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Monday, June 26, 2017

East Of India - Werner Muller

Lotus And Chrysanthemum
East Of India
Werner Muller And His Orchestra
Recored by Deutsche Grammophon Polydor Series
Decca Records DL 8880
1959

The covers suggests that this album may feature a good amount of exotic instrumentation. The set, however, is more of a Les Baxter-styled "exotica" interpretation which is to say, that once you allow for the more straight forward orchestrated approach, I think that you will find the disc enjoyable all the way through. Excellent late 50s product when compared to similar offerings from the period.

From Billboard - May 18, 1959: The German orkster serves up an exotic set of lushly arranged tunes all of which have titles dealing with Eastern places of themes. It's an interesting and listenable item that provides a good programming set. The arrangements are colorful and tasteful. Cover will help attract sales.

The Banquet
The Raftsman's Ballad
Bazaar Melody
Ferry Boat Serenade
Lotus And Chrysanthemum
Ritual Dance
On The Kyushu Island
Merry Geishas
Chinese Tittle-Tattle
Moon Over The Pagoda
Sampans On The River
Lament

The Primitive And The Passionate - Les Baxter

The Primitive And The Passionate
Les Baxter And His Orchestra
Produced by Chuck Eagle
Cover: George Jerman
Art Direction: Merle Shore
Reprise Records R-6048
1961

Available from online vendors so I will not be posting a sample.

Posted here to share the minty cover and original sleeve that came with the copy I found.

Excellent Baxter set that plays through as fresh sounding to day as it must have sounded to vinyl buyers in 1961

From Billboard - September 1, 1962: Exotic arrangements of a group of sophisticated tunes composed by Les Baxter make this album of more than usual interest. The Baxter ork performs the tunes with care, sparked by the stylish use of instruments and unusual and ear-catching sounds. Of the eight songs in the set by Baxter, "Bird Of Paradise," "Fiesta Brava" and "Manchurian Melody" gran a lot of air exposure. One of the four new Reprise "sound special" albums.

Fiesta Brava
Tenderly
Peking Tiger
Laura
A Night With Cleopatra
Via Veneto
Bird Of Paradise
Slave Ship
Manchurian Melody
A Taste Of Honey
Congale
Little Girl Blue

Modern Jazz Hall Of Fame

Extrasensory Perception
Modern Jazz Hall Of Fame
Cover Photo by Philip Lustig
Design DLP 29
Division Of Pickwick Sales
1957

From Billboard - October 7, 1957: An excellent cross-section of modern jazz, mainstream to avant-garde. Set includes excerpts from Massey Hall concerts in Toronto, Canada featuring Parker-Gillespie group, Bud Powell Trio and recordings by Kai Winding with Four Trombones, Thad Jones with Strings, Mingus and Lee Konitz, Max Roach group, etc. These recordings, originally released on Debut are all the more salable now at bargain price of $1.49.

From the back cover: Here assembled for the first time Design Records presents one of the greatest assemblages of modern jazz talent ever recorded. Starring with Perdido recorded by Dizzy Gillespie, Bud Powell, Charlie Mingus, Max Roach and "Charlie Chan" on sax is a true jazz classic. The recording was made in Massey Hall in Toronto, Canada, under the sponsorship of the New Jazz Society of Toronto. Comment by Nat Hentoff of Downbeat, the bible of the music world was... "This is what records are for. It would be a shame to lose this after only one performance." Perdido is a jazz classic in itself and is played or sung by nearly every great jazz artist as a show piece in their repertoire. Following are Max Roach, Gigi Gryce, Hank Mobley, Idrees Sulieman, Leon Comegys, Walter Davis II, and Franklin Skeete playing Mobley's "Orientation", a mood piece of depth and with a strange moving fever. Next on the "A" side of the album we present the great alto sax of Lee Konitz, one of the greatest in the business. Lee plays "Extrasensory Perception" with Charlie Mingus, one of the day's finest bass players, George Kourzen on Cello, Phyllis Pinkerton on Piano, and Al Levitt on the drums. The last piece on this side is Sam Most's Quartet playing "Notes To You". Sam has been voted the "New Star On Clarinet" in a nationwide poll and here is one of the reasons why. With him are Bob Dorough on piano, Percy Heath on bass and the great Louie Bellson on drums... The flip side of the disc... or as those of us who are not "hep" might say... The reverse side of the record leads off with four of the finest jazz trombonists in American today. J. and Kia... The fabulous J.J. Johnson and Kai Winding along with Bennie Green and Willie Dennis play mush trombone in a piece written for trombone by Winding. Joining them are John Lewis on piano, Charles Mingus on bass and Arthur Taylor on drums. Folloing the tribune piece we have two more cuts made at Massey Hall. The first by the Bud Powell Trio, "I've Got You Under My Skin" played by Bud on his amazing piano, Charlie Mingus on Bass and Max Roach with a real driving beat on the drums. Max really shines on the third track when he plays a drum solo titles "Drum Conversation"... One of the finest recordings of this type ever made. The clicking noises you hear in the background are Mingus clicking his heels to the tempo. Following this pair we close with "Portrait" a moody, semi-classical tone poem composed by Charles Mingus and played by the amazing Thad Jones on trumpet, Billy Taylor on piano, John LaPorta on alto sax, Jackson Wiley on cello, Smilin' Milt Hinton on bass and Joe Morello on drums. This piece in itself shows how deep the thought that goes into progressive jazz can be... – Roy Freeman

Perdido
Orientation
Extrasensory Perception
Notes To You
Kai's Day
Got You Under My Skin
Drum Conversation
Portrait

Lionel Hampton

Lionel Hampton and His Orchestra
Lion L70064
A product of MGM Records - A Division of Lowe's Incorporated
1958

Great Hampton compilation set available from online vendors under the title "Air Mail Special".

From the back cover: Lionel Hampton was born in Louisville, Kentucky, but grew up in Chicago, where his musical family moved when he was seven. There, he received his early musical training. He left school at the age of sixteen to find work as a professional musician, but his age was a handicap and jobs were few and far between. Eventually, he found himself in Los Angeles. Here, he got his real start, first as a drummer with a jazz combo headed by Paul Howard, lager with Les Hite's Band. Then, he drew the attention of Louis Armstrong. It was during service with "Satchmo" that he switched from drums to vibes and found the first nation-wide recognition of his name and talent. His unique artistry brought him immediate acclaim in movies, public appearances and on records. When Armstrong set out for the East, "Hamp" decided to remain on the coast. It was at this point that Benny Goodman offered him a spot with what was then the greatest band in the world. "Camp" began making musical monuments with the all-time greats: players like Teddy Wilson, Gene Krupa, Harry James, Ziggy Elman, and B. G. himself. That was in 1936, a year, incidentally, when Down Beat Magazine accorded "Hamp" an award in honor of his selection by popularity poll as "the most exciting artist of the year". When Goodman dissolved his band, "Hamp" organized his own orchestra and, in less than a year, it became one of the biggest "name" attractions in the country. The rest is history.

