Jungle Romance
The Surf Serenaders
Dyna-Disc Long Playing STEREO ALBUM SCH-808
Lovely Hula Hands
Beyond The Reef
Orchid Lagoon
Hano Hano
Mahola Pua
Aloha Oe
Hawaiian Wedding Song
Jungle Romance
Moon Of Manakoora
Polynesian Fever
Saturday, September 19, 2020
Aloha From A Hawaiian Paradise - The Surf Serenaders
The Surf Serenaders
Dyna-Disc Long Playing STEREO ALBUM SCH-808
Lovely Hula Hands
Beyond The Reef
Orchid Lagoon
Hano Hano
Mahola Pua
Aloha Oe
Hawaiian Wedding Song
Jungle Romance
Moon Of Manakoora
Polynesian Fever
Dances Of Port Said - Mohammed El-Bakkar
Ish Allamak
Mohammed El-Bakker and His Oriental Ensemble
Music Of The Middle East
Vol. 5
A Study In Stereophonic High Fidelity Sound
Audio Fidelity Stereodisc AFSD 5922
1960
From the back cover: Mohammed El-Bakkar is an idol of Middle Easterners not only abroad, but throughout the United States. He was a featured star in the highly successful Broadway revue, "Fanny," for two years, which added to a lengthy list of outstanding achievements in the world of entertainment. Bakkar has given command performances for former King Farouk of Egypt, for his successor, Maj. Gen. Mohammed Haguib, for King Ibn Sand of Saudi Arabia and the Shah of Iran. s actor, he has appeared in no less than 32 motion pictures which he himself produced and directed. He has numerous radio and television appearances to his credit. Bakkar came to the U.S. a few years ago for a sixth concert tour, and decided he liked it so much that he resolved to stay and become a citizen. He has filled engagements in major eastern cities and has been acclaimed enthusiastically everywhere. During leisure hours, when not giving a performance, he enjoys nothing more than entertaining Syrian, Lebanese, Turkish and Persian compatriots the world over.
Ish Allamak (Who Taught You?)
El Hora El Hawara (The Circle Dance)
Ya Natir (The One Who Waits)
Ya Noor El Ein (Light My Eyes)
Salaam Aleikum (Greetings!)
Dari E Yeounik (See And Admire)
Mnishebak (From My Window)
Dabka (Let Us Dance, Dabka)
Yaboo E Yeoun Asaleya (Eyes Of Honey)
Raks El Daska (Double String Dance)
Afrah El Jabel (Mountain Festival)
Port Said - Mohammed El-Bakkar
Port Said
Music Of The Middle East
Mohammed El-Bakkar and His Oriental Ensemble
A Study In High Fidelity Sound
Cover Model: Nejla Ates - Dancing Star of "Fanny"
Audio Fidelity STEREODISC AFSD 5833
1958
From the back cover: Mohammed El-Bakkar is an idol of Middle Easterners not only abroad, but throughout the United States. He was a featured star in the highly successful Broadway revue, "Fanny," for two years, which added to a lengthy list of outstanding achievements in the world of entertainment. Bakkar has given command performances for former King Farouk of Egypt, for his successor, Maj. Gen. Mohammed Haguib, for King Ibn Sand of Saudi Arabia and the Shah of Iran. s actor, he has appeared in no less than 32 motion pictures which he himself produced and directed. He has numerous radio and television appearances to his credit. Bakkar came to the U.S. a few years ago for a sixth concert tour, and decided he liked it so much that he resolved to stay and become a citizen. He has filled engagements in major eastern cities and has been acclaimed enthusiastically everywhere. During leisure hours, when not giving a performance, he enjoys nothing more than entertaining Syrian, Lebanese, Turkish and Persian compatriots the world over.
