La Triunfadora - Victoria Quinde

Asi, Ais

La Triunfadora
Victoria Quinde
Arr. y Dir.: Abilio Bermudez
Portada: Foto Guillermo Barona
J.D. Feraud Guzman L.P. - 50362
Manufacturado por Fediscos
Distribuye Almacenes de Musica
1986

Comprendeme - Bolero
Destino - Vals
No Te Pido Que Vuelvas - Pasillo
Asi, Asi - Bolero
Anoche - Vals
Desprecio - Pasillo
Ya No Quiero Sufrir - Pasillo
No Me Mientas - Vals
Migajaz - Bolero
He Pensado - Pasillo
Mi Triste Historia - Vals
Consejo A Las Mujeres - Bolero

A Child's Very Favorite Song Book

Little Goldie Goldfish

A Child's Very Favorite Song Book

Twinkle Records TW-22
A Division Of Premier Albums, Inc.

Land Of Lemonade And Lollipops
Little Goldie Goldfish
Old Mac Donald Had A Farm

Little Tin Soldier
Tubby The Tuba
Billy Boy
Little Red Schoolhouse
Little White Duck
Pee Wee The Kiwi Bird
Little Poly Parakeet
Chocolate Train
Big Rock Candy Mountain

Bedtime Stories - Twinkle Records

Snow White

Bedtime Stories
Twinkle Records TW-36
A Division Of Premier Albums, Inc.

Snow White
Goldilocks
Little Red Hen
Treasure Island
Little Red Riding Hood
Dinky The Duck

A Study In Brown - Francis Bay

Stompin' At The Savoy

A Study In Brown (Sentimental Swinger)

Featuring tunes of Les Brown, Irving Berlin, Rodgers & Hart and others

Francis Bay and His Orchestra

Engineering and Artistic Direction: Peter Plum, Elite Musical Productions

Produced by Dave Hubert

Cover Photography: Ray Avery

Product Design: Leon McFadden

The member of the Bay Bay Band on the cover is Jef Verhaege, Saxophone (apparently there must be another cover version of this release)

Sutton SSU 206 & Omega Records OSL-25

From the back cover: The Bay Big Band salutes to the great American and English bands at the Brussels World's Fair astounded and impressed all who heard their regular performance at the fair. Francis Bay, the leader and an extremely versatile musician and arranger, organized the Bay Big Band in 1954 to became the first regular Radio Dance band after the end of World War II. The Bay Big Band recently won the highly coveted "Golden Gondola" trophy in a battle of the bands at Venice, Italy. The precision section work and fluid jazz improvisation of the soloists are a product of years of rehearsal and development shared by the same gourd of musicians without the constant changes in sidemen that have plagued our American bands in recent years. The music rapport between sections of the band and between soloists is amazing. Francis Bay plays trombone, clarinet, alto saxophone and flute with equal ability and his regular programs on the Brussels N.I.R. Radio conceived by program manager Bob Boon can be head week on the powerful nation throughout England, France, Belgium and surrounding countries – Dave Hubert

Sentimental Journey
Baby Don't Cha Go 'Way Mad
Stompin' At The Savoy
Twilight Time
Lover's Leap
Going Home
Evening Star
When Johnny Comes Marching Home Again
Oh Brave Old Army Team
Clair De Lun

Tokyo Rhapsody - Vicente Gomez

Blue Kimono

Tokyo Rhapsody
Vicente Gomez
Guitar Solos with Accompaniment
Directed by Charles Bud Dant
Decca DL 74948
Decca Records, A Division of MCA, Inc., New York, N.Y.
1968

From the back cover: The setting is Japan. The music is Japanese. The instrument is pure Spanish – the classical guitar of Spain! This unorthodox combination of music from the Orient performed on an instrument traditionally associated with the Latin countries might well have failed in the hands of a lesser artist than Vicente Gomez. In his case, however, it reveals itself to be an exciting and unusual experience.

Throughout the years, the great skill and sensitivity of this dedicated artist have resulted in many outstanding contributions to the world of recorded music, and Tokyo Rhapsody, which features his magnificent guitar-playing in adaptations of popular Japanese melodies, must be regarded as yet another important musical milestone in his career. As an inspired performer and arranger, he remains topflight in his category.

