Kenton At The Las Vegas Tropicana - Stan Kenton

 

Random Riff & Closing Theme

Kenton Live From The Las Vegas Tropicana

Produced by Lee Gillette and Kent Larsen

Capitol Records T1460

1961

Leader & Piano - Stan Kenton

Saxophones - Richie Kantuka, Lennie Niehaus, Billy Root, Sturi Swenson, Bill Trujillo

Trumpets - Bud Brisbois, Joe Burnett, Frank Huggins, Roger Middleton, Jack Sheldon

Trombones - Jim Amolotte, Kent Larsen, Archie LeCoque, Bob Olson, Bill Smiley

Bass - Red Kelly

Drums - Jerry McKenzie

Artistry In Rhythm

Bernie's Tune

Tuxedo Junction

Street Scene

Puck's Blues

I Concentrate On You

The End Of A Love Affair

You And I And George

Sentimental Riff

Random Riff

Closing Theme

Twelve Shades Of Blue - Woody Herman

 

The Blues Are Brewin'

Twelve Shades Of Blue

Woody Herman and His Orchestra

Columbia Records CL 683

1955

From the back cover: Woodrow Wilson Herman was born in Milwaukee, Wisconsin. At an age when mot boys are playing games, he was making his stage debut as the "Boy Wonder Of The Clarinet," throwing in a few songs and dances as well. After several years in vaudeville, he temporarily gave up entertainment per se and enrolled in Marquette University. When schooling was finished, he returned to show business and went to work in the orchestras of Gus Arnheim and Isham Jones. Soon he got it in mind to form a group of his own, and shortly thereafter, he opened in New York, at the Famous Door on the then-swinging Fifty Second Street. The group was an instant success, handling blues with unusual subtlety and imagination, and when this vein in the musician mine ran out, Woody organized the first of what has since become known as the Three Herds. All of the Herman groups have been characterized by solidly swinging music, and music that partakes of the best influences in modern jazz (and classical music, too).

In the midst of so much fine music, brilliant examples of which are available on Columbia Records, it is sometimes forgotten that Woody is a splendid vocalist as well. A singer of great intelligence and feeling, his phrasing of a line is as meaningful as his phrasing with the clarinet, and this collection presents some of his suavest vocal presentations, all of them leaning toward the blues that first made him famous, and featuring some of the finest instrumentalists who ever appeared on records.

Blues In The Night

My Blue Heaven

Blue Flame

The Blues are Brewin'

Blue Prelude

In The Blue Of Evening

Blue Moon

Am I Blue

Under A Blanket Of Blue

I Gotta Right To Sing The Blues

I've Got News For You

Between The Devil And The Deep Blue Sea

Mean Woman Blues - Ivory Joe Hunter

 

Jammin' Down In Town

Mean Woman Blues

Ivory Joe Hunter

Grand Prix Series K-415

1963

Mean Woman Blues

I Shouldn't Love You

Please Come Back Home Baby

Blues At Midnight

Foolish Pride

Did You Mean It?

7th Street Boogie

Boogin' In The Rain

Jumpin' At The Dewdrop

Jammin' Down In Town

King Of Kings And 11 Other Great Movie Themes - Clebanoff

 

The Green Leaves Of Summer

King Of Kings

And 11 Other Great Movie Theme

Clebanoff and His Orchestra

Arrangements by Wayne Robinson and Caesar Giovannini

Mercury Records SR 60640 

From the back cover: About Clebanoff

A total musician, Clebanoff can look back upon a musical experience that dwarfs that of most recording artists today. A violin prodigy, he was playing recitals at seven and was outstanding enough to join the Chicago Civic Orchestra at 17. At the age of 20, he became the youngest member of the Chicago Symphony, leaving to become concertmaster of the excellent Illinois Symphony. It was there that he accumulated enormously valuable experience in playing contemporary music as well as the classics

Since those early days, he has never been totally a "longhair." On the contrary, his work reflects an interest in the entire spectrum of music – and a knack for popularizing without sacrificing taste or respect for the music. Recording exclusively for Mercury, he has placed his special stamp on albums that have made him one of the most popular orchestral conductors today. This is his fourth album devoted to film music alone. – Lou Sideman