Air Mail Special
Cool Train
Jumpin' With G. H.
Gates Steps Out
Don't Flee The Scene Salty
Oh, Rock
Gabby's Gabbin'
Cryin'
Samson's Boogie
Helpless
Kingfish
Alone

Essence Of Romance - Spencer-Hagen

Voodoo
Essence Of Romance
Spencer-Hagen Orchestra
Cover Printing: Western Lithograph Co., Los Angeles, Calif.
Liberty LST 7015
1957

From Billboard - September 30, 1957: This set is keyed even closer to the romance angle than the average period act, with a lush Polynesian type admiring herself in the mirror on the cover and material inside under such titles as "White Shoulders," "Surrender," "Night of Delight," to whet the appetite. Notes go a little far in setting the mood but the work itself has a rich, clean, well-arranged and recorded sound with makes the group of original tunes quite salable. Nick jock bands here, too.

White Shoulders
Voodoo
Surrender
After Nightfall
Night Of Delight
Bubble Bath
Reflections
Beloved
Tailspin
Ambush

Saturday, June 24, 2017

Jazztime U.S.A. - Volume 3

You Go To My Head
Jazztime U.S.A.
Featuring The Terry Gibbs Sextet, Jackie Paris, Hot Lips Page and The Marion McPartland Trio
Volume 3
Recorded at Fort Monmouth, N. J., May 27, 1953
Brunswick Records BL 54002

From the back cover: Once a month a group of outstanding jazz specialist visits different Army and Navy bases. The men are brought together and the productions are supervised by disc jockey Al "Jazzbo" Collins and Bob Thiele, Director of Artists and Repetorie for Coral Records.

Perdido, These Foolish Things and Don't Blame Me
Personnel: Terry Gibbs; Vibraphone, Don Elliot; Mellophone, Claude Noel; Piano, Kenny O'Brien; Bass and Sid Bulkin; Drums.

You Go To My Head and Cool Blues
Personnel: Terry Gibbs Sextet and Jackie Paris

St. Louis Blues, Sunny Side Of The Street, St. James Infirmary Blues and The Sheik Of Araby
Personnel: "Hot Lips" Page; Trumpet and vocal, with Marion McPartland Trio - Marion McPartland; Piano, Walter Host; Bass and Mouise Alexander; Drums

Side One/Terry Gibbs Sextext

Perdido (Last)
These Foolish Things (Remind Me Of You)
Don't Blame Me
You Go To My Head

Side Two/Hot Lips Page with Marion McPartland Trio

Cool Blues
St. Louis Blues
On The Sunny Side Of The Street
St. James Infirmary
The Sheik Of Araby

Jazztime U.S.A. Volume 2

Honeysuckle Rose
Jazztime U.S.A.
Volume 2
Recorded at Pythian Temple, New York City, April 13, 1953
Burnswick Records BL 54001
1953

From Billboard - August 22, 1953: The selections on this 12-inch LP were recorded at Pythian Temple, New York, in April of this year. The sounds of the audience who attended the jazz concert are in the grooves. This, plus the fact that the date was done at a concert rather than in a studio, lends a touch of informality. The artists represented cover a wide range, both in types of jazz and style of performance. There are such top jazz names as Georgie Auld and His All Stars, Charlie Shavers, Ed Safranski; young, upcoming classically-trained artists as Tony Scott, Stuff Smith, Terry Gibbs and many others. The talent also includes a performance by Moondog, the itinerant musician who specializes in odd rhythmic studies. This reviewer personally thought the selection of material played could have been greatly improved. The album should appeal to jazz fans, however.

Side 1

Terry Gibbs Sextet: Terry Gibbs, Vibraphone; Don Elliott, Mellophone; Ray Abrams, Tenor Sax; Claude Noel, Piano; Kenny O'Brien, Bass; Sid Bulkin, Drums
De Arango - Terry Gibbs - Bill De Arango

Tony Scott Quartet: Tony Scott, Clarinet; Dick Katz, Piano; Milton Hinton, Bass; Jackie Moffett, Drums
Bob's Blob - Tony Scott

Stuff Smith, Violin Solo:
Stuff Smith, Violin; Dick Katz, Piano; Milton Hinton, Bass; Jackie Moffett, Drums
Honeysuckle Rose - Thomas Waller -Andy Razaf

Moondog: Moondog Plays The Trimbas and OO in Snake Time
Rims Shots
Improvisations In 4/4
Improvasation In 7/4

Side 2

Georgie Auld and Sarah McLawler: Georgie Auld, Tenor Sax; Sarah McLowler, Organ and Vocal; Mundell Lowe, Guitar; Specs Powell, Drums
Red Light

Georgie Auld And His All-Stars: Charlie Shavers, Trumpet, Kai Winding, Trombone; Tony Scott, Clarinet; Georgie Auld, Tenor Sax; Lou Stein, Piano; Mudell Lowe, Guitar; Ed Safranski, Bass; Specs Powell, Drums
Lucky Duck - Heal Hefti
I've Got A Crush On You - George Gershwin - Ira Gershwin
One O'Clock Jump - Count Basie

Thursday, June 22, 2017

Jazztime U. S. A. Volume 1 - Terry Gibbs and Mary Lou Williams

Down Beat
Jazztime U. S. A.
Volume 1
Featuring Terry Gibbs Sextext and Mary Lou Williams and her Orchestra
Brunswick Records BL 54000
1952

From the back cover:

About Terry Gibbs

Terry Gibbs was born in Brooklyn, N. Y., on October 13, 1924. When he was twelve years old he won the Major Bowes Contest on the concert xylophone. While attending Tilden High School in Brooklyn he made many radio, theatre, and concert appearances, and it was during the period that Terry also mastered the drums and tympani.

Upon graduation from high school, Uncle Sam booked Terry for a three year engagement, which he served in an armored division. After discharge, he was featured over network radio from New York. During this period Tommy Dorsey asked Terry to join his band for a special coast engagement in a featured spot. A. D. (or After Dorsey) Terry joined Chubby Jackson's outfit for a three month European tour.

Upon his return to the U.S. Terry was heard with Buddy Rich's orchestra and was featured at such top spots as the Palladium, Hollywood; Howard Theatre, Washington; Paramount and Apollo Theatre in New York, among others. While with the band, Terry was also featured in a musical short for Universal-International. After leaving Rich's band Terry joined Woody Herman and was featured at such top spots as the Empire Room, Hollywood; Royal Roost, New York; Blue Note, Chicago; and many others. At the same time Terry appeared on leading TV show such as the "Ed Sullivan Show" and the "Eddie Condon Show" among others.

