Hi Fi Fo Fum - Marty Gold

 

The Breeze And I

Hi Fi Fo Fum

Marty Gold and His Orchestra

Arranged and Conducted by Marty Gold

Produced and Directed by Herman Diaz, Jr.

Recorded at Webster Hall, New York City, November 26 and December 4 and 5, 1957.

Vik LX-1133

1958

From the back cover: Marty Gold has done it again! In this, his latest Vik album, customized especially for the marvels of Hi-Fi, we are carried up to new and exciting heights much of the same as the hero in Jack And The Bean Stalk, of whom we are naturally reminded by the title. The chief difference between our present recorded experience and Jack's fabled climb is that we go even higher with some of the most crystalline musical Hi-Fi ever etched on vinyl disks.

Alas, poor Jack was all alone for the major part of his experience, but Marty Gold provides us with some rather illustrious musical companions. We're whisked into our world of enchantment by Victor Herbert (and his March Of The Toys) along with Richard Rodger, Ernesto Lecuona, George Gershwin, Aaron Copland, and Dimitri Kabalevsky, to name just a few. Their melodies are interestingly treated with fresh and provocative Gold arrangements.

The only Giant we encountered, by the way, is Big Sound! This is called forth by Gold from a lush-sounding string orchestra impressively used on eight tunes, and serves as a pleasant contrast to the outstanding brass band used on the remaining numbers. From the solo standpoint, in You Are Too Beautiful the mellow trombone of Warren Covington is featured and Doc Severinsen's limpid trumpet soars majestically in You're Mine You.

And for a "happy ending" in coming down to earth, Marty Gold spares us the trouble of seeking out frequency meters, oscilloscopes, and test equipment by effectively working into each of these arrangements that wonderful Hi-Fi musical array – the Chinese Bells. The crystal-clear tinkle sound of this little member of the orchestral family alone warrants that the entire album is definitely Hi-Fi. And, for example, in Humoresque and the Comedians Gallop there is whimsical, musical humor exploding with brilliant effectiveness. These bubbly arrangements cleverly utilize many of the plucked in pizzicato fashion (and there are twelve of them), an extremely active timpani, the Chinese bells, and flutes alternating with gay, robust bassoons. They should quicken the High and Low frequency pulse of the most jaded audiophile.

The music that is danceable, yet colorfully arranged in a wide variety of Hi-Fi hues for listening pleasure,  you'll enjoy Hi Fi Fo Fum. – George Kluge, High Fidelity Editor of Metronome

March Of The Toys

My Romance

The Breeze And I

But Not For Me

You Are Too Beautiful

Humoresque

The Comedians Gallop

You're Mine You

Fantasia Mexicana

May I

Bambalina

You're Blasé

Shades Of Brass - Bobby Byrne

 

The Pendulum Swings

Shades Of Brass

Bobby Byrne

Produced by Robert Byrne

Musical Arrangements: Dick Hyman, Walter Lewinsky, Richard Lieb, Chico O'Farrill, Robert Byrne

Engineering Supervision: C. R. Fine

Recording Engineer: George Piros

Remix Engineer: Russel Hamm

Evolution STEREO SMAS-91616

Respect

Help Yourself

The Pendulum Swings

Both Ways

Delilah

The 59th Street Bridge Song (Feeling Groovy)

Hurry Love

A Shade Of Brass

Can't Take My Eyes Off You

Who Is Gonna Love Me

Barbarella

Windy

Just For Variety - Bethlehem's Best - Volume Three

 

Bethlehem's Best

Just For Variety

Bethlehem's Best

Volume Three

Cover photograph courtesy The Champion Paper and Fibre Company

From the back cover: The history of the Bethlehem label is not difficult to trace. Starting as it did in the highly competitive "pop" market, it soon became evident that of the many names recording for the label, only that of Chris Connor made any appreciate dent on the record buying habits of the American public From the very beginning, Chris Connor was destined to be one of the stars of the Bethlehem label, and from the time her first LP was issued her prestige as an interpretive singer began to grow. In this volume Chris' tune "Blame It On My Youth", offers the present day style with intricate small group backing plus the recently developed shading and inflection which have made Chris Connor one of the most successful jazz attractions in America.

