Take Me Along - Marty Paich

Sid Ol' Kid

Take Me Along
Marty Paich and His Jazz Piano Quartet
Produced by Dick Peirce
Recording Engineer: Al Schmitt
Recorded at RCA Victor's Music Center of the World, Hollywood, California, on September 14, October 6 and 7, 1959
RCA Victor LPM-2164

From the back cover: We tried to be very careful in selecting the eight hands for the album. I don't know any octopi who play great jazz, but we found something even better: Pete Jolly, Jimmy Rowes and Johnny Williams. I provided the seventh and eight hands myself. We rounded out the "orchestra" with guitar, bass, two drummers and trumpet. All of us seem to think a lot alike, but each man contributes a slightly different "personality" to the music. Pete has a wonderful modern jazz concept. You can see what I mean on the first improvised chorus of the title tune.

Jimmy's work has a lot of warmth and shows a very broad knowledge of all types of jazz, from early jazz to modern. He plays the second solo on Take Me Along. Johnny is our "anchor man." He has a tremendous classical background and technique, and still with a fine jazz understanding. This is especially important on tunes like Little Green Snake where I based the whole thing on an almost classical type of fugue or canon. The trumpet provides color and changes of pace. I often have him playing without any piano background at all.

I tried to write each man's part especially for hime. I write best this way and it seems to add more color and depth. On Nine O'Clock, Jimmy and John play celeste while Pete and I play piano countermelodies. Then when we all play together, it builds up to quite a climax. These boys are really good musicians. With all this piano talent around, I was at first content to sit back and let them take all the solos. However, the temptation got the best of me and I had to give a little of my own solo interpretation to the song of Sid, Ol' Kid.

I might comment of the overture. It's sort of musical "editor's preface." I wrote it to give the listener an idea of what's coming next. It sets the mood for whole album.

This has been a real challenge. I've tried to keep strictly in the jazz idiom. Everything was written out except the improvised solos. In order to give the whole thing continuity, I often took a classical approach to the form. – Marty Paich (as told to Bill Olofson)

Overture – Take Me Along
Nine O'Clock
Little Green Snake
Promise Me A Rose
But Yours
Sid, Ol' Kid
Patience Of A Saint
Staying Young
Thinkin' Things
We're Home

Brazil! Brazil! Brazil! - Bud Shank

Elizete

Brazil! Brazil! Brazil!
Bud Shank
Featuring: Laurindo Almeida, Chet Baker, Joe Pass, Clare Fischer & Joao Donato
Producer: Richard Bock
Art Direction: Woody Woodward
Design: Bernard Yeszin
Cover Photo: Fred Poore

From the back cover: Recently, I've had the opportunity to send some tape dubs of our North American bossa nova to a friend in Sao Paulo. These dubs included the work of Bud Shank, Clare Fischer, Laurindo Almeida, Joe Pass and the rhythm sections working in the present album. Let me tell you that my faith in certain occasionally disputed truths was immediately reaffirmed. When you listen to Bud with Laurindo playing bossa nova recorded in 1952, you know and I know you're not going to let anybody tell you that these guys didn't start the whole thing. And when you listen to Bud and Clare and Joe Pass play as they do here, as it was recorded in 1963, you're not going to let anybody convince you that these guys weren't right in the middle of the first North American bossa nova craze. In fact, when you tune into Clare Fischer playing his tribute to Joao Gilberto (Carnival) and Jobim's One Note Samba, may I ask you to bear in mind that these two tracks were in an album that critic Gene Lees termed one of the best bossa nova albums ever released in this country – high tribute in the face of the simply gorgeous packages by Jobim, Sergio Mendes, Astrud Gilberto and so many others that almost weekly reach these shores from heartland Brazilians.

Arranged by Julian Lee, a lovely flowing string section is present in this LP that for me, and I hope you, enhances the qualities that I feel are the most lasting – the introspective, the romantic, the quietness of these performances. All in all, the result is one of the very best collections of the bossa nova currently available from our better jazzmen. – John William Hardy

From Billboard - November 26, 1966: An exciting collection of 12 Brazilian tunes given the fossa-jazz treatment by Bud Shank, with top players Laurindo Almeida, Chet Baker, Joe Pass, Clare Fischer and Joao Donato, backed by a lush orchestra. Perfect for both easy-listening and jazz lovers. "Summer Samba" and "I Didn't Know Time It Was" excellent.