After his arrangement with Herman, Terry Gibbs joined T. D. for a special eastern engagement, and then went on to Benny Goodman on the "Star Time TV Show." Here he was picked as the king of the vibes by the "Downbeat" and "Metronome" polls for the year 1950-51.

On the strength of this honor, Terry Gibbs formed the group known as Terry Gibbs and his Sextet which was an immediate success with the customers and critics alike.

About Mary Lou Williams

She was born in Pittsburg, Pennsylvania, May 8, 1911, and her musical career began when she was three. While seated on her mother's lap at the organ, Mary Lou picked out the melody of several tunes she had heard her mother play. Less than a year later she was earning money playing for local bridge and house parties.

At eleven, Mary Lou got her first professional job, replacing a pianist who had walked out on a show called "Hits and Bits." Graduating from high school with honors at sixteen, she left Pittsburgh for a tour that lasted several years. In 1931m Mary Lou went to work with an 18 piece band, as pianist, arranger, and composer. Her playing, arranging and her original compositions gave the entire ensemble the beat and inspiration that enabled them to make a mark in the history of jazz. All her recordings are treasured collector's items.

Mary Lou Williams quickly became one of the most respected and sought-after people in the field of contemporary music. For a number of years, her home has been open to all who are interested in and responsible for the progress of modern music. Many of the most far-reaching innovations in jazz were first during the frequent discussions and work sessions that are held in her apartment. She may be called the "Queen Of Modern Jazz" with undeniable justification. Few days pass without her receiving a phone call from some musician who seeks her help and advice on a musical problem or someone who wants her reassuring presence at a recording session. As many as ten calls per day come over her phone from youngsters who want to learn to play her kind of music. Mary Lou selects the most promising of these, and devotes her time to developing their potential talents.

Besides her countless appearances at American's leading night clubs, television and radio shows, she has given many concerts at Town Hall, Carnegie Hall, and college auditoriums, and is the composer of more than two hundred tunes.


Also from the back cover: On T. & S., a Gibbs tune, the solos are by Don Elliott, the versatile young ex-Shearing star, on mellophone; Terry on vibes; and Horace Silver on piano. On Flyin' Home Billy Taylor takes over at the piano; Kai Winding has one of his swingengest trombone choruses; Howard McGhee handles the trumpet chores brilliantly; and the climax is a long duet for four mallets by Don Elliott and Terry, both playing on the same vibraharp. You will have a fascinating time trying to figure out who is playing what, and when. All we can tell you is that between the two of them, Terry and Don make this a unique event. The rhythm section (Billy Taylor, Chuck Waye, George Duvivier, and Sid Bulkin) keeps up the frantic pace superbly.

The second group on this session was under the leadership of Mary Lou Williams, a greatly respected jazz figure for two decades and one who has always kept up with new stylistic developments. With her are Harold Baker, whose muted trumpet work in Down Beat and C Jam Blues will rank among the tastiest performances of the year; Vic Dickenson, the great trombone veteran; Morris Lane, a Lionel Hampton alumnus who plays a tenor sax in the big-toned Coleman Hawkins tradition; and Newell John, a new guitar star recruited from Loumell Morgan's combo to take part in this jam session.

We need hardly to add that with Don Lamond and Ed Safranski completing the rhythm section, this group gets a fine a beat as you could wish – and, thanks to the recording conditions, every man can be heard perfectly... and memorably.


T And S
I Don't Know What Love Is
Flying Home
Three Little Words
Down Beat
Out Of Nowhere
C Jam Blues

Quiet Music - Columbia Salon Orchestra

Clare De Lune
Quiet Music
Volume 1
Columbia Salon Orchestra
Easy Listening For Your Relaxation
Columbia Records GL 510

Volume one of as many as 6 volumes found in the Columbia Quiet Music series.

Clair De Lune
Blue Danube Waltz
Tuica
La Paloma
Parade Of The Wooden Soldiers
Minuet In G
Spring Song
Bright Shines The Moon
La Rayuela
Speak To Me Of Love
No Longer Does The Dawn Caress Me
Schubert's Serenade

Tuesday, June 20, 2017

The African Mbira - Music Of The Shona People Of Rhodesia

The African Mbira
Music Of The Shona People Of Rhodesia
Played & Sung by Dumisani Abraham Maraire
With Nkosana Arthur Maraire, voice & bisho
Sukutai Laura Chlora, voice
Coordinator: Teresa Sterne
Producer: Robert Garfias
Recording Engineer: Daniel C. Grinstead
Art Direction & Cover Design: Robert L. Heimall
Cover Art: Bob Ziering
Nonesuch Records Explorer Series H-72043
1971

Available from online vendors, under the title: Zimbabwe The African Mbira: Music Of The Shona People.

Lovely flow of voice and rhythm. Consistent bright, light tonal quality present throughout the set.

From the back cover: Dumisani Abraham Maraire is a Shona musician possessing a wide range of abilities. Dancer, singer, drummer, marimba player, as well as an excellent player of the 15-note junta mbira heard on this record, he has been a lecturer in the School of Music at the University of Washington since 1967. He is assisted in this recording by his brother, Nkosana Arthur Maraire, and Sukutai Laura Chiora, both of whom are students.

Kana Ndoda Kuramba Murume
Tipe Tizie
Misorodzi
Gumbukumbu
Ndini Baba
Urombo

A Swinger's Holiday - Vic Schoen

Nine Penny Theme (Vic Schoen)
A Swinger's Holiday
Vic Schoen And His Orchestra
Producer: Si Waronker
Cover Design: Garrett-Howard
Engineer: Ted Keep
Liberty LST 7018
1958

From the back cover: Our thanks to the officers and men of the Strategic Air Command, March Air Force Base, Riverside, California, for their help and cooperation in the production of this cover.

Also from the back cover: History is full of distinguished musicians who began at a very early age... Vic Schoen is one of them. He achieved success in early maturity with such popular recordings as the Andrew Sisters' "Bet Mir Best Du Schoen" (the last word of that title being an interesting coincidence!), "Beer Barrel Polka", "Apple Blossom Time" and "Rum And Coca Cola", to name a few. He has furnished music for some of the greatest names in show business – Bing Crosby, Al Jolson, Ella Fitzgerald, Bob Hope, Dick Haymes, Danny Kaye and many others. He worked with Crosby and Hope in several of the hilarious "Road" pictures: "Road To Rio", "Road To Morocco", "Road To Zanzibar" among others, and has conducted and written for the Dinah Shore Show, the Colgate Comedy Hour, and the Jack Carson TV Show. He has just concluded a very successful series on CBS-TV with Patti Page's "The Big Record". We feel that Mr. Schoen may well have another "Big Record" to his credit with "A Swinger's Holiday".

