Golden Hits Of Hawaii - The Outriggers

 

My Isle Of Golden Dreams

Golden Hits Of Hawaii

The Outriggers

Cover Photo: Floyd Flugelmann

Warner Bros. WS 1549

1964

My Isle Of Golden Dreams

Song Of The Islands

Blue Hawaii

Drifting And Dreaming

Kalua Lullaby

Now Is The Hour

Hawaiian Wedding Song

The Moon Of Manakoora

Hawaiian Paradise

My Take

Trade Winds

Aloha Oe

Roaring 20's Cha Cha Cha

 

Charleston

Roaring 20's Cha Cha Cha

Designed by McBain Associates

United Artist Records MONAURAL UAL 3138

1961

Sugar Blues

The Sheik Of Araby

Charleston

Am I Blue

Sweet Georgia Brown

Sweet Sue – Just You

La Cumprasita 

I Wanna Be Loved By You

Down Among The Sheltering Palms

Runnin' Wild

I'm Through With Love

Park Avenue Fantasy

Back Again - The Bachelors

Pagan Love Song

The Bachelors

Back Again

Executive Producer: Dick Rowe

London MONO LL 3393

1964

From the back cover: Early in the summer of 1962 a young lady called me from Belfast, Northern Ireland, Saying that she has a mouth-organ act called The Harmonichords appearing for the summer at Arborath, a small seaside town in Scotland. She asked me to meet her there during the season to see the boys, who sang in addition to playing.

I had been on many goosechases through the years, so I figured one more couldn't hurt.

A few weeks later I was in Arbroath and met the lady agent (Dorothy Solomon), and the three boys whose names where John Stokes, Dec and Con Clusky. The boy's act consisting of nearly sixteen minutes of mouth-organs didn't leave too much of an impression. However, they did sing a couple of Irish folk songs. It is difficult to think back two years with great accuracy, but I do recall quite clearly that I like their singing very much. I wondered if they could handle songs with rather more general appeal, and which song I should suggest for them to learn for a recording test. Just about the most important Decca record of all time is Mantovani's 'Charmaine", so I thought 'why not a vocal version.' I left Arbroath the next day having promised my four new friends that when summer was over we would make a test recording tape with the boys singing 'Charmaine' at our studios in London. During the next eight or nine weeks that followed the boys spent every spare moment of every day working out and perfecting their interpretation of the song, so that when they eventually recorded 'Charmaine' as a test it turned out so well when the record that they found themselves with a recording contract.

When the record was released on December 13 of that year you met the Bachelors for the first time, and it seemed that Dorothy's faith and belief  in them had been so right. Fame and fortune that has come their way since then.

For those of us who would like to refresh recent memories, and for new friends, this LP contains great songs that you may not have heard them sing before.

If by chance not all of your favorite songs are included drop Dorothy a line care of London. I'm sure she'll ask the boys to learn them so that they may offer them to you on their next album. – Dick Rowe

Moonlight And Roses

Ramona

I'll Be With You In Apple Blossom Time

I Wouldn't Trade You For The World

Melody Of Love

The Little White Cloud That Cried

With These Hands

Put Your Arms Around Me, Honey

Maybe

He's Got The Whole World In His Hands

Pagan Love Song

Ten Pretty Girls

Symphonic Soul - Henry Mancini

 

Peter Gunn

Symphonic Soul

Henry Mancini And His Orchestra

Produced by Joe Reisman

All Music Arranged by Henry Mancini

Cover Photo by Henry Mancini

Linder Photos by Morgan Renard

Art Direction by Any Lehman

Design & Graphics by Gribbitt Ltd.

Recording Engineer: Mickey Crofford

Assistant Engineer: Artie Torgesen

A&R Coordination: Lynne Morse

Recorded in RCA's Music Center of the World, Hollywood, California

RCA Quadra Disc APD1-1025 & RCA APL1-1025

1975

Rhythm Section: 

Keyboards: Joe Sample (appears through the courtesy of Blue Thumb Records)

Bass: Abraham Laboriel

Drums: Harvey Mason (appears through the courtesy of Arista Records, Inc.

