Search Manic Mark's Blog

Tuesday, December 15, 2020

No Count Sarah - Sarah Vaughan

 

Moonlight In Vermont

No Count Sarah
High Custom Fidelity
Mercury Records MG 20441
1959

Personnel:

Trumpet: Wendell Cutty, Thad Jones, Eugene Young and Joe Newman
Trombone: Henry Coker, Al Grey and Benny Powell
Saxophone: Frank Wess, Frank Foster, Billy Mitchell, Charley Fowlkes and Marshall Royal
Guitar: Freddy Green
Bass: Richard Davis
Drums: Sonny Payne
Piano: Ronnell Bright

From the back cover: The "Kid from Red Bank" is not on this session, thus the title: "No Count Sarah."

But there's the incongruity, for to a square, it might seem "No Count Sarah." But, just listen to the opening 30 seconds on "Smoke Gets In Your Eyes," when "Sass" drifts in after the Marshall Royal opening, wailing like a low-register trombone, and you know it's Vaughan that counts.

Sarah has hit peaks, just like any other great sports, theatrical or cinema personality. She did it on previous Mercury albums (Sarah Vaughan in The Land Of Hi-Fi and Sarah Vaughan After Hours At The London House). These were peak recording sessions by la Vaughan.

But the Divine One tops all singers, male and female, on this session!

Never has she been so uninhibited. Well, maybe once years ago she almost approached this peak. It was about 14 years ago when she was just new, the girl singer with progressive jazz Billy Eckstine crew. The Bird, Did, Wardell Gray, Art Blakey, the late Fats Narvarro and a crew 10 years ahead of itself worked behind her.

But this is the Count-less crew. Another band years ahead. And Sarah's inspired. She does things not yet done vocally. Her range makes Yma Sumac sound like a third-grade soprano. And there's loads of humor and satire. It's the kind of album that reminds you of an old Groucho Marx motion picture. The kind you had to hear three or four times to get all the punch lines!

Smoke Gets In Your Eyes
Doodlin'
Darn That Dream
Just One Of Those Things
Moonlight In Vermont
No 'Count Blues
Cheek To Cheek
Stardust
Missing You

The Australian Jazz Quartet

 

Lullaby Of The Leaves

The Australian Jazz Quartet
Cover Design: Burt Goldblatt
All Starred tunes recorded January, 1956; others recorded February, 1955; all made in New York City
Bethlehem Records BCP 6002

Composite Personnel Of The Australian Jazz Quartet/Quintet 

Quartet:

Dick Healey - Flute, Alto, Clarinet, Bass
Errol Buddle - Tenor, Basoon
Bryce Rohde - Piano
Jack Brokensha - Drums

Quintet:

Same members with Jimmy Gannon - Bass

Assisting Artists for these recordings:

Jimmy Gannon - Bass
Nick Stabulas - Drums
John Fawcett - Bass

A Foggy Day
Broadway
Little Girl Blue
September Song
Loose Walk
The Girl With The Flaxen Hair
You Are Too Beautiful
Music For Walkin'
Lullaby Of The Leaves 
Like Someone In Love
The Things We Did Last Sumer
Fascinating Rhythm

Monday, December 14, 2020

Selections From Showboat

 

Wade In The Water

Selections From Showboat
And Other Standard Hits
Varsity Singers And Orchestra
Cover: Design House
Concertone 20127
1956

Bill
Can't Help Lovin' That Man
Old Man River
Why Do I Love You
Wade In The Water
Git On Board, Little Chillun
Loin du Bal (Gillet)
Fantasy Impromptu (Chopin)
Intermezzo (Cavallo)
Valse Blette (Drigo)
Hungarian Scenes (Hubay)
Serenade (Haydn)
Country Dance (Beethoven)

A Mann Named Lorene - Lorene Mann

 

Stranger At The Funeral

A Mann Named Lorene
Lorene Mann
Recorded in RCA's "Nashville Sound" Studio, Nashville, Tennessee 
Recording Engineers: Bill Bandevort, Tom Pick, Jim Malloy and Chuck Selta
Recording Technicians: Les Ladd and Milton Henderson
Cover Photo: Bill Grine
RCA Victor STEREO LSP-4243
1969

From the back cover: If Lorene Mann had stayed in Huntland, Tennessee, married her childhood sweetheart and given up "those silly notions" of writing songs and wanting to be a recording star, you might not be holding the album in your hand. You might not be hearing the many single recordings of Lorene's songs that country DJs and others play daily. But Lorene had a dream, and I had a front-row seat at its premiere.