Senor Gomez explains that what he has done is really not so difficult and really need not be considered as so unusual, for the guitar is by nature a most suitable choice for adaptation. A polyphonic instrument, it can produce many varying sounds and subtle effects when handled with skill. And the great skill of Vicente Gomez in handling the guitar is, of course, a long-established fact. The enormous popularity of the guitar in Japan, through, is a more recent phenomenon. The very warm reception accorded Vicente Gomez everywhere in Japan is evidence of the universal appeal of good music, which transcends the barriers of differing customs and wide geographical distance, where East happily meets West in our rapidly shrinking world

The collection of songs in this album reflect the very essence of the Orient. Here is music of great clarity, grace and charm, music that falls as gently on the ears as cherry blossoms softly scattered about in a quiet Japanese garden. Typically Oriental in purity of form and subtlety of expression, each delicate melody stands in pristine beauty like a dainty statuette carved in jade, perfect in every detail. Yet beneath it there flows a current that is warm and vibrant and unmistakably Spanish. It would be hard to find a more unpredictable yet completely successful combination.

To enjoy this music to the fullest, all you need do is free yourself of the notion that Oriental music is something austere and intractable or that the Spanish classical guitar is suited solely to the familiar musical patterns we associate with it. Freed of these restrictions, you'll discover a new musical world – fresh, inventive and infinitely satisfying. So we ask only that your kindly observe an old Japanese custom: remove your shoes at the door and follow us joyfully and expectantly into a delightful and fragrant room filled with the exquisite pleasures of pure musical enjoyment! – Judith Tase

The Nearness Of Your Shadow
Tokyo Rhapsody
So Young, So Alone
Blue Kimono
Green Horizon
Home Is Where The Heart Is
My Sake, My Tears
Tokyo Girl
Life Is A Blue-Green Lake
the Dear Days Of Youth
Sweet Memories
Walk Over The Bridge

Hot Coles - Shelly Manne

 Night And Day

Shelly Manne

Hot Coles
Produced by Bob Thiele
Engineer: Eddie Brackett
Photographer: David B. Hecht
Art Directors: Acy Lehman, Dick Smith
Shelly Manne plays Pearl Drums
Drums Courtesy Frank Ippolito - Professional Percussion Center, N.Y.C.
Flying Dutchman BDL1-1145
A Product of Flying Dutchman Productions, LTD.
A Division of RCA Corporation.
Printed in U.S.A.
1975

From the inside sleeve: This is a set to savor for the brilliance and warmth of its performances – collective as well as individual. It is also most revealing of the essence of jazz. And third, "Hot Coles" illuminates the burgeoning jazz scene on the west coast – from the long-prestigious Shelly Manne to Oscar Brashear, a trumpet player who is sure to figure prominently in all kinds of polls in the years ahead.

After I heard the test pressing, I was so taken with the freshness and inventiveness with which these vintage Cole Porter standards had been revitalized that the first question I asked Shelly Manne was who had done the arrangements.

"No one," Shelly answered. "That is, no arranger as such. Everybody on the date contributed as we went along. And that's precisely what I had planned. I wanted to avoid everything's being perfectly arranged from the start. If you have scores which are the precisely set, you're going to lose spontaneity. What I prefer, and what we did here, is to start with just lead sheets. And then, as we work things out in the studio, we begin altering the changes, the time signatures, the tempos. And what you get, for one example, are tempos at which some of these songs have never been played before.

With many musicians, this kind of on-the-spot creation can be risky. You have to be vastly experienced in improvisation to make it all sound flowingly cohesive as well as spontaneous. "But the men on this date," Shelly points out, "are jazzmen, and the greatest asset a jazzman has is that when the red light comes on, when the pressure is on, he always comes through with something the fits right."

A case in point is Oscar Brashear who is the most assertively lyrical "new star" trumpeter I've heard in a long time. I first learned about him from Oliver Nelson, and then from other Los Angeles musicians. "That's how his reputation began," Shelly recalled. "Musicians started talking about Oscar, and now word is spreading all over. One thing Oscar has going for him is that he plays with such fire. He's a true "hot" player. Even when he's playing something pretty and soft, it comes out with a "hot" sound."

Oscar Brashear is also a very quick study. "I've seen him try something for the first time," Shelly notes, "and he plays it. No hesitation, no clams. Also, his lines and ideas are continually original, and they fall into totally logical designs – always with that fat, warm sound."

Complementing Brashear is Tom Scott on soprano saxophone, alto flute and regular flute. I've been impressed with Scott's work on a number of other occasions, but his playing on this session seems to me among his most consistently expressive and original on record so far. "Well," Shelly said in response to my observation, "Tom was exceptionally relaxed on the date because everyone else was too. What always strikes me about him, just as it did when he first came up at 18, is how mature he is for a young musician. But then in one aspect of that maturity, Tom is indicative of a lot of young musicians. These days they're into writing and composition as well as into playing their instrument, and they're also involved is so much music, a broad spectrum form rock to jazz. Therefore they acquire a greater amount of knowledge faster and they mature a lot earlier than used to be the case with older musicians to whom this range of experience was not available."

