Caribbean Nights - Lush Strings

 

Night In St. Thomas

The Gaiety And Romance Of Caribbean Nights

A Musical Cruise To The Fun Filled Islands Of The Caribbean

Tropical Rhythms - Lush Strings

Recorded under the direction of D. L. Miller

Cover Design: Chic Laganella

Somerset STEREO FIDELITY ALBUM SF-29300

Guantanamera

Ocho Rios

Mentiras

Night In St. Thomas

Shipboard Romance

Yellow Bird

Cantina San Juan

Tus Besos

Casino Antigua

Accordeon de Paris - Francois Chantal

 

Adieu Lisbonne

Accordeon de Paris

Music Of The French Cafe with Francois Chantal

Coronet Records CX 52

Gamin De Paris

Place Pigalle

Le Gondolier

La Mer

Arriverderci Roma

Padre

Complainte Des Infidèles

Julie La Rousse

Avec Celui Qu'on Aime

Historie D'un Amour

Adieu Lisbonne

I've Never Been Scared In A Race Car - Richard Petty

 

The Cost Of Racing

"I've Never Been Scared In A Race Car"

Richard Petty

And The Roaring Sound Of NASCAR in STEREO

STP Corporation is proud to present this special album in thanks for your help in the fight against Muscular Dystrophy

Allendor LTD.

Italiano - Frankie Avalon

 

Cappuccino

Italiano
Frankie Avalon
Produced by Marcucci & Faith
Consultants for Italian lyrics: Carlo Menotti and Argentina Brunetti
Cover Photo: Gene Trindl
Cover photo taken at Via Veneto - Hollywood, California through the courtesy of Ambrose Pasquini, Prop.
Jacket Design: Chic Laganella
Chancellor CHL-5025
Distributed by Am-Par Record, Corp.
1962

From Billboard - March 10, 1962: Avalon hops on the international market band wagon in this collection of popular Italian tunes. He sings with ease and showmanship in Italian and English on a group of pretty melodies, including "You're Breaking My Heart," "Capuccian," "Solo Tu," Non Dimentlcar" and "Just Say I Love Her." Avalon improves vocally with every album.

Italiano
No Ti Scordar Di Me
Anema E Core
Non Dimenticar
Don't Ever Leave Me
Just Say I Love Her
Zingarella
You're Breaking My Heart
Solo Tu
Tornerai
You're My Rose
Capuccina

Presenting The Buddy DeFranco - Tommy Gumina Quartet

 

On Green Dolphin Street

Presenting The Buddy DeFranco - Tommy Gumina Quartet
Recorded October 17 and 18, 1961, in Chicago
Mercury Records STEREO SR 60685

Personnel:

Buddy DeFranco: Clarinet
Tommy Gumina: Accordion
Bill Plummer: Bass
John Guerin: Drums

From the back cover: The partnership started in a curious manner. Buddy was looking for a pianist to play a date with him. Frank DeVito, his drummer, suggested that an accordion might make an interesting substitute. DeFranco reacted much the way Chief Justice Warren might if he were asked to join the John Birch Society. But he was finally convinced, first verbally by DeVito and later musically buy Gumina, that this was not an ordinary accordion player. Unlike most exponents of the instrument, generally held in low esteem by jazzmen, Gumina has the harmonic sense and rhythmic feeling of a genuine modern swinging musician.

The result was not just an isolated gig but a partnership that has persisted and progressed, reaching a new plateau of togetherness with the taping of the quartet's first Mercury album.

To recapitulate in the backgrounds of these two strikingly sympathetic artists: DeFranco was born in 1923 in Camden, New Jersey; Gumina in 1931 in Milwaukee, Wisconsin. Camden being virtually a suburb of Philadelphia, it was in sessions around Philly that Buddy first began to attract attention. While still in his teens, he won a Tommy Dorsey amateur contest and worked in the bands of Scat Davis, Gene Kruppa and Ted Fio Rito. At 20 he joined Charlie Barnet; in 1944 he began his first stint with the Dorsey band, remaining until 1946, then worked for a while with the fine Boyd Raeburn orchestra of '46 - '47, after which he rejoined Dorsey for a year. Aside from a year with Count Basie in 1950 - '51, he has led various groups of his own since then. Since 1955 he has been a Southern California. In recent years he has been very active as a participant in college jazz clinics and concerts.