King Of Kings

Lucy's Theme from Parrish

Ben Hur Love Theme

Theme From By Love Possessed

Spartacus Love Theme

Back Street from Back Street

Maria from West Side Story

Tender Is The Night Theme from The 20th Century Fox Release Tender Is The Night

Theme from Apartment

The Green Leaves Of Summer from The Batjac Production The Alamo

Where The Hot Wind Blows

Theme from The Unforgiven

Sound Of Christmas - Ramsey Lewis

 

God Rest Ye Merry Gentlemen

Sound Of Christmas

Ramsey Lewis Trio

Supervison: Ralph Bass

Engineer: Ron Malo

Cover Photo: Garrett-Howard

Cover Design: Don Bronstein

Recorded October, 1961, at Ter Mar Recording Studios, Chicago

Argo LP 687X

Ramsey Lewis - Piano

El Dee Young - Bass

Red Holt - Drums

Accompanying the trio on Side 2 were the following strings: David Chausow, Abe Meltzer, Harold Kuiper, Leonard Chausow, Irving Kaplan, Karl Fruh, Sol Bobrou, Oscar Chausow, Emil Posada, Theodore Silavin

The Orchestra was arranged and conducted by Riley Hampton

From Billboard - December 4, 1961: The Ramsey Lewis Trio has a sock album here for the Christmas season that could appeal to both pop and jazz fans. The trio is backed with strings, which adds a stylish touch to their fine work. Tunes include such Christmas items as "Here Comes Santa Claus," "Sleigh Ride" and "Winter Wonderland," plus two originals, "Christmas Blues" and "The Sound Of Christmas."

Merry Christmas Baby

Winter Wonderland

Santa Claus Is Coming To Town

Christmas Blues

Here Comes Santa Claus

The Sound Of Christmas

The Christmas Song

God Rest Ye Merry Gentlemen

Sleigh Ride

What Are You Doing New Year's Eve

Ahmad Jamal With Voices

 

Gypsies In The Wind

Ahmal Jamal With Voices

The Bright, The Blue And The Beautiful

Conducted by Hale Smith

Trio & Vocal Arrangements by Ahmad Jamal

Lover Man & Yesterdays adapted for voices from Joe Kennedy arrangements

Produced by Richard Evans

Recording Engineer: George Piros

Cover Photo: Don S. Bronstien

Back Cover Photos by Charles Stewart

Album Design: Jerry Griffith

Supervision: Dick LaPalm

Cadet Records LPS-807

1968

Ahmad Jamal - Piano

Jamil Sulieman - Bass

Frank Gant - Drums

The Howard A. Roberts Chorale

From the back cover: Nobody laughs when Ahmad Jamal sits down to play. A lot of folks may cry – over money wasted on piano lessons and the struggle with Warsaw Concerto (Simplified Version). For who can match the lighting speed of Ahmad's fingers creating arpeggio's faster than most of us think? Who else can spontaneously turn Jerome Kern's Yesterdays into a concerto for nostalgia and then in the next moment, blow fresh air into the swinging Wild Is The Wind? Who else can play like the man?

The creative genius of pianist Jamal was definitely recorded in an earlier Cadet album called Extensions, an album which caused a lot of pianists to slam down the wallboard of their Steinways, smashing their fingers and giving up for good. (That album should be around the spindle of every turntable in the country.

Then, mated with voices, the Ahmad Jamal Trio found another extension – in an album called Cry Young – and this LP won new fans all around the world.

The Bright, The Blue And The Beautiful is a sequel to success. It is the Janus brainchild of A&R genius Richard Evans and the highly respected producer Dick LaPalm. From the whistle-clean intro to Wild Is The Wind through the board fade of By Myself, there is a blend of bright and blue and beautiful things. The swinging freedom of Billy Taylor's newest anthem I Wish I Knew. And the too-seldom heard Cole Porter piece At Long Last Love. Then, there is new material. A Ballad For Beverly makes you want to meet the lady. There is a romping tribute Of Bass I Love. Nobody has so sensitively interpreted Love Man since Lady Day cried it. There is a haunting soprano voice on Never Let Me Go. And the vocal group weaves throughout a mile or so of microgroove some of the best lyrical lines – recalling for us the Harbach poetry of Yesterdays (McCartney And Lennon didn't write this one), the story of Gypsies In The Wind, and, to mention it again, the sophisticated imageries of At Long Last Love.

