Sassy Meets Shearing

 

Conception

Sassy Meets Shearing

Camay Records CA 30415

1962

Perdido 

You're Mine You

These Things I Offer You

The Nearness Of You

You're Not The Kind

Swedish Pastry

I'll Never Smile Again

Conception

I'll Be Around

Move

Cuban Moonlight - Stanley Black

 

Frenesi

Cuban Moonlight

Stanley Black & His Piano

With Latin American Rhythm

Cover Photo: Wadham Artists

Decca STERO PHONIC SKL 4025

1958

Vereda Tropical

Majorca

Siboney

Ay-Ay-Ay

El Truco De Pernambuco

Green Eyes

Rumba Matumba

Stars In Your Eyes

Os Quindins De Yaya

The Moon Was Yellow

Nostalgia 

Hold Me Close Tonight

Perfidia

Frenesi

Kay Starr: Jazz Singer

 

I Would Do Anything For You

Kay Starr: Jazz Singer

Arranged and Conducted by Van Alexander

Produced by Dave Cavanaugh 

Capitol Records T1438

1960

From Billboard - November 14, 1960: Kay Starr socks over a group of standards with her usual feeling and intensity. The songs include "I Never Knew," "My Man," "Sunday" and "Hard Hearted Hannah." The ork is conducted in swinging fashion by Van Alexander. Solid wax by one of the top song stylists around today.

I Never Knew

My Man

Breezin' Along With The Breeze

All By Myself

Hard Hearted Hannah

Me Too

Happy Days And Lonely Nights

I Only Want A Buddy – Not A Sweetheart

Hummin' To Myself

My Honey's Lovin' Arms

Sunday

I Would Do Anything For You

Piano Interpretations - Oscar Peterson - Art Tatum - Teddy Wilson - Bud Powell

 

The Second Astaire Blues – Oscar Peterson

Piano Interpretations

By Oscar Peterson, Art Tatum, Teddy Wilson & Bud Powell

Supervised by Norman Granz

Cover Design by David Stone Martin

Norgran Records MGN-1036

1955

From the back cover: Of all instruments common to jazz, the piano in all likelyhood has produced the longest and most durable list of giants. This was not especially true in the beginning of jazz, in the early New Orleans days when the piano was more or less subordinate.

But once you get past the dearth of stars in the Ragtime Era, the modern names begin to fall in line with astonishing if not gratifying profusion.

Here, on "Piano Interpretations," are four of the truly towering figures of the piano – Art Tatum, Teddy Wilson, Oscar Peterson and Bud Powell – with each trying their hand on a group of standard tunes.

How do they compare, these four piano giants? Each artist is highly distinctive and it's no difficult task differentiating them on the basis of touch alone. To begin with, so light is Tatum's touch that he seems often to flick the keys with the least possible pressure and still create a sound. Powell comes next in the respect, followed by Wilson's crisp sound and the comparatively heavy, full-bodied tones of Oscar Peterson.

By derivation, the three others in the list owe an immeasurable debt to Tatum, with particular emphasis on Peterson. Tatum, in turn, owes at least some of his style to the foundation passed along by Fats Waller. To this, Tatum added his matchless technique, his imagination and a notoriously sly wit.

Less ornamental than Tatum in concept, Teddy Wilson was most strongly influenced by Earl Hines and his playing reflects the Fatha's muscular, clean-cut approach. Boppish Bud Powell fits into the picture with an ofttimes dazzling technique and novel twists on the rhythmic accent.

Taking them individually, Tatum, born in 1910 in Toledo, studied violin first. Then one of his violin teachers – his last, as it turned out – urged him to try the piano. As a pianist, Tatum made his mark early on radio, first in his hometown and then out of New York. Later, heading a trio which included Slam Stewart, bass, and guitarist Tiny Grimes, Tatum was the rage of the 1940s and this fame, among musicians and critics, hasn't diminished appreciably since. Recently writing in Down Beat, another fine jazz solo playing to its highest point of virtuosity to date... Few followers of jazz would dispute that.

Teddy Wilson, born in 1918 in Austin, Texas, had experience with bands led by Jimmy No-one, Louis Armstrong and Benny Carter before joining Benny Goodman in 1935. He remained an integral member of the Goodman crew until 1938 when he played in various groups including New York radio staff units taught at Julliard and at Manhattan School of Music.

Not quite into his 30s, Oscar Peterson was discovered by Norman Granz. At first, Peterson turned down the offer to join Jazz At The Philharmonic, preferring to remain in his hometown of Montreal, Canada, and master his instrument. By 1950, Peterson was ready and with the years he has grown into one of the most exciting pianist around today.

Earl (Bud) Powell, a New Yorker born in 1924, comes from a musical family and started playing professionally in his mid-teens. Powell is best known as one of the stalwarts in the bebop movement of the 1940s and one of the most original pianists in the modern idiom.

From Billboard - December 24, 1955: Four giants of the jazz piano – each of them playing several standards – are on this dis. The package offers the jazz-minded listener a chance to compare styles and techniques of these noted performer, and really stacks up as a smart merchandising idea. The buyer gets both quality and quantity for his money. Tunes are "Body And Soul," "The Man I Love," "Tea For Two," "Hallelujah" etc. Must inventory for jazz dealers.