As always the case in recording talent, there must be a classification for the miscellaneous instruments which are an integral part of jazz but which don't fit into any established category. The Australian Jazz Quartet is classified here, though more for reasons of variety than anything else. Employing a variety of instruments – including the seldom heard bassoon – the AJQ has caught the fancy of the American jazz listener in a very short period of time. From one of their Bethlehem LP's we offer "The Girl With The Flaxen Hair".

No showcase album such as this would be complete without highlighting the piano talent recording for Bethlehem. In this division we offer two completely different styles, each one surpassing our standards of musical quality. The lightly swinging "Emaline" from Terry Pollards LP show Terry's relaxed but sensitive piano feeling nicely backed by Don Fagerquist's trumpet and Howard Robert's guitar.

The Ralph Sharon reading of "You Stepped Out Of A Dream" is the politely creative style that has become Ralph's stock-in-trade and which has kept his trio much in demand in the more sophisticated supper clubs around the country.

The name of Don Elliott is nearly synonymous with instrumental variety. Don has proven himself a capable vibist (George Shearing Quintet) as well as demonstrating proficiency on trumpet, mellophone, piano and as a vocalist. Don has one album completely devoted to his goal styling. "Summer Setting" however is taken from his Mellophone album BCP 12.

Joe Roland is another vibist of major stature who has worked with several small groups around the country and in Canada. Joe has rightfully earned the plaudits of critics and devotees everywhere, and we're happy to include his "Stairway To The Steinway" in this collection.

Certainly one of the most unique groups in the Bethlehem catalog is the Smith-Glamann Quintet. The group is named for co-leaders Rufus Smith and Betty Glamann, bass and harp respectively. Though an association is television, Rufus and Betty have developed the Smith-Glamann Quintet with Betty's harp as the featured instrument. We're sure you'll find "Pulling Stings", taken from their "Poinciana" LP, an interesting approach to music.

Herbie Mann and Sam Most, who are among the pioneers in jazz flute, have both done separate LPs for Bethlehem. In those releases both men demonstrate the sound and interpretation that each one has given to this newly accepted member of the jazz family. The plan soon evolved to combine the two talents icon LP, using special arrangements for the most part which-permitted free singing flute interchange by Herb and Sam. "Let's Get Away From It All" is our choice for this series with a special bow to Russ Garcia whose arrangement it is.

This representative album is designed for your listening pleasure. In it you'll meet and hear some of the world's greatest jazz talent. We thing that you'll agree it is Bethlehem's Best. – Joe Quinn

Blame It On My Youth - BCP 20

Chris Connor

Recorded April, 1955

You Stepped Out Of A Dream - BCP 41

Ralph Sharon, p. - Jay Cave, b. - Christie Febbo, d.

Recorded October, 1955

Emaline - BCP 1

Terry Pollard, p. - Don Fagerquist, trot. - Howard Roberts, g. - Frank DeVito, d - Herman Wright, b.

Recorded January, 1955

Pulling Strings - BCP 22

Rufus Smith, p. - Betty Glamann, harp - Nick Perito, acc. - Barry Galbraith, g. - Frank Garisto, d.

Recorded August, 1954

The Girl With The Flaxen Hair - BCP 6002

Australian Jazz Quartet - Dick Healey, flute - Errol Buddle, bassoon - Bryce Rhode, p. -Jack Brokensha, vibes & d.

Recorded February, 1955

Stairway To The Steinway - BCP 17

Joe Roland, vibes - Danny Martucci, b - Dick Garcia, g. - Ron Jefferson, d. - Freddie Redd, p.

Recored March, 1955

Easy To Love - BCP 6006

Carmen McRae, v. - Mat Matthews Quintet

Recored October, 1954

Mutation - BCP 14

Urbie Green, try. - Doug Mettome, trpt. - D. Bank, bari - Oscar Pettiford, b. - Al Cohn, ten. - J. Lyon, p. - J. Campbell, d.

Recorded January, 1955

Summer Setting - BCP 12

Don Elliott, mellophone - Bill Byres, trb. - D. Bank, bari. - Barry Galbraith, g. - M. Zelnick, d. - Hal McKusick, alto - Milt Hinton, b. - Howard Roberts, trpt.

Recorded January, 1955

Motherless Child - BCP 6006

Julie London, v. - Bobby Troup, p. - Howard Roberts, g. Don Heath, d. - Bob Enevoldson, b. Buddy Colette, alto flute.

Recorded March, 1955

Ill Wind - BCP 1021

Charlie Shavers, trpt. - Orchestra conducted by Sy Oliver.