Other musicians on the date whose work exemplifies that maturity are pianist Mike Wofford and bassist Chuch Domanico. Wofford, who was in Shelly Manne's band for some seven years, "never failed to astound me," Manne emphasizes. A favorite among musicians on the coast, Wofford, as you can hear, is persistently original and plays with strong, deep expressivity.

Chuck Domanico is pretty much the bass player these days in the Los Angeles area. One of his rather singular attributes, as is evident in this session, is his ability to switch from acoustic to Fender bass without distorting the sound and feeling he gets from the instrument.

Another find on this album is guitarist Tom Tedesco. I asked Shelly why, on this basis of his playing here, Tedesco is not more widely known as a jazz guitarist. "For a long time," Shelly explained, "Tom had done mostly studio work and wasn't considered a 'jazz' player around her. But I had heard him jamming between takes in the studios, and I knew what he could do. Well, I finally talked him into making this date, and I'm delighted." In this first pure jazz date Tedesco has done, what comes through with particular impact is his marvelous sound and his acute sensitivity to his surroundings. "No matter what the musical context," Shelly says, "he fits in perfectly." Tedesco, by the way, plays a spectrum guitar, including classical and 12-string.

Another musician who invariably fits seamlessly into all kinds of musical surroundings is Vic Feldman, pianist and percussionist on this date. "Vic has such fantastic time conception," Shelly notes, "along with the extraordinary and imaginatively with Feldman are, on various tracks, Brazilian percussionists Mailto Correa and Moacir Santos.

This set is a remarkable illustration of first-class collective improvisation – all the way through. It sounds, I told Shelly Manne, as though he and the other musicians had been working as a unit for years.

"Actually, we all felt that was as we were making the album," Shelly said. "It comes from what I mentioned before – the capacity of jazz musicians to function at their best under pressure, to be able to build and keep building on what's happening all around them. That's what this album is all about." – Nat Hentoff

From This Night On
Easy To Love
Get Out Of Town
Begin The Beguine
Night And Day
All Of You
Love For Sale
In The Still Of The Night

Top Hits Of Today

Looking Back

Top Hits Of Today
With The Parade Orchestra and Chorus
Parade Record Co., New Jersey
SP 1

Catch A Falling Star
Believe What You Say
For Your Love
Looking Back
Little Blue Man
All I Have To Dream
Return To Me
Chanson D'Amour
Who's Sorry Now?
Witch Doctor

Cha Cha Cha - Versiones Originales

Los Bomberos

15 Exitos Con Los Grande Del
Cha Cha Cha
Versiones Originales
RCA Victor
Camden CAMS-1245
1985

Calcualdora - Orquesta Aragon
Ki Ki Ri Ki - Orquesta de Enrique Jorrin
La Basura - Orquesta America de Ninon Mondejar
Los Cadetes - Los Carinosos
Cachita - Orquesta Aragon
Los Bomberos - Orquesta America de Ninon Mondejar
La Sitiera - Los Carinosos
La Blusa Azul - Orquesta de Enrique Jorrin
Poco Pelo - Orquesta America de Ninon Mondejar
Cuidado Con La Mano - Orquesta de Enrique Jorrin
El Bodeguero - Orquesta Aragon
Senor Juez - Los Carinosos
Pimpollo - Orquesta America de Ninon Mondejar
Los Tamalitos De Olga - Orquesta Aragon
Los Marcianos - Orquesta de Enrique Jorrin

Cantares de mi llano - Rogman Meza

Esteros De Camaguan

Cantares de mi llano
Rogman Meza
Conj. de Eladio Romero
Corpodisco C. A.
LPC-8167

Traigo Polvo Del Camino
Mi Gavan
Esteros De Camaguan
Cuando Sali De Zaraza
Puerto Miranda
Carmen Elena
El Cimarron
Pobre Gavan Perdido
El Seis De Lionicio Acosta
Mujer Zarasena

15 Anos Exitos - Eduardo Nunez

Sigamonos Amando

15 Anos Exitos
Eduardo Nunez
Vol. II
Discos Y Cintas Denver DCD-5004
1986

La Cumbia Bonita
No Te Pedire Volver
Nena
Vuelve Mi Amor
Sigamonos Amando
La Cumbia Del Oeste
Los 2 Hermandos
Creo Estar Sonando
El Chocho
Chulita
La Tabasquita
El Coeneo
Chulita Consentida