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Friday, October 9, 2020

Red Norvo Trio

 

Honeysuckle Rose

Red Norvo Trio
Rondo-lette High Fidelity A28
A Product of the Rondo Record Corporation
1958

From the back cover: "Red" Norvo, one of the foremost figures of modern jazz, was born Kenneth Norville, March 31, 1908 at Beardstown, Illinois. Norvo started taking piano lessons at the age of eight. While in high school, he took up the xylophone, and then left home at the age of seventeen for Chicago where he launched his career as the leader of a seven piece marimba band entitled The Collegians. When this group broke up, he joined Paul Ash's orchestra, and followed that with a tour of vaudeville in a solo act in which he played the Poet and Peasant overture and did a tap dance. During the summer of 1929 he led a band in a Milwaukee ballroom, and then enrolled at the University of Detroit. He returned to the music business some four months later in Minneapolis, working at Station KSTP, and then returned to Chicago as a staff musician at NBC with Victor Young.

While working on a radio series with Paul Whiteman over NBC, he met Mildred Bailey, then a singer with Whiteman's band. They worked together in Chicago, and then married and came to New York with Whiteman. Red left Whiteman in 1934 and settled in New York where he had his own piano-less octet at the Hickory House on 52nd Street. The personnel of the band included Eddie Sauter on mellophone, Herbie Haymer on tenor sax and Dave Balfour on guitar.

Norvo expanded the band in 1936 to 12 pieces with Mildred Bailey as vocalist. This band recorded regularly for Brunswick from 1936 to 1939 and could be deemed to be pre-eminent in the presentation of Norvo's soft subtle brand of swing music. Norvo remained active as a bandleader from 1940 to 1944, but his wife worked separately during most of this time. In 1943 Norvo had an all-star combination with Shorty Rogers, Eddie Bert and Ralph Burns. In 1943 also, he shifted from xylophone to vibraphone. For the last fifteen years he has played the latter instrument almost exclusively. In 1944 he formed a new band including Aaron Sachs on the clarinet, Remo Palmer, guitar and Clyde Lomdardi, bass. Norvo then gave up bandleading and joined Benny Goodman early in 1945, and then spent all of 1946 with Woody Herman's orchestra. In 1947, he settled in California. Although divorced from Mildred Bailey he continued to be on friendly terms with her and they recorded occasionally together until her death. After freelancing in Hollywood for some time, Norvo returned East in 1949, leading a sextet which included Tony Scott, Mundell Lowe and Dick Hyman.

Norvo's next important move was to adopt a trio format in 1950 with Tal Farlow and Charlie Mingus (later Jimmy Raney and Red Mitchell). His trio records have been acclaimed as the most striking examples of subtlety and finesse in modern, chamber-music style jazz. In January, 1954 he made his first overseas tour in the Jazz Club USZ, Unit.

Norvo was the first musician to show the possibility of adapting jazz to the xylophone. Prior to Norvo the instrument had been considered a novelty only by jazzmen. His first group of recorded solos were for Brunswick in 1933 and this was followed by a long series of recordings with swing groups, first with Jack Jenney, Artie Shaw, Charlie Barnet, Teddy Wilson (1934) and Bunny Berrigan, Jack Jenney Johnny Mince, Chu Berry, etc. (1935). He is considered not only to be a peerless musician in his own right but has show incredible ability to select as sidemen, musicians who were destined to become famous. During the past several seasons Norvo has played Las Vega appearing at the Sands and Tropicana hotels.

Blue Room
Exactly Like You
Rose Room
These Foolish Things
East Of The Sun
This Can't Be Love
September Song
Honeysuckly Rose
Sweet Georgia Brown
Ay Ay Ay
Oh Lady Be Good
Confessin'

Stanley Paul And His Orchestra At The Pump Room

 

The Umbrellas Of Cherbourg (I Will Wait For You)

Stanley Paul And His Orchestra At The Pump Room
Arranged and Conducted by Kenny Black
Produced and Directed by Henry J. Macie
Cover Design and Illustration by Bob Toben
Marco STEREO 130

From the back cover: For such reasons, it's gratifying to find a prodigy who bucked the jinx – who kept right on giving off sparks. Now meet Mr. Stanley Paul, who unbelievably is celebrating a quarter-century in show business yet is still something less than thirty years old. To achieve this, he first had to make his professional debut at four, which is difficult enough. And he also has had to remain a professional for 25 years which, in many ways, is even more difficult.