Summer Samba (So Nice)
Elizete
Nocturnio
Item A Note
Carnaval
Sausalito
If I Should Lose You
Carioca Hills
Samba Do Aviao
I Didn't Know What Time It Was
Quiet Nights Of Quiet Stars (Corcovado)
The Color Of Her Hair

Interplay - Derek And Ray

Interplay

The Keyboard Sounds Of Today
Derek And Ray
Arranged and Conducted by Marty Gold
Co-Conducted by Sandy Block
Produced by Marty Gold
Recorded in Webster Hall, New York City.
Recording Engineer: Bob Simpson
Piano by Baldwin
RCA Victor LSP-3530
1966

Available from online vendors so I will not be posting a sample. Present here to share the cover art.

A groovy pop/mood set of 12 inventive, balanced orchestral arrangements featuring the keyboard sounds of Derek and Ray.

Danke Schöen
Interplay
The Sweet Charity Theme
Wailing Waltz
Tell Me More
How High The Moon
Runnin' Wild
Brasileira
Makin' Whoopee
Dizzy Fingers
Serenata
Sophisticated Swing

Looking At You - Pat Suzuki

My Funny Valentine & You Better Go Now (LSP-2186)

Pat Suzuki
Looking At You
With Ralph Burns and His Orchestra
Produced by Herman Diaz, Jr.
Engineers: Ray Hall and Ernest Oclrich
Recorded in RCA Victor's Studio at New York City, Recording
RCA Victor LSP-2186 & LPM-2186
1960

From the back cover: "I never minded slugging out an upbeat song as a change of pace but it was ballads that I began with and loved. So this album is me. I've never had more fun or been more relaxed in a studio. I've never been so satisfied with a recording session. I walked into a nice, clean studio and found my favorite nucleus of musicians – Doc Severinsen, Milt Hinton, Don Lamond and Barry Galbraith; and there, as an added attraction, was Ralph Burns conducting his own wonderful arrangements. And we went to work with pretty, simple tunes and it made me feel so good for after four years I was again singing what I wanted." – Martin Cohen (frequent contributor to TV Guide)

From Billboard - June 20, 1960: Here is a very attractive new album by thrush Pat Suzuki; in fact, one of her best releases to date. She handles the ballads with warmth and meaning, especially such items as "He's My Guy," "You Better Go Now," "Small World." The arrangements by Ralph Burns are striking. Good wax.

Looking At You
Small World
Cheek To Cheek
He's My Guy
My Funny Valentine
You Better Go Now
You Brought A New Kind Of Love To Me
I See Your Face Before Me
Easy Living
Don't Look At Me That Way
Let Me Love You

Rock And Roll - Hen Gates

Let's Go Dancing To Rock And Roll

Let's Go Dancing To Rock And Roll
Hen Gates And His Gators
Masterseal Records MSLP 5005
1957

From the back cover: Rock and Roll satisfies an enormous teenage need – a need for an exciting music to which an energetic youngster can express his sense of rhythm. A need for music with a driving beat.

In essence, Rock and Roll is nothing more than the 1950's version of the thrilling. house-rocking music which set toes a-tapping during bygone eras. In each era teenagers performed to the various forms of music with the wildest gyrations which then, as now, were beyond the comprehension of adults.

In the "Roaring 20's," expressions such as "Oh, you kid!", "Twenty-three skidoo," "Razza-ma-tazz!" and 50,000 others accompanied such trembling-rafter dances as the charleston, the black bottom, the varsity drag, the big apple, the turkey trot, etc. Parents watched their offspring cut-up numerous rugs and wondered, just as they do today, if their youngsters were rapidly going out of their minds.

Ten to fifteen years later, another variation of jazz known as "Swing" stepped front and center capturing the teenagers' sense of rhythm. This era, the late 30's and early 40's, sported such everyday terminology as "Solid Jackson," "Hubba-hubba-hubba," "Gimme some skin," "You're in the groove" and "Mister five-by-five" which accompanied new dances called the lindy hop, the jitterbug, the boogie woogie and others. Raccoon coats and flapper skirts had given way to bobby sox, pegged pants, skyscraper like hairdos and other signatures of teenage individualism, but the unbelieveable foot movement on the dance floor was as wild as ever in the eyes of grown-ups.

