Dreamy - Sarah Vaughan

 

Star Eyes

Dreamy
Sarah Vaughan
Produced by Teddy Reig
Back cover illustration: William Hofman
Roulette Birdland Series R 52046
1958

From the back cover: For her first Roulette album, Sarah Vaughan has joined forces with arranger Jimmy Jones and probably some of the best musicians in the recording field has to offer exquisite interpretations of twelve superb songs. There is the featured, softly muted and highly distinctive warmth of Harry 'Sweets' Edison trumpet, the lush string backdrop and the change of tempo to a light, rhythmic jazz flavor. There is the imaginative, always sensitive approach to melodic structure as well as lyric content of each song. Every etched groove of this collection is in the Sarah Vaughan tradition.

From Billboard - June 6, 1960: Handsome color photo of the canary gives this package strong display value. In her first album for Roulette, Miss Vaughan displays her usual creamy vocal quality of romantic standards. Selections include the title theme, "I'll Be Seeing You," "Crazy He Calls Me," "Stormy Weather,' and "Hands Across The Table." Sock Jockey wax.

Dreamy
Hands Across The Table
The More I See You
I'll Be Seeing You
Star Eyes
You've Changed
Trees
Why Was I Born
My Ideal
Crazy He Calls Me
Stromy Weather
Moon Over Miami

After Hours At The London House - Sarah Vaughan

 

Thanks For The Memory

After Hours At The London House

Sarah Vaughan

Supervision: David Carroll and Jack Tracy

Cover Photo: Don Bronstein

Design: Emmett McBain

Carmen Cavallaro's introduction courtesy Decca Records

Mercury Records STEREO Hi-Fi SR 60020 & MG 20383

Recorded March 7, 1958 at the London House, Chicago.

Recorded by Universal Recording Corp,. Malcolm Chisolm, engineer. Microphones used included: voice (Telefunken U-47); piano (RCA 77 DX), bass (Fentone B&O ribbon); drums (Shure 556 S); solo horns (Fentone B&O ribbon). The entire session was taped at 30 its (inches per second) on a specially-adapted Ampex 350-2 tape recorder.

From the back cover: It began at 2:30 a.m. at Chicago's London House before a specially-invited audience of prominent entertainers who had finished their shows, disc jockeys, newspaper columnists, and other assorted night people.

Sarah already had done three shows that night at Mister Kelly's and was rushed hurriedly to the London House for the session. Carmen Cavalloro, whose trio was working at the club, graciously turned the bandstand over to Sassy and the session was on.

Pandemonium reigned. And rained.

Professional courtesy unfortunately was forgotten by more than a few of the professionals in attendance. Flashbulbs popped continuously as representatives of Life magazine covering the event shot pictures as if they were going out of style, and photogs from Mercury and the London House, not to be outdone, matched'em shot for shot.

The bandstand, built to accommodate three or four musicians, bulged with microphones, Sarah, her trio, and guest sitters-in Thad Jones, Henry Coker, Frank Wess, and Wendell Culley. It looked not unlike a traffic jam in a telephone booth.

Thought it all Sarah maintained a composure and simple dignity that stood out in stark contrast to the tumult all about her. In just two hours the album was complete. Only on the final Thanks For The Memory was more than one take needed, and so delightful were the fluffs she made on it ("I got hung with a word,") both false starts have been included.

The session was completely improvised, as Sarah came equipped with only a bundle or sheet music, her great sense of musicianship, and, as she so simply stated it, "Faith."

But this is the sort of musical element in which Sassy shines. The backgrounds are almost floppy-loose and non-constricting. The musician she chose from Count Basie's band to work with were just right – Frank Wess, with his thick, warm sound and unerring sense of whaat and when to play; Thad Jones, whose brief solos are highlights; Henry Coker, who plays simply and without pretense, and Wendell Culley, whose muted obligatos and moody solo on Thanks For The Memory provided comforting surroundings.

