Walkin' Down The Line - Joe & Eddie

All I Really Want To Do

Walkin' Down The Line
Joe & Eddie
Produced by Snuff Garrett
Cover Photo & Design: George Whitman
Engineering: Dave Hassinger & Phil Yeend
Arranged by Leon Russell
Gene Norman Presents, Hollywood, Califorina
GNP Crescendo GNP-2014
1965

From the back cover: Was it on the Danny Kaye TV Series that you first saw them; or was it the "Tonight" show, or the Jackie Gleason Show, or "Shindig" – or an one of several other important TV shows?

Through hundreds of television appearances, coast-to-coast concert and nightclub engagements and six pervious successful albums, Joe & Eddie have become firmly established in the firmament of musical stardom. And like Ol' Man River – "They just keep rollin' along"! In every way, they have what it takes – great voices, a completely unique and exciting style and irresistible personalities, both vocally and visually.

Walkin' Down The Line
This Beautiful Land (From "The Roar Of Grease Paint" Featuring the Lex Baxter Singers)
All I Really Want To Do
That Was The Last Thing On My Mind
This Little Bird
Depend On Yourself
It Ain't Me Babe
To Be Myself
Silver Threads And Golden Needles
With You In Mind
Michael, Row The Boat Ashore

Go - Go Together - Al Berman

A Very Special Love

Go - Go Together
For Dancing And Listening Pleasure
The Voices And Orchestra Of Al Berman - From England
Compose Records 98012

Let Yourself Go
A Very Special Love
In The Meantime
Teacher, Teacher
True
Who Needs You
The Piccolino
Happy Anniversary
Life Is Just A Song
Find Me A Bluebird
Spring Is Here
It's Not For Me To Say
Chances Are
La Plume De Ma Tante
Let Me Sing And I'm Happy
I Never Felt Like Falling In Love
Everybody Loves A Lover
You're My Only Love
Home And Peace
Let's Face The Music And Dance
You're Gonna Lose Your Gal
Ivory Melody

Think Young - Camarata

All Day And All Of The Night

Think Young
Camarata Featuring Tutti's Trombones
Arranged and Conducted by Camarata
A Promenade Production D41001
Distributed by London Records, Inc.
1965

From the back cover: Think Young was recorded in the Hollywood, California studios of Sunset Sound Recorders. To enhance 20/20 Sound a new Stereo String Room was designed which gives the strings complete separation from brass and rhythm leakage, giving the added plus of being able to keep the strings on an equal level with the rest of the orchestra. Equipment for the radically new 20/20 process includes a specially designed 14 position 4-channel console with equalizers and limiters. Two stereo 4 channel sel-synd 1/2 Ampex tape machines with the new low noise Scotch 201 tape provide the quietest and clearest sound ever heard before. The frequency range is from 20cps to 22,000kcps.

Personnel

Trumpets: Johnny Audio, Frank Beach, Manny Stevens, Jimmy Zito, Ray Linn
Trombones: Tommy Peterson, Joe Howard, Dick Nash, Gil Falco, Tommy Shepard, Vern Friley, George Roberts (Bass Trombone), Bob Knight (Bass Trombone)
Drums: Hal Blaine, Earl Palmer
Percussion: Hugh Anderson, Jerry Williams
Guitars: Tommy Tedesco, Allan Reuss, Arthur Wright (Fender Bass), Carol Kaye (Dano)
Bass: Cliff Hils
Piano: Ray Sherman
Violins: Israel Baker, Gerry Vinci, Marshall Sosson, Sid Sharp, Arnold Belnick, Emmanuel Moss
Violas: Paul Robyn, Robert Ostrowsky
Cellos: Ed Lustgarten, Eleanor Slatkin, Justin De Tullio, Nate Gorshman
Horns: Vince De Rosa, Jack Cave, Art Maebe, Bill Hinshaw
Saxes: Johnny Rotella, Jim Horn

From Billboard - August 7, 1965: The pop music of today is enhanced by these swingin' big band arrangements of Camarata. He has applied his "Tutti's Trombones" creativeness to such recent hits as "A Ticket To Ride" and "What's New Pussycat," and given them new meaning much in the vein of the big band days. A sales winner for band devotees.

It's Not Unusual
For Your Love
I'll Never Find Another You
A Ticket To Ride
All Day And All Of The Night
(I Can't Get No) Satisfaction
Sunshine, Lollipops and Rainbows
Little Things
(I Think I'm) Goin' Out Of My Head
Cast Your Fate To The Wind
Tired Of Waiting
Ferry 'Cross The Mersey
What's New Pussycat?