Gumina, like DeFranco, was in his twelfth year when he began studying seriously. He credits much of his success to Andy Rizzo, an accordion teacher whom he describes as the greatest who ever lived, and with whom he spent five years studying in Chicago. After beginning as a solo recitalist at the age of 14 and clubbing around Milwaukee, he was heard by Harry James, with whose band he was seen in television and on tour from 1952 - '55. He then went on the road as a single act, and in 1956 started a combo of his own, which worked successfully in Las Vegas lounges.

Completing the quartet for the present session were Bill Plummer, 23, from Boulder, Col., a promising bassist who has been heard with Paul Horn and other combos around Los Angeles; and drummer Johnny Guerin, 21, from San Diego, discovered by Buddy at a college clinic.

From Billboard - March 17, 1962: The combination of Buddy DeFranco with the Tommy Gumina Quartet adds up to a very pleasant pairing. The clarinetist and accordionist perform a flock of standards and a few originals in showmanly fashion here. DeFranco swings heartily and Gumina handles the accordion in swinging jazz fashion too. Tunes include "When Lights Are Low," "Street Of Dreams" and "Gone With The Wind."

When Lights Are Low
Street Of Dreams
Runaway
Never On Friday
Gone With The Wind
'S Wonderful
On Green Dolphin Street
Scrapple From The Apple
Playin' It Cool
You Are Too Beautiful

The Country Hit Parade - All Star Artists

 

Old Moon

The Country Hit Parade
18 Top Country Hits by All Star Artists
Starday Records SLP 110

From the back cover: Starday Records has selected the eighteen most popular country songs of the year and they have been recorded by top vocalists and musicians with the sound and arrangement which made the songs so successful.

Under Your Spell Again
Old Moon
Family Man
Black Land Farmer
Tell Me Why
Who Shot Sam
I Ain't Never
Johnny Reb
I Got Stripes
Country Girl
Jimmy Brown The Newsboy
The Battle Of New Orleans
Soldier's Joy
Nothing But True Love
Partners
Poppin Johnny
Igmoo
Three Bells

The Wide, Wide World Of Jazz - Dave Garroway

 

Havana After Dark

Dave Garroway Presents
The Wide, Wide World Of Jazz
RCA Victor LPM-1325
1956


From the back cover:

Flying Down To Rio
Tito Puente and His Orchestra
Side One comes up first with Flying Down To Rio by the Tito Puente band – a solid, but not heavy, mambo sound with a strange, exotic flavor given it by one tiny change in the chorus.


Do You Know What It Means To Miss New Orleans
Lee Wiley with Deane Kincade's Dixieland Band
There are probably only a dozen jazz singers who have their own individual sound, quite apart from the sounds that other have made before them, and surely Lee Wiley is one of these. On Do You Know What It Means To Miss New Orleans, and on everything else she does, there is a marvelous texture to her voice, something like running your hand over a piece of fine Harris tweed – and both tickle. Many another singer is just discovering the importance of the sense of the words in a lyric. Lee has known about words for some time now. Cutty Cutshall give her some delightful, sensuous help in the background.


California, Here I Come
Barbarar Carroll Trio
I think that, head over heals, Barbara Carroll is the freshest most creative pianist in the bushes today. Her themes are always simple and directly stated, and then, when she goes into variations on them, it becomes a fascinating exercise for the listener to follow, and to relate the variation to the theme. There is a great precision and crispness about her thinking and originality that makes the listener a happy one. And with all this, she never stop swingin' – never! My favorite pianist, you may gather.


Wonderful, Wonderful Copenhagen
"Peanuts" Hucko's Swing Band
The wonderful old band sounds of '35-'42 are here photographically recreated with a spirit the tmakes you think for a moment you have put on the Goodman Carnegie Hall record – and, of course, the fidelity is something else again. There's a brilliant trumpet interlude that cane be used to shave with if you run out of other sharp things. Song writer Frank Loesser may be somewhat surprised at what happens here to his lovely waltz from "Hans Christian Andersen."