Recorded December, 1954

Let's Get Away From It All - BCP 40

Herbie Mann & Sam Most, flutes - Joe Puma, g. - Jimmy Gannon, b. - Lee Kleinman, d.

Recorded October, 1955

Be Gentle Please - Ernie Coleman

High On A Windy Hill

Be Gentle Please

Ernie Coleman Trio

Cover Photo: Jack Meehan

Warner Bros. Records W 1261

1959

From the back cover: To say that this is an unusual album would be simply understating the case. Like the legion of sharp witted advertising gentry who perpetually make claims extolling the virtues of their products, it might be natural for you the listener to accuse us of turning pitch man for sole reason of selling (in this case) the Ernie Coleman Trio's "Be Gentle Please" to you.

It's a risk we gladly, almost eagerly accept.

The sounds heard in this album are unique. They're unique for many reasons, among them, the instrumentation, and the fluid musical values; but more importantly because the rare combination of good musicianship, careful selection of repertoire, and new sounds have been delicately recorded and subsequently captured on disc by the ultimate in engineering skill.

The somewhat unorthodox combination of tenor, hammond organ and drums produce the sounds, with credits to Ernie Coleman, Danny DeVincent and Ted Sienkiewicz respectively. All three are exceptionally capable musicians, and should you happen to be visiting Las Vegas, you can see them live at the Sky Room Lounge at the Desert Inn Hotel. They've done exceptionally well as an act in a town where talent abounds, a fact attested to by their run of two years at the Sky Lounge.

The sounds heard come as a result of day in – day out work as a unit, and aptly enough, it's the trio's unison sounds that are succinctly exciting. At first earful it's a somewhat terrifying sound, for you naturally wonder how in heaven's name was the sound produced. You can't pin a label on it either, we've tried mood jazz, riff jazz, mood moderne and dozens of other cliches, all of which frankly come out quite trite. Attempts at describing it will fail miserably – you simply must hear it to believe it.

A word about the members of the Trio. Ernie Coleman, leader of the group is a veteran musician who has been plying his trade for more years than he frankly cares to remember. He started in Erie, Pa., and there's been a tremendous number of cash customers between Ernie and Las Vegas. Ernie's worked in the big clubs and the small during this term, he's worked with name bands and cocktail units, one niters and casuals and fortunately, settled with his present group some four years ago. You'll hear him doubling on tenor and flute in this package – take particular note of his work with the Hammond Organ for a real delight.

Danny DeVincent on Hammond has worked with Ernie for some fifteen years. They both came from Erie, and fondly remember walking horses back home, a far cry from the walking sound Danny exudes today. He used to play accordion back in the days when strolling musicians could make a living, and he looks back to that part of his life with a good deal of fondness and nostalgia. To show you how serious hi is about the sound he and Coleman get, he never plays a Hammond but his, and with good reason. DeVincent had a specially built bass register put into his Hammond, and we seriously doubt that anyone but he, could master its technique.

Ted Sienkiewicz is a relatively new member of the group, and comes well recommended with years of experience with a number of name bands.

That's the Ernie Coleman Trio. You're in for a pleasant surprise.

Say It Isn't So

High On A Windy Hill

Stars In My Eyes

You Call It Madness

So In Love

Have You Met Miss Jones

April In Paris

You Tell Me Your Dream, I'll Tell You Mine

Lullaby Of The Leaves

Deep Night

Stella By Starlight

Goodnight, My Someone

Sound And Fury - Sid Bass

 

High On A Windy Hill

Sound And Fury

With Sid Bass and His Orchestra

Conducted by Sid Bass

Produced and Directed by Herman Diaz, Jr.

Recorded at Webster Hall, New York City, December 24 and 27, 1956 and February 18, 1957

Vik LX-1084

1957

From the back cover: Sid Bass' new Vin album – to paraphrase Shakespeare's famous lies from Macbeth – is a tale told by a master musician, "full of sound and fury," signifying the powerful force music has always been for god and evil.

Music has been irrevocably linked with emotions and the elements since the days of antiquity. Al great music is a "physical storm," and all the great composers were instinctively attuned to the universal rhythm of the spheres. Here Sid Bass brings the turbulence and excitement of modern jazz to the musical interpretations of  nature on a weather binge. His barometric range covers a variety of selections, including the sultry Bass original The Lightning And The Thunder, and interestingly understated version of the dramatic oldie High On A Windy Hill, and a refreshingly new treatment of the lovely standard Gone With The Wind.