Body And Soul - Oscar Peterson

Can't We Be Friends - Art Tatum

Everything Happens To Me - Teddy Wilson

The Man I Love - Art Tatum

Tea For Two - Teddy Wilson

Tea For Two - Bub Powell

Willow Weep For Me - Bud Powell

I Cover The Water Front - Oscar Peterson

Stompin' At The Savoy - Art Tatum

Oh, Lady Be Good - Teddy Wilson

Hallelujah - Bud Powell

The Second Astaire Blues - Oscar Peterson

Chet Atkins In Hollywood

 

Theme From A Dream

Chet Atkins In Hollywood

With Dennis Farnon and His Orchestra

Produced by Chet Atkins

Recorded in Hollywood, October 23, 1958

RCA Victor LSP-1993

1959

From Billboard - June 1, 1959: The fine guitarist gives another outstanding display of his talent. Performances are flawless and have the backing of Dennis Farnon and ork. Material, which was cut in Hollywood, includes "Armen's Theme," "Theme From Picnic," "Limelight," "Greensleeves," "Santa Lucia" – which give an idea of the broad range.

Armen's Theme

Let It Be Me

Theme From "Picnic"

Theme From A Dream

Estrellita 

Jitterbug Waltz

Little Old Lady

Limelight

The Three Bells

Santa Lucia

Greensleeves

Meet Mr. Callaghan

Eddie Heywood's Golden Encores

 

Like Young

Eddie Heywood's 

Golden Encores

Arranged and Conducted by Hugo Winterhalter

Producer: Snuff Garrett

Cover Design and Photography: Studio Five

Liberty LST-7250

1962

From Billboard - September 8, 1962: With Hugo Winterhalter conducting the orchestra Eddie Heywood runs through a flock of well known standards and current hits with aplomb. Songs include "Exodus," "Misty," "Like Young," "Maria" and "Canadian Sunset." The pianist shows off his best style warmly and the arrangements are rich. A good new album.

Exodus

Like Young

Misty

Fascination

Theme From "The Apartment"

Canadian Sunset

Tonight

The High And The Mighty

Till

Maria

In Other Words

To Love Again

Frank Sinatra Sings For Only The Lonely

 

Angel Eyes

Frank Sinatra Sings For Only The Lonely

Arranged and Conducted by Nelson Riddle

Capitol Records W1053

1958

Only The Lonely

Angel Eyes

What's New

It's A Lonesome Old Town

Willow Weep For Me

Good-Bye

Blues In The Night

Guess I'll Hang My Tears Out To Dry

Edd Tide

Spring Is Here

Gone With The Wind

One For My Baby

Road Show Volume 2 - Stan Kenton

 

Bewitched

Road Show

Volume 2

Stan Kenton and His Orchestra

June Christy

The Four Freshmen

Photo: Thanks to Capitol Records - Graphics - David E. McMacken

Creative World Records ST 1020 Stereo

1975

Personnel:

Saxophones - Charlie Mariano (alto), Ronnie Rubin, Bill Trujillo (tenor), Marvin Holladay, Jack Nimitz (baritone)

Trumpets - Bud Brisbois, Dalton Smith, Roger Middleton, Bill Bathieu, Rolf Ericson

Trombones - Kent Larsen, Archie LeCoque, Don Sebesky (tenor trombone), Jim Amlotte, Bob Knight (bass trombone)

Rhythm - Stan Kenton (piano), Pete Chivily (bass), Jimmy Campbell (drums), Mike Pacheco (percussion)

From the back cover: In the fall of 1959, Stan Kenton, his orchestra, June Christy, and the Four Freshmen began a five-week road show. The road! The wonderful, miserable, exciting road. A hectic endurance test which rivals military survival experiments.

To begin with, doing 38 shows in as many days while traveling several thousand miles means that the entire show is made up of one-nighters – some of them "hit and runs," when everyone climbs on the bus and leaves immediately for the next city, often arriving just in time for the next performance.

There is one thing above all others which makes a tour such as this worthwhile. It is a feeling that grows gradually as the tour rolls on. This feeling comes from being an integral part of a great musical presentation. All those days and nights of working together and traveling on the bus weld the entire show into a magnificent unit, creating a musical rapport which seems to make the whole even greater than the sum of its parts.

By the time the show hit Purdue University in October, it had really jelled, and the stage was set for the exciting and memorable live recording which resulted in this album and Volume I of the Road Show.

Love For Sale

Paper Doll

Them There Eyes

September Song

My Old Flame

Kissing Bug

Bewitched

How High The Moon

Walking Shoes

Artistry In Rhythm

Zorba The Greek - Guadalajara Brass

 

Taste Of Honey

Zorba The Greek

Whipped Cream

A Taste Of Honey and Others

Guadalajara Brass

Cornet CXS-269

Premier Albums Inc.

Zorba The Greek

A Taste Of Honey

Amour D'Itailie

Noter Concerto

Ronde Mexicane

Whipped Cream

Notre Amour Est Tout Meuf

Trumpet By Night

Shubert Alley

Hawaiian Love Songs - The Polynesians

 

Bora Bora

Hawaiian Love Songs

The Polynesians 

Crown Records CST 519

1964

My Hawaii Nei

Momi Lei

Mahina

Go Around The Island

Aloha Oe

Lani Kai

Lovely Tahiti

Mai Poina

One Two Three Four

Bora Bora