Guitars: Dennis Budimir, Lee Ritenour and David T. Walker (appears through the courtesy of Ode Records)

Latin Percussion: Mayuto

Percussionists: Dale Anderson, Harvey Mason and Emil Richards

Concert Master: Erno Neufeld

Principal French Horn: Vincent DeRosa

Principal Trombone: Dick Nash

Orchestra Manager: Marion Klein

From Billboard - November 15, 1975: Hank Mancini is one of the best composers on the scene today, and he's definitely not scared to enter any musical areas, as is exhibited on this record. It features his great arrangements and a super rhythm section that includes Joe Sample, Harvey Mason, Abe Laboriel and David T. Walker. The Mancini magic is never more evident that when he offers his treatment of several soul standards in addition to his originals. His remake of "Peter Gunn" theme sounds better than ever.

Symphonic Soul - Piccolo Trumpet Soloist: Bud Brisbois

Butterfly - Electric Bass Soloist: Abraham Laboriel & Electric Piano Soloist: Joe Sample

Satin Soul - Organ Soloist: Joe Sample

Peter Gunn (New Version) - Electric Bass Soloist: Abraham Laboriel, Organ Soloist: Joe Sample & Piccolo Trumpet Soloist: Bud Brisbois

Slow Hot Wind - Flut Soloist: Louise Di Tullio

Pick Up The Pieces - Organ Soloist: Joe Sample

Sun Goddess - Organ Soloist: Joe Sample

Soul Saga (Song Of The Buffalo Soldier) - Harmonica Soloist: Tommy Morgan

African Symphony - African Finger Piano Soloist: Mayuto

Crazy! Baby - Jimmy Smith

 

A Night In Tunisia

Crazy! Baby

The Incredible Jimmy Smith

Jimmy Smith - Organ

Quentin Warren - Guitar

Donald Bailey - Drums

Cover Photo: Bob Ganley

Cover Design: Reid Miles

Model: Marion Barker - Car by Jaguar

Recording: Rudy Van Gelder

Blue Note ST-84030

1960

From the back cover: It is one of the anomalies of the American artistic scene that the term "popular music" (more often abbreviated as "pop music") is generally employed in opposition to the word "jazz." The obvious implication is that the music we call jazz is not basically popular, and that popular music inherently cannot be jazz.

Jimmy Smith is a swingly assertive voice of dissent in this absurd argument. As much as any artist who has entered the jazz world in the past few years he has shown that popularity on a significant scale can be achieved without any conscious or unconscious  concession to the alleged demands of the pop market. His performances today have the same rhythmically intense and melodically inventive qualities that earned him widespread interest when his original LP, New Sounds On The Organ, was issued on BLP 1512 only four years ago. In other words, Jimmy's work is and always will be as indisputably jazz as it has become unmistakably popular.

This new collection marking his first LP release in several months, summarizes in its table of contents when Jimmy has done to weld the so-called popular and jazz fields, since the material he chose maintains an ideal balance. Of the seven tracks on these two sides, three (including Jimmy's original) are essentially jazz in character and origin; one (What's New) is a ballad that began in a jazz band; two are old pop songs and one is visually a folk melody.

It is to this final item, When Johnny Comes Marching Home, that we'll turn our attention first. Here is a theme which, for all its antiquity and frequent use in what might be considered corny contexts, nevertheless has a harmonic basis well suited to jazz improvisation. The performance seems to begin right outside the induction center – "Marching in the street," says Jimmy, "using an Oriental sound to blend with the rebel sound." Next comes what Jimmy refers to as an "Irish vamp," though to these ears the C and G pedal point seemed to suggest rather than advance of a Scots regiment. Then the trio settles into a regular tempo treatment in C Minor. The beat moves a little too fast for marching, but never too fast for swinging.

Johnny, incidentally, was issued as a 45 rpm single before the release of the present album and has established itself quite firmly as a hit.

From Billboard - August 22, 1960: Jimmy Smith again comes thru with some fine, mellow organ work on this new waxing for the table. He is heard here performing a group of pop items, folk tunes and jazz classics, with taste and musicianship. Selections include "When Johnny Comes Marching Home," "Mack The Knife," "A Night In Tunisia"  and "Makin' Whoopee,"

When Johnny Comes Marching Home

Makin' Whoopee

A Night In Tunisia

Sonnymoon For Two

Mack The Knife

What's New

Alfredo

Short Circuits - Ruth White

 

Satie: Gymnopedie No. 1

Short Circuits

Electronic Realizations And Performances by Ruth White

Angel S-36042

1970

From the back cover: Electronic composer and innovator Ruth White is considered among today's most gifted arbiters of what is termed "the new music". Formally educated in piano and composition (she has three degrees from Pennsylvania's Carnegie Tech), Miss White discusses her work in her Southern California studio: "I do not have a formal classical electronic background – that is self-taught. In fact, I was careful not to study electronics with anyone. Because I have been working in recording for many years, I felt that there was a directness of approach that I wanted to develop which was totally missing from the electronic scene in classical music." How effectively her medium has conveyed her message may be judged by the critical comment awarded her own original electronic compositions.