But all this he has done, accumulating triumphs at such clubs as New York's Embers and Basin Street East, on TV and radio, home and abroad, along the way. And as the record shows, musical prodigies who make good wind up playing the fabulous Pump Room of Chicago's Ambassador East Hotel


Rose Of Washington Square
Lara's Theme (Doctor Zhivago)
A Wonderful Day Like Today
Do It Again
The Umbrellas Of Cherbourg (I Will Wait For You)
Selections from "Fiddler On The Roof" (Sunrise, Sunset; Matchmaker, To Life, Fiddler On The Roof)
Mame
I Can't Give You Anything But Love
Samson & Delilah
Back In Your Own Back Yard

Thursday, October 8, 2020

Peg O' My Heart - Robert Maxwell

 

What Is This Thing Called Love

Peg O' My Heart
Robert Heart
His Harp And Orchestra
Produced by Harry Meyerson
Decca STEREO DL 74563
1964

From the back cover: Hard on the heels of his first smash album, Robert Maxwell now offers you an exciting new album that incorporates all of the same solid appeal of "Shangri-La" and much more.

This is your assurance of the most distinctive and stimulating music being heard today; music with a unique flavor all its own. This can be credited to Robert Maxwell's artistry on the harp and his distinctive arrangements.

Robert Maxwell is a member of that distinguished group of musicians whose names have become synonymous with the instrument they play. It is his virtuosos ability to adapt the staid harp to all tempos and moods of popular music that created the special Maxwell sound.

That sound comes through strong and clear in this, his latest album triumph Peg O' My Heart is calculated to raise the Maxwell reputation yet another peg... even amongst those who already respect his great musicianship.

A top composer with two of the greatest hits ever – "Ebb Tide" and "Shangri-La" – maestro Maxwell has included in this collection an extra dividend of his newest composition: Little Dipper and Lonely Love. In addition, he has selected a group of lovely standards – and given each one of his own special handling... a languorous tempo for What Is This Thing Called Love and Duke Ellington's Sophisticated Lady... a slow bluesy feel on "Don't Get Around Much Anymore... the striking rock/waltz arrangement of Tammy... and of course the strong insistent beat of the title song Peg O' My Heart.

These songs, and other, are guaranteed to provide untold hours of the most pleasurable listening, and that promise has strings attached... the strings of Robert Maxwell's inimitable harp.


From Billboard - August 8, 1964: Few musicians have done more to popularize the harp than Robert Maxwell. Now on his second pop single hit, harpist Maxwell is being "dug" by many who thought the harp was used only by guys named Marx and Gabriel. Backed by orchestra, Maxwell offers "Don't Get Around Much Anymore," "Adios," "Peg O' My Heart," Sophisticated Lady" and others.

Don't Get Around Much Anymore
Manha De Carnaval
As Time Goes By
Adios
Lonely Love
Peg O' My Heart
Tammy
You Belong To My Heart
What Is This Thing Called Love
Little Dipper
Sophisticated Lady
One O'Clock Jump

Starlight Piano - Andre Previn

 

It's A Most Unusual Day

Starlight Piano
Andre Previn and His Orchestra
Cover Photo: Columbia Records Photo Studio
Harmony
1967

I'm In The Mood For Love
Laura
What Am I Here For
It's A Most Unusual Day
I Remember You
Stella By Starlight
It's Easy To Remember
Falling In Love Again
I Got It Bad (And That Ain't Good)
That Old Black Magic

Someone To Watch Over Me - Frank Sinatra

 

The Nearness Of You

Someone To Watch Over Me 
Frank Sinatra
Cover Photo: William Read Woodfield
Harmony HS 11277
Electronically Re-Channeled For Stereo
Manufactured by Columbia Records / CBS, Inc.
1973