Her own trio with Ronnell Bright on piano, the gifted Richard Davis, bass and incisive Roy Haynes on drums, offered a knowing core that bent to every musical whim of Sarah's.

Like Someone In Love

Detour Ahead

Three Little Words

I'll String Along With You

You'd Be So Nice To Come Home To 

Speak Low

All Of You

Thanks For The Memory

Neon - The Cyrkle

 

The Visit (She Was Here)

Neon
The Cyrkle
Produced by John Simon
Arranged by John Simon and The Cyrkle
Cover Photo: Bob Cato
Columbia Records CS 9432

1967

From the back cover: Tom and Don play all the guitar parts. Tom plays all bass and sitar parts. Marty plays all drum, tambourine, conga, cowbell, finger cymbal, triangle and gong parts, assisted, when he hasn't a free hand, by Bobby Gregg, Buddy Saltzman, Ray Barretto and the like. Michael plays all keyboard parts except when, all too often, John Simon feels like playing. Also assisting are brass, string and woodwind players from the International Brotherhood of Brindle Makers Marching Band & Chowder Society.

From Billboard - February 18, 1967: The "Red Rubber Ball" group scored on the charts with their first album, and this well-balanced program should do equally well. "Please Don't Ever Leave Me," "I'm Happy Just To Dance With You" and their current hit "I Wish You Could Be Here" are enhanced by their smooth vocal blend and top arrangements.

Dont' Cry, No Fears, No Tears Comin' Your Way
The Visit (She Was Here)
Weight Of Your Words
I Wish You Could Be Here
It Doesn't Matter Anymore
Two Rooms
Our Love Affair's In Question
I'm Happy Just To Dance With You
Problem Child
Please Don't Ever Leave Me
I'm Not Sure What I Wanna Do

The Best Songs From The 60's - The Now Generation

 

Mrs. Brown You've Got A Lovely Daughter

The Best Songs From The 60's

The Now Generation

Produced by Tommy Downs

Cover Design: Jim Johnson

Recorded at Star Recording Studio

Nashville Sound 6004

Dang Me

Stranger On The Shore

Mrs. Brown You've Got A Lovely Daughter

Green Green Grass Of Home

Wichita Lineman

Georgie Girl

I Can't Stop Loving You

Roses Are Red

The Lonely Bull

Walk Right In

Blowin' In The Wind

The Twist

Let's Make Love - Marilyn Monroe - Yves Montand - Frankie Vaughan

 

Latin One

Let's Make Love

Marilyn Monroe & Yves Montand

In Jerry Wald's Production of Let's Make Love

Co-Starring Tony Randall & Frankie Vaughan

Directed by George Cukor

Written for the screen by Norman Krasna

Songs by Sammy Cahn & Jimmy Van Heusen

Orchestra Conducted by Lionel Newman

An Original Sound Track Recording

20th Century-Fox Presents A Cinemascope Picture

Columbia Records CL 1827

1960

Let's Make Love

Incurably Romantic

Latin One

Specialization

Let's Make Love

My Heart Belongs To Daddy

Hey You With The Crazy Eyes

Strip City

Incurably Romantic

The Jazz Piano Of John Coates, Jr.

 

A Minor Waltz

The Jazz Piano Of John Coates, Jr.

Record "Live"... in Concert with DeWitt Kay, Bass & Glen Davis, Drums

Executive Producer: Yoshino Inornata

Cover Artwork: Bob Doney (for display at the Deer Head Inn)

Jacket Design and Typography: Willie Lonardo

Engineer: Peter Kiefer

Omni Sound N-1004

From the back cover: When executives from Shawnee Press are asked "How did you discover John Coates?" they answer quite simply and logically, "We walked across the street." For the past 11 summers Coates has been entertaining and amazing jazz buffs and fellow musicians at the Deer Head with his remarkable interpretations and improvisations, as well as with a growing bag of originals. Concurrently for seven of those years, John has held down an editorial desk at Shawnee Press from which has come some 75 publications to his own credit, including many arrangements of folk and pop songs which have become among the most sung and sought after by school and college choral groups in this country and abroad.

