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Thursday, June 16, 2022

Songs For The Jet Set - Tony Bennett

 

Song Of The Jet

If I Ruled The World
Tony Bennett
Songs For The Jet Set
Produced by Ernie Altschuler
Arranged and Conducted by Don Costa
With The Ralph Sharon Trio and The Will Bronson Singers
Featuring Al Cohn on tenor sax
Cover Photo of Tony Bennett by Don Hunstein
Aerial Photo courtesy Pan American Airways
Columbia Records CL 2343
1965

The Ralph Sharon Trio:
Ralph Sharon - Piano
Hal Gaylor - Bass
Billy Exiner - Drums

From Billboard - May 8, 1965: Another winning, cleverly conceived program. Opening with an intriguing Jobim tune, "Samba do Aviao," he segues into as the day Bart Howard wrote it. The Bennett voice on this and a Peggy Lee and Cy Coleman tune, "Then Was Then And Now Is Now," is impossible to top, especially with Don Costa providing the backing.

Song Of The Jet (Samba do Aviao)
Carlos Lyra - Guitar
Elcio Milito - Drums
Al Cohn - Tenor Sax
From "Copacabana Palace"

Fly Me To The Moon (In Other Words)
Al Cohn - Tenor Sax

How Insensitive 
Al Cohn - Tenor Sax

If I Ruled The World
From "Pickwick"

Love Scene

Take The Moment
From "Do I Hear A Waltz?"

Then Was Then And Now Is Now

Sweet Lorraine
Joe Marsala - Clarinet
Bobby Hackett - Ukulele

The Right To Love

Watch What Happens
From "The Umbrellas Of Cherbourg"

All My Tomorrows
From "Hole In My Head"

Two By Two

Berlioz - Symphonie Fantastique • Op. 14 - Andre Vandernoot

 

Berlioz
Symphonie Fantastique • Op. 14
L'Orchestre National
Andre Vandernoot
Originated and Produced by Enoch Light
Associate Producers: Julie Klages & Robert Byrne
Art Director: Charles E. Murphy
Recording Chief: Robert Fine
Mastering: George Piros
Cover Art from a print by Gaber Peterdi
Stereo 35MM - Command Classics CC 11009 SD
1962

Gaber Peterdi was born in Budapest in 1915. He was given his first one man show at the Ernst Museum in Budapest in 1930 and shortly thereafter was awarded the coveted Prix de Rome for painting. In 1933 Peterdi began his apprenticeship in the art of print-making under the demanding tutelage of Stanley William Hayter at Atelier 17 in Paris.

Mr. Peterdi is the recipient of many honors and awards. His work is represented at the Museum of Modern Art, New York; The Metropolitan Museum, New York; and more than 80 other fine museums throughout the world. He is presently teaching at Yale University, New Haven, Connecticut.

From Billboard - April 7, 1962: With over 20 versions of this colorful classic in the catalog, this one has what it takes to get a substantial share of the business. The fine French orchestra captures the flavor of the Gallic masterpiece in a broadly played, unhurried interpretation. Outstanding reproduction and silent surfaces additionally serve to make this an exceptional release of an ever popular work.

Bennett & Basie

 

Poor Little Rich Girl

Bennet & Basie
Tony Bennett & Count Basie
Produced by Teddy Reig
Roulette R 25231
1963

From the back cover: The band's power bursts through "Poor Little Rich Girl" in a solid-stepping climax following a vocal distinguished for its clipped inflection of the affable lyric and a warm open-trumpet solo by Thad Jones. The power of the Basie rhythm section, and especially Freddie Green on guitar and Eddie Jones on bass, is displayed in "Growing Pains." This tender saga of adolescent awareness of adolescence is supported only by rhythm and flute (Frank Wess) – giving the whole thing a pleasant poignancy, which the song and Tony's singing thoroughly deserve. – Barry Ulanov

Strike Up The Band
I Guess I'll Have To Change My Plans
Chicago 
With Plenty Of Money And You
Anything Goes
Life Is A Song
I've Grown Accustomed To Her Face
Jeepers Creepers
Growing Pains
Poor Little Rich Girl
Are You Havin' Any Fun

Wednesday, June 15, 2022

Swinging Brass With Oscar Peterson

 

Con Alma

Swinging Brass With The Oscar Peterson Trio
Arrangements and Orchestra Conducted by Russell Garcia
Cover Art: John Altoonas
Art Direction: Merie Shore
Verve Records MG VS-6119
1960

From the back cover: When Oscar Peterson was a young student he practiced the piano for three hours before lunch, five hours between lunch and dinner, then again from 7:30 until his mother decided the rest of the family needed some sleep. The desire to improve, to find new ideas, new channels of expression, has never dimmed. With this album Peterson takes yet another step forward in the unique big-band album that is without precedent in his multifunctional recording career.