I met Lorene when she first came to Nashville, when she was just forming a new circle of friends in the music capitol. What I didn't know then was that Lorene is a regular powerhouse when it comes to music.

She sang for us one night backstage at the Opry House, and we were entranced with the simple sincerity of her songs and her sweet, down-home manner of singing. I'm happy the RCA people recognized her talent, too, for the little song So I Could Be Your Friend, here included, was the song that turned the trick for Lorene's climb to success. Like constructing a building stone-by-stone, song-by-song Lorene built a name for herself. One Of Them and Stranger At The Funeral followed. Later, the duet with Justin Tubb, Hurry, Mr. Peters, led to an album entitled Together And Alone, a collection of duets with Justin and solos by both.

Color Him Father
Daddy Sang Bass
Stand By Your Man
All I Have To Offer You (Is Me)
Stranger At The Funeral
You Used To Call Me Baby
Tell It All
Don't Put Your Hands On Me
So I Could Be Your Friend
One Of Them
Stay Out Of My Dreams

Dear Perry - The Perry Como Show

 

Red Sails In The Sunset

Dear Perry
The Perry Como Show
RCA Records, London
Made In England
RCA RD-27078
1958

Theme (Dream Along With Me)
It Could Happen To You
Love Letters
We Get Letters (medley)
  Almost Like Being In Love
  Little Man You've Had A Busy Day
  Gypsy In My Soul
  Whiffenpoof Song
Between The Devil And The Deep Blue Sea
Red Sails In The Sunset
Birth Of The Blues
When I Fall In Love
Come Rain Or Come Shine
We Get Letter (medley)
  You Made Me Love You
  I May Be Wrong
  Like Someone In Love
  Vaya con Dios
It Had To Be You
Twilight On The Trail
Theme (You Are Never Far Away)

This-A-Way That-A-Way - Ella Jenkins

 

Miss Mary Mack

This-A-Way That-A-Way
Cheerful Songs And Chants with Ella Jenkins
And Children From Tennessee
Guitarist: Guy Guilbert
Fiddler: Earl J. White
Photographer: Bernadelle Richter
Script: Joanne Taylor
Folkways Records FC 7546
1973

This-A-Way That-A-Way
Miss Mary Mack
I Like The Way That They Stack Hay
So You Know Your County?
I Know A Tom
Miss Sue
Please Is A Pleasant Expression
The Jolly Bus
I Love To Ride A Bus
Goin' To Kentucky
Turkey In The Straw
Sing Me A Song Again, Ella

Tender Is The Night - Andre Kostelanetz

 

Love For Sale

Tender Is The Night
Andre Kostelanetz and His Orchestra
Columbia CL 886
1956

From Billboard - September 15, 1956: An eye-catching cover and the lush, sentimental instrumental stylings of Kostelanetz makes this LP a potent sales entry in the mood music field, and particularly good for romantic deejay segs. Selections include such poignant standards as "But Not For Me," "The Thrill Is Gone," and "Body And Soul."

Love For Sale
But Not For Me
These Foolish Things (Remind My Of You)
The Thrill Is Gone
More Than You Know
Body And Soul
What Is This Thing Called Love
Alone Together 
It's All Right With Me
In The Still Of The Night

Sunday, December 13, 2020

Contemporary Spanish Dances - Emma Maleras

 

Trinia

Contemporary Spanish Dances
Emma Madera and Her Spanish Ballet
Recorded in Barcelona
Cover Photo: Phillip March
Back Cover Photo: Alfonso of Barcelona
Capitol Records  P18019
1956

From the back cover: Born in 1921 in Ripollet, a little village near Barcelona, Emma Maleras matriculated at 8 at the Conservatorio del Liceo in Barcelona where she studied piano and harmony.