John Coates, Jr., (his father is a musician too) started playing the piano at the age of three. At seven he began piano study, first at Mannes College of Music, later at Dalcroze School Music, New York City. At the age of 12, John began playing professional jazz piano. By the time he was 17, John and his own trio had a jazz record released; much of the music on the album was written by John.

After high school graduation, John went "on the road" in the United States and Europe for two years, playing piano and vibraphone. With that experience under his belt, John went to Rutgers University, New Brunswick, New Jersey, where he continued his study of music but majored in Italian. At Rutgers he was elected to Phi Beta Kappa and graduated magna cum laude, which just about brings us up to where we were a couple of paragraphs ago.

For those who know John Coates' work the best, it might be described as superbly spontaneous; but Coates the man is never impulsive. For a number of years his many fans have been encouraging him to make a record. But it was not until Yoshio Inomata, executive producer for Omnisound, said, "Hey, can we put up some microphones and see what happens?" that this album happened on February 3, 1974, at Northampton Community College. Without rehearsal and with the help of DeWitt Kay, Bass and Glen Davis, Drums, things were arranged, and the result is, we feel, some of the most exciting jazz to be put down in a long, long time. Just the way it happened, Live.

From Billboard - November 30, 1974: This is an exceptional first effort by a totally innovative jazz pianist, who has been hailed by many jazz masters as a true genius. Four of the six tunes are originals in the Dave Brubeck mold and the other two including a Beatles tune are equally impressive.

Love Is Enough

Tune No. 4

A Minor Waltz

Deep Strings

Yesterdays

Little Rock Getaway

The Robert De Cormier Folk Singers

 

Bye 'N' Bye

The Robert De Cormier Folk Singers

Originated and Produced by Enoch Light

Associate Producer: Julie Klages

Recording Chief: Robert Fine

Mastering: George Piros

Designed by Charles E. Murphy

Command Records STEREO RS853SD

1963 Grand Award Records

From the inside cover: Some of the special and unique qualities that the De Cormier Singers have can be traced to two prime influences on De Cormier's work as a choral conductor. One is the breathtaking brilliance and excitement created by the large, colorful folk singing groups to be found in eastern Europe and the Soviet Union. The other influences come from his experience in organizing and directing the Belafonte Folk Singers, an association in which he caught the dramatic impact that Harry Belafonte brings to his performances.

De Cormier had known Belafonte long before he became an internationally famous star. They first met at Erwin Piscator's Dramatic Workshop when Belafonte's goal was a career as an actor rather than as a singer. During the years when Belafonte was establishing himself as a new and highly theatrical type of folk singer (drawing on that Dramatic Workshop background), De Cormier was teaching music in New York, conducting choruses and writing arrangements. Belafonte's first major record success was an album of Calypsos. When it was decided to follow this with another calypso collection, Belafonte asked De Cormier to write and conduct the album for him. 

From tis recording developed the Belafonte Folk Singers, a group of twelve men who backed up Belafonte and did one or two numbers on their own at Belafonte's concerts. After two years, the Singers made a concert tory of their own, made a record album of their own and, under De Cormier's leadership, developed an identity of their own. But maintaining a group of this size was not completely practical in financial terms and, in 1961, Belafonte decided to disband the group.

No sooner was this done, however, than Columbia Artists Management asked De Cormier to form a group of his own. This time he included women in his ensemble along with four instrumentalists. An introduction tour was lined up for the Robert De Cormier Folk Singers in the winter of 1963 but first they made an phenomenal debut in New York City.

Like everything about the De Cormier Singers, this debut was phenomenal not in the usual sense (a packed concert hall, glowing reviews in the newspapers) but in an unusual sense. It occurred in a tiny Greenwich Village coffee house, the Bitter End, where the group was booked for a three-week engagement. De Cormier look on this as an opportunity to get his ensemble fully prepared for its concert tour and to serve as a showcase for arousing interest in the Singers.