Someone To Watch Over Me
I Couldn't Sleep A Wink Last Night
I Have But One Heart (O Marenariello)
Stella By Starlight
The Nearness Of You (Orchestra under the direction of Axel Strodahl)
Put Your Dreams Away (For Another Day)
All Of Me
The Girl That I Marry (From "Annie Get Your Gun")
I Love You ("Ich Liebe Dich" Op. 5, No. 3, by Edvard Grieg)

Kaleidoscope - Nancy Wilson

 

Ain't No Sunshine

Kaleidoscope
Nancy Wilson
Arranged and Conducted by James Mack & Phil Wright
Executive Producer: David D. Cavanaugh
Associate Producer: Nancy Wilson
Photographer: Neil Brisker
Art Direction: John Hoernle
Capitol Records ST-852
1972

The Greatest Performance Of My Life
If I Were Your Woman
I'll Get Along Somehow
Let It Be Me
To Be One You Love (from the film "The Anonymous Venetian")
Mr. Bojangles
Ain't No Sunshine
Everyone Knows
Once In My Lifetime

Wednesday, October 7, 2020

Quiet Nights - Kitty Kallen

 

Moonglow

Quiet Nights
With Kitty Kallen
Arranged and Conducted by Manny Albam
Budd Granoff Productions, Inc.
Design by Moskof-Morrison, Inc.
20th Century Fox Record Corporation TFM 3151
1964

From the back cover: The arrangements by Manny Albam and the accompaniment of Mel Lewis, percussion, Jim Hall, guitar and Richard Davis, bass, embellish and enrich Kitty's outstanding performance. The choice of these men for the album was no accident. They are without peer in modern jazz circles.

This then is the latest album of a genuinely sincere and talented performer whose work has received the highest praise from record buyers (over 18 million discs sold) and night club goers (Chicago's Palmer House and New York's Persian Room, among many others). Just put it on your record player, relax and listen. You'll soon discover why. – Lawrence Stewart


Quiet Nights
Let Me Love You
The Girl From Ipanema
If Someone Had Told Me
Moonglow
Nothing's Going On Below The Border
Speak Softly To Me
It's Not For Me To Say
Charade
Just Say I Love Him
The Nearness Of You
I Wish You Love





My Favorite Things - Dave Brubeck Quartet

 

My Favorite Things

My Favorite Things
Dave Brubeck Quartet
Produced by Two Macero
Cover Photo: Jerome Ducrot
Columbia CL 2437
1966

Personnel:

Dave Brubeck - piano
Paul Desmond - alto sax
Joe Morello - drums
Gene Wright - bass

From the back cover: A lot of my friends tell me I should be angry when the modern boys fool around with my music. I think a lot of my friends aren't being very smart about this. When Dave Brubeck fools around, he isn't fooling.

For me, this whole My Favorite Things album is deeply enjoyable and highly flattering. I'm indeed grateful to Dave Brubeck. – Richard Rodgers


From Billboard - February 6, 1966: A batch of Richard Rodger's most delightful tunes, interpreted in the swinging quartet. One of the smoothest, most popular groups today, they have a sure-fire seller here. Fans will flip over Brubeck's solo intro to "My Romance," and Paul Desmond's alto sax in in beautiful form.

My Favorite Things
Over And Over Again
Why Can't I
Little Girl Blue
This Can't Be Love
My Romance
Circus On Parade
The Most Beautiful Girl In The World

Aloha From Haunani

 

The Beauty Hula

Aloha From Haunani
Decca STEREO DL 74705
Arranged and Produced by Charles "Bud" Dant
Cover Photo: Marc Brady
Decca Records, A Division of MCA, Inc.
1966

The Beauty Hula (Haoheno Kela No Beauty)
Maui Moon
Hawaiian Honeymoon
Kuu Leialoha
Kaneohe Hula
Aloha, Until Tomorrow
E Maliu Mai (Hawaiian Love Call)
My Little Grass Shack In Kealakekua, Hawaii
Hawaii Nei
Tanga Tika (Tagni Tika)
I Will Remember You
I Wish They Didn't Mean Goodbye