"This is something that Russ Garcia had been talking about for a long time," says Peterson, "in fact, ever since we worked together on the first album with strings – the one with Buddy De Franco. Russ and I wanted to do a real southing thing with a big, swinging band. We didn't want to do anything complicated, because when things get too involved they tend to bog down, and when you haven't been used to playing with a big band regularly, that could in itself be enough of an inducement to bogging down."

Peterson's fears were unnecessary. Far from indicating any lack of comfort in this setting, the results show that Garcia's writing stimulated him to the point of producing his most energetically exciting set of performances in years.

The musicians selected were not the customary group of somewhat blasé studio veterans, but a young, keen crew that teamed well-known Los Angeles musicians with some fresh faces. As a consequence, the spirit that permeates the performance lifts these sides far above the level of those often produced by jazz musicians with pick-up recording bands.

Most of the arrangements, Oscar points out, are extensions of routines he had already been playing with the Trio. The ingenious integrations of Peterson, Ray Brown and Ed Thigpen into the body of these big band performances reflects credit on both Peterson and Garcia. – Leonard Feather (Author, The Encyclopedia of Jazz)

From Billboard - March 14, 1960: Arranger-conductor Russ Garcia has showcased the Peterson Trio against a big swinging band, and the results are highly effective. Peterson's delicate, tasteful piano solo work provides fine contrast to the "swinging brass." Eminently spinnable. Tunes mainly unfamiliar, include "Con Alma," Cubana Chant," and "Close Your Eyes."

Stockholm Sweetin'
Blues For Big Scotia
Close Your Eyes
Spirit Feel
Cubana Chant
Con Alma
O.P.
Little Pea's Blues

The Broadway Beat - Harold Baker

 

Close Your Eyes

The Broadway Beat
Harold "Shorty" Baker Quartet
King Records KING 608
1959

From the back cover: Born in St. Louis, Missouri, he first entered the orchestra business playing in his brother's group "Winfeld Baker and his St. Louis Crackerjacks." Then, in 1935, he joined Don Redmon and remained until 1938. During this time he worked on arrangements, ideas, technique and style. In 1939, Harold joined Teddy Wilson... where valuable professional training came about. In 1940 he made the jump to Duke Ellington's orchestra.

Since then, Harold Baker has been forgotten as just a member of an orchestra and has become known as Harold "Shorty" Baker... with a style of his own. The trumpet sound he plays couldn't be denied... and had to come to the front. Today, Baker is an individualist, turning out music as he feels it should be portrayed.

Them There Eyes
In A Little Spanish Town
'S Wonderful
If I Had You
Rosetta
After You've Come
Marie
Close Your Eyes
The World Is Waiting For The Sunrise
Love Me Of Leave Me
Cherry

Sunday, June 12, 2022

Elgart Au Go-Go - Les & Larry Elgart

Thunder Shake

Elgart Au Go-Go
Les & Larry Elgart
Produced by Ernie Altschuler
Arranged by Charlie Albertine
Cover Photo: Columbia Records Studio - Henry Parker
Columbia STEREO CS 9155
1965

Thunder Shake
Downtown
Meditation (Larry Elgart, soprano sax solo)
Come Rain Or Come Shine
King Of The Road
Jerkin' Around
St. James Infirmary
La Bostella (Viens Danser La Bostella)
Willow Weep For Me
G'Won Train
I Gotta Right To Sing The Blues
The First Man's Theme (Arranged by Marty Manning)

Don't Forget I Still Love You - Bobbi Martin

 

Dear Heart

Don't Forget I Still Love You
Bobbi Martin
Cover Photo: Hal Buksbaum
Coral Records CRL 57472
1965

From the back cover: Unlike many of the popular singers of the day, Bobbi Martin's musical success comes from a strong background of solid, professional training and experience. Hailing from Baltimore, it was only natural that Bobbi would enter show business, for both her parents were professional singers. From the time that Bobbi was in school, she took her singing seriously, seizing every opportunity to perform whenever the occasion presented itself. After graduation from high school in Baltimore, she next set her sights from New York and a full-time try at a show business career. She came to the attention of personal manager Miriam Love, and the rest, as they say, is history.

Miriam groomed her young protege first for night clubs and TV. Bobbi had played to standing-room-only audiences in many of the finest clubs throughout the country, and video audiences have thrilled to her refreshing style in guest appearances on such top-rated TV shows as "The Jackie Gleason Show."