Manhattan Serenade
Helen Ward with "Peanuts" Hucko's Swing Band
I've said for a long time that if I wanted to investigate somebody for a $50 loan, I'd rather hear him sing one standard theme than talk to him for half an hour. It's this way with Helen Ward. Her essential honesty shows up in her voice like a headlight. I don't think she could wrap a note if she tired, and I hope never to find out otherwise. Her warmth on this fine Louis Alter tune is admirably backed by some poetic trumpet.


Chicago Breakdown
Deane Kincaide's Dixieland Band
Deane Kincaide and his Dixie Gentlemen, including Billy Butterfield, Cutty Cutshall, "Peanuts" Hucko, Lou Stein and Cliff Leeman, take off on this Jelly Roll opus, and don't quit till all the sheep are in the corral, if that's where you put sheep. In addition to all the most correct dixie phrasing, there creeps in a n astounding and amusing modern phrase a few times. Spice on the cake; cold beer in the glass.


Spain
"Peanuts" Hucko's Swing Band
A pristine yet warm chorus by "Peanuts" get them off the ground and the trumpet is merely exquisite with it's bittersweet tone. Incidentally, this fine arrangement, along with the other three for the Hucko band, was written by Charlie Shirley.


Paris Without You
Barbara Carroll Trio
After the title catches your throat, you are free to sink back in comfort for the "other" Barbara Carroll. Listening to her Debussyesque musings seem almost sacrilegious – as though we were violating her privacy without permission. A great tune to practice writing lyrics for.


A Foggy Day In London
Helen Ward with "Peanuts" Hucko's Swing Band
One of the Gershwin giants and Helen Ward's open-faced approach that is so refreshing in these days of the gimmick singers – the ones who are around to annoy us just to the breaking point, and then drop out, to be replaced the next week by even more weird ones.


Kansas City Stomp
Deane Kincaide's Dixieland Band
Featuring some trumpet-clarinet unison work by Butterfield-Hucko that is so precise you are left wondering if there were two instruments there. There are.


Stars Fell On Alabama
Lee Wiley with Deane Kincade's Dixieland Band
One of Lee's greatest. She thinks so too – and the lady is quite a critic. Notice the surprising sweetness in her higher notes. Sometimes I feel she is singing through a fine lace handkerchief.


Havana After Dark
Tito Puente and His Orchestra
I've never been there, but if it's like this number, I'd better not waste any more time getting to it. A hard, bright mambo – and do those dancers have as much fun as they seem to?

From Billboard - January 5, 1957: Jazz for the masses, with Garroway, who emcees NBC-TV's "Wide, Wide World" show, contributing a relaxed, I don't know anything about jazz but I know what I like" type commentary. Effective and varied talent lineup includes Tito Puente ork, the great Lee Wiley with Deane Kincaide's Dixieland Band, Barbara Carroll Trio, Helen Ward with (Peanuts) Hucko's Swing Band and Billy Butterfield. Tunes carry show's travel theme – "Flying Down To Rio," etc.

Country & Western Hits Nashville Style

 

Ring Of Fire

Country & Western Hits
Nashville Style
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder: Sam Phillips Studio, Nashville
Engineer: Billy Sherrill
Compatible Mastering: Columbia Recording Studio, Nashville
Cover Design: McPherson Studio, Nashville, Tennessee
Wonder Sound MS 508

Don't Let Me Cross Over
Not What I Had In Mind
Lonesome 7-7203
Still
Act Naturally
We Must Have Been Out Of Our Minds
Roll Muddy River
Take A Letter Miss Gray
Six Days On The Road
Ring Of Fire

Red Norvo Trio

 

Honeysuckle Rose

Red Norvo Trio
Rondo-lette High Fidelity A28
A Product of the Rondo Record Corporation
1958

From the back cover: "Red" Norvo, one of the foremost figures of modern jazz, was born Kenneth Norville, March 31, 1908 at Beardstown, Illinois. Norvo started taking piano lessons at the age of eight. While in high school, he took up the xylophone, and then left home at the age of seventeen for Chicago where he launched his career as the leader of a seven piece marimba band entitled The Collegians. When this group broke up, he joined Paul Ash's orchestra, and followed that with a tour of vaudeville in a solo act in which he played the Poet and Peasant overture and did a tap dance. During the summer of 1929 he led a band in a Milwaukee ballroom, and then enrolled at the University of Detroit. He returned to the music business some four months later in Minneapolis, working at Station KSTP, and then returned to Chicago as a staff musician at NBC with Victor Young.