Flights Of Fantasy - The Ventures

Flights Of Fantasy
The Ventures
Producer: Joe Saraceno
Art Direction: Woody Woodward
Illustration: Wayne Kimbell
Liberty Records LST-8055
1968

Available from online vendor so I will not be posting a sample. Presented here to share a nice scan of the original cover.

From Billboard - May 11, 1968: Always assured of sales with their unbeatable guitar work, The Ventures work over instrumentally some current chart favorites including "Mighty Quinn," Cry Like A Baby," "Summertime Blues," "Scarborough Fair" and "Soul Coaxing." The combo established manner of redoing the hits of the day and winning spins with their shear ability to spark new life is the reason why The Ventures are a pop landmark.

Might Quinn (Quinn The Eskimo)
Cry Like A Baby
Flights Of Fantasy
The Ballad Of Bonnie And Clyde
Summertime Blues
Soul Coaxing (Ame Caline)
Scarborough Fair / Canticle
Innermotion Faze
Fly Away
Walking The Carpet
Love Shower

Si! Si! M. F. - Maynard Ferguson

Si! Si! - M. F.
Maynard Ferguson and His Orchestra
Produced by Teddy Reig
Arrangements by Willie Maiden
Design: Moskof - Morrison Inc.
Photo: Chuck Stewart
Roulete Birdland Series SR 52084
1962

Maynard Ferguson - Trumpet
Donald Arthur Rader - Trumpet
Rufus Jones - Drums
Gene Arnold Goe - Trumpet
John C. Gale - Trombone
Michael Christian Joseph Abene - Piano
Lincoln B. Milliman - Bass
Lanny Morgan - Alto Sax
Kenneth Harold Rupp - Trombone
William R. Maiden - Tenor Sax
Donald J. Menza - Tenor Sax
Frank J. Hittner Jr. - Sax
Natale Pavone - Trumpet

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

From Billboard - October 27, 1962: Maynard Ferguson is back once again with another LP tailored to the likes of big band fanciers. The album is nicely programmed between solid swing tracks and easy ballads, all done in an instrumental view. The band is ripping and roaring on the LP and the set features solid choruses by Maynard on trumpet, and good solo work from alto and tenor sax, trumpet and rhythm section. There's nothing Latin about the album but the title tune "Si Si," which emerges as one of the better tracks as do "Morgan's Organ" and "Early Hours."

What'll I Do
Early Hours
Morgan Point
Si! Si! - M. F.
Almost Like Being In Love
Mimi
Morgan's Organ
Born To Be Blue
Straight Out

Jazz Of The Connecticut Traditional Jazz Club 8

Do What Ory Say

Jazz Of The Connecticut Traditional Jazz Club 8
Recording Engineer: Glenn Allen
Album Design: Andrew Heminway
Mastering & Editing: Glenn Allen, Pete Campbell, Bill Sinclair
Album Notes: Pete Campbell
CTJC - SLP - 8 Stereo

From the back cover: The Connecticut Traditional Jazz Club, Inc., that durable organization devoted to the preservation, documentation and presentation of the Traditional Jazz art, delights in offering this eighth album featuring selections from the 1972 archives.

We have noted before that jazz is an international language and that language has been spoken between our album covers of the past. But 1972 was an even more international year, for no less than three bands from across seas graced our concerts. Two of them, the famous "Papa But" Viking Jazzband from Denmark and the French High Society Jazz Band are contained herein, the latter in a combination jam session with the New Orleans Funeral and Ragtime Orchestra led by Dick Miller and Woody Allen. Barry Martyn's Ragtime Band made its fourth annual trek from England and can be heard on ConnTrad SLP 4.

The Popular Red Onion Jazz Band inaugurated what was to be a year notable in ConnTrad history. In addition to the variety and international flavor to the music, the club sponsored its first riverboat jazz cruise featuring the New Black Eagle Jazz Band led by transplanted British cornetist Tony Pringle. And a smashing success it was. The momentum was maintained by the most ambitious of the annual picnics. Over 250 members, guests and offspring heard a New Orleans band led by Percy Humphrey, and including Louis Nelson, Chester Zardis, Alfred Lewis and Louis Barbarin, blast the leaves from the trees under a warm September sun.