After World War II the bands gave way to the vocalists and music with a big beat vanished. But a new musical storm was brewing.

Two years ago the charleston and swing eras were reincarnated as a new form called Rock and Roll. Along with the new driving beat came black denim trousers, motorcycle jackets and new expressions including

"See you later, alligator," "You're flippin'," "He's gone," "Cool man, cool," "You're square" and new dances bearing such titles as the bop, the fish, the rock, etc. And today, the same misunderstood teenagers of the twenties, in their adult status cannot understand the zany dances of today's youngsters. Nevertheless, Rock and Roll is the rage.

This album features Hen Gates and his Gators with a heap of torrid Rock and Roll arrangements tailormade for hoofers. A powerhoues disc designed to keep any pa- try swinging.

HEN GATES and his Gators are a group of talented young Rock 'N Roll musicians who were molded into one group for the purpose of recording.

Public acceptance of this group indicates that Hen Gates and his Gators have been recognized among the top exponents of

Rock 'N Roll. – Notes by MARTY OSTROW

Rock Me Sugar
Rock Around My Baby
Love To Rock With You
Choo Choo Rock
Rock Rock Rock
Rock'n And Walk'n
Shoe Shine Rock
Juke Box Rock
Rock Around Rosie
Fish Beat Rock
Rock'n Time
The New Rock

Memories Of Cuba - Orquesta Casino de la Playa

Memories Of Cuba
Orquesta Casino de la Playa
RCA Victor LPM-1641
1958

Available from online vendors so I will not be posting a sample. Presented here to share the original cover art and jacket notes.

From the back cover: The Cuban orchestra, Casino de la Playa, can claim more credit than almost any other group for the introduction and acceptance of contemporary popular music in Latin America. From the moment that the name of these wonderful musicians crossed the borders of Cuba to enter the hearts of other Latin people, the music of Latin America assumed new and exciting proportions.

As a result of the popularity of the orchestra's recordings, new stars were born. Among them were such vocalists as Miguelito Valdes, Cascarita, Gualfredo de los Reyes and Antonio de la Cruz, and Anselmo Sacasas, a pianist of extraordinary ability.

On this recording we hear the original musicians of the same Casino de la Playa Orchestra which was so popular in the years 1940 through 1945. The performance is one which all record collectors will treasure for years to come.

Once again the magnificent and brilliant interpretations of Miguelito Values are heard. These are the songs which have made him famous, presented in the style that is still unique among singers. Babalu, Carchita, Bruce Manigua and El Manisero live again in these memories of Cuba as well-deserved tribute of admiration and affection to the Casino de la Playa Orchestra

On the second side of this album the orchestra providers a musical setting for the sensational Orlando Guerra, better known as Cascarita, and Antonio de la Cruz, two of the most beloved Latin-American singers. – Mario de Jesus

Babalu
Cachita
Bruca Manigua
Mis Cinco Hijos
El Manisero (The Peanut Vendor)
Almendra
Quiero um Sombrero
Yo Pico un Pan
Esto Es lo Ultimo
Coge Pa' la Cola
Tumbando
Cana
Parampampin

The Soundaroundus - Marty Gold and His Orchestra

The Soundaroundus
A Marriage Of Music And Electronics
Marty Gold and His Orchestra
Arrangements by Marty Gold
Produced by Danny Davis
Engineer: Mickey Crofford
Recorded ih Webster Hall, New York City
RCA Victor
LSP-3599
1966

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

From Billboard - August 23, 1966: Special recording sounds makes this one exceptional! "People," "Michelle," "The Soundaroundus," 9 more.

Uneven LP featuring almost no "electronic" playfulness or "groovy" sounds. More of a "late-to-the-market" set featuring a variety of arrangements to showcase quality stereo engineering.

Michelle is a sweetly presented lush strings arrangement.

The Shadow Of Your Smile
A Taste Of Honey
Sunrise, Sunset
King Of The Road
Here's That Rainy Day
A Walk In The Black Forest
Lara's Theme
People
Bye Bye Blues
Michelle
What The World Needs Now Is Love
The Soundaroundus

Coffee Break - Reg Owens

What A Human Thing To Do

Coffee Break
Reg Owen and His Orchestra
Photo: David Hecht
Cover: China courtesy Georg Jensen, Inc.
RCA Victor LSP-1582
1958

From Billboard - June 23, 1958: Here's an album of attractive background music, played by the Reg Owen Ork. The set is graced with a truly funny set of liner notes penned by that irrepressible altoist formerly on the Vik label, Ferris A. Benda. Tunes include standards such as "Oh But I Do," "Was That A Human Thing To Do," "A Little Kiss Each Morning," etc. Intriguing title and cover could help this move.