Sauda Sauda (Dark Eyes)
Bint Ll Geran (Girl Next Door)
Banat Iskandaria (Girls Of Alexandria)
Al Jazayair (Dance Of Algiers)
Hello Hope (Be Careful Of Love)
Haun Meelee (Sway Here)
Balady (Native Girl)
Rahks Port Said (Dance Of Port Said)
Hygalo (They Say I Love Her)
Geena Ghanneelak (I Sing Of Thee)
Ah Ya Zain (Beautiful One)
Music Of African Arab - Mohammed El-Bakkar
Ya Bakhita
Vol. 3
Mohammed El-Bakkar and His Oriental Ensemble
Photography: Bob Witt
A Study In Stereophonic High Fidelity Sound
Audio Fidelity Stereodisc AFSD 5858
1958
From the back cover: Visions of voluptuous dancing girls whose lithe bodies twist and turn like writhing serpents about to strike.... Gruff, unshaven men hungry for the touch of a woman after lonely weeks spent in the desert under a maddening sun. . . . Secluded harems where the air is heavy with the aromas of perfume and incense and where luscious fruits are constant reminders of fertility ... exotic, crowded market places where lustful men stalk women swathed in Djellaba (head covering) and veils, their dark, flashing eyes a constant enticement to violate the mystery of the forbidden.... High, arched gateways framing bullet-pocked courtyards where beautiful virgins were once sold in slavery. ... Sailors who find the charms of the girls more attractive than the wares of bazaars. . . . Bearded sheiks who count scores of wives as so much property, along with their fabulous jewels, the palaces, oil stocks and other possessions . . . land where the passion and ectasy of love is woven into the culture of the people. . . realm where violence still lurks in the reflection of daggers, the steel of slung rifles and cartridge belts.
These are visions of Arabian Africa. And no one today is able to capture these visions through sound with as much authenticity and excitement as Mohammed El-Bakkar, leading tenor of the Orient and an outstanding conductor and interpreter of Middle Eastern music. Bakkar is on intimate terms with the practice, theory and intrigue of Islamic music. In this recording, as conductor and interpreter he succeeds in cap- turing the haunting flavor of Arabian vocal and instrumental music, particularly the special earthy quality to which all Arabs give expression.
Arabian music in its proper sense is the music of Bedouins in the desert and oases, of urban dwellers in the market places and other public areas, of entertainers in the cafes, the palaces, harems and theaters. Actually, the musical style known popularly as Arabian comprises much more than the music of Arabia proper, and even of nations whose people speak Arabic. It encompasses Morocco, West Africa, Algiers, the African borderland of the Mediterranean through Syria, Iraq, Turkey, Persia and even the northern part of India.
It is highly emotional music, limited in range and very free rhythmically. It generally starts with a low pitch, curves upward and returns, repeating this pattern again and again. The rising and falling pitch is typical of both vocal and instru- mental music. Arabian music has an overall pattern of melody based freely on one of the modal scales and characterized by stereotyped turns, by a general mood and by pitch (low, middle or high), in which respect it is reminiscent of the Greek classifications of melodies. This pattern is known to orientals as Maqam, originally the name of the stage on which singers performed before the caliph. It is the exact counterpart of a similar pattern known in India as Raga. The most important thing about Islamic music is that it has not only a philosophical basis, but physiological elements as well. These represent actual physical sensations. Hearing the selections in this recording. one realizes that the pervading, persistent melodies evoke something of the mood of ecstasy and trance in the listener which prevails at gatherings of dervishes, ceremonial affairs, ritual dance performances and other festive occasions of modern Islam that have roots going back 2,000 years or more.
Islamic rhythm stems from the meters of poetry, and rhythmic patterns appear in all melodies, both vocal and instrumental, and especially in drum parts, which are almost as obligatory in Islamic music as they are in Indian music. Accents are generally given in timbre, rather than in force. Thus, drummers know things like muffled beats, called dum, and clear beats, known as tak; less muffled beats, called dim, and less clear beats, or tik. The clear timbre is usually reserved for the basic rhythmic pattern, while the muffled timbre is used for the muffled beats that mark the sections between the louder beats.