Music many have the power to so the the savage beast, but it also has the power to evoke violent emotions, and Bass expresses the impact of such raging feelings with remarkable musical fidelity. The drum, for instance – a symbol of warfare since the Middle Ages – can whip entire tribes into uncontrollable primitive frenzies of emotion with its pulsating, hypnotic tempo.

Bass utilize the drum with striking effectiveness in this album. Its insistent, erotic beat sets the mood for his haunting Swamp Fire, Jungle Drums, Hawaiian War Chant and The Chant Of The Jungle. The drum also sparks Pickin' A Fight, a swingy spattune, and underscores the rhythmic agitation of Wild Ride (another Bass original), Power House and the title Sound And Fury. 

In addition to the exciting ensemble work of the orchestra, there are some sparkling solos sprinkled throughout these Sid Bass arrangements. Featured on The Lightning And The Thunder is an unabashed trombone solo by Urbie Green. The Bass original Pickin' A Fight forms a wild framework for the trumpet altercation between Charlie Shavers and Joe Wilder. And the swingin' rhythm  section composed of George Barnes on guitar, Osie Johnson on drums, Lou Stein on piano and Sandy Bloch on bass create a rhythmic excitement that is felt on every tune. – June Bundy (June Bundy has been one of The Billboard's ace reporters for many years.)

From Billboard - September 9, 1957: Title describes content perfectly. Bass has dealt with pretty much one mood, but still provides variety thru use of various agitated rhythms and sounds – all knowingly exploited in a manner to gas the hi-fi bugs. Some jazzmen are used provocatively – for example, the two trumpets of C. Shavers and J. Wilder in a stratospheric "battle." Includes such as "Power House," "Jungle Drums," and a good demo band in this title number.

Sound And Fury

Fightin' Josh

Hawaiian War Chant

High On A Windy Hill

Wild Ride

Power House

The Lightning And The Thunder

Swamp Fire

Gone With The Wind

Jungle Drums

Pickin' A Fight

The Chant Of The Jungle

The First Jazz Piano Quartet

 

Love For Sale

The First Jazz Piano Quartet

Produced by Bob Prince

Cover Photo: Gene Kornmann

Recorded December 12, 16, 17, 1958 - New York City

Warner Bros. Records W 1274

1959

From the back cover: It's stimulating to think that some relatively unexplored fields of music are being listened to and accepted by the public. Of course not everyone likes the classiscs, rock-and-roll, jazz, calypso or the various other styles of music, but I sincerely think it would be difficult to find very many people who wouldn't enjoy this album of great standards. Poly-piano combinations have been used to some advantage in the past. George Gershwin, Freddy Martin, Guy Lombardo, a few classical composers and numerous smart supper clubs have utilized twin pianos to everyone's delight, and some years ago four classical pianists formed the First Piano Quartet. I had the pleasure myself of recording a two-piano album with Andre Previn quite recently. To my knowledge, however, this is the first time that four pianos have been used on a "popular" record.

The pianists heard here – Bernie Leighton, Irv Joseph, Moe Wechsler and Morris Nanton – are all well versed in the classics. The first three are top New York studio musicians, while the fourth, Morris Nanton, is a recent Warner Bros. discovery. I think you'll agree that a wonderful rapport is evident among these four. Each is capable of playin any style of piano, and from listening to the album, I know they experience a real pleasure from playing together.

For those of you who don't think you like jazz, don't let the word "jazz"scare you off. The arrangements, by Leighton and Joseph, are always interesting, with the melody firmly established in each. All four pianists get a chance to improvise, often with a rhythmic and subtle background supplied by the other keyboards, helping to indicate just what is going on. While speaking of background, I mustn't forget to mention the wonderful support given the quartet by Al Hall on bass and Osie Johnson on drums.

from my own personal experience, I'd like to mention a few of the difficulties encountered in recording with more than one piano. It's an accepted fact that there is usually only one piano in a band, whether it's a trio a full symphony orchestra. Consequently, pianists rarely get the chance to  play with other pianists. Certain problems are bound to arise under the circumstances. In my own case I found that comping (musician's term for playing chords for a singer or soloist) was quite different. Ordinarily a pianist when playing a solo comps for himself with his left, while his right hand carries the melody line. Therefore, if one pianist is playing a solo and three other pianists are comping for him, there could easily be quite a conflict of chord voicings and rhythmic patterns. The result: CHAOS – unless handled properly! I feel that these four men have overcome this obstacle exceedingly well. At no time while listening to the record did I get a feeling of confusion.