Heartaches
My Heart Swings
Six Days Before Never
If I Love Again
Paradise
That Old Black Magic
I Fall In Love Too Easily
Autumn Leaves
Nine Penny Theme
A Swingin' Holiday
I'll Always Be In Love With You
Marion

Monday, June 19, 2017

Jazz Surprise - The Modern Jazz Stars

Perdido
Jazz Surprise
The Modern Jazz Stars
Photography: Too Walker, Beverly Hills
Crown Records
CLP 5008
1957

Recordings from 1947 "Gene Norman Just Jazz Concerts"

Personnel:
Alto Saxophone – Sonny Criss
Bass – Red Callender
Drums – Jackie Mills
Piano – Dodo Marmarosa
Tenor Saxophone – Dexter Gordon
Trumpet – Howard McGhee
Vocals – Anita O' Day (Fall Out & Cherokee)

Fall Out
C-Jam Blues
Moonlight
Perdido
Wailin'
High-Time
Cherokee
Scratch
Off Nite

Jet Flight - Norrie Paramor

Norrie Paramor's
Jet Flight
Brilliant Listening Music by England's Finest Orchestra
Capitol Records
Recorded In London
T10190
1958

Font cover color photo of the Boeing 101 in flight courtesy of Pan American World Airways
Paramor photo by Derek Allen

Available from online vendors so I will not be posting a sample. Presented here to share the cover art.

This set did not impress me as a mood package. I did enjoy a few individual songs, but the overall tone from track to track changed too drastically to keep me engaged. Paramor also hadn't, on this release, teamed up with soprano Patricia Clarke, a vocal feature which makes his work special. However, one reason for the package direction would be that Capitol was pushing heavily into the new stereo market and, like other labels of the time, was pressed to show the "high-end" or "modern" record buying crowd the diverse new sounds that their recording engineers could lay down on vinyl.

From Billboard - October 20, 1958: Paramor's smooth keyboards and attractive sound effects highlight this instrumental tour of 10 countries. "Barcelona" and "Jumpin' Johannesburg" are standouts. Striking cover shot of Pan-Am's new jet.

Holiday In London (England)
Rainy Night In Paris (France)
Venetian Blue (Italy)
Barcelona (Spain)
Jumpin' Johannesburg (South Africa)
Brazilian Hangover (Brazil
Honolulu Honeymoon (Hawaii)
Sydney Stopover (Australia)
Evening On Tokyo's Sumida (Japan)
Sunday At Chapultepec (Mexico)
Majorca (Spain)
Sunset On The Tiber (Italy)

Sunday, June 18, 2017

A Night At Kitty's - Herbie Fields Sextet

You Go To My Head
A Night At Kitty's
Herbie Fields' Sextet
Cover Photography by Mike Tatem, posed by Flo Williams
RKO Unique ULP 124
1957

Production of this album was made possible by Buddy De Long of Kitty's Show Bar and Nat Room. Original recording by Robert Buchsbaum of Coronet Recording Co., Columbus, Ohio.

Personnel:
Herbie Fields – Soprano, Alto, Tenor and Baritone Sax, also Clarinet
Joe Black – Piano
Bob De Nardo – Guitar
Lon Norman – Trombone
Tiny Mazza – Bass
Frank Root – Drums

From the back cover: This album is a typical grouping of the complete variety of tunes you might hear the Sextet play during one of their nightly sessions at Kitty's Show Bar in Columbus, Ohio. All of these tunes were actually recorded during one evening at the popular nightspot where the best musical groups in the country are featured, so whether or not you're lucky enough to go and hear the group in person, you can still enjoy their swing-to-sweet renditions with this on-the-spot recording. – Larry Meeks

Take The "A" Train
Satin Doll
Undecided
Song From "Moulin Rouge"
Bernie's Tune
Dark Horse
You Go To My Head
Memories Of You
How High The Moon
Mambo Inn
Green Eyes
Flying Home
Soprano Boogie

Musical Cocktail Party - Cedric Dumont

Vilja-Lied
Musical Cocktail Party
With Cedric Dumont
His Orchestra and His Shaker
Recorded by Deutsche Grammophon-Polydor Series
Decca Records DL 8600
1958

All recommended cocktails are original recipes by Cedric Dumont. Copyright 1955 by Cedric Dumont, Basle, Switzerland.

From Billboard - January 20, 1958: This can best be described as bubbly music. It's bright, with a happy continental type sound. Strings, harp, accordion, etc., dominate the disk, which was well cut by the Deutsche Grammophon people in Germany. Liner notes by the maestro himself tie in a recipe of his own making for a cocktail to go with each selection. Mood music that's different enough to interesting.

A Toast To Wine
Ballroom Whispers
Swiss Boy
Sarie Marei
Ferry Boat Serenade
Amboss-Polka
High Feathers
Fireproof
Vilja-Lied
Swiss Girl
Guitar Serenade
Spanish Fire
A Toast To Wine

Cocktails Anyone? - Bob Creash Quintet

The Sheik Of Araby
Cocktails Anyone?
Bob Creash Quintet
Unique LP 104
A Subsidiary Of RKO Teleradio Pictures, Inc.
1956

From the back cover: Usually a musician starts out and stays in one phase of the music business, but Creash has moved around a lot since his starts as a sideman in dance bands, with ventures into radio, television and personal accompaniment. Two stars backed by his able accompaniment are Denise Darcel and Jackie Gleason. Besides his fine musicianship as an accordionist and arranger, the versatile Bob Creash also has a great gift for story telling and entertains by the hour anybody he happens to be working with.

Known as a "musician's musician," Bob has worked in nearly every big night club and hotel in the East in addition to his radio and television work. Before going on his own, Bob played with such popular name bands as Tommy Tucker. Buddy Rogers, Enoch Light, Ray Block, and was a member of the staff bands for the Herb Sheldon radio show, Stork Club show, Igor Cassini show and Star-time on television.

For over seven years, Bob entertained the guests of the Hotel New Yorker which he regards as his "home-away-from-home." He then decided to concentrate his efforts on the recording end of the business. You can recognize a phrase or two of his on an Eddie Fisher hit record, or a June Valli performance. But note it's Bob's turn to be "up front" for a change.

For his Quintet Bob Creash has gathered together a group of top recording musicians... with Bob himself on accordion – Jim Brokenshire, clarinet – Bill Suyker, guitar – Charles Scardion, bass and Joe Madding, drums. – Larry Meeks


Idaho
Smiles
Jeepers Creepers
If You Knew Susie
The Sheik Of Araby
Should I
Ain't She Sweet
Yes Sir, That's My Baby
Do You Ever Think Of Me
Bye Bye Blackbird
I Want A Girl
Shine

Saturday, June 17, 2017

Latin Dance Party - Al Stefano

Nightingale
Latin Dance Party
Al Stefano and His Orchestra
Decca Records DL 8646
1958

Nice period Latin set featuring varied, peppy sounding arrangements and a band backed by a strong rhythm section.