Writing of "Seven Trumps From The Tarot Cards," a completely electronic score reflecting her impressions of the occult, Donal Henahan commended Miss White in The New York Times for her "musical inventiveness and electronic sophistication." From Paul Eberie in the Los Angeles Free Press: "Miss White has explored electronics to find a new instrumentation of voices for her compositions, and has conceived it as an extension of the music of the past, rather than a break from it, or a renunciation."

"Pinions" was commissioned by dance choreographer Eugene Loring for the University of California. After the 1986 premiere, the Los Angeles Times commented: "...a really exciting, organically musical, electronic score by Ruth White. Not only the soloists but all the participants seemed to draw heat from this score...". Flowers Of Evil," an electronic music setting for the poems of Baudelaire utilizing the human voice (her own) as an instrument, represents to Free Press critic the evolution of music."

"In addition to the composition mentioned above which have involved her in the fields of choreography and spoken word among others, Miss White has become increasingly active in the arts most closely allied to electronics: television, motion pictures and audio-visual cassettes.

For this, her next album on Angel, Ruth White has electronically realized a selection of favorite classical encore pieces. "The composers involved," she comments, "were, in a very real sense, trying to paint pictures with the means of their times. For example, Rimsky-Korsakov's 'Flight Of The Bumblebee' is a visual, as well as an audio experience, which I have transformed with the means of our times. The Satie is an ethereal motif enveloped in electronic voices... the Debussy, one of my particular favorites, is a spatial experience. The Shostakovich 'Polka' is an electric slapstick reinterpretation of the composer's own slapstick. In each case the idea is a musical one transformed electronically."

In the following note, Ruth White talks about "Short Circuits" in greater detail: 

One day, I found my old piano score of "Flight Of The Bumblebee." I remembered my early musical experience; at the same time. I had a flash of new insight. Why not play this music again? Why not perform it electrically and bring it to new life with electronically conceived orchestrations? For instance, why not shape a wave to simulate a pitched "Bee" sound?

Later, other ideas occurred to me. An important one was that of the steady or almost metronomically paced rhythm. A constant forward flow felt right for these performances, and it was right for the structuring of electronic music. For this reason, there are none of the usual ritards, no momentary or gradual slowing (or speedings).

For a large part of the album, I used keyboard music, as I did not wish to be bound by preconceived orchestral ideas. Instead, I wrote new lines, newt types of counterpoints that often took advantage of my electronic means...  humorous, sliding oscillators; a rapidly flitting butterfly line, etc.

The entire album was created using the instruments in my studio: several electric and electronic keyboards, a Moog synthesizer, multichannel tape recorders, speed changers, reverberation units, etc. I did a lot of processing of sounds, so performance of an entire piece was seldom a straight, real time layering of track upon track.

The best thing I can say of any work is that I am sorry when it is finished. In the case of "Short Circuits," I can truly say that I had as much fun with this music... even more... the second time around. – Ruth White

Rimsky-Korsakov: The Flight Of The Bumblebee

Satie: Gymnopedie No. 1

Debussy: The Snow Is Dancing

White: Variations On Couperin's Roudeau

Greig: The Butterfly

Verdi: Anvil Chorus

Scarlatti: Tempo Di Ballo

Chopin: Etude In G Flat

C.P.E. Bach: Solfeffietto

Chopin: Prelude In E Major

Shostakovich: Polka From "The Age Of Gold"

Bizet: The Ball

Scarlatti: Sonata In G

Albeniz: Asturias

Love Songs - Dinah Shore

 

I Wish I Didn't Love You So

Love Songs

Sung By Dinah Shore

Photo: Globe/Bernard

Harmony HL 7099

A Product of Columbia Records

A Cottage For Sale

Once In A While

Mad About The Boy

I'm Yours

It All Depends On You

Dream A Little Dream Of Me

They Didn't Believe Me

Scarlet Ribbons

I Wish I Didn't Love You So

I'll Alway Love You

Swinging The Bard - The Ken Jones Orchestra

 

St. Valentine's Blues

Nine For Bacon

Swinging The Bard

The Ken Jones Orchestra

The Elizabethan Consort Of Viols - Directed by Dennis Nesbitt

Elaine Delmar

Musical Direction: Ken Jones

Recording Engineer: Adrian Kerridge 

Cover: Loring Eutemey

A record supervision (London) production under the personal supervision of Denis Preston