Polyphony is not as essential in Islamic music as it is in western music. It does exist, however, in three forms – heterophony, drones and occasional consonances. The first is illustrated by what the western world generally calls an ensemble, that is, flutes, zithers, lutes, drums and sometimes strings; also, one or more singers. Drones are used in what is known as the taqsim, an improvised prelude of solo instruments that often precedes the formal beginning of a composition. Consonances are mainly ornaments in which two consonant notes mingle on the same beat. These usually are large intervals like the octave or fourth.
The foregoing is by way of explaining some of the basic structure that shapes the music in this recording. But here all formality and pedantry ends. For the selections represented here are the expressions of the Islamic adventurer, who "expects life to have all the variety and flavor of A Thousand and One Nights. Here is music to titillate the emotions of those who love dangerous living (as all Arabs do), of people who consider fear of death a monstrous absurdity (as most Arabs do), of bold souls who believe in living life fully without concern over the future. The Arab does not put money in the bank when he gets hold of any, but rather in a place where he can easily get it and feel it when he feels like doing so. He is fiercely independent, believing that aid comes only from Allah. He believes in letting fate take its course without worrying about where it will lead him, except when it comes to women. For his is a man's world more completely than anywhere else on earth, and he is forever critical and intolerant of women.
Listening to the music here, one is reminded that the Arab is a man inextricably bound up in the pattern of civilization into which he was born. This cannot be described in so vulgar a fashion as "hoochie-koochie" music (as so many Americans are apt to describe Middle Eastern music which they hear in movies), only because movies and other mass media of entertainment for most people have associated sin with the "hoochie-koochie" concept. The Arab does not look upon evil and good the way people of the western world do.
Here in this recording is a realistic musical portrait of Islamic expression. It is not by any means complete, nor is it intended to be. But in these selections are mirrored through music visions of veiled women, the passion of love translated into musical expression, the humorous interplay of the two sexes, and many subtleties of Arabian life and custom. All are part of the incredible Arabian world.
A Study In Stereophonic High Fidelity Sound
Audio Fidelity Stereodisc AFSD 5858
1958
From the back cover: Visions of voluptuous dancing girls whose lithe bodies twist and turn like writhing serpents about to strike.... Gruff, unshaven men hungry for the touch of a woman after lonely weeks spent in the desert under a maddening sun. . . . Secluded harems where the air is heavy with the aromas of perfume and incense and where luscious fruits are constant reminders of fertility ... exotic, crowded market places where lustful men stalk women swathed in Djellaba (head covering) and veils, their dark, flashing eyes a constant enticement to violate the mystery of the forbidden.... High, arched gateways framing bullet-pocked courtyards where beautiful virgins were once sold in slavery. ... Sailors who find the charms of the girls more attractive than the wares of bazaars. . . . Bearded sheiks who count scores of wives as so much property, along with their fabulous jewels, the palaces, oil stocks and other possessions . . . land where the passion and ectasy of love is woven into the culture of the people. . . realm where violence still lurks in the reflection of daggers, the steel of slung rifles and cartridge belts.
These are visions of Arabian Africa. And no one today is able to capture these visions through sound with as much authenticity and excitement as Mohammed El-Bakkar, leading tenor of the Orient and an outstanding conductor and interpreter of Middle Eastern music. Bakkar is on intimate terms with the practice, theory and intrigue of Islamic music. In this recording, as conductor and interpreter he succeeds in cap- turing the haunting flavor of Arabian vocal and instrumental music, particularly the special earthy quality to which all Arabs give expression.
Arabian music in its proper sense is the music of Bedouins in the desert and oases, of urban dwellers in the market places and other public areas, of entertainers in the cafes, the palaces, harems and theaters. Actually, the musical style known popularly as Arabian comprises much more than the music of Arabia proper, and even of nations whose people speak Arabic. It encompasses Morocco, West Africa, Algiers, the African borderland of the Mediterranean through Syria, Iraq, Turkey, Persia and even the northern part of India.