But on her eleventh birthday anniversary, Emma's parents enrolled her with Antonio Alcaraz, a prominent Spanish dance instructor who had worked with Antonia Merce (La Agentinita), most renowned of all Spanish dancers, and sister of the still-active and celebrated Pilar Lopez. At 14, Emma Maleras was known in Barcelona as "the little witch of the castanets" and was appearing professionally. Later she studied the dance briefly with Jaun Magrina.

In 1950 Miss Maleras organized her own Spanish ballet troupe, a group which represented Spain at the International Congress of Opera and Ballet at Wiesdaden, Germany. She performed the opera, "La Vida Breve" and the ballet "El Amor Brujo," both by Maneul de Falla, with spectacular success.

The Germany triump led the Malerasdancers to tours of Portugal, France, Switzerland, Italy and Egypt. A contract for recording followed shortly thereafter. 

Today, in Barcelona, Emman Maleras is possibly the most successful and influential teacher of Spanish dances. Frequently she goes out on tour with her now-renowned Ballet Espanol. "Contemporary Spanish Dances" as offered by Capitol marks the North American debut of Miss Maleras and her company on records.

Anda Ya!
El Gato Montes
Genoveva
Capote De Grana Y Oro
Segundas De Filigrana
Trinia
Faraon Cambalachero
Vito
Garrotin De Cordoba
Bulerias Del Pajaro Pinto
No Te Puedo Querer
La Flor De La Maravilla



The Names Of Dixieland

 

Wild Bill Blues

The Names Of Dixieland
Baronet Records 108

From the back cover: 

Jack Teagardens Dixieland Band: Jack Teagarden, Trombone; Edmond Hall, Clarinet; Jimmy McPartland, Cornet; Dick Cary, Piano; Carl Kress, Guitar; Walter Page, Bass; Jo Jones, Drums.

One of the great men of all jazz is Jack Teagarden, the easy-going, mild-mannered trombone stylist, who first emerged on the jazz scene out of Oklahoma in the mid-twenties and who has been blowing his fabulously relaxed, rhythmic horn ever since. A veteran of several big bands, including his own and Paul Whiteman's he has also starred with numerous two-beat groups, including those of Red Nichols and Louis Armstrong, and has led several dixieland groups on record session of his own.

Here Teagarden is joined by one of the true New Orleans stalwarts, Edmond Hall, who was also associated with Armstrong for a number of year and whose playing reflects most accurately the rhythmically-aggressive, mellow-sounding New Orleans clarinet style.

Jimmy McPartland's Chicago Rompers: Jimmy McPartland, Cornet; Vic Dickerson, Trombone; Marian McPartland, Piano; Milt Hinton, Bass; Joe Morello, Drums

Jimmy McPartland is, of course, one of the pillars of the Chicago dixieland movement. During the twenties in the Windy City he played with Benny Goodman and Eddie Condon and Bix Beiderbecke, the legendary trumpeter, whose style Jimmy's so closely resembles. And he was the leader of the famed High-Gang, which included Dave Tough, Frank Teschemaker and Bud Freeman.

Freeman plays with Jimmy here, blowing his highly inventive tenor sax. Bud, like Jimmy, an easy-going man (he also dabble in Shakespeare) is the recognized leader of the tenor sax school from which the modern men, such as Lester Young and Stan Getz, eventually emerged, and his highly individualized solos have highlighted music blown by the big bands of Benny Goodman, Tommy Dorsey and Red Nichols, plus that of many famous dixieland groups.

Tony Parenti's Aces: Tony Parenti, Clarinet; Henry "Red" Allen, Trumpet; Tyree Glenn, Trombone; Hank Duncan, Piano; Milt Hinton, Bass; George Wettling, Drums

Two months and two days after, and less than two miles aways from the birth of Louis Armstrong, appeared a Parenti baby whose parents named Tony. Originally trained to play legitimate clarinet in a large orchestra, young Tony mastered and has ever since retained the pure, round, natural tone of his instrument, a sound, by the way, typical of the playing at many New Orleans clarinetists. But at the age of fourteen the jazz bug bit him and he went to work on the riverboats and in the New Orleans clubs. More than a dozen years later, after most of the other top jazz stars had left New Orleans, Tony went to New York where for twenty years he worked in studio and pit bands, seldom blowing much jazz. But then, after the war, he renewed his jazz career, playing at Condon's and Jimmy Ryan's and in all of Gothem's better-known two beat bistros.

