Pat Suzuki's Broadway '59

Two Faces In The Dark

Pat Suzuki's
Broadway '59
Arranged and Conducted by George Siravo
Produced by Herman Diaz, Jr.
Photo: Al Wertheimer
Jewels by Carol Channing
Recorded in New York City, December 1958 and January 1959
Hit Show Tunes
RCA Victor LPM-1965

From Billboard - March 30, 1959 (Album Cover Of The Week): Happy photo by Al Wertheimer of the adorable miss in a red and white sailor hat makes for an attractive cover. It's a charming shot that will no doubt increase the album's sales.

Flower Drum Song
I Enjoy Being A Girl
Love, Look Away
Sunday

Redhead
Two Faces In The Dark
Just For Once

My Fair Lady
On The Street Where You Live

Bells Are Ringing
The Party's Over
Just In Time

First Impression
Not Like Me
I Feel Sorry For The Boy

The Music Man
Till There Was You

Gil Fuller & The Monterey Jazz Festival Orchestra

Angel City

Gill Fuller & The Monterey Jazz Festival Orchestra
Featuring Dizzy Gillespie
Arranger & Conductor: Gil Fuller
Producer: Richard Bock
Album Design: Woody Woodward
Cover Painting: Achille Perilli
Back Cover Photo: Arthur Adams
Audio: Richard Bock
Pacific Jazz 93
A Product of Liberty Records
1965

Personnel:

Trumpets: Dizzy Gillespie, Freddie Hill, Harry Edison, Melvin Moore and John Audino
Trombones: Lester Robinson, Francis Fitzpatrick and Jim Amlotte
French Horns: Herman Lebow, Sam Cassano, David Duke and Alan Robinson
Reeds: Buddy Collette, Gabe Baltazar, Bill Green, Carrington Visor, Jr. and Jack Nimitz
Guitar: Dennis Budimir
Piano: Phil Moore, Jr.
Bass: Jimmy Bond
Drums: Earl Palmer

Dizzie Gillespie appears through the courtesy of Limelight Records

From the back cover: In the years since it began, the Monterey Jazz Festival has produced some of the most memorable moments in jazz history and Dizzy Gillespie has been a major factor in many of them.

Many great jazz men have contributed to Monterey's glory but none more consistently over the years, by outstanding performances and the sheer force of personality, then Dizzy.

So it is completely appropriate that Dizzy should preside as host at the 1965 Monterey Jazz Festival with its theme "Tribute to the Trumpet." (Louis Armstrong's 65th Birth Year seemed like the right time to do it.)

In this album Pacific Jazz presents Gil Fuller and the 1965 Monterey Jazz Festival Orchestra featuring Dizzy Gillespie.

Dizzy Gillespie, himself, chose Gil Fuller to serve as musical director and coordinator of the 1965 Monterey Jazz Festival. Fuller was the arranger for Gillespie's big band of the bop era and this is his first album as leader.

This album celebrates the 20th anniversary and the reunion of Gillespie and Fuller, an historical association which started in June 1945 and produced such jazz classics as "Manteca," "Things To Come," "One Bass Hit" and "Ooi Ya Koo."

The reunion sounds like one of the best things that has happened to Gillespie in years. Just as the reunion of Dizzy and James Moody was a natural thing, so is the reunion of Dizzy and Gil Fuller. The recorded version of "Groovin' High" is a direct link to the historically and musically important first big band flowering of Modern Jazz. The original numbers by Gil Fuller for this album continue the theme. "Angel City Blues," "Moontide," and "Big Sur" show Dizzy in a variety of moods. The lovely reflective lyricism of "Moontide," the exuberant (and witty) sounds of "Angel City Blues" and the tough-fibered improvisation of "Man from Monterey" fit the theme and the man

Thus, too, the inclusion of "The Love Theme From The Sandpiper," a Johnny Mandell composition of great delicacy and romantic mood. The film was shot in Big Sur and the Monterey Peninsula, which makes the tie more binding. Fuller's inclusion of the two compositions by Phil Moore, III is also in keeping with Gillespie and Monterey tradition of making opportunities available to young musicians.