It is highly emotional music, limited in range and very free rhythmically. It generally starts with a low pitch, curves upward and returns, repeating this pattern again and again. The rising and falling pitch is typical of both vocal and instru- mental music. Arabian music has an overall pattern of melody based freely on one of the modal scales and characterized by stereotyped turns, by a general mood and by pitch (low, middle or high), in which respect it is reminiscent of the Greek classifications of melodies. This pattern is known to orientals as Maqam, originally the name of the stage on which singers performed before the caliph. It is the exact counterpart of a similar pattern known in India as Raga. The most important thing about Islamic music is that it has not only a philosophical basis, but physiological elements as well. These represent actual physical sensations. Hearing the selections in this recording. one realizes that the pervading, persistent melodies evoke something of the mood of ecstasy and trance in the listener which prevails at gatherings of dervishes, ceremonial affairs, ritual dance performances and other festive occasions of modern Islam that have roots going back 2,000 years or more.
Islamic rhythm stems from the meters of poetry, and rhythmic patterns appear in all melodies, both vocal and instrumental, and especially in drum parts, which are almost as obligatory in Islamic music as they are in Indian music. Accents are generally given in timbre, rather than in force. Thus, drummers know things like muffled beats, called dum, and clear beats, known as tak; less muffled beats, called dim, and less clear beats, or tik. The clear timbre is usually reserved for the basic rhythmic pattern, while the muffled timbre is used for the muffled beats that mark the sections between the louder beats.
Polyphony is not as essential in Islamic music as it is in western music. It does exist, however, in three forms – heterophony, drones and occasional consonances. The first is illustrated by what the western world generally calls an ensemble, that is, flutes, zithers, lutes, drums and sometimes strings; also, one or more singers. Drones are used in what is known as the taqsim, an improvised prelude of solo instruments that often precedes the formal beginning of a composition. Consonances are mainly ornaments in which two consonant notes mingle on the same beat. These usually are large intervals like the octave or fourth.
The foregoing is by way of explaining some of the basic structure that shapes the music in this recording. But here all formality and pedantry ends. For the selections represented here are the expressions of the Islamic adventurer, who "expects life to have all the variety and flavor of A Thousand and One Nights. Here is music to titillate the emotions of those who love dangerous living (as all Arabs do), of people who consider fear of death a monstrous absurdity (as most Arabs do), of bold souls who believe in living life fully without concern over the future. The Arab does not put money in the bank when he gets hold of any, but rather in a place where he can easily get it and feel it when he feels like doing so. He is fiercely independent, believing that aid comes only from Allah. He believes in letting fate take its course without worrying about where it will lead him, except when it comes to women. For his is a man's world more completely than anywhere else on earth, and he is forever critical and intolerant of women.
Listening to the music here, one is reminded that the Arab is a man inextricably bound up in the pattern of civilization into which he was born. This cannot be described in so vulgar a fashion as "hoochie-koochie" music (as so many Americans are apt to describe Middle Eastern music which they hear in movies), only because movies and other mass media of entertainment for most people have associated sin with the "hoochie-koochie" concept. The Arab does not look upon evil and good the way people of the western world do.
Here in this recording is a realistic musical portrait of Islamic expression. It is not by any means complete, nor is it intended to be. But in these selections are mirrored through music visions of veiled women, the passion of love translated into musical expression, the humorous interplay of the two sexes, and many subtleties of Arabian life and custom. All are part of the incredible Arabian world.
Mohammed El-Bakkar is an idol of Middle Easterners not only abroad, but throughout the United States. He was a featured star in the highly successful Broadway revue, "Fanny," for two years, which added to a lengthy list of outstanding achievements in the world of entertainment. Bakkar has given command performances for former King Farouk of Egypt, for his successor, Maj. Gen. Mohammed Haguib, for King Ibn Sand of Saudi Arabia and the Shah of Iran. s actor, he has appeared in no less than 32 motion pictures which he himself produced and directed. He has numerous radio and television appearances to his credit. Bakkar came to the U.S. a few years ago for a sixth concert tour, and decided he liked it so much that he resolved to stay and become a citizen. He has filled engagements in major eastern cities and has been acclaimed enthusiastically everywhere. During leisure hours, when not giving a performance, he enjoys nothing more than entertaining Syrian, Lebanese, Turkish and Persian compatriots the world over.