Working in the same league with Tony has been Henry "Red" Allen, a huge man with a warm, expressive face and a trumpet sound to match. Allen, a true New Orleans veteran, played with the legendary Excelsior Band, with Fate Marable's riverboat outfit with King Oliver, Luis Russel, Fletcher Henderson and Louis Armstrong. Also a leader of his own well-known group in the early forties, Red has been one of jazzdom's major but least heralded trumpet influences, with the late Bunny Berigan the most famous of his disciples.

Forty-five year-old, Texas born Tyree Glenn is the youngest member of the Aces. A veteran of numerous swing bands, including Duke Ellinton's, Cab Callway's, Benny Carter's and Don Redman's his all-around mastery of the trombone permits him to blow almost any style, including the traditional tail-gate horn he plays on ensembles.

Paul Barbarin's New Orleans Stompers: Paul Barbarin, Drums; John Brunious, Trumpet; Bobby Thomas, Trombone; Willie Humphrey, Clarinet; Lester Santiago, Piano; Danny Barker, Banjo

Paul Barbarin is one of the real "originals". He began his career in the famed Storyville section of New Orleans, and played with such greats as Sidney Bechet, King Oliver and Mutt Carey. Later, in Chicago, he played with Louis Armstrong in Oliver's band, but after that returned to New Orleans to devote practically all of his time to leading his own group in the town he loves so  much.

Buck Clayton's Buckeroos: Buck Clayton, Trumpet; Big Chief Moore, Trombone; Red Richards, Piano; Pierre Michelot, Bass; Kansas Field, Drums.

Buck, an extraordinary handsome, polished, well poised man, first attracted national attention as a star of Count Basie's band, when that great crew burst into the jazz scene in the mid-thirties. His open and his muted solos (you can still sing through a mute!) continued to be one of the band's identifying and also most thrilling sounds until 1943 when Buck entered the Army.

Since his discharge, Clayton has concentrated more on small groups, most of which he, himself, has led. 

Sharing horn honors with Buck is Big Chief Russel Moore, a large trombonist who claims to be the only full-blooded Indian playing with name musicians. He has been featured with Armstrong's band and also with Sidney Bechet.

Will Bill Davison's Bulldozers: Will Bill Davison, Cornet; Eph Resnick, Trombone; Joe Barry, Clarinet; Dean Drewberry, Piano; Charlie Trager, Bass; Eddie Phyfe, Drums

Davison was a big mid-west favorite for many years before coming to New York in the early forties to take musical charge of various dixieland groups. For some time now he has been a starred performer at Eddie Condon's where his bitting cornet has led the way for many noted two-beaters. A rough-and-ready friendly human, his personality seems to epitomize the typical dixieland musician.

My Gal Sal - Jimmy McPartland's Chicago Rompers
Gettysburg March - Paul Barbarin's New Orleans Stompers
Wild Bill Blues - Wild Bill Davison's Dixieland Band
Original Dixieland One Step - Jack Teagarden's Dixieland Band
High Society - Jack Teagarden's Dixieland Band
Frankie And Johnny - Tony Parenti's Aces
Good Old Summertime - Tony Parenti's Aces
Lazy River - Buck Clayton's Buckeroos
Bill Bailer - Tony Parenti's Aces
Saints Go Marching In - Wild Bill Davison's Bulldozers
South - Wild Bill Davison's Bulldozers

Stan Kenton And His Orchestra Live At Redlands University

 

Artistry In Rhythm

The Creative World Of Stan Kenton And His Orchestra Live At Redlands University
Recorded October, 1970 at Redlands University, Redlands, California
Recorded on location by Wally Heider
Mixed and Edited by Andy Richardson
Mixing Supervision by Gene Guesvold
Mastering by Western Recorders
Liner Notes by Doug Neal
Creative World ST 1015
1970

Personel:

Saxophones: Quin Davis, Richard Torres, Norm Smith, Willie Maiden, Jim Timlin

Trumpets: Mike Vax, Joe Ellis, Jim Kartchner, Dennis Noddy, Warren Gale

Trombones: Dick Shearer, Mike Jamienson, Fred Carter, Tom Bridges, Graham Ellis

Bass: Gary Todd

Drums: Baron John Von Ohlen

Latin Percussion: Efrain Logreira

Piano: Stan Kenton

From the inside cover: This two-record album was recorded live at a special concert at Redlands University under the most unique circumstances. Unique because the audience consisted of student musicians, music educators, and the teaching staff which had gathered for this year's week of "Kenton Clinics."