Another hazard in a piano quartet is the danger of the particular soloist of the moment being overshadowed by his accompaniment. I don't mean just in volume, although this, too, must be considered. As most comping is done in the middle and lower registers of the piano, for contrast's sake the soloist must generally play in the upper register. He doesn't necessarily have to limit himself to the very top of the piano, but a least high enough so the sound will be distinctly heard above the background. Again, the quartet has succeeded in this respect.

One of the things I particularly enjoyed about this album was the big-band type fills or riffs (background again for the soloist). Also, if you will notice, at times the group achieved a sound very similar to a guitar or vibes. Piano is the greatest single instrument int he world. Anything is possible when you put four of them together. – Russ Freeman

The Continental

Sometimes I'm Happy

You Do Something To Me

Thou Swell

All Through The Night

Medley: Jeepers Creepers / Lover, Come Back To Me / Sweet Georgia Brown

April In Paris

Mountain Greenery

I  Want To Be Happy

Love For Sale

Fascinating Rhythm

Medley: I Cover The Waterfront / I've Got A Crush On  You / Bye Bye Blackbird / When Your Lover Has Gone

In A Blue And Tender Mood - Buddy Baker

Stairway To The Stars

Yesterdays

In A Blue And Tender Mood

Buddy Baker and The Singing Strings

Plus Five Guest Orchestras

Tampa TP-38

Twinkle, Twinkle Little Star

When You Wish Upon A Star

Stairway To The Stars

Star Dust

Stars Fell On Alabama

Beyond The Stars

It Had To Be You - George Jenkins Orchestra

Besame Mucho - Art Pepper Orchestra

All For You - Paul Smith Orchestra

Yesterdays - William Donati Orchestra

Pretty Blues - Dick Taylor Orchestra

Jazz, Swing & Boogie - Varsity Men

 

Clarinet Boogie

Jazz, Swing & Boogie

Varsity Men Of Modern Music

Varsity 69146 (10 inch disc)

Stars And Stripes Forever

Boogie Woogie
To A Wild Rose
Clarinet High Jinks
Barcarolle
Clarinet Boogie
Oh Marie
Golden Wedding

The Sound Of The Sauter-Finegan Orchestra

 

Nina Never Knew

The Sound Of The Sauter-Finegan Orchestra

Photo: David B. Hecht

RCA Victor LPM-1009

1956

From the back cover: To the history of recorded sound, that remarkable orchestra directed by Edie Sauter and Bill Finegan has made some of the most significant and musical contributions. Not only have Sauter and Finegan added considerably to the size and the instrumentations of the traditional jazz-dnace orchestra, they have heightened color, produced new sounds and evoked moods heretofore unconsidered int he usual pop mouse set-up.

However, lest you think that this business of creating something musically new is a completely unique step for Sauter and Finegan, stop to consider that a yonder Bill Finegan set a whole new style for the great Mildred Bailey-Red Norvo orchestra of the early '40s, while at the same time a younger Eddie Sauter was causing all kinds of wonderful comments about the brilliantly different things he was doing for the Benny Goodman band. Both Goodman and Norvo recorded many o the Sauter and Finegan arrangements, and arrangers the country over stopped to look and listen. It took some years to sing in, but many of the so-called "new" arrangements of today can be traced directly to the work that Ed and Bill did for Benny and Red more than ten years ago.

One thing you will notice immediately about Sauter and Finegan – they neither sit still nor rest on their laurels. So while other arrangers were engaged in adapting old Sauter and/or Finegan arrangements to their present needs, Bill and Ed were at work carrying forward to new horizons the musical knowledge that was almost unique theirs. This continuous progression of ideas and colors is on exhibition in this superb album of Sauter-Finegan standards, as well as in the other albums that Ed and Bill have crated for RCA Victor. At the beginning the boys stated: "The music of our new band can be summed up in two words – COLOR and MOOD. But we are not starting out with any preconceived notion of style."

