High Fidelity In The Land Of Oom Pah Pah - Karl Von Stevens

Hi-Le-Hi-Lo

High Fidelity In The Land Of Oom Pah Pah

Featuring Karl Von Stevens

Mercury Records  MG 20241

1958

Lustig Und Zufrieden - Happy And Content

Hi-Le-Hi-Lo

Bier Hier, Bier Hier! - Come On With The Beer

Im Tiefen Keller Sitz Ich Hier-Lauterbach - In The Deep Wine Cellar

Trink Mer Noch A Tröpfchen - Have Another Drink

Nacht Leben - Night Life

Happy Little Oom-Pah-Pah

Ei Du Schone Schnitzelbank

O Susanna

Du, Du Liegst Mir Im Herzen - You You

Jolly Coppersmith

Du Kannst Nicht Treu Sein - You Can't Be True, Dear

Stardust - Robert Farnon

 

Blue Skies

Stardust

Robert Farnon and His Orchestra

Richmond High Fidelity ($1.98) B 20002

A Product of London Records

1958

From Billboard - October 27, 1958: Pleasant performances of popular standards such as the title tune by the Robert Farnon Ork. Other tunes include "One Night Of Love," "When I Grow Too Old To Dream," and "Blue Skies." They are played instrumentally by the large ork and are a satisfactory buy at the price.

Stardust

One Night Of Love

Don't Blame Me

Blues Skies

When I Grow Too Old To Dream

Something To Remember You By

Louisiana Hayride

I See Your Face Before Me

Kiss The Boys Goodbye

Paris C'est Une Blonde - Patachou

 

My Funny Valentine

Paris C'est Une Blonde

Patachou

From her shows at The Waldorf Astoria, The Palmer House, The Coconut Grove, Las Vegas

Photography: Bob Witt

Audio Fidelity AFLP 1814

1956

From Billboard - September 22, 1956: Parisian thrush packs plenty of personality and charm into a variety of moods from her cafe rep. Chanteuse projects equally in English and in her native French, whether it's a piquant "Le Fiacre" or a Cole Porter ballad. Album should win her new friends over her nitery following, but most of material and the $5.95 price put it in the sophisticated buyer bracket.

Paris, C'est Une Blonde

Un Jour Tu Verras

Boum

Just One Of Those Things

Le Fiacre

Sous Le Ciel De Paris

La Goulante Du Pauvre Jean

Autum Leaves

All Of You

Vous Qui Passez San Me Voir

My Funny Valentine

Paris, C'est Une Blonde

Drumology - Various

 

Drumology

Drumology

Buddy - Lou - Hamp - Zutty

RCA Victor 45Ep EPAT-437

1955

From the back cover: A set of drums is without doubt the most fascinating, if not the most musical, of jazz instruments. Even those who profess to have no interest in popular music of any kind stand in considerable awe of what can be done with some tightly-stretched hide, a few cymbals and a pair of sticks – it is, after all, a primitive reaction. Drumming is a world unto itself and those who practice it have, in one way or another, become almost national figures. From Baby Dodds to Louis Bellson, there have been a great number of exciting jazz perfectionists, four of whom are gathered together in this disc in a blazing display of dizzying virtuosity.

Regardless of a band's size, regardless of is individual merit, it has this common with all other bands – a drummer. Whether we walk into a night club or turn on the phonograph, he is usually the first to catch our attention. Sitting in the background, perhaps somewhat higher than the rest, his antics are irresistible, his technique amazing – he is, in a word, the whole show, the base on which the entire band pumps away.

Among the greatest drum records of the modern ear is Drumology, a Tommy Dorsey opus featuring the truly amazing Louis Bellson. Louis, who is quite possibly among the three or four greatest of all time, is a technician without parallel. His career with Duke Ellington and, most recently, with small and large groups of his own, has brought his work before an increasingly large public. His swift, light touch is unlike any other in the medium and, above all, he is a truly swinging drummer, one who's momentum cannot but carry all else on a freewheeling surge of energy.

Also from the Tommy Dorsey past comes Buddy Rich – a stand-out in the most critical of surveys. The example of his work here, Quiet Please – which, incidentally, is one of those wild Sy Oliver arrangements – is early but unmistakable. Buddy has played with any number of big bands and, of recent date, has been a leading light in the progressive movement in which he has been associated with various small groups. But the year have not intruded on his style – it remains one of sure, solid footing, rhythmic distinction and pulsing beat.

The New Orleans veteran, Zutty Singleton, shows us how truly jumping great drumming can be in "Fats" Waller's Moppin' and Boppin' – a display spellbinding in its sure and precise control of drumming's rudiments. And Hampton – a master of the vibes and a pretty amazing two-finger piano stylist – is also one of the most driving and rhythmic of drummers. Heard here in Chasin' With Chase, he shows us work which is the epitome of what drumming should be – wild, exciting, enthusiastic and uninhibited. – Bill Zeitung

Drumology - Louis Bellson with Tommy Dorsey and His Orchestra

Moppin' And Boppin' - Zutty Singleton with "Fats" Waller and His Orchestra

Quiet Please - Buddy Rich with Tommy Dorsey and His Orchestra

Chasin' With Chase - Lionel Hampton with Lionel Hampton and His Orchestra

New Concepts - Stan Kenton

 

Improvisation

Kenton

New Concepts Of Artistry In Rhythm

Capitol Records EBF 383

1953

From the back cover: The intense imagination of Stan Kenton gave pulsing life to Artistry In Rhythm more than ten years ago, and today the freshest and most stimulating ideas of modern music are still in his work – in his New Concepts Of Artistry In Rhythm.

Throughout the ten years of the Kenton Orchestra's life its music has gradually changed – with accumulated knowledge, experimentation and association – to bring the listener an ever fresh approach.

This album discloses even more exciting developments in the orchestra's brilliant sound. Masterful musicians like first trumpeter Buddy Childers, first trombonist Bob Burgess, first saxophonist Vinni Dean, and drummer Stan Levey give it the mark of their personalities; and above all stand the dynamic quality of Stan Kenton, inspiring his orchestra and, indeed, a whole profession – carrying the vibrant message of his music to hosts of eager listeners everywhere.

23°N – 82°W

Portrait Of A Count

Improvisation

Invention For Guitar And Trumpet

My Lady

Young Blood

Frank Speaking

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