Oh, But I Do
Ask Anyone Who Knows
Was That The Human Thing To Do
Every Day
Please Don't Talk About Me
Twenty-four Hours Of Sunshine
When Hearts Are Young
Keep Smiling At Trouble
Have A Little Faith In Me
Love Will Find A Way
A Little Kiss Each Morning
Suddenly

The Huckle-Buck and Robbin's Nest - Buck Clayton

The Huckle-Buck and Robbin's Nest
A Buck Clayton Jam Session
Produced by George Avakian with the assistance of John Hammond
Recorded December 16, 1953, at Columbia Studios, 205 East 30th Street, New York City
Columbia CL 548
1954

Trumpets: Buck Clayton, Joe Newman; Trombones: Urbie Green, Henderson Chamgers; Alto Sax: Lem Davis; Tenor Sax: Julian Dash; Bariton Sax: Charlie Fowlkes; Piano: Sir Charles Thompson; Guitar: Freddie Green; Bass: Walther Page; Drums: Jo Jones

Available from online vendors so I will not be posting a sample. Presented here to share the cover and jacket note excerpts.

From the back cover: Buck Clayton, trumpet and leader. Born in Parsons, Kansas, about forty years ago, Buck became known internationally when he was featured soloist with Count Basie's band from the years 1936-1943. He is also on many of the best Teddy Wilson-Billie Holiday records and was a great artist at the Benny Goodman Carnegie Hall Jazz Concert, Volume 1. He has led bands in New York, Shanghai, and Paris.

Joe Newman, trumpet. Joe is now filling Clayton's chair with Count Basie's band, which he joined two years ago. Before that he was with the 'Bama State Collegians, Lionel Hampton, and Illinois Jacquet.

Henderson Chambers, trombone. A veteran of the Edmond Hall band at Cafe Society, Chambers has played with Louis Armstrong, Al Sears, and Lucky Millinder, to name a few.

Urbie Green, trombone. Urbie (for Urban) played with Woody Herman's band for several years before settling down in New York, where he is currently sweating out both a card and steady work with Lester Lanin's Society Orchestra

Lem Davis, alto sax. In the days of swing Lem played with Eddie Heywood's great little band. Along came bop; Len heard Charlie Parker, and changed his style. Swinging more than ever, he can now be heard with Teacho WIlshire's combo at the Midway Lounge in Brooklyn, N.Y.

Julian Dash, tenor sax. A loyal alumnus of Alabama State College, Julian made the trek to New York some years back with Erskine Hawkins, whom he has never left.

Charlie Fowlkes, bariton sax. After many years with Lionel Hampton, Charlie now provides the foundation for Count Basie's reed section.

Sir Charles Thompson, piano. Sir Charles is from Independence, Kansas, the son of a Methodist minister. He has played with the groups of Lionel Hampton, Lester Young, Charlie Barnet, and Illinois Jacquet, among others. He is also an arranger, composer and organist.

Freddie Green, guitar. For seventeen years Freddie has been the mainstay of Count Basie's rhythm section. (I cannot think of a greater compliment for this great musician. G. A.)

Walter Page, bass. Back in the late twenties, Bill Basie was playing piano with Page's Blue Devils, the southwest's most exciting band. After a long association as a sideman in the Basie Band, Walter is now a permanent fixture at Eddie Condon's, in New York.

Jo Jones, drums. Another Basie veteran, Jo (for Jonathan) recently had the distinction of becoming a father and grandfather within the same week. He has his own combo, which can usually be heard at the Embers, in New York.

– John Hammond

Music From The Golden West - Jay Gordon

Western Moon

Music From The Golden West
The Jay Gordon Concert Orchestra
TOPS L1550
1957

Riding The Range
Home On The Range
Wagon Wheels
Western Moon
El Rancho Grande
Twilight On The Trail
Clementine
Pop Goes There Weasel
You Are My Sunshine
The Quilting Party
Camptown Races
Carry Me Back To The Lone Prairie