Africa
Al Been
Ya Bakhita
Raksat Africa
Dallooni
Sudani
Ya Hwaydali
Sando, Sando
Dangy Dangy
Din Din
Ya Waboor
Ya Sabeya
Africa
Al Been
Ya Bakhita
Raksat Africa
Dallooni
Sudani
Ya Hwaydali
Sando, Sando
Dangy Dangy
Din Din
Ya Waboor
Ya Sabeya
Music To Strip By - Bumps McGhee
Erotic Fantasy
Bumps McGhee and His Twisters
To Get The Party Started
Oscar Records OS-138
OK... the only slightly Middle Eastern "belly dancing" arrangement heard on the disk is from side two and is featured as the sample posted below the cover image. Side one features nothing but tracks lifted from a Dixie Land set.
The Stripper
Bumps And Grinds
Frankie And Johnny
G-String Twist
Mighty Like A Broad
Night Train
Fascination
Erotic Fantasy
C-Cup Blues
Strippers Delight
Hawaiian Sunset Vol. II - Arthur Lyman
Kalua
Vol. II
Arthur Lyman
HiFi Records, Inc.
Life Series STEREO ALBUM L1025
Everest Records Productions
1965
From the back cover: Arthur Lyman has been the unexcelled delineator of exotic Hawaiian music for years. Arthur and his group: Allan Soares, Harold Chang and Archie Grant, are all residents of Honolulu and entertain to capacity crowds at the Shell Bar in the luxurious Hilton Hawaiian Village Hotel, as well as at other outstanding entertainment places, nationally and internationally. Relax, listen and enjoy!
Blue Hawaii
Beyond The Reef
Sea Breeze
Singing Bamboo
Pua Maeole
Red Sails In The Sunset
Kalua
Lei Aloha Makima
South Pacific Moonlight
Sweet Someone
Beautiful Kahana
Honolulu Nites
Hawaii - Johnny Pineapple
Sweet Leilani
Johnny Pineapple and His Islanders
Audio Fidelity Stereodisc AFSD 5850
1959
From the back cover: Johnny (Kaonohi) Pineapple, acclaimed the foremost living interpreter of South Pacific music, makes his initial appearance on Audio Fidelity Records with this release. In addition to being a veteran performer, with innumerable appearances on radio, television, in motion pictures and leading hotels and clubs throughout the Unites States and Canada, Pineapple is a talented composer, makes all of his own musical arrangements, and routines his own dance specialties. As soloist and with his inimitable South Pacific Revue he has been heard on the Texaco Star Theater, Broadway Open House and his own sustaining television programs. His movie credits include featured roles for Columbia Pictures and an extensive series of musical travelogue films. Just a few of his appearances at top clubs and hotels include extended stints at New York's famous Stork Club, the Rainbow Room, Mon Paris, Rogers Corners, the Roosevelt and Lexington Hotels. Outside New York he has appeared at the Miami Biltmore, Roney Plaza and Deauville hotels in Miami Beach, the Copacabana in Ottawa, the Park Lane Hotel in Denver, the Arena in Montreal, the Edgewater Beach Hotel in Chicago, and many other places. He has also been heard at many Army bases and airfields all over the country.
A native of Honolulu, Pineapple received his early education in that city. He attended Honolulu military academy, and then came to the States, earning a college degree from Oregon State University. Johnny started studying music at the age of 12, and chose the saxophone as his major instrument. At 14 he led a jazz band in Honolulu. Today he plays only the guitar and ukulele. Pineapples's professional career began in San Francisco when movie scouts placed him in several Hollywood films. From movies he extended his entertainment activities to radio, night club appearances, to hotels, musical film travelogues, radio transcriptions and radio, and television.