While working on a radio series with Paul Whiteman over NBC, he met Mildred Bailey, then a singer with Whiteman's band. They worked together in Chicago, and then married and came to New York with Whiteman. Red left Whiteman in 1934 and settled in New York where he had his own piano-less octet at the Hickory House on 52nd Street. The personnel of the band included Eddie Sauter on mellophone, Herbie Haymer on tenor sax and Dave Balfour on guitar.

Norvo expanded the band in 1936 to 12 pieces with Mildred Bailey as vocalist. This band recorded regularly for Brunswick from 1936 to 1939 and could be deemed to be pre-eminent in the presentation of Norvo's soft subtle brand of swing music. Norvo remained active as a bandleader from 1940 to 1944, but his wife worked separately during most of this time. In 1943 Norvo had an all-star combination with Shorty Rogers, Eddie Bert and Ralph Burns. In 1943 also, he shifted from xylophone to vibraphone. For the last fifteen years he has played the latter instrument almost exclusively. In 1944 he formed a new band including Aaron Sachs on the clarinet, Remo Palmer, guitar and Clyde Lomdardi, bass. Norvo then gave up bandleading and joined Benny Goodman early in 1945, and then spent all of 1946 with Woody Herman's orchestra. In 1947, he settled in California. Although divorced from Mildred Bailey he continued to be on friendly terms with her and they recorded occasionally together until her death. After freelancing in Hollywood for some time, Norvo returned East in 1949, leading a sextet which included Tony Scott, Mundell Lowe and Dick Hyman.

Norvo's next important move was to adopt a trio format in 1950 with Tal Farlow and Charlie Mingus (later Jimmy Raney and Red Mitchell). His trio records have been acclaimed as the most striking examples of subtlety and finesse in modern, chamber-music style jazz. In January, 1954 he made his first overseas tour in the Jazz Club USZ, Unit.

Norvo was the first musician to show the possibility of adapting jazz to the xylophone. Prior to Norvo the instrument had been considered a novelty only by jazzmen. His first group of recorded solos were for Brunswick in 1933 and this was followed by a long series of recordings with swing groups, first with Jack Jenney, Artie Shaw, Charlie Barnet, Teddy Wilson (1934) and Bunny Berrigan, Jack Jenney Johnny Mince, Chu Berry, etc. (1935). He is considered not only to be a peerless musician in his own right but has show incredible ability to select as sidemen, musicians who were destined to become famous. During the past several seasons Norvo has played Las Vega appearing at the Sands and Tropicana hotels.

Blue Room
Exactly Like You
Rose Room
These Foolish Things
East Of The Sun
This Can't Be Love
September Song
Honeysuckly Rose
Sweet Georgia Brown
Ay Ay Ay
Oh Lady Be Good
Confessin'

Stanley Paul And His Orchestra At The Pump Room

 

The Umbrellas Of Cherbourg (I Will Wait For You)

Stanley Paul And His Orchestra At The Pump Room
Arranged and Conducted by Kenny Black
Produced and Directed by Henry J. Macie
Cover Design and Illustration by Bob Toben
Marco STEREO 130

From the back cover: For such reasons, it's gratifying to find a prodigy who bucked the jinx – who kept right on giving off sparks. Now meet Mr. Stanley Paul, who unbelievably is celebrating a quarter-century in show business yet is still something less than thirty years old. To achieve this, he first had to make his professional debut at four, which is difficult enough. And he also has had to remain a professional for 25 years which, in many ways, is even more difficult.

But all this he has done, accumulating triumphs at such clubs as New York's Embers and Basin Street East, on TV and radio, home and abroad, along the way. And as the record shows, musical prodigies who make good wind up playing the fabulous Pump Room of Chicago's Ambassador East Hotel

Rose Of Washington Square
Lara's Theme (Doctor Zhivago)
A Wonderful Day Like Today
Do It Again
The Umbrellas Of Cherbourg (I Will Wait For You)
Selections from "Fiddler On The Roof" (Sunrise, Sunset; Matchmaker, To Life, Fiddler On The Roof)
Mame
I Can't Give You Anything But Love
Samson & Delilah
Back In Your Own Back Yard