From the back cover: Al Stefano is a musician who from the onset of his career has had a strong belief in quality. He has expressed this belief by being a tremendous admirer of the one and only Perez Prado.

Beginning as a drummer, Al formed his own orchestra but three years ago, and is already firmly established as one of the leading Latin American dance bands.


Mi Cha Cha Cha
Besame Mucho
Que Rico Es
Tomcat Mambo
El Meme Mene
Rumba Rica
I Can't Get Started
Mambo At The Zenda
Ay! Mamita
Nightingale
Suby Del Poli
Mambo En Trompeta

Friday, June 16, 2017

The Swingin'st Vivo Musso

Sherry Pink
The Swingin'st
Featuring Vido Musso
Photography: Burden-Walker, Beverly Hills
Art Direction & Production: Florette Bihari
Crown Records CLP 5007
1956

The Vido Musso organization is composed of:

Jackie Mills, Drums; Maynard Ferguson, Trumpet; Milt Bernhart, Trombone; Chico Alvarez, Trumpet; Willard McDaniel, Piano & Bobby White, Drums

From Billboard - September 22, 1956: Musso, one-time tenor sax star with several big bands in the Swing Era, plays here like an inferior rhythm and blues honker. Customers attracted by nostalgia will be disappointed by the coarse, uninventive blowing. They will be intrigued by some amazing double-talk in the liner notes, however.

From the back cover: Introducing the great Vido Musso – one of the all time greats of the tenor sax – a title which has taken many years of hard work to earn.

Vido came to America from Sicily when he was 17 years old, a young immigrant who had heard American Jazz only by record, but believed in it fervently. Musicians in this country were amazed when they heard the youthful Italian blow with such excitement on his worn tenor sax. He has a natural talent with stems from within, and is one of the most eminent in his field.

In 1936, Vido realized one of his wildest dreams when Benny Goodman, the 'King Of Swing' himself, asked him to become a member of the Goodman Orchestra. It was during the time with Goodman that Musso began in earnest to attain his reputation as one of the all-time greats of the tenor sax. Some of the reviews of that era recall Vido as 'Playing with that power that drifts off into a wisp of tenderness, fragile and lovely, a forceful, dynamic musician... the flash and color that marks the topnotcher. While with Goodman, Vido recorded the unforgettable Sing, Sing, Sing from which his solo work has become a Jazz Classic.

During the next few years he was featured with Harry James, Woody Herman, Tommy Dorsey, and back again with Goodman. In 1941, when Bunny Berigan organized his band, Vido immediately joined him. Bunny's health began to fail; one night Bunny took ill and asked Vido to front his band for him. That same night Bunny died. In the meantime, Stan Kenton had formed his first band; Vido jumped at the opportunity to join him. The 'Artistry In Rhythm' of Stan Kenton skyrocketed to fame, due in no small way to the potent tenor sax of Vido Musso. Out of this association came one of Kenton's most popular records, 'Come Back To Sorrento' with Vida's dynamic solo the high spot of the disc.

Video is credited with winning the Down Beat Poll Award in 1943, 1946 and 1947.


Sing, Sing, Sing
Back Street Boogie
Jersey Bounce
Movin' On
Emaline
Rockin' Time
Vido's Boogie
Sherry Pink
On Stage
Rollin'
Rock House Blues
Russian Lullabye

Floating On A Cloud - Dolf Van Der Linden

Dream For Two
Floating On A Cloud
Dolf Van Der Linden and his Orchestra
RCA Camden CAL-258

Dream For Two
Smiling
Love Affair
Meditation
Stormy Heart
Nostalgia
Forgotten Dream
Little Romance
Voices From Home
Inconsolable
For Us No Moon Is Shinning
My Mother's Singing
Keep Pretending

My Kind Of Girl - Matt Monro

Mirage
My Kind Of Girl
Matt Monro
Warwick Records W 2045
1961

From Billboard - October 16, 1961: Matt Monroe a highly personable young Britisher, opened his initial American club engagement at the Roundtable here Monday (2), to the accompaniment of an augmented 12-piece band and considerable enthused reaction from the customers.

Monro, who has often been compared to Sinatra, Darin, Damone etc., particularly due to his performance on his recent disk hit on Warwick, "My Kind Of Girl," reveals a pleasant singing personality of his own.

His repertoire consists mainly of nice, memorable standards like "Let's Face The Music And Dance," "Like Someone In Love," "It's All Right With Me," "Like Someone In Love," and "The Party's Over," and he turns these in polished fashion. The chanter also does a neat turn with "My Kind Of Girl," and his newest disk "Why Not Now," which is already getting good action in some territories.

If there's a drawback to Monro's performance it's in his lack of a prepared act. He gives the impression of doing the songs off the top of his head. What the act needs is more pacing and perhaps more drive. A good special material bit, "I'm A Limey," done with bowler hat is not a suitable opener and a reprise of the disk hit, "My Kind Of Girl," doesn't come off as a curtain call windup. But these are slight matters that can be ironed out. The basic talent and personality are both there. – Red Grevatt


From the back cover: Glancing at Matt's background it is almost inconceivable to visualize how he was able to elevate himself to a top position in the musical world. He enlisted in the army at 17 and this was when he first became interested in singing. With the exception of a few talent contests, however, his time in the service was spent as an instructor on tanks. While posted in Hong Kong he entered a talent contest which he proceeded to win six weeks consecutively at which time he was barred – in order to give the other competitors a fair chance.

After having his own radio show briefly Matt was discharged from the service and became a truck driver, on the London to Glasgow run. While in Scotland he cut a demonstration record for personal use only and then returned to London to become a bus driver. After a while he received an encouraging offer of a recording contract and things seemed to finally be falling into place. He was offered a radio series in Luxembourg, was featured with the well known Cyril Stapleton Band on BBC and did many major television shows. But once again fate stepped in and Matt seemed to lapse into obscurity, despite this spurt of popularity.

Then a man named George Martin stepped into Matt's life. Mr. Martin, the recording manager of Parlophone and the producer of this album, employed Matt to do an impersonation of Frank Sinatra on a new LP. So perfect was his recording that it was decided to include him in the album, however, he was not allowed to be identified as Matt Monro and instead was given the name of Fred Flange, rising to fame as the man who fooled the experts into thinking this was really Sinatra in action. Eventually the secret leaked out and Matt finally regained his stature as an artist and became in great demand for night clubs, television, and guest appearances. These appearances even included a personal invitation from President Eisenhower's air crew to sing for them at the Pentagon... this was a first!