Geoffrey Emmott's Recorder Consort

Atco Records 33-171

1964

From the back cover: Music seems to have been more than a passing fancy for Shakespeare. Reference after reference to the art keep cropping up in the plays. "And certain stars shot madly from their spheres to hear the sea-maid's music," run two of the less exalted lines in "A Midsummers-Night Dream," and while there are no sea-maids on this LP (Miss Elaine Delmar is strictly a land-lubber) one hopes that Bard would still have bent an appreciative ear to these musical offerings. The performances are, for a start, chock-full of surprises. The use of viols, for instance, rather than the more conventional – and more sentimental – violins, results in a purity of texture that spurs Shake Keane into producing some of his happiest solos. Similarly, Elaine Delmar sings in the manner of the 1960s, but her voice is blended with the sounds of recorders and harpsichord. This is, in fact, a light-hearted yet essentially serious attempt to honoring William Shakespeare.

The Overture is the work of David Lindup and Leonard Salzedo, two composers whose previous collaboration – Rendezvous – called upon the combined resources of the London Philharmonic and the Johnny Dankworth orchestras. This time the work is very different, although once again two ensembles are involved. "We took a 16th century lute tune called – improbable though it seems – Mititis Dump," says Salzedo, "and we used the ground-bass scheme as the basis of the three sections. "The opening section deploys the Consort of Viols in such a way as to suggest a concerto gross; later on Shake Keane and Roy Willox (on flute) both take solos. Salzedo scored the passages for viols, incidentally, and Lindup handled the big band parts. David Mack's Shake On A Barre was suggested by the antics of Shake Keane – six-feet-four, brass-player and poet, who came to London from the Caribbean in the early 1950s – during a rehearsal in the nearby dance-studios of the Ballet Rambert. Two other pieces are the work of a couple of London's busiest jazz musicians: Johnny Hawksworth, bassist for many years with Ted Heath's orchestra, and Stan Tracey, pianist at the Ronnie Scott Club, who has worked with a vast number of visiting American jazz musicians, from Stan Getz to Roland Kirk. Hawksworth's In A Stratford Garden (orchestrated by Ken Jones) features the trumpet playing of Eddie Blair, while Tracey's decidedly Ellingtonish composition, Puck, has Kenny Baker using a plunger mute to conjure bizarreries from his instrument.

No Shakespearean venture would be complete without some mention of the various pretenders to the authorship of the plays. This LP restricts itself to three of the likeliest – Bacon, Marlowe and the Earl of Oxford. The last-named is the subject of Oxford Blue, the work of Ken Jones, a piece which moves, paradoxically enough, in waltz-time, although the Earl himself would have been much more at home with a pavan or galliard. The favorite contender provides a title for one of the most intriguing compositions on the record, John Mayer's Nine For Bacon. ("It's built on a passacaglia theme." says Mayer, "Five note which reappear in various forms"). Scored for nine instruments, it is also an example of the Nonet, a species about which Dr. Percy Scholes declares, rather curtly: "Such compositions are comparatively rare." Lastly there is Ray Premru's setting of Christopher Marlowe's Live With Me And Be My Love (more properly known as The Passionate Sheepheard To His Love), which demonstrates the great poets can write pop-song lyrics just as snappily as the denizens of Tin Pan Alley.

The remaining songs – all strictly by Shakespeare – range from Leonard Salzedo's torch St. Valentine's Blues (sung by the deranged Ophelia in Act IV, Scene V of "Hamlet") to David Lindup's Fye On Sinful Fantasy (from "The Merry Wives Of Windsor") and Leon Young's Blow, Blow Thou Winter Wind (From "As You Like It"). The trickiest job of all, thought, was undertaken by Sandy Brown, one of Britain's saltiest jazz clarinetists, who set about Sonnet No. 18 – iambic pentameter, octave, sestet and all. ("The problem was to spread the fourteen lines over 32 bars," explains Sandy. "Luckily the part with the greatest density of language and meaning the slowest bit – if I can put it that way, fitted neatly into the middle-eight"). All of the songs, incidentally, were orchestrated by Leonard Salzedo.