Records were next on the agenda, and Bobbi Martin was seen and heard by Coral Records' A&R executive, Henry Jerome, who recognized the exciting potential of this new young songstress and immediately signed her to an exclusive, long-term Coral recording contract. Now the problem was to find the right song, and Bobbi Martin, and Henry went to work. The result of their quest was "Don't Forget I Still Love You", which launched Bobbi Martin into stardom.

From Billboard - February 6, 1965: Bobbi Martin has just come off a major hit, "Don't Forget I Still Love You." She possesses a warm voice and projects plenty of tenderness and meaning in her vocals. Producer Henry Jerome has given the album a tinge of country flavoring via use of gentle 12-string guitars.

Don't Forget I Still Love You
Someday (You'll Want Me To Want You)
This Love Of Mine
I Can't Stop Loving You
Kiss Me Goodnight
Everybody Loves Somebody
Loving You
We'll Sing In The Sunshine
Anytime
Dear Heart
I'm A Fool (To Go On Loving You)

Billy Daniels At The Stardust, Las Vegas

 

Beat Generation

Billy Daniels 
At The Stardust, Las Vegas
MGM Records E3762
1959

From Billboard - May 4, 1959: One of the great club entertainers of our time, Bill Daniels has so much personality that only a limited amount can be projected via disk. It's enough, however, to convincingly sell such emotional numbers as "Tenderly," "Begin The Beguine," "Temptation," and "Star Dust." The album was recorded at the Stardust in Las Vegas, and the audience reaction is present for those who like realism.

Oh, Lady Be Good!
I Got It Bad (And That Ain't Good)
Tenderly
The Beat Generation
Don't Worry 'Bout Me
Begin The Beguine
Ol' Man River
The Birth Of The Blues
I've A Tendency To Fall In Love
Temptation
Star Dust
Who's Sorry Now?

Saturday, June 11, 2022

Hugh O'Brain - TV's Wyatt Earp Sings

 

Pale Horse

Hugh O'Brain
TV's Wyatt Earp Sings
ABC-Paramount ABC-204
1957

From the back cover: Generally regarded as among the most versatile actors in motion pictures and television today, it seems remarkably strange that Hugh O'Brian has harbored no particular ambition nor had he nurtured a burning desire for a career as a thespian. Like the famed Western pioneer he so successfully portrays in his regular television series. Marshal Wyatt Earp. Hugh's early hopes were to follow a legal career. Fortunately, talent holds a cherished place in the esteem and affection of millions of fans throughout the entire country.

Born in Rochester, New York, Hugh led somewhat of a nomadic existence throughout his early years, attending the New Trier High School in Winnetka, Illnois, then the Kemper Military School in Missouri and, finally, the University of Cincinnati, where he majored in political science and minored in English. Always a leader, the lad's most active extracurricular interests in high school and college were student government and, of course, athletics. Completing his high school course in 3 1/2 years, Hugh was well enough engrossed in his college work when he enlisted in the Marine Corps for a four-year hitch in 1943. This was following the lead of his father, who had retired from the Corps as a Captain. At 18, then, Hugh became the youngest drill instructor in the history of the Marine Corps! In 1945, he was awarded a fleet appointment to the Naval Academy at Annapolis, but suddenly decided that his initial hopes to become a lawyer outweighed a military career. Accordingly, he finished his hitch, came to California with his family and prepared to enter Yale in the Fall of 1948.

It was just about this time that Fate intervened in the form of an invitation for Hugh to join a Little Theatre group to assume one of the leading roles when the original actor for the part fell ill. Accepting the invitation, the ex-Marine was pleasingly surprised to note the unanimous critical approval and reviews, and was convinced to continue acting rather than return to college. Within a few months, he joined a much larger Little Theatre group, playing leading roles in a series of ten plays, receiving both professional and public accolade. This led to his being engaged as an apprentice in Summer Stock at Santa Barbara, where the talented youngster appeared with such stellar players as Martha Scott, Wendell Corey, Sylvia Sidney and Edna Best. At the end of the season, Hugh had had an enviable background of training and was considered well-equipped to assume almost any job.

His next move was to secure a wholesale clothing license and to go to work selling men's clothing by sample out of a suitcase. At night, he continued his acting by performing, gratis, in the first live television shows presented on the west coast. During the day, Hugh made it a point to concentrate his solicitations for clothes orders in the area frequented by actors, agents, directors an producers, and, as he had hoped, it was in this way that he met a leading agent who thought highly enough of the enterprising young actor to arrange an interview with the famed actress-producer, Ida Lupino. After the innumerable tests and interviews, Miss Lupino indicated that she was greatly pleased with his ability, and Hugh O'Brian began his screen career with her production company.