Song For Swingers - Buck Clayton

 

Moon Glow

Songs For Swingers
Buck Clayton With His All-Stars
Columbia CL 1320
1959

From the back cover: Buck Clayton, in his long career, has never chosen any of these roads to success. His artistic integrity remains as unquestioned by his fellow musicians as by the critics. He has won an almost unanimous and unqualified professional respect by remaining true to himself. During the '50s, particularly, he has also won the admiration of a discriminating and constantly growing public. In the course of a 1958 broadcast entirely devoted to Buck's recordings, the French critic, Hugues Panassie, cited him as one of the finest jazz artists of this era. It is an opinion widely shared in Europe, where Buck is certainly as honored as he is in his own land.

Buck first came into prominence when he joined Count Basie's orchestra in 1936. His sensitive solos made an immediate and important contribution to the triumphs of that spirited ensemble. After two years in the Army, and two seasons with Jazz at the Philharmonic, he free-lanced in and around New York, where he was much in demand for recording sessions. In 1949, he made the first of several trips to Europe when he toured France with a small band.

Throughout this period, his story is one of constant growth as a musician. Already renowned for his work with a cup mute while with Basie, he showed considerable creative development, as well as an extension of power and range, when he returned to civilian life in 1946. Today, his handsome open tone, delicate muted sound, expressive vibrato and exemplary instrumental command, are impressive in themselves, but they are all at the service of a very fertile musical imagination. The warmth and lyrical quality of his phrases, and the flowing continuity of his solos, give an unusual impression of grace and ease in a period when speed and complexity often seem to be the major objectives. In short, Buck's trumpet style is synonymous with good taste.

Also from the back cover: His band's personnel is an unusually homogenous one. All of the horns are veterans of the Count Basie orchestra. Dickie Wells was a member for ten years between 1938 and 1950. His imaginative style, and formidable range and control, remain altogether outstanding. Buddy Tate took Herschel Evan's place with Basie in 1939 and stayed until 1949 – far longer than any other tenor sax player. In view of Basie's discerning taste in tenor players, this should be recommendation enough, but since that period Buddy has developed an even more distinctive style. Earl Warren was also with Basie for nearly ten years between 1937 and 1950, as lead alto. Because of the leader's predilection for tenor, Earl was seldom heard as a soloist, but on this record he is featured on both alto and clarinet. A versatile musician, he also plays oboe, flute and tenor. Emmett Berry, an accomplished trumpet player, was with Basie from 1945 to 1950. He is the ideal complement for Buck and shares solo work equally with him. Buck takes the last trumpet solo on each number, as well as those in the first choruses of Night Train and Sunday.

Al Williams who plays piano in the well-integrated rhythm section, came from Chicago to New York, where he has free-lanced from some years. Quickly adaptable to any jazz environment, he has previously recorded with Jimmy Rushing, Cozy Cole and Vic Dickenson. Gene Ramey arrived in New York with Jay McShann's Kansas City Group. Experienced in a wide variety of jazz combinations, including Basie's, he is a bassist as much admired by musicians as he is underrated by the audience. Herbie Lovelle, on drums, is the youngest member of the octet and the nephew of Arthur Herbert, himself a well-known drummer. During his nine years of professional activity, Herbie has worked with Lips Page, Lucky Millinder, Teddy Wilson, Earl Hines, Jimmy Rushing and Sam Taylor.


From Billboard - May 25, 1959: Buck Clayton and such wonderful mainstreamers as E. Berry, B. Tate, E Warren, D. Wells, A. Williams, H. Lavelle, and G. Raymond have put together an exciting LP that has a chance for solid sales. Clayton is his usual outstanding self of trumpet, and the other men help him tremendously. Some of the tunes are standards, such as "Mean To Me" and "Moonglow," and there are other items of interest to jazz fans like "Night Train" and "Swingin' At The Copper Rail."

I'm not sure why the review includes a title (Swingin' At The Copper Rail) that is not listed on this album.

Swinging At The Copper Ball
Outer Drive
Swingin' Along On Broadway
Night Train
Mean To Me
Buckini
Moonglow
Sunday