At the end of 1960 success surrounded Matt and his second record "Portrait of My Love" soared to the top ten on the English hit parade. Early in 1961 Warwick Records president Morty Craft paid a visit to George Martin of Parlolphone and the fate of Matt Monro was once again altered. These two top record producers from different continents banded together for one common cause... to make the voice of Matt Monro number one throughout the world and success has been their reward. After months of hard work Morty Craft was able to bring his discovery to the top of the hit parade here in the United States with Matt's "My Kind Of Girl" and George Martin has continued keeping Matt in the top ten in England. – Notes by Lois G. Van Duyne


Let's Face The Music And Dance
Portrait Of My Love
Love Is The Same Anywhere
No One Will Ever Know
I'll Dream Of You
My Kind Of Girl
Come Sta
Cheek To Cheek
Mirage
April Fool
There Are No Words For Love

Love Dances Of Brazil - Emanuel Vardi & Bernardo Segall

Ninguem Na Rua
Love Dances Of Brazil
Emanuel Vardi And His Orchestra
Bernardo Segall At The Piano
Decca Records DL 8764
1958

Simple, classy "continental" sounding arrangements.

From the back cover: Bernardo Segall, a native Brazilian, has enjoyed a career so active that his energy must certainly equal his unusual talent. He has to date made several extensive tours of the United States, South America and Europe, and appeared with most of the major orchestras under such famous conductors as Toscanini and Klemperer. He has also found time to compose scores for the theater and motion pictures. What Say (Que Gal), one of the melodies heard in this album was written my Mr. Segall.

Capturing the romance and color of Latin American music is not a new achievement for Emanuel Vardi, although his most recent activities center around concerts of music by modern composers in New York. The permanent conductor of the fast-growing West Hempstead Symphony Orchestra on Long Island, Mr. Vardi has also conducted at Carnegie Hall, in Europe, and, as conductor of The Concert Masters Of New York, has recorded a brilliant series of string concerts for Decca. In addition to conducting, he is a well-known viola virtuoso and an accomplished arranger – having done all the arrangements for this album.

Brazil
Diario Secreto
What Say?
Arnaud No Choro
Ninguem Na Rua
El Bion
Anna (El Negro Zumba)
Aye Breve
De Cigarro Em Cigarro
West Wind
Um Grande Amor
Tico-Tico

Walk Softly Run Wild - Johnny Richards

Walk Softly/Run Wild!
Johnny Richards And His Orchestra
Coral Records CRL 57304
1960

Personnel on You Go To My Head, Sunday's Child, Run Wild, Yemaya, Tempest and Alone Together:
Trumpets - Burt Collins, Clyde Reasinger, Ray Copeland, Jerry Kail
Trombones - Billy Byers, Jim Cleveland, Jim Dahl
French Horn - Joe Singer
Tuba - Jay McAllister
Reeds - Dave Schildkraut (alto sax), Frank Socolow (tenor sax), Bill Slapin (bariton & piccolo), Shelly Russell (bass sax)
Rhythm - John Knapp (piano), Chet Amsterdam (bass), Ed Shaughnessy (drums), Ted Sommer (percussion)

Personnel on Walk Softly, The Way You Look Tonight
Same as above, with the exceptions of:
Trumpet - John Bello for Clyde Reasinger
French Horn - Julius Watkins for Joe Singer
Alto Sax - Gene Quill for Dave Schildkraut

Personnel on Laura, Three Cornered Cat
Same as on Walk Softly and The Way You Look Tonight with the exception of:
Percussion - Warren Smith, Jr. for Ted Sommer

Available from online vendors so I will not be posting a sample. Presented here because online examples may not feature the original cover art and to share the biographical information found on the back cover.

From Billboard - February 1, 1960: Richards is both smooth and dynamic in this fine offering of the big band brand of jazz. The arrangements are interesting and thoughtful, and they are well executed. The set has been well-recorded. Tunes include a few Richard's originals and some standards. Set is an excellent item for both pop and jazz jocks, and it should move for coin in both markets.

From the back cover: Johnny Richards is a man of convictions. Though calm, polite and soft-spoken, he is a leader. In 1957, he organized an orchestra because he had to. "As long as I can remember, I have been a frustrated jazz musician," Johnny told critic Bill Boss shortly after his orchestra came into being.

"I'd wanted to have an orchestra for some time," he informed me. "But I have been burned before, and it never seemed like the right time... It was Stan Kenton who gave me the final push. One day, he came up to see me a CBS and said:'John, you're a coward! Get a band. I know you want one. Why should I play your music when you can play it better yourself!'... That's all I needed... And by the way, Stan helped us get started. He's a wonderful man and so busy helping others. It's amazing that he has time for himself."

The Richards orchestra broke in at the Red Hill in New Jersey. Dom Cerulli, then Down Beat's New York editor, praised it to the skies. Favorable and unfavorable comment followed in other publications. But it was Down Beat editor Don Gold who hit the nail on the head in a discussion of Richards and his music.

"Composer/arranger Johnny Richards, it seems to me, is one of the ablest men to serve as a leader. He manifests a creative discipline and integrity so essential to accomplishment."

"Fronting a band of competent musicians," Gold continued, "musicians with definite solo potential, he manages to create an individualistic sound. It is a sound reflecting Richards' desires and musical aims..."

Richards' desires and musical aims out of an eventful, unclosed existence.

The Richards family was tremendously musical; Johnny's older brother was a symphony bassist; his mother, a pupil of Paderewski. After studying at the Troy (New York) Conservatory for a short while, young John hit the road at eight and a half with a vaudeville show, playing banjo, trumpet, and violin. Back from the vaudeville wars, he devoted himself to study in upstate New York, (he later studied in New York and Chicago) and began orchestrating professionally at 14. Johnny literally bicycled through the so-called "tender years."

In 1932, at 21, motion picture moguls in England showed a decided interest in the young composer/arranger. John accepted an offer from Gaumont Films and spent a year scoring their pictures. Returning to the U. S. in 1933, Richards went out to Hollywood to work at Paramount Pictures, serving as Victor Young's assistant. He stayed on to lot until 1940.

Then the band bug hit him and John had a scalding experience. Five years were spent and much money lost. "One day in Chicago, in 1945, I broke up the band; I had had it!" he explained.

Other mediums of expression were sought and found. In 1946, he became a contributor to the personality of the Boyd Raeburn orchestra. "This was a marvelous orchestra, a truly experimental unit," Johnny recalls. "I am especially partial to the edition that Boyd brought to New York to play at the Vanity Fair. Such great musicians sat in that band... Buddy DeFranco, Conrad Gozzo, Wes Hensel, Irv Kluger, etc..."