In 1951, Hugh was signed by Universal-International Studios, where he played leading roles in eighteen pictures over a period of three years, leaving in 1954 to become a free-lance actor. He appeared in three major productions for 20th Century Fox, and became much sought after by independent producers and directors. To further his now well-rounded experience, Hugh was happy to accept the offer from Loretta Young to star in a number of her television presentations, with roles running a gamut from comedy to heavy drama.

It was just about this time that the producers of the ABC-TV series, "The Life And Legend Of Wyatt Earp," were conducting their search for an actor to play the leading role. It was Stuart Lake, the creator of the Wyatt Earp series – and a friend of the true-life Earp, who was impressed with Hugh O'Brian startling resemblance to Wyatt Earp as a young man and Lake insisted that O'Brian was the "only man for the role." With his speed and agility, stemming from his athletic participations in such sports as football, basketball, tennis, golf, wrestling, swimming, tack and field and bicycling, Hugh had more than his looks and acting ability to qualify him for the part. With the uncanny speed associated with Wyatt Earp's legendary exploits, Hugh's studying dancing (durning his experimental years in dramatics) to develop grace and freedom of movement stood him in good stead during his test for the role of one of the greatest figures in American history in the matter of law enforcement.

Still regarded as one of show-business's most eligible bachelors, Hugh hardly has time, these days, to concentrate on any romantic campaign. What with the "Wyatt Earp" series still continuing its amazing ratings week after week, the constant offers for him to appear as a guest star on other television programs, his personal endeavor in working with the Thalians, the actor's group devoted to helping mentally disturbed children (and Hugh is the first president of the Thalians), it would be hardly likely that O'Brian would be able to devote the time and attention to a home as he would like. Moreover, with the results of this album, it would be a safe bet to assume that much of Hugh O'Brian's future schedules will be taken up with recording. Listen to this new facet of O'Brian versatility, and see if you don't approve.

About Ken Darby

Ten of the songs included in this album are the product of the fertile musical resource of Ken Darby, for years considered to be one of the foremost vocal directors in Hollywood. Besides composing the music for the TV series, "The Life And Legend Of Wyatt Earp," Mr. Darby is kept constantly busy with his famed Ken Darby Chorus and arranging for many of the top-budgeted motion pictures to come out of the film capitol. Beginning with "The Wizard Of Oz" in 1939, his credits include a number of Walt Disney feature productions, including "Song Of The South," and more than sixty-five 20th Century-Fox musical productions, most recent of which were: River Of No Return: and "Bus Stop," both starring Marilyn Monroe; "Bernardine," which marked the screen debut of Pat Boone; and "An Affair To Remember," starring Cary Grant and Deborah Kerr. Mr. Darby is distinguished as a recipient of filmdom's highest honor, the award of the Academy Of Motion Picture Arts And Sciences for his work, as associate musical director with Alfred Newman, in scoring the music for "The King And I.'

A member of ASCAP since 1946, Ken Darby has written the music and/or lyrics for a great many songs, the first of which was his musical setting for the poem, "Twas The Night Before Christmas."

Mr. Darby receives sole credit for the music and lyrics on six of the selections contained herein, and has collaborated on four others. One of these, "I'm Walkin' Away," contains the first writing effort of Hugh O'Brian Sings, himself.

An affable good-natured personality, Mr. Darby is intensely devoted to his work, and is insistent upon sharing whatever credit should be given in the acclaim of his finished works. Of the project, "Hugh O'Brian Sings," he says.

"This album is a result of long hours of rehearsing and consideration of you, the listener. Both Hugh and I hope you will find in it something new and fresh in both song and singing style. We both want to thank all who helped us so generously with their time and talents. We also wish to acknowledge, gratefully, the cooperation and assistance of the producers of "The Life And Legend Of Wyatt Earp," Mr. Robert Fisk and Mr. Lou Edelman.

From Billboard - September 16, 1957: TV's Wyatt Earp is shrewdly showcased in his LP debut, via excellent backing and production, and wise selection of material – all in the folksy or western groove. O'Brian Sings should appeal to both his young fans and his older admirers. Package is backed by heavy personal promotional push by the video star.