But it is the Ahmad Jamal Trio which headlines here. Drummer Frank Gent lets his cymbal say "Amen" each time he has completed leading everybody through prayer-meeting. Bassist Jamil Sulieman walks straight ahead, picking out the best of the chord roots, tic-tac-toe style. Ahmad Jamal has fun, too. There is a humorous quote from It Don't Mean A Thing If It Ain't Got That Swing. The man should know! There is a fragment lifted from Carol Of The Bells. Most of the time the improvisations that leap from Ahmad' brain to his fingers come from nowhere but the man's ingenious mind. They just happen: the blue notes that color his ballads, the extended arpeggios that always stop at the right place, the swinging phrases that turn unexpectedly in our world of cliches, the understatement (a product of great discipline in jazz) and the rush of sixty-four notes when they're called for.

After listening to Ahmad Jamal, it is no surprise that so many piano players are talking up kazoo.

When you hear this album, you can be sure of three things – it's bright, blue and beautiful. And another thing, it's wild! – Loonis McGlohon, Director Of Music, WBT, Charlotte, N. C.

Wild Is The Wind

Ballad For Beverly

Of Bass I Love

Yesterdays

I Wish I Knew (How It Would Feel To Be Free)

At Long Last Love

Never Let Go

Gypsies In The Wind

Lover Man

By Myself

A Denied Mother - Dorothy Norwood

 

Going To The City

The Denied Mother

Dorothy Norwood

And The Combined Choir Of Atlanta, Ga.

Supervision: Fred Mendelson

Recording: Rev. Lawrence Roberts

Engineer: Bob Richardson

Mastering: Medallion Studios

Cover: Harvey

Savoy Record Co. MG-14140

1966

The Denied Mother

To Those Who Believe

I'll Live For Him

Thy Will Be Done

In The Morning

Going To The City

That's Just How Good God Is To Me

Down Memory Lane With The Orlons

 

You Cheated

Down Memory Lane 

With The Orlons

Cameo C-1073

1963

Let The Good Times Roll

Tonight, Tonight

(I'll Remember) In The Still Of The Night 

Sea Cruise 

Little Star

Lovers Never Say Goodbye

Come Go With Me

You Cheated

Desire

Stranded In The Jungle

Diamonds And Pearls

Casual Look

Million Sellers Go Bossa Nova - Ray Milan

 

Break It To Me Gently

Million Sellers Go Bossa Nova

Ray Milan and The Quarter-Notes

Teen-Age Boss Of The Bossa Nova

Arranged and Produced by Sid Feller

Engineer: Phil Macy

Recorded at Bell Sound Studios, N.Y.

Cover Design: Jules Nadoff

Liner Notes: Joe Lebow

Liner Photos by Bob Ghiraldini taken at Trade Heller's Cafe, New York City

ABC- Paramount ABCS-443

1963

From the back cover: Meet the Teen-age Boss of the Bossa Nova – Ray Milan and The Quarter-Notes! One of the first groups to introduce the new rhythm that has become the sensation of the music world, Ray and his band are the first to adapt the exciting Latin beat for teenagers.

Ray Milan's own special brand of the boss beat – the bossa nova – is attracting crowds of dancers, critics and writers for national publications, including Holiday, Glamour, American Weekly and many others. A Ray Milan appearance is the signal for wild enthusiasm, frenzied dancing and rhythm, rhythm.. rhythm.