When the eight men, five women and four instrumentalists crowded onto the small coffee house stage, it scarcely seemed that there would be any room left for an audience. But there was. And it was an audience that was quickly swept up by the excitement and fervor that the De Cormier Folk Singers generated. Yet, for all the audience response, most New Yorkers did not know that anything remarkable was happening at the Bitter End because this occurred in the midst of the strike that shut down New York's newspapers for four months.

Word spread through the entertainment grapevine, however. Command Record's Enoch Light, constantly searching for exciting and important new talent, was one of the first to realize the full potential of the De Cormier Singers. He recognized not only their amazing musical potential but the possibilities  this colorful group of voices provided for unusual and brilliant recording in the world-famous Command tradition of superb engineering craftsmanship.

From Billboard - September 21, 1963: Robert De Cormier is well known as the man who organized the Belafonte Singers. More recently he put together a sizable choral group of his own, which bowed at New York's Bitter End folk club. Enoch Light found them there and later cut them with the benefit of the great Light touch for sound. The arrangements here are standouts and the singer is rich and full-bodied. Could all get much play.

Dance, Boatman Dance

Where Have All The Flowers Gone

Hallelujah

Bye 'N' Bye

Bella Bimba (Italian Folk)

Kissin' No Sin

Go Tell Aunt Rhody (folk)

Amen

The Hammer Song

Igra Kolo (folk)

Rainbow

The Virgin Mary Had A Baby Boy

Walk Together Chidden

Perry Como Sings Just For You

 

Long Ago

Perry Como Sings Just For You

Photo: Don Stewart

RCA Camden CAL 440

1958

You're Adorable

Let's Take An Old-Fashion Walk

I'm Confessin' (That I Love You)

Forever And Ever

You Won't Be Satisfied (Until You Break My Heart)

Long Ago (And Far Away)

It's Only A Paper Moon

There Never Was A Night So Beautiful

You Alone (Solo Tu)

My One And Only Heart

Marcheta

I Love You

Singin' Kay Starr - Swingin' Erroll Garner

 

Good For Nothing Joe

Singin' Kay Star

Swingin' Erroll Garner

Art Direction & Production: Florette Bihari

Crown Records CLP 5003

From the back cover: In presenting Singin' Kay Starr, the One and Only, and the Great Swingin' Erroll Garner, is a rare collection item that will live through music history. This session was taped direct from a live show staged at the Shrine Auditorium in Los Angeles.

Kay made her debut while still in high school on a local local radio station. She sang briefly with the Glenn Miller Orchestra and gained much of her experience while singing with Bob Crosby and Joe Venuti Orchestras. She was first well known in Jazz as a vocalist with Charlie Barnet – later becoming nationally known as a top solo artist. Still steeped in the tradition of the big voiced blues singers of the past, Kay retained some of these Jazz qualities. Such a combination makes her one of the finest vocalists of all time.

Erroll Garner – one of the all time great pianists did not study music nor did he ever learn to read music. He is one of the rare born musical talents. He was an early associate of Billy Strayhorn. He began playing with many of the local bands and soon came to New York where he was featured in night clubs and on many recording dates with The Slam Stewart Trio. After appearing at The Paris Jazz Festival, he achieved recognition with the public through a style that was found acceptable by many non-jazz minded people. He uses the spread chords and melodic variations on the popular themes, and on the faster tempo, a delayed-action, single note, right handed style accompanied by the strumming of the chords, with the left hand, in a guitar-like fashion.

Ain't Misbehavin'

Good For Nothing Joe

Lover

Just For You, Just Me

Them There Eyes

Blue Lou

Tenderly

Little Girl

Country And Western Stars - Hank Locklin

 

Queen Of Hearts

Original Country And Western Stars

Hank Locklin

Design Records DLP-603

1962

Queen Of Hearts 

Mysteries Of Life
Paper Face
Send Me The Pillow You Dream On
I'm Lonely Darling
Come Share The Sunshine With Me
No One Is Sweeter Than You
A Year Of Time
Let Me Be The One
Born To Ramble