Legend Of Wyatt Earp
The Bushwhacker Country
Down In The Meadow
The Buntline Special 
Roll Out The Wagon
Same To You
Pale Horse
One Silver Dollar
Don't Move
On Boot Hill
Timothy (I Came To Town)
I'm Walin' Away

Firehouse Five Plus Two Goes To Sea

Between The Devil And The Deep Blue Sea

Firehouse Five Plus Two
Goes To Sea
Produced by Lester Koenig
Sound Supervision by Roy DuNann
Recorded at the Good Time Jazz studio in Los Angeles by Roy DuNann and Howard Holzer
Good Time Jazz S 10028
Produced by Contemporary Records, Inc.
1957

Firehouse Five Plus Two
Goes To Sea
Good Times Jazz LAG12150
A Division of Vogue (London SW3, England)

Personnel: 
Ward Kimbell - Trombone
Danny Alguire - Trumpet
George Probert - Fish Horn (Soprano Sax)
Frank Thomas - Piano
Dick Robert - Banjo
Ralph Ball or George Bruns - Tuba
Eddie Forrest - Drums

About the cover: Never do men do things by halves, the FH5 put to sea literally for the cover shot. For the nautically minded, their course is due South from the California coast at Malibu. From L to R: Roberts, Forrest, Thomas, Bruns, Probert, Alguire, Kimball. The intrepid photographer is Peter James Samerjan, with art direction by Robert Guidi/Tri-Arts.

From the back cover: An estimated million dollars worth of bookings have been turned down by the FH5 during the past few years because the band is a spare-time activity. Their work at Disney has kept them from picking up on such attractive recent offers as a month at Las Vegas at $12,000 weekly. Instead they reaming close to home, making week-end appearances at concerts, street dances, firemen's balls (Bakersfield, San Diego for 3,800 dancers), charities and benefits (Tennessee Ernie's Pea Pickers' Ball, Junior Philharmonic of Pasadena), parties (Air Research, Occidental Life Insurance, Co.), for jazz organizations (Dixieland Club of Phoenix, Arizona, Laguna Jazz Festival), TV (Lawrence Welk, ABC Stars of Jazz), and even the opening of a supermarket (in Buena Park), when Ward stopped the band in the middle of a tune at precisely 5:30 so the crowd could watch Sputnik go by.

Speaking of Sputnik, Ward's major work at Disney during the past few years has been in the outer space department, where he has played an important role in producing, writing and directing such pioneering productions as Man In Space, which showed in 1955, how a satellite could be put into orbit; Tomorrow The Moon, depicting how a trip to around the moon could be made; and most recently, Mars And Beyond, a speculation about life on other planets. For the Mars film, Ward composed an extraordinary section of the score, using electronic sounds to create a breath-taking background for an animated sequence showing possible forms life might take on Mars.

Pianist Frank Thomas, who's been with Disney since 1934, heading a unit as an Animation Director for most of that time, is completing two-and-a-half years of intensive work on the new cartoon feature, Sleeping Beauty. Danny Alguire, the trumpet-playing ex-fingerprint expert, who has been with the FH5 since 1949, and fish-hornist George Probert, of Kid Ory and Bob Scobey bands joined the Disney organization as assistant directors in 1955, and are both on Sleeping Beauty. Dick Roberts, GTJ's internationally hailed Banjo King, and first banjoist with the FH5 in recent years, is often to be found at Disney, with either his banjo or guitar, recording a sound track. Eddie Forrest, who took over on drums when press of studio work benched Jim MacDonald, has been on call with the Disney studio orchestra since 1940. He also handles sound effects for the Mickey Mouse Club TV shows.

The FH5's original bass man was Disney screenwriter Ed Penner. Ed was so ardent an FH5er, he learned to play tuba for the FH5's second session. (Up to then he played bass sax.) Ed's death, November 10, 1956, was a heavy loss for the band, for he was not only a fellow musician, but a colleague at the studio, and a good friend. Ed's first replacement was ex-Turk Murphyite, Ralph Ball, who plays on three of the 12 sides in this album. Later, the extraordinary George Bruns found time to work with the band. Probably the most dexterous tubaist in jazz, George is a musical natural who also plays first-rate trombone, trumpet, clarinet, piano, drums and string bass. He was the trombonist with the Castle Jazz Band, tubaist with Turk Murphy and since 1955 has been composing film and TV scores for Disney. He made his mark as a composer with The Ballad Of Davy Crockett, and among many other productions, has scored the Andy Burnett TV series, Kimball's new Mars And Beyond, and the forthcoming Sleeping Beauty. – Lester Koenig - December 3, 1957

By The Beautiful Sea
When My Dreamboat Come Home
Minnie The Mermaid
Over The Waves
A Sailboat In The Moonlight
On The Good Ship Lollipop
Peoria
Asleep In The Der
She Was Just A Sailor's Sweetheart
Between The Devil And The Deep Blue Sea
Red Sails At Sunset
Anchors Aweigh