The rest - to lean back upon a familiar quotation – is silence. But meantime our company of players – trumpets Shake Keane, Eddie Blair and Kenny Baker, the delectable Miss Delmar, musical director Ken Jones and the several composers, arrangers, copyists, musicians, recording engineers and other rude mechanicals – have paid their tribute to Albion's mightiest poet. No gadzookery, no hey-sonny-nonnying, just honest, imaginative music. The Bard, one suspects, would have felt flattered. Even Mr. W.H. and the Dark Lady might have tapped a toe – Charles Fox

From Billboard - February 20, 1965: Jazz fans will enjoy the Ken Jones big band interpretations of Bardsville. The entire album is highly imaginative. In addition, Elaine Delmar's cool vocals with the Elizabethan Consort of Violas and Geoffrey Emmott's Recorder Consort are all contributive to the light-hearted yet highly creative attempt at honoring Shakespeare.

Overture: Strike Up The Band

St. Valentine's Blues

Shake On A Barre

Live With Me And Be My Love

In A Stratford Garden

Blow, Blow Thou Winter End

Nine For Bacon

Fye On Sinful Fantasy

Oxford Blue

Shall I Compare Thee?

Puck

The Guitar Sounds Of Buddy Merrill

 

Poinciana

The Guitar Sounds Of Buddy Merrill

Cover Design: Mike Hogan

Cover Photo: Bruce Zemby

Accent Records AC 5010 MLP

1965

From the back cover: Buddy Merrill is a meteor talent. In "The Guitar Sounds Of Buddy Merrill" he displays his skill as a composer, arranger and performer. In the standards, Fascinating Rhythm, Caravan, Invitation, Malaguena and Love Makes The World Go 'Round, he combines creative arranging forms with his amazing guitar technique and the result is a refreshing new approach to these great numbers. The Worm and Echoette are originals written by Buddy and again they reflect his all around talent as a composer and arranger.

In this album Bubby Merrill displays his "sound on sound" technique. The "sound on sound" formula is not new, however Buddy's use of it is a completely new dimension. His use of a solid "bottom" rock beat as a foundation for the beautiful flowing sounds in the high registers of the guitar give him a combination of SOUND and BEAT that is both artistic and commercial at the same time.

Lawrence Welk has featured Buddy as solo guitarist for the past nine years. During this time Buddy has been responsible for some of the outstanding arrangements that have made the Welk band so popular. Up to the present time, however, Buddy has not been exposed to the public with the sound that he is identified with in this first Accent album.

Sound engineering is usually considered to be "off limits" for the performing musician but Buddy Merrill combines his knowledge of this field with his musical background to produce the we believe will be a new dimension in the recording world.

This is not a "jazz" album nor is it meant to be a "mood" album; it is simply, "The Guitar Sounds Of Buddy Merrill." – Scott Seely, President / Accent Records

Also from the back cover: Buddy Merrill designed his own special four position, three channel mixer, which was custom built by Studio Electronics. This is used in conjunction with two Ampex 300, three channel recorders.

The Worm

Hava Nagila

El Cid

Fascination Rhythm 

Love Makes The World Go 'Round

Caravan

Poinciana

Milano

Echoette

Busy Bee

Invitation

Malaguena

La Paloma

Misirlou

80 Minutes In Lover's Lane

 

Moonlight In Vermont

Deep Night

80 Minutes In Lover's Lane

24 Exciting New Sounds By 24 Great Popular Artists

Produced Exclusively For The Lane Company, Altavista, Virginia

Makers Of Sweetheart Chests – "The gift starts the home"

Columbia Records XTV 28701(2, 3 & 4)

When I Fall In Love - Rhonda Fleming

Gigi - Paul Weston

I Talk To The Trees - Percy Faith with Peter Hanley

Remember Me In Your Dreams - Frank Sinatra

Beautiful Music To Love By - Doris Day

My Melancholy Baby - Harry James

Love Is Just Around The Corner - Don Cherry

Moonlight In Vermont - Jerri Adams with Percy Faith

Strangers In The Dark - Xavier Cugat with Abbe Lane

If I Loved You - Harry James

Close Your Eyes - Rosemary Clooney with Percy Faith

Poor Butterfly - Benny Goodman

The Girl That I Marry - Norman Luboff

Soon - Les Elgart

For Heaven's Sake - Erroll Garner

Enchantment - Otto Cesana

Without My Lover - Mitch Miller

Love Walked In - Hi-Lo's

Begin The Beguine - Sammy Kaye

I Love You - Michel Legrand

Moonlight Becomes You - Paul Weston

Lover Man - Claude Thornhill

Deep Night - Art Van Damme Quintet

The Man I Love - Percy Faith