Because of its deep involvement with the study of jazz, the audience proved to be not only sensitively perceptive to the music played, but very critical of now it was performed by the Kenton Orchestra. This challenge, from students to professional musician, fanned itself to burning excitement as the band outdid itself to provide total communication with this select audience.

Many of the selections were recorded at the request of the many Kenton fans who had heard them played at concerts while the band was on tour. Four have never been recorded by anyone as they were written especially for the Kenton Orchestra. The recordings on this concert album are vivid, exciting testimony to the total communication which took place at Redlands University between music students, educators and the Stan Kenton Orchestra, which firmly established itself as their "Jazz Orchestra in Residence."

The "Jazz Orchestra in Residence" concept evolved from the many fruitful and informative years of the "Kenton Clinics." This new idea places the full Kenton Orchestra in a college or university for three days to a week, where they work in conjunction with the music and humanities department as a closely related and integrated extension of both. By exposing students to the professional standards of actual performing demonstrations, the band creates exciting examples that establish goals for the young musicians to pursue.

The "Jazz Orchestra in Residence" program is composed of highly intense sessions which cover all pertinent aspects of jazz in order to provide the student with a further well-rounded, all encompassing knowledge of music. Courses include Jazz Improvisation, Composition and Arranging, and instrumental Clinics, in which the solutions to problems most often encountered with the various instruments are discussed and examined. Two of the many related lectures include "Jazz and the Humanities: and "Jazz, the Extension to the Formal Study of Music."

As an adjunct, Kenton has produced two color films on jazz: "The Substance of Jazz," which describes how and why jazz is so different from all other music forms, and "The Crusade for Jazz," a one-hour documentary which takes the viewer on an intimate road trip by bus with the band, where they are confronted with the discomfort of living out of a suitcase for three months, the one night stands, and eating on the run; but, most of all, the viewer feels all of the excitement generated by each member of the band just before curtain times, and the deep sense of personal involvement each one has with the band and the music they love to play anywhere: jazz.

During the "Jazz Orchestra in Residence," the musicians carefully nurture each student's particular problem until finally, at week's end, a new awareness has taken place within these youngsters; an awareness that has them reaching notes they couldn't have imagined earlier, playing complex arrangements and even writing an original score for the Kenton band to play and comment on. Most important, they have developed a sensitive understanding, not just for music and their own ability, but for the innovative and deeply personal excitement of jazz.

The pictures point out the intense interest and seriousness of the students. Their enthusiasm became so boundless that even while eating, the discussion was jazz and their own expanding musical horizons. The "Creative World of Stan Kenton" has been closely associated with university music education for many years by furnishing professional orchestrations for the student musician. The "Jazz Orchestra in Residence" concept now provides the serious student the opportunity of working with the professional musician who plays this intricate scores in front of thousands of jazz fans in concert halls and night clubs throughout the country.

This concept is proving so successful that the Kenton Orchestra is making plans to expand these three day to a week appearances during their normal concert tour as extensions to the regular music department curricula.

From Billboard - December 19, 1970: Now on his own Creative World label, this has the clinical sounds of big Kenton orchestra recorded at one of Kenton's seminars fo students, in this case Redlands. All the facets of Kenton's style are there – the bows to European classicism, blasts of high energetic sound and technically superb soloist. The material veers from Jimmy Webb tunes to Kentionia "Peanut Vendor," "Artistry In Rhythm."

Here's That Rainy Dany 
A Little Minor Booze
Tico Tico
Didn't We?
Chiapas
MacArthur Park
More Peanut Vendor
Bon Homme Richard
Tiare
Terry Talk
Granada
Artistry In Rhythm