Putting to work his then budding "orchestra concept," employing many instruments indigenous to the symphony orchestra, Johnny wrote a number of memorable, full-sounding, impressionistic scores o which Prelude To The Dawn and Man With A Horn are among the most valuable.

"Around the time," Johnny went on, "I wrote some movie scores for pictures made in Mexico City and South America. The time spent in those places, and in Cuba later on, had a profound effect on me."

However, it was not until Richards came into the Stan Kenton organization in 1952, after more notable writing for Dizzy Gillespie, Charlie Barnet, Sarah Vaughn and Ella Fitzgerald, that the effect began to tell. His interest in Afro-Cuban rhythms culminated in the writing of Cuban Fire for Kenton in 1955, juxtaposing authentic Afro-Cuban rhythm against what Kenton has described as "North American music."

For Johnny, it was another beginning. His "orchestra" concept and what is best explained as an "out of the cubby-hole into the open attitude" had become defined. A coalescence of the two was apparent; a completely compatible marriage, a matter of time...


Walk Softly
The Way You Look Tonight
Laura
Sunday's Child
Alone Together
You Go To My Head
Run Wild
Tempest On The Charles
Three Cornered Cat
Yemaya

Thursday, June 15, 2017

Once Upon A Theme - Meg Welles

Dance Of Death
Once Upon A Theme
The Meg Welles Quintet
Arranged and Conducted by Fred Karlin
Produced by Frank Driggs
Cover photo by Lee Friedlander
Columbia Records CS 8689
1962

Personnel: Meg Welles, voice; Fred Karlin, trumpet; Howie Collins, guitar; Dick Wellstood, piano and harpsichord; Leroy Parkins, winds; John Beal, bass; Maurice Mark, percussion and timpani; Everett Gordon, conductor of the Bachianas Brasileiras No. 5

This is a follow-up to another delightful Welles 1962 Columbia release titled Something Else, Songs Of Maids, Knaves and Other Swingers.  Both sets feature the group's engaging conceptual  blend of "Medieval Folk" and modern Jazz sensibilities.

Well May The Keel Row
Night Beat
By The Fountain
Ode To A Gray Flannel Rectangle
Good Day My Heart
Echoes Of Eden
Bachianas Brasileiras No. 5
He Pressed Me
Hurrah! For The Suffragettes
Fie, Nay, Prithee, John
Dance Of Death

Wednesday, June 14, 2017

Anatomy Of A Murder - Bob Friedman

Midnight Indigo H A U P E
Anatomy Of A Murder
Music From The Duke Ellington Score
Bob Friedman Orchestra
Coronet Records CX 99
1959

Main Title - Anatomy Of A Murder
Flirtbird Almost Cried
Happy Anatomy Pt. I
Midnight Indigo H A U P E
Sunset Sunday
Grace Valse
Happy Anatomy Pt. II

Strictly From Dixie

Dippermouth Blues
Strictly From Dixie
Hollywood Records
A Blue Ribbon Product
LPH-3
1956

From The Hollywood Album Discography: Strictly from Dixie [aka Dixieland Jazz] - Hot Rod Six Plus Two/Dixieland Five Plus Two [1956] Album cover gives the group as the Dixieland Five Plus Two, while the label credits the Hot Rod Six Plus Two. Either way, the real band was The Cy Laurie Jazz Band. Because the label also has the working title, "Dixieland Jazz," even though the actual title of this album is "Strictly from Dixie," this album is sometimes listed as "Dixieland Jazz". (This album may have originally been issued with a different cover showing the Firehouse Five Plus Two.) It was also issued as Westchester LPH-3. These songs were originally issued in 1955 on four four-song EPs by the Hot Rod Six Plus Two on the Gateway label (Gateway 9008-9011).

That's The Way I Want It
Snake Rag
Careless Love Blues
Millenberg Joys
St. Louis Blues
Just Go On
Willie The Weeper
Dippermouth Blues
When The Saints Go Marching In
St. James Infirmary
When You And I Were Young Maggie
Tiger Rag
The Way I Ride
Weary Blues
Dixieland Rag
Royal Canadian Blues

Tea And Trumpets - Stanley Applewaite & Roy Freeman

If I Had A Love That Loved Me
Stanley Applewaite Plays
Tea And Trumpets
Featuring Roy Freeman, trumpet
Cover Photo by Philip Lustig
Design Records DLP 40
1957

From the back cover: A student of Maurice Fitzwarren of the Royal Farnsworth Orchestra School, Roy Freeman has received recognition from all of England's music critics for the fine mellow tone he achieves on his instrument. Notice the control on the unusual opening passages of Moritat. The ethereal qualities of the low register vibrato. Shades of Bobby Hackett. This is an album to be played and relaxed to.

From Billboard - October 7, 1957: Routine pop item by English work with trumpet featured throughout. Program includes items possibly more familiar to English audiences than ours. The sound inclines toward an unpleasant "boominess" in spots but bargain-hunters won't wince. At the $1.49 price, it should have more than a few takers.

Moritat
(Medley) Darling My Heart, Its Yours, Standing In The Rain, Sing Nightingale Sing
(Medley) You Make The World Beautiful, Virginia Blues, Two Hearts In May
If I Had A Love That Loved Me
Please
(Medley) Love Is A Story, Missouri, Two Blue Eyes
John And Julie

Lovely Lady - Joe Leahy

Masquerade
Lovely Lady
Joe Leahy And His Orchestra
Unique
A Subsidiary Of RKO Teleradio Pictures, Inc.
LP-106
1956

LP-106 was marketed in a 1956 issue of  Billboard featuring different cover art.

From the back cover: While still in his teens, with his high school diploma tucked under one arm, his one arm, his trumpet under the other, young Leahy left his home town of Boston to hi the road with a band, on a cross-country tour of one-nighters and theatre dates. Having worked up to the lead trumpet spot in the band, he was soon spotted by Les Brown, who hired Joe to play with his band. After a tour with the "Band of Renown," Joe joined Charlie Barnet's band, and later, Artie Shaw's. With the breaks steadily coming his way, the ambitious young musician formed his own orchestra with which he booked cross-country tours of big ballrooms, hotel circuits, college proms, and the usual one-nighters.

During the years of the war, 1941-1945, Leahy's musical abilities were utilized by the Army. There he headed the Air Force Orchestra of the Air Transport Command, an orchestra of forty men. What with arranging and conducting for concerts, variety acts, and weekly CBS broadcasts for the Air Force (for which he wrote all the arrangements and conducted the orchestra), there was little idleness for Sgt. Leahy, whose chores also included a two-year world tour arranging and conducting music for variety shows featuring movie stars who entertained the troops.