Throughout the album, as in the Festival itself, the links between contemporary musicians and the tradition and roots of jazz continue. Dizzy's exchange of statements with Harry Edison on Dave Burns' and Gil Fuller's "Be's That Way" (Burns and Fuller were both associated with the first Gillespie big bands), the solos by Buddy Collette on "Big Sur" (Buddy is one of the most frequently over-looked first rate players in jazz) and Gabe Baltazar (a young altoist formerly with Stan Kenton) and Phil Moore, III (son of an illustrious father quite and obviously destined to add further glory to the name) are right in line.

The 1965 Monterey Jazz Festival music clearly is designed to last. The amalgam of the talents of Gillespie and Fuller are insurance that it will. The orchestra, listed in full, played the music at this session for all time, which is the way good jazz is always played. – Ralph J. Gleason, Chronicle Features Syndicate

Also from the back cover: Our cover painting is an excerpt from Achille Perilli's original oil entitled "L'Inaugurazione Del Terrore" and is here reproduced by arrangement with the Flix Landau Gallery of Los Angeles. Mr. Perilli, who recently designed costumes and settings for the ballet, "Mutazioni," at La Scala, Milan, has had more than a dozen one-man shows in Europe, and North and South America, including one at the 1962 Venice Bienale and one at the Landau Gallery in 1965. His individual approach to subject matter combined with his very personal use of color, have made Perilli, at 38, one of the most talked about of the younger Italian painters.

Man From Monterey
Angel City
Love Theme From Sandpiper
Groovin' Hight
Be's That Way
Big Sur
Moontide
Things Are Here

The Three Flames At The Bon Soir

I Got Eyes

The Three Flames At The Bon Soir
Mercury Records MG 20239
1957

From the back cover: The Three Flames have been burning brightly at New York's famed Bon Soir night club for five consecutive years. Today they constitute a roaring bonfire in any plush boîte where they perform.

In fact, there's hardly an entertainment medium where their rollicking, frolicking offerings haven't found instant favor. They had their own TV program, "The Three Flames Show" on NBC for thirty-nine weeks, and have been featured on Ray Bolger's television starrer, "Washington Square."

The Three Flames – Tiger Haynes on guitar; Loumel Morgan on piano, and Averill Pollard on bass – have a way with a song, bringing to it their own tongue-in-cheek touch, taking it out of the realm of mere music and converting it into crackling entertainment.

Honolulu Rose
Lazy River
Arkansaw
I Got Eyes
I'm In Love With You
Jeepers Creepers
Somethin' Better Happen Soon
Fulton's Folly
The Sheik Of Bleeker Street
Yum, Yum, Yum
I Saw My Mother Hugging Daddy Last Night
Stay On The Road Of Love

I'll Sing You A Thousand Love Songs - Reg Owen

It's Magic

I'll Sing You A 1000 Love Songs
(I'll Sing You A Thousand Love Songs)
Reg Owen and His Orchestra
Produced by Simon Rudy
Recorded in England
RCA Victor LPM-1908
1959

I'll Sing You A Thousand Love Songs
Love Is The Sweetest Thing
Secret Love
The Very Thought Of You
The Love Nest
A Kiss In The Dark
I Only Have Eyes For You
You And The Night And The Music
I Get A Kick Out Of You
You Go To My Head
It's Magic
Parlez-moi d'amour

Cuddle Up A Little Closer - Reg Owen

What Is This Thing Called Love

Cuddle Up A Little Closer
Reg Owen and His Orchestra
Instrumental Favorites
Photo: Elanor Browning
Recorded in London
RCA Victor LPM-1914 & LSP-1914
1959

From Billboard - June 1, 1959: Owen Albums Pack Fine Mood Sound

RCA Victor has released five new sets by the popular British maestro, Reg Owen, three of which feature stereo counterparts. Basically, the approach is the same in each set with choirs of strings and brass weaving in and around the mostly familiar standard themes. In a set titled, "You Don't Know Paree," the framework is the same, with the added voice of a rippling solo piano on some of the tracks.