St. Louis Blues / Old Fashion Love / Royal Garden Blues
Hayes Alvis' Pioneer Of Jazz
Hayes Alvis - Bass / Leader, Doc Cheatham - Trumpet, Herb Hall - Clarinet, Clyde Bernhardt - Trombone & Vocal, Jimmy Evans - Piano, Wilbert Kirk - Drums
Meriden, Conn. 3/18/72

When Erastus Plays His Old Kazoo / 1919 March
Southhampton Dixie, Racing & Clambake Society Jazz Band
Bill Barnes - Cornet / Leader, Joe Ashworth - Clarinet, Roy Rubinstein - Trombone, Ted Prochazka - Piano, Connie Worder - Banjo, Barry Bockuss - Bass, Richard Barron - Drums
Bridgeport, Conn. 1/29/72

Do What Ory Say / The Chrysanthemum Rag
"Papa Bue's" Viking Jazzband
Arne "Papa Bue" Jensen - Trombone / Leader, Keith Smith - Trumpet / Vocal, Jorgen Svare - Clarinet. Jens Solund - Bass, Jorn Jensen - Piano, Knud Ryskov Madsen - Drums
Meriden, Conn. 7/7/72

Bugle Boy March
New Orleans High Society Funeral And Marching Band
John Bucher & Pierre Merlin - Cornets, Pierre Atlas & Woody Allen - Clarinets, Daniel Barda & Dick Dreiwitz - Trombones, Martine Morel & Dick Miller - Piano, Marshall Brickman - Banjo, Fredy Yzerman - Tuba, Teddy Hocquemiller - Drums
Wallingford, Conn. 4/21/72

Jazz Of The Connecticut Traditional Jazz Club 10

My Sweetie Went Away

Jazz Of The Connecticut Traditional Jazz Club 10
Recording Engineer: Glenn Allen
Album Design: Andrew Heminway
Mastering & Editing: Glen Allen, Pete Campbell, Bill Sinclair
Album Notes: Club Members
CTJC - SLP - 10 Stereo

1974

From the back cover: This, we suppose, can be called our 10th "Anniversary Album", since it represents selections from our tenth full ConnTrad Concert year. Our beginnings can be traced to the January, 1965 appliance of George Lewis in Hamden. The society as it is presently organized from September, 1965.

Along the way there have been some memorable occasions, like the rousing "December Band" of 1965 with Kid Thomas, Cap'n. John Handy, Jim Robinson and Sammy Penn; and like that potentially disastrous February day in 1966 when it snowed the previous evening and nearly all the day of the concert, closing schools and businesses, only to have the heavens eventually quiet, the parking lot plowed, and Glorietta Manor in Bridgeport jammed with devotees to hear the famous Eureka Brass Band of New Orleans led by Percy Humphrey. And who remembers the July, 1968 visit of the Onward Brass Band, marching in the streets of Hartford? Or the SRO concert in December, 1969 of the Condon-McPartland Chicagoans featuring Gene Krupa? Musicians have come from around the country and the world to present live jazz to our audiences.

The Ragtime Dance / Snake Rag
Max Collie's Rhythm Aces
Max Collie - Trombone / Leader, Noel Kalentsky - Clarinet and Soprano Saxophone, Jack Gilbert - Clarinet, Trevor Williams - Baritone Saxophone (?), Jim Macintosh - Banjo, Ron McKay - Drums
Wethersfield, CT. 4 May, 1974

Stack O'Lee Blues / Bogalusa Strut
The Galvanized Jazz Band
Fred Vigorito - Trumpet / Leader, Noel Kaletsky - Clarinet & Soprano Saxophone, Craig Grant - Trombone, Bill Sinclair - Piano, Art Hovey - Baritone Saxphone (?), Tuba, Joel Schiavone - Banjo, Bob Becquillard - Drums
Wethersfield, CT. 29 June, 1974

Once In A While / My Sweetie Went Away / Mecca Flat Blues
The Red Onion Jazz Band
Bob Thompson - Drums / Leader, Lew Green - Clarinet, Denis Brady - Clarinet, Soprano Saxophone, Charlie Bornemann - Trombone, Hank Ross - Piano, Jack Harkavy - Tuba, Eric Hassell - Banjo, Natalie Lamb - Vocal, Thies Jensen - Guest Trumpet (cut one only)
Meriden, CT. 30 March, 1974

The Eel / Westmoreland Weave
Jim Cullum's Happy Jazz Band
Jim Cullum - Clarinet, Bobby Gordon - Clarinet, Mark Hess - Valve Trombone, Gene McKinney - Trombone, Cliff Gillette - Piano, Jim Newell - Banjo, Buddy Apfel - Soprano Saxophone (?), Harvey Kindervalter - Drums
Meriden, CT. 8 February, 1974

Street Of Dreams - Stan Kenton

Street Of Dreams
Stan Kenton
Production: Bill Stilfield
Mastering: Dave Ellsworth
Research: Audree Coke
Cover Photo: Ron Sheridan, Los Angeles
Graphics: Lexington Avenue West, Hollywood
Creative World Records
ST 1079
1979

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

Enlarge the back cover image for lists of session personnel.

