was Rudy Vallee, who might be said to have given Bob his first real break. Valley got him the chance to tour the U.S. and the South Pacific as a soloist entertaining servicemen. This gave Bob the experience and composure to go on to becoming a solo performer later in civilian life. He began modestly in radio, passing from there to his present position of fame and demand. He has appeared in motion pictures, on the biggest of TV shows and his recording career has been phenomenal. He is married and the father of two little girls, both of whom he hopes will become harpists.

The Lamp Is Low
I Surrender, Dear
The Nearness Of You
Love By Candlelight
You Belong To My Heart
Should I Believe You?
Sleepy Lagoon
Don't Let Me Love You
I'll Never Be The Same
They Can't Take That Away From Me
Yesterdays