While appearing in a New York City Club, Ray was heard by Sid Feller, director of artists & repertoire for ABC-Paramount, and within a couple of days the young group was signed to the label. Since Ray and The Quarter-Notes had built a reputation for their handling of the bossa nova rhythm, this new Latin style was decided upon as the basis for their first release. Adapting the rhythm to the million sellers is an entirely new concept. All arrangements here are by Sid Feller, whose skillful work clearly demonstrates the great similarity between the basic rock 'n' roll beat and the new beat of the bossa nova. Here are universally known million-selling songs wrapped up in a brand new style and performed by the Teenage Boss of the Bossa Nova. Ray sings "Fool #1", "Ya Ya", Break It To Me Gently" and "Dancin' To The Bossa Nova" which was written especially for this album.

Although only 18, Ray Milan is a veteran performer, having appeared on radio and television; in a two-month, eighty-city cross-country tour; and in night clubs, including a five-month stint at New York's famed Peppermint Lounge. Ray has studied music for eight years and is thoroughly accomplished on the guitar, bass and drums, and has a fine singing voice, whether performing ballads or rock 'n' roll. He is the leader-singer-guitarist of The Quarter-Notes. His older brother, Louis, also plays guitar with the group. Ray has more energy per pound than a dynamo. During a performance, he's constantly on the move, attracting all eyes – as well as all ears, when he sings.

Big things are happening for Ray Milan and The Quarter-Notes – and this is just the beginning. Ray is on the way to the top and this album package, bulging at the seams with rhythm, talent and excitement, is just one of the reasons.

Here's the big boss beat – played the way it should be played – by the Teen-age Boss of the Bossa Nova – Ray Milan and The Quarter-Notes! – Rick Ward

Sherry

Stranger On The Shore

Ya Ya

The Lion Sleeps Tonight (Wimoweh)

The Loco-Motion

Break It To Me Gently

Dancin' To The Bossa Nova

Big Girls Don't Cry

Return To Sender

Fool #1

Roses Are Red

Good Luck Charm

Stan Getz In Concert

 

Yvette

Stand Getz In Concert

Pickwick/33 SPC-3031

1966

From the back cover: Stan Getz, one of the true virtuosos of the jazz tenor saxophone, has undergone a fascinating metamorphosis in recent years. He has trod a path all too unfamiliar to the great majority of jazz artists, wherein, by a specific device, has has managed to "catch-on" in the far broader world of pop music.

For years, Getz worked the highways and by-ways of jazz, the small, smoky clubs, where the faces around the jazzman's stand blurred down to non-identity in the haze of the extended solo probings of the horn. In this field alone, Getz has always been worth a lot more than the price of admission.

But with the advent of in the United States of the notable Brazilian bossa nova import, Getz suddenly began to reach new heights, as he teams in turn with such other artists as Charlie Byrd; guitarist-singer, Joao Gilberto, and the wispy-voiced Astrud Gilberto in carrying the bossa nova message into the mainstream of popular music.

No longer were the jazz cognoscenti and the avant-gardists alone in their admiration of this towering talent. And no longer did Getz identify himself with the introverted school of jazz musicians whose music was enough without any visible communication with the paying customers. Getz became a showman who was in touch and who cared, and his playing and the fans' appreciation of it, got bigger and bigger.

Getz continues to be a giant in both his worlds. He is also a great favorite overseas as well, where he occasionally travels with his horn and his group, in between the increased periods of time he spends at his smart Westchester County home in the northern suburbs of New York City with his wife Monica, and their children.

But let it never be forgotten in the bright glare of massive popular acclaim, that Getz, first and foremost, is a musician, a "jazz cat," if you will, whose wonderfully fluid, inventive horn with its foresight attacks, was entertaining the "in" crowd of jazz fans for  years before the bossa nova ever moved north.

This album serves as a more than adequate reminder of the sheer jazz talent of the man, Stan Getz. Here is a specially collected group of offerings that will serve to remind the long-term fandom of his continuing greatness, and that will show his many new, primarily pop-minded friends, that there is also the finely articulated music man here, who has shown the way to many others and who will continue to blaze new and exciting trails.

Such is the nature of the artistry of Stan Getz. – Ren Grevatt

Yvette

Melody Express

Potter's Luck

Wildwood

Split Kick

Penny

And The Angels Sing

Don't Worry About Me