Trading khaki for blue serge, Civilian Leahy settled in the center of the music industry, New York, signed with CBS as a staff conductor-arranger, and went to work doing script-show music, background music for radio dramas and conducting the Sketch Henderson orchestra.

A little over a year after signing with CBS, Joe decided to become a freelance arranger-conductor. In the following six years he wrote orchestrations for a hundred radio programs, including the longstanding favorite "The Breakfast Club" in Chicago. During those years Joe Leahy's name became on of the best known in conductor-arranger circles for his background music for shows starring Rita Hayworth, Orson Wells, Eddie Cantor, Tony Martin, Ethel Waters, Constance Bennett and many more big names in show business. Radio audiences throughout the country were listening to more of Joe Leahy's arrangements on their favorite shows than all the other writers' works combined!

With the recording industry's swift rise, Joe moved into the record field in 1954 with the formation of his own company, and the company's first release was another chapter in the Leahy success story. Denise Lor's "If I Give My Heart To You" was an overnight hit. The Leahy arrangement of the recording had such impact on the trade that eighteen versions of the song were on the market within a few short weeks. Leahy followed up with "Unsuspecting Heart" by Terri Stevens, "The Song From Desiree," "Green Fire," and introduced "How Important Can It Be" with Jack Smith, which started the song on its way to the top of the popularity charts.

Practically every major record company in the business was seeking the talents of Mr. Leahy when he went into another company in 1955 under the Unique label. His flair for spotting potential hits was again demonstrated when Unique released "The Man In A Raincoat" by Pricilla Wright, which skyrocketed a young singer and her first recording into stardom and top ten across the nation!

There's something about a waltz that suggests a beautiful woman. For this, his first album, Joe has selected twelve all-time favorite waltzes to describe his "Lovely Lady." – Notes by Larry Meeks


Lovel Lady
Champagne Waltz
I'm New At The Game Of Romance
Give Me A Moment Please
Call Me Darling
Let Me Call You Sweetheart
Masquerade
Paradise
Ramona
You Have Taken My Heart
A Kiss In The Dark
My Isle Of Golden Dreams

Jazz At The Downstairs Club - The Revelers

I Got It Bad
Jazz At The Downstairs Club
The Revelers
Rondo-lette
Rondo Record Corporation
SA 50

From the back cover: The type of jazz on this record is the simple, unsophisticated jazz, that appeals not only to young people but also to people who like quiet excitement in their music.

Budget label, Rondo-lette produced a nice package even if the bright, glossy cover art doesn't visually represent or market the set any better than the back cover illustrations or copy. Whoever "The Revelers" might have been, they produced an excellent small combo/lounge piano driven jazz set.

Stars Fell On Alabama
Flying Home
Bel Ami
Get Happy
Destination Moon
Don't Blame Me
Pennies From Heaven
I Got It Bad
I May Be Wrong
I Found A New Baby

Organ-ized - Walter Wanderley

Batucada Surgiu
Organ-ized
Walter Wanderley
Brazil's Number 1 Organist
Philips PHS 600-233
A Division of Mercury Records Productions, Inc.
Mercury Records Corporation
(All selections electronically reprocessed for stereo)
1967

From Billboard - June 10, 1967: The Wanderley organ gives something fresh to this album of bossa nova numbers and, at the same time, establishes him in the ranks of Jobim and Getz. This LP should make it big in both the pop and jazz areas. The Brazilian organist does a remarkable job on "Summer Samba," and all the other songs.

Samba De Verao (Summer Samba)
Batucada Surgiu (Chant Of The Baroque)
Vivo Sonhando (I Live Dreaming)
Mar, Amar (Sea... To Love)
Voce (You)
Reza (Lai Ladaia) (Prayer)
Garota Moderna (Modern Miss)
Menina Flor (Beauteous Lass)
OpiniĆ£o (Opinion)
Deus Brasileiro (God Of Brazil)

Monday, June 12, 2017

Tamure Tahiti - Charles Mauu

The Hora
Tamure! Tahiti!
Authentic Tamures, Chants and Ballads
Charley Mauu - His Coconut Use and Roche's Tahitians
Recorded by Gaston Gilbert in Papeete, Tahiti
Dot DLP 3494

"tamure" pronounced "tai-moo-ray")

From the back cover: The cover on this album was photographed in the mountains about 10 miles from Papeete, and was so remote that only Gaston Guilbert knew the way, through all the members of the troupe were natives, except yours truly. The girl dancing was a chef at a local hotel who worked as a model for the day. She was one of the best dancers of the "tamure" in addition to being pretty. About 6 months after this picture was taken, she was chosen to star in the Mutiny On The Bounty. This girl is Tarita.

Tamure (Enjoy Yourself)
Kiri Kiri (Tickle! Tickle!)
Vini Vini (Little Bird)
Ai'a Here (Beloved Island)
Aue Ua Reka (Let's Have Fun)
Te Hora (The Hour)
Himene No Te Tamai (Tahitian War Chant)
Fare Hiau (Grass Shack)
Tau Here (My Love)
Aue Aue (Oh! Oh!)
Vainui (The Big River)
Umete (The Bowl)

The Versatile Franck Pourcel

Hey Jude
The Versatile Franck Pourcel
Studio 2 Stereo/EMI
TWO 261
Made and Printed in Great Britain
1968

Those Were The Days
Les Bicyclettes De Belsize
Hey Jude
Abacachi
Chitty Chitty Bang Bang
Jealousy
Black Eyes
Charleston
Valentine
Black Bottom
I Want To Be Happy
Tip-Toe Through The Tulips
La Cumparsita
Tristesse

Hammond Hit Parade 4 - Nils Tibor

In The Getto/I'll Never Fall In Love Again
Hammond Hit Parade 4
Nils Tibor (Hammond-Orgel)
Decca ND 451

Those Were The Days
Lovely
Yakety Axe
In The Ghetto
I'll Never Fall In Love Again
Summer, Summer Wind
Without You
Serenata
Havah Nagilah
Lang, lang ist's her
Sally
Something's Happening
Melody For Marion
Komm zu mir
I'm A Better Man
Release Me
Days Of Rain
Oh Happy Day
Let The Sunshine In
More
Games That Lovers Play
For People In Love
The Glow-Worm
When The Telephone Rings
Day Off
The Yellow Rose Of Texas
He's Got The Whole World In His Hand
Waltzing Mathilda

Poly Show Vol. 2

Lamento Borincano
Poly-Show Vol. 2
Continental Disco
PPL-12.068

Benefica
Lili Marlene
Zilda
Auf Wiedersehen
Claudia
Romance In Rio
Filme Triste (Sad Movies) (Make Me Cry)
Jessica
Luz E Sombra
Teresita La Chunga
Lamento Bornincano
Limbo Rock