Naka Pueo
My Little Grass Shack In Kealakekua, Hawaii
Kila Kila
Lovely Hula Hands
Little Brown Gal
Hawaiian War Chant
Sweet Leilani
Beyond The Reef
Kui Lei
For You A Lei
Helia Alekohi
Aloha Oe
Strictly From Dixie - Morty Corb
Bayou Blues
Morty Corb and His Dixie All-Stars
Album production by Dave Pell
Recorded at Radio Recorders in Hollywood, April 1957
Sound Engineer: Bones Howe
Tops Hi-FI L-1581
Tops Music Enterprises, Corp
Personnel:
Morty Crob - Leader & Bass
John Best - Trumpet
Henie Beau - Clarinet
Dave Harris - Tenor
Moe Schneider - Trombone
George Van Eps - Guitar
Bobby Hammack - Piano
Jack Sperling - Drums
From the back cover are a published a few bios of the following band members:
Moe Schneider was born in Clinton, Oklahoma in 1919. He started playing trombone at 13 after three years in the family orchestra on banjo. After completing high school, Moe was California bound and got his first band job at Balboa Beach. After a year with the Ken Baker band in Los Angeles, he joined the famous Ben Pollack band for another year. After Pollack, he played with the bands of Gus Arnheim, Will Osborne and Alvino Ray. Breaking into radio work, Moe's first studio job was on the staff of station KHJ with the Frank De Vol California Melodies show. After two years in military service (1944 - 1946), Moe rejoined Alvino Rey for about six months, then went on to the bands of Gene Krupa and Woody Herman. Tiring of the road, he returned to California and to Ben Pollack with whom he played at the famous "Home Of Dixieland," Berverly Cavern. He has also worked at such Dixie spots as the Hangover Cafe on Vine Street with Jack Teagarden, Ray Bauduc, Matty Matlock, et al. Moe has been in the orchestra of the Bob Crosby show over the CBS-TC network since 1954. Since 1950, incidentally, Moe has been extra-active as an accountant and regularly audits the books of Los Angeles AFM Local 47.
George Van Eps was born in Plainfield, New Jersey in 1913. By the time he was 11, George had taught himself the banjo, with the encouragement of his musician father and brothers. While still in his teens, he joined the Smith Ballet orchestra in 1929, moved on to Freddy Martin in '31 with whom he stayed till '33. When Benny Goodman formed the band that was to change the history of American popular music, George was one of the first sidemen in 1934 - 35. The next year he joined Ray Noble for a year, returning to the Noble band in 1939 for two more years. In the interim, George freelanced with radio and record dates in Hollywood, building his reputation as one of the finest guitarists in the business. He has been with many top studio orchestras since then, including the Paul Weston organization.
Bobby Hammack was born in Texas in 1922. Was bandleaders at the University of Texas. Spent three years in the USAF. After World War II, Bobby settled in California, joining the Bob Crosby band in 1945. He has since played with the Eddie Miller band and has been contracted to ABC Radio and Television. In addition to writing record dates for Red Nichols, Bobby was bandleader on Peter Potter's Juke Box Jury and in 1956 handled musical chores on the Tony Martin show. Bobby is now a staff arranger on ABC and a member of ASCAP. A leading pianist, his interests lean greatly toward composition and arranging.
Jack Sperling was born in Trenton, New Jersey in 1922. A child prodigy, he started playing drums at the age of three. Small wonder that his teen years found him leading the local high school dance band. Subsequent band jobs included stints with the late great trumpeter, Bunny Berigan. Tex Beneke's Navy Band and the postwar Glenn Miller orchestra led by Beneke from 1946 to 1949. Jack came out to California to join the Les Brown band with which he stayed more than four years. After he left Brown, he joined the Bob Crosby show staff orchestra, remaining over three years. He now freelances and has many recording and club dates. Jack believes in continual study of drum technique and is respected as a perfectionist in this regard.