Owen recently enjoyed success in the States with a single, Manhattan Spiritual," and this may serve to bring these Owen albums to the attention of mood-minded jocks. All will serve as splendid mood and background music. On the other hand, the sets are well-packed, particularly, the one titled "Cuddle Up A Little Closer," which shows a mother bassett hound and her brood of pups doing just that.

Recordings are all of high quality and the stereo, where it's available, is good without being exaggerated.

Cuddle Up A Little Closer
What Is This Thing Called Love
You Oughta Be In Pictures
It's Only A Paper Moon
Pretty Baby
Thou Swell
If I Could Be With You
Oh, You Beautiful Doll
Beautiful Baby
Dancing On The Ceiling
I Guess I'll Have To Change My Plan
Let's Put Out The Lights

Big Band Bossa Nova - Stan Getz

Noite Triste

Big Band Bossa Nova
Stan Getz
With The Gary McFarland Orchestra
Arranged and Conducted by Gary McFarland
Produced by Creed Taylor
Cover Painting: Olga Albizu
Recorded in New York City, August 27 & 28, 1962
Engineering: George Kneurr and Frank Laico

Personnel:

Stan Getz: Tenor Saxophone
Trumpets: Doc Severinsen, Bernie Glow or Joe Ferrante, Clark Terry or Nick Travis
French Horn: Ray Alonge
Trombones: Tony Studd or Ray Brookmeyer
Alto Flute: Eddie Caine
Clarinet: Ray Beckenstein and/or Babe Clark and/or Walt Levinsky
Bass Clarinet: Romeo Penque
Guitar: Jim Hall
Piano: Hank Jones
Bass: Tommy Williams
Drums: Johnny Rae
Tambourine: Jose Paulo
Cabassa: Carmen Costa

From the inside cover: My first experience to bossa nova was in the Spring of 1960 when a friend played a recording by Joao Gilberto, a Brazilian guitarist and vocalist. I liked it immediately. Naturally, I responded to the rhythm, but it was more than that. There seemed to be more underplay, more subtlety than in other Latin rhythms but just as much buzz or intensity. The songs had interesting chord progressions, and the melodic intervals were more modern than in traditional samba melodies. I'm sure that Gilberto's singing had much to do with my response to this music. His voice has an indefinable quality – something close to melancholy, but not quite.

I asked a Brazilian friend about the bossa nova, and he explained that it is a variation of the samba with modern harmonies and more syncopation that the traditional samba. He also told me that the first reaction in Brazil to this new music was similar to the American public's reaction to be-bop in the 40s – it was misunderstood by the traditionalists. However, it is now more widely accepted.

When Stan asked me to write an album for him, he told me to do anything I wanted. I had written a few bossa nova arrangements for Cal Tjader's group, and Stan had recorded a jazz samba album with Charlie Byrd. We both enjoyed working with this music, so we decided to do a big band album with four songs by Brazilian composers and four songs of mine.

Also from the inside cover: Gary McFarland has been hailed as the brightest young composer/arranger in jazz by critics, writers, and fellow musicians. Still in his 20s, McFarland has contributed fresh, original material to the book of Gerry Mulligan Concert Jazz Band, and has written for Johnny Hodges, Anita O'Day, Ray Brown, and Bob Brookmeyer, among others. His lovely original ballad, Why Are You Blue, is repertoire material in the programs offered by the Modern Jazz Quartet. A native of Los Angeles, McFarland first became interested in jazz while at the University of Oregon. He took up vibes while in the Army in 1954. He was encouraged to pursue jazz as a career by John Lewis of the Modern Jazz Quartet, jazz columnist Ralph J. Gleason, and jazz star Buddy Montgomery. Scholarships to the School of Jazz in Lenox and The Berklee School in Boston helped give him a solid musical foundation. His first album was The Jazz Version Of "How To Succeed In Business Without Really Trying" (Verce V/V6-8443), hailed by reviewers as the first truly jazz version of a Broadway score. His brilliant arrangements for Anita O'Day's album, All The Sad Young Men (V/V6-8442), won him wide acceptance and even greater acclaim. – Don Cerulli