Send In The Clowns (From the Creative World album ST 1076 - Kenton '76 - 1976)
Rhapsody In Blue (From the Creative World album ST 1039 - Stan Kenton and His Orchestra Live at Brigham Young University - 1971)
Street Of Dreams (From the Creative World album ST 1065 - Birthday In Britain - 1973)
Body And Soul (From the Creative World album ST 1070 - 7.5 On The Richter Scale - 1973)
Tiare (From the Creative World album Stan Kenton and His Orchestra Live at Redlands University  -1970)
Too Shy To Say (From the Creative World album ST 1077 - Journey Into Capricorn - 1976)
My Funny Valentine (From the Creative World album ST 1076 - Kenton '76 - 1976)

Wanted! - Marion & Jimmy McPartland

Lonely Avenue

Wanted!
Marion & Jimmy McPartland
And The All Star Jazz Assassins
Producer: Steven Lapa
Engineers: Vince Morette and Bob Grotte
Art Design and Direction: Ron Warwell
Liner Design: Ed Thomas
Trans Central Reproductions, Inc.
Improv IMP-7122
A Division of Tobill Entertainment, Corp.
Distributed by Audio Fidelity Ent. Inc.
1977

Marian McPartland - Piano
Jimmyu McPartland - Cornet
George Reed - Drums
Brian Torff - Bass
Herb Hall - Clarinet
Spider Martin - Saxophone
Buddy Tate - Saxophone

From the back cover: This live recording lets you share the magic that happened May14, 1977 at the Downtown Night Club in Buffalo, N.Y.

Bill Hassett has formed the Improv Record label in 1975. Several earlier releases had been done "live" at the club and met with excellent critical and market response.

That weekend was a jazz and good music festival in Buffalo. This album captures the essence of the joyful, easy, yet brilliantly disciplined playing of artists like the McPartlands, Buddy Tate, Herb Hall, and a newcomer who'll be heard a lot more – John "Spider" Martin. – Bill Hassett

All The Things You Are
Just A Closer Walk With Thee
Lonely Avenue
Royal Garden Blues
Dinah
Undecided

Anthology Of American Music Sound Forms For Piano

Conlon Nancarrow: Studies For Piano

Anthology Of American Music
Sound Forms For Piano
Robert Miller, Piano
Producer: Sam Parkins
Recording Engineers: Buddy Graham, Frank Laico, Roger Reynolds
Mixing Engineer: Arthur Kendy
Recorded at Columbia Recording Studios, 30th Street, New York and Mexico City
Cover by Elaine Sherer Cox
Photographs by Marc Musnick
New World Records NW 203
1976

Experimental Music By

Henry Cowell
The Banshee / Aeolian Harp
Piano Piece (Paris 1924)

John Cage
Sonata I, V, X, XII and Second Interlude
(from Sonatas and Interludes

Ben Johnston
Sonata for Microtonal Piano

Conlon Nancarrow
Studies for Player Piano
#1, #27, #36

From the back cover: Robert Miller. During the past decade numerous works have been expressly written for Robert Miller by such leading American composers as Milton Babbitt, George Crumb, Charles Wuorinen, and Mario Davidovsky (the Pulitzer-Prize-winning Synchronisums No. 6). Miller's concert appearances have take him to the festivals of Tanglewood and Aspen, and to many other musical centers of North America. He has also made recordings for Deutsche Grammophon (in conjunction with Acoustic Research), Columbia, Turnabout-Vox, and CRI. Robert Miller combines his career as pianist with that of a practicing attorney on Wall Street.

The piano used for the Ben Johnston compositions was tuned microtonally using the Scalatron Tuner and Pitch Monitor. This equipment can establish any pitch progression both aurally and visually with extreme accuracy. We wish to extend our thanks to Richard J. Harasek and Motorola Scalatron, Inc. for their help and equipment for the microtonal tuning.

The Nancarrow "Studies" were recorded during an impromptu visit to the composer's home in Mexico City during March 1973. The recording equipment used was antiquated but well maintained. The studio in which Nancarrow's two Ampico upright player pianos are housed is approximately 20' x 50'. It is a resonant concrete-block structure lined with shelves containing musical books and manuscripts. Considerable care was taken in microphone placement in an effort to achieve a representative sound quality.