Alexander's Rag Time Band
Pennies From Heaven
Bayou Blues
South
Ramble IN
Honeysuckle Rose
Sugarcane Strut
Baby, Won't You Please Come Home
Back Home Again In Indiana
Savannah Shakedown
Farewell Blues
Moe Schneider was born in Clinton, Oklahoma in 1919. He started playing trombone at 13 after three years in the family orchestra on banjo. After completing high school, Moe was California bound and got his first band job at Balboa Beach. After a year with the Ken Baker band in Los Angeles, he joined the famous Ben Pollack band for another year. After Pollack, he played with the bands of Gus Arnheim, Will Osborne and Alvino Ray. Breaking into radio work, Moe's first studio job was on the staff of station KHJ with the Frank De Vol California Melodies show. After two years in military service (1944 - 1946), Moe rejoined Alvino Rey for about six months, then went on to the bands of Gene Krupa and Woody Herman. Tiring of the road, he returned to California and to Ben Pollack with whom he played at the famous "Home Of Dixieland," Berverly Cavern. He has also worked at such Dixie spots as the Hangover Cafe on Vine Street with Jack Teagarden, Ray Bauduc, Matty Matlock, et al. Moe has been in the orchestra of the Bob Crosby show over the CBS-TC network since 1954. Since 1950, incidentally, Moe has been extra-active as an accountant and regularly audits the books of Los Angeles AFM Local 47.
George Van Eps was born in Plainfield, New Jersey in 1913. By the time he was 11, George had taught himself the banjo, with the encouragement of his musician father and brothers. While still in his teens, he joined the Smith Ballet orchestra in 1929, moved on to Freddy Martin in '31 with whom he stayed till '33. When Benny Goodman formed the band that was to change the history of American popular music, George was one of the first sidemen in 1934 - 35. The next year he joined Ray Noble for a year, returning to the Noble band in 1939 for two more years. In the interim, George freelanced with radio and record dates in Hollywood, building his reputation as one of the finest guitarists in the business. He has been with many top studio orchestras since then, including the Paul Weston organization.
Bobby Hammack was born in Texas in 1922. Was bandleaders at the University of Texas. Spent three years in the USAF. After World War II, Bobby settled in California, joining the Bob Crosby band in 1945. He has since played with the Eddie Miller band and has been contracted to ABC Radio and Television. In addition to writing record dates for Red Nichols, Bobby was bandleader on Peter Potter's Juke Box Jury and in 1956 handled musical chores on the Tony Martin show. Bobby is now a staff arranger on ABC and a member of ASCAP. A leading pianist, his interests lean greatly toward composition and arranging.
Jack Sperling was born in Trenton, New Jersey in 1922. A child prodigy, he started playing drums at the age of three. Small wonder that his teen years found him leading the local high school dance band. Subsequent band jobs included stints with the late great trumpeter, Bunny Berigan. Tex Beneke's Navy Band and the postwar Glenn Miller orchestra led by Beneke from 1946 to 1949. Jack came out to California to join the Les Brown band with which he stayed more than four years. After he left Brown, he joined the Bob Crosby show staff orchestra, remaining over three years. He now freelances and has many recording and club dates. Jack believes in continual study of drum technique and is respected as a perfectionist in this regard.
Alexander's Rag Time Band
Pennies From Heaven
Bayou Blues
South
Ramble IN
Honeysuckle Rose
Sugarcane Strut
Baby, Won't You Please Come Home
Back Home Again In Indiana
Savannah Shakedown
Farewell Blues
Friday, September 18, 2020
The Detroit Sound
It's You Baby
Wyncote Records STEREO SW-9208
Stop! In The Name Of Love
You Can't Hurry Love
The Happening
Jumping At The Go Go
It's You Baby
Give Love Another Chance
We'll Never Be
Don't Tell Me Baby, Just Show Me
Tender Memories
Far From The Last
The Dixieland Barons
Tin Roof Blues
The Dixieland Barons
Grand Prix Series STEREO K147
Pickwick International, Inc.
When The Saints Go Marching In
Weary Blues
Tin Roof Blues
Muskrat Ramble
Clarinet Marmalade
Royal Garden Blues
Outside Blues
Subscribe to:
Posts (Atom)