Manha De Carnival (Morning Of Carnival)
Balanco No Samba (Street Dancing)
Melancolico (Melancholy)
Entre Amigos (Sympathy Between Friends)
Chega De Saudade (Too Much Longing)
Noite Triste (Night Sadness)
Samba De Uma Nota (One Note Samba)
Bim Bom

The Wonderful Waltz - Norrie Paramor

Always

The Wonderful Waltz
Norrie Paramor and His Orchestra
Paramor Photo by Derek Allen
Capitol Records ST 10173

From the back cover: Twenty-Nine Strings, recorded both stereophonically and monophonically in the world-renowned Abbey Road studios of E.M.I. in London, dominate this latest entry in Capitol's series of "mood" albums featuring Norrie Paramor.

Paramor wryly recalls that the waltz, when it first came into fashion at the start of the nineteenth century, was a highly controversial dance. "Many adults regarded the waltz as too daring – even suggestive," Paramor says. "It was a situation not unlike that of the 1960s when rock 'n' roll is unendorsed by a good many mothers and fathers."

Paramor serves up a dozen elegant and long-popular melodies in three-quarter time in this album. He opens with Irving Berlin, closes with Sigmund Romberg and generously features classics by Cole Porter, Richard Rogers, Noel Coward, Victor Herbert and others of equal repute in between.

From time to time, the weirdly musical voice of Patricia Clark briefly and unobtrusively slips through the Paramor violins, just as it did so delightfully in Norrie's best-selling "In London, In Love" album also on Capitol.

Always
Fascination
Three O'Clock In The Morning
Stars In My Eyes
Falling In Love With Love
I'll See You Again
The Kiss Waltz
A Kiss In The Dark
Wunderbar
Ramona
Waltz Of My Heart
Will You Remember

Roses Are Red - Sonny James

Hawaiian Wedding Song

Roses Are Red
Sonny James
Pickwick International, Inc.
Previously Released on Capitol Records
STEREO/JS-6100

From the back cover: Sonny James. The Souther Gentleman. Alabama born, he's known for his busy personal appearances across the nation, heavy TV guest spots and one of the most sustained recording careers in the hard, demanding field of country entertainment today. His all time smash was "Young Love" which sold close to 2,000,000 discs for Capitol Records. The greatest A&R man in Nashville - Chet Akins introduced Sonny to Ken Nelson of Capitol country and the rest is country music history.

Roses Are Red
Born To Be With You
'68 Rock Island Line
Hawaiian Wedding Song
She Will I Know
Only he Lonely
Wake Up Me Gentle
Out Of This World
I Fall To Pieces

Waltz In Jazz Time - Si Zentner

Green Fields

Waltz In Jazz Time
Si Zentner & His Orchestra
An S. W. Production
Arranger: Bob Florence
Engineer: Dave Hassinger
Cover Painting by Gene Grant
Cover Design and Photography: Studio Five
Liberty Records, Inc. - A Subsidiary Of Avnet Electronics Corp.
LRP-3284
1963

The Sweetest Sounds
Paradise
A La Mode
Belle Of The Ball
Cassandra
Gonna Go Fishin'
Waltz In Jazz Time
Green Fields
Willow Weep For Me
Lover
Wild Honeysuckle
Magenta

Truck Stop - Jerry Smith

My Happiness

Truck Stop
Jerry Smith And His Pianos
Arranged by Cliff Parman
Produced by Paul Cohen
Engineer: Mike Figlio and Jim Williamson
Cover Photo: Dave Underwood & Associates
Liner Photo: Russell Ray
Truck Stoppers are left to right: Misses Carol Ness, Ann Romeo and Cheryl Johnson
Courtesy Of Union Oil Company Of California
ABC Records ABCS-692 STEREO
1969

Truck Stop
Speakeasy (1929)
Sunrise Serenade
My Happiness
Smokey Corners
Sweet 'N Sassy
Tokyo Butterfly
I'll Always Be In Love With You
The Street Singers (Y Cantanti Della Strada)
Pretend