TO obtain this color and mood Sauter and Finegan immediately planned to augment the usual instrumentation of the jazz-dance orchestra. They thought its scope too limited in the combination of brass, reeds and rhythm, and they proceeded to add, first, an amazing battery of instruments to the percussion section, including tympani, triangle, chimes, celesta, xylophone and giant gong. As the need arose, they also added such odd items as recorders, kazoos and toy trimmest – not to mention just about anything that could be beaten or stuck – anything, in fact, that would contribute to the sound for which they were striving.

Notwithstanding some silly noises emitted by several oversensitive musical know-it-alls, the Sauter-Finegan Orchestra was warmly received by a public that seems perfectly willing to listen to something new as long as it had melody and class. Well, Sauter and Finegan have the all right, and they also have a wondrously good sense of humor as well as rare warmth in their writing.

This excellent collecton presents the Sauter-Finegan Orchestra in all of its astonishing aspects: from the Revolutionary drum-and-fife tempo of Yankee Doodletown through the flying riff of The Honey Jump and Tweedle Dee And Tweedle Dum to  the light ditty, Stop Beatin' 'Round The Mulberry Bush. And then there is Joe Mooney, about who not enough can be said, for he is a singer of warmth and phrasing and lyrics, and there is something special in every note he sings. Here, he is heard in the sophisticated settings of Time To Dream, Love Is A Simple Thing (a rollicking good tune from "New Faces Of 1952") and Nina Never Knew, which is, without any doubt at all, one of the most underrated popular tunes of all times. Also in this album are Child's Play and Horseplay, which are originally issued by RCA Victor as the Extended Play Suite. You see, Extended Play is an RCA Victor Development in the 45 RPM recording speed, and Eddie and Bill never pass by a phrase when it happens to tickle their fancies. The two tunes quite literally exhibit Sauter and Finegan at their wittiest and most inventive.

Child's Play

Horseplay

Time To Dream

The Honey Jump

Nina Never Knew

Love Is A Simple Thing

Tweedle Dee And Tweedle Dum

Stop Beatin' 'Round The Mulberry Bush

Now That I'm In Love

Yankee Doodeltown

Damita Jo Sings

 

It Kills Me

Damita Jo Sings

Cover Design and Photography by George S. Whiteman

Vee-Jay Records VJLP #1137

1965

From the back cover: Damita Jo, a lovely lass already in the forefront of today's rising talent in the girl singer department, first rocked to prominence with some up-tempo hit singles that established her as a singularly swinging star.

But, as this album so effectively reveals, no one can handle a ballad with more soul that Damita Jo. She can swing from a rocking rhythm ballad like "Hurt A Fool" or "It Kills Me" to a hauntingly poignant rendition of "For All We Know" or "Nevertheless" with a virtuosity rare in a music world full of one-dimensional artists.

Lee Young, who produced her album, remembers vividly his first meeting with Damita, a few years ago at a little club in Gardena, just outside of Los Angeles.

"At the time,' says Lee, "I was working in a band that included Marshall and Ernie Royal. The Bal Tavern was one of the few clubs in the area that had a show with chorus girls, comics, dance teams and a male singer. The proprietor decided to add a female vocalist and held auditions for 7 or 8 girls with his other entertainers as the audience. Damita – just a baby at the time – was one of the group. But what a voice!

"If you have ever seen a group of amateurs perform in front of a group of pros, you know that these pros will determine who gets the job, by a glance, a sigh, a something that is in the air when the right one sings. Well, that's just what happened when Damita started to sing. Everyone got very quiet from the first bar. It was no contest. Damita had fractured the pros and the job was hers."

Damita is still fracturing the pros. And the people, too.

On this album, Damita Jo sings four sides arranged by Dave Grusin, two sides by Gil Askew, six by Ernie Freeman. They're uniquely individual styles of arrangement five full rein to the artist's versatility. And with ballad or beat, Damita Jo really sings.

And sings and sings and sings.

It Kills Me (arranged by Dave Gursin)

For All We Known (arranged by Dave Gursin)

Please Don't Use My Name (arranged by Ernie Freeman)

Nevertheless (arranged by Ernie Freeman)

If I Were You (arranged by Ernie Freeman)

Hello Dolly (arranged by Ernie Freeman)

Hurt A Fool (arranged by Dave Gursin)

It's Too Late To Be Sorry (arranged by Dave Gursin)

Molly Malone (arranged by Gil Askey)

This Is The Life (arranged by Ernie Freeman)

I'm Waiting For Ships That Never Come In (arranged by Gil Askey)

Right Here With You (arranged by Ernie Freeman)