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Tuesday, October 17, 2017

Buddy Tate - Rock And Rollers Orchestra

Moon Dust
Let's Rock And Roll
Buddy Tate
His Tenor Sax And Orchestra
Rock And Rollers Orchestra
Halo 50322

Split disc between Buddy Tate and The Rock And Rollers Orchestra

Side One - Buddy Tate

Waitin'
Moon Dust
Rough Ridin'
Skip It
Lonely Christmas
Snowy White Christmas

Side 2 - Rock And Rollers Orchestra

Let's Rock And Roll
Romp And Stomp
Long N' Lean
The Screwdriver No. 1
Cool Fool
Soda Bob

Bossa Nova Goes To Nashville - Harold Bradley

Bossa Nova Goes To Nashville
Harold Bradley And His Guitar And Orchestra
Produced by Don Law and Frank Jones
Cover Art by Charmatz
Columbia CS 8814
1963

Available from online vendors so I will not be posting a sample. Presented here to share the covers and bio information.

From the back cover: If his name is not well known to the public, probably the reason is that the quiet young man does nothing to call attention to himself – except pick some of the greatest guitar ever heard. On the other hand, he has passed the critical scrutiny of some of the music world's greatest names. Anita Bryant, Red Foley, Burl Ives, Brook Benton, Patti Page, Brenda Lee, the Everly Brothers, Teresa Brewer, Ann-Margaret, Connie Francis, Ray Anthony – all of whom have used Bradley's talents on their recordings time and again.

Harold has been playing professionally since he was fifteen years old but a choice of careers wasn't easy for him. While he was still in high school, the Chicago Cubs offered him a professional baseball contract, but he turned it down for music. Like his many admires since, he has never regretted his decision. Although he comes from a musical family (Owen Bradley, the well-known guitarist, is his brother) and majored in music at Peabody College, Harold is a self-taught guitarist. Today, he is an integral part of Music City, and the greatest tribute to his talent comes from the musicians themselves: everybody in Nashville has a favorite guitar player, but for those few favored instrumentalists, the choice is indisputably Harold Bradley.

In his few hours of leisure, Bradley, with his wife and too small daughters, enjoys water-skiing, bowling and ice-skating. As for his hobby – it's classical guitar – Bob Tubert


From Billboard - March 30, 1963: Bossa Nova and Nashville may represent an unlikely pairing of sounds and styles, but if nothing else, this album proves the durability of the writing being done in Nashville today. It also highlights the fine guitar work of Harold Bradley as a lead man, rather than in his more familiar role as a guitar player on vocal disk dates. Working with chorus and horns with rhythm, Bradley does "Ruby Ann," Marry Ann Regrets," "Wolverton Mountain," "I Can't Stop Loving You" and "Devil Woman," all solid tracks, among others.

Devil Woman
Born To Lose
Wolverton Mountain
Your Cheatin' Heart
Mary Ann Regrets
Release Me
I Can't Stop Loving You
Ruby Ann
Walk On By
Little Bitty Tear
Rambling Rose
You Are My Sunshine

Monday, October 16, 2017

Flute Music - Ingrid Dingfelder

Sonata For Flute And Piano - Walter Piston
Flute Music
Ingrid Dingfelder
Produced by Carter Harman
Cover by Judith Lerner
Photo by Arthur Paxton
Contemporary Music
CRI Composers Recording, Inc.
CRI SD 394
1978

Ned Rorem
Romeo And Juliet
Ingrid Dingfelder, flute, Herbert Levine, guitar

Walter Piston
Sonata For Flute And Piano (1930)
Ingrid Dingfelder, fute, Anita Gordon, piano

Jean Francaix
Suite From Unaccompanied Flute
Ingrid Dingfelder, flute

Deep Purple - Harry Farmer

Moonlite Serenade
Deep Purple
Harry Farmer's Rhythm Ensemble
London Records LL 1501
1957

Harry Farmer - Hammond Organ
Harry Engleman - Piano
Dave Goldberg - Guitar
Norman Parker - Marimba
Pete Troman - Drums

From Billboard - February 2, 1957: The Harry Farmer quintet consists of Farmer on Hammond Organ, backed with piano, guitar, marimba and drums. In an excellent high fidelity pressing, the group indulges in a series of listenable standards. The material is well played, with lots of highs and lows to tickle the speaker, and it's recorded in a way that brings thru the full depth of the sound. Seaside scene on the cover is a good displayable hunk of color photography.

From the back cover: Harry Farmer is the son of a Walsall music dealer and the environment encouraged him to take to music at an early age, giving his first broadcast when he was twelve years old. He won a scholarship (the adjudicator was Sir Adrian Boult) at the age of fourteen and planned to be a concert pianist. Before this happened however, he discovered the attractions of the organ and received a sound tuition on this instrument under the late T. W. North, borough organist of Walsall, as part of the scholarship award. To get more funds for further lessons he became a cinema organist at Ipswich under the name of Andreas. The lessons with Mr. North were the last; from there on, experience was to be the teacher. A lot of classical music was included in the Wurlitzer recitals and, on one occasion, the theatre was taken over by a rich influential client of the district so that Harry could give a private command performance to his guests.

He left Ipswich to join a private cinema firm in East London where he was known as Henry Farmer ("Good ol' 'Enry" was the usual greeting from the barrow-boys down Angel Lane). He left this job to join the Granada Theaters circuit and soon got promotion with the group, broadcasting from the Granada Bedford, six months later. When Harold Ramsay left, Harry took over the broadcasts from the Granada, Tooting, as well, becoming the fist organist to have two regular recording venues.

He moved to a house in Sutton and on backstage of a cinema there he discovered the first Hammond organ to come into Britain from America. He practiced on it for more that twelve months before these instruments became known in Britain, and then featured it at Radiolympia in duets with Donald Thorne in 1937. Although the organs were apart the two organists were able to hear each other through the speakers.

Though continuing to work for the Granada circuit, he now formed a trio with pianist Jimmy Leach. This was called "Organola" and was originally intended for radio only. Nola was used as a signature tune. Tony Lowry, the musical supervisor of Granada Theatre, suggested this should be continued on the variety stage, and Harry agreed to try to experiment – it was a success.

During the war Harry joined the Royal Armoured Corps and reached the exalted rank of Corporal Driving Instructor. One day he was talking to the Regimental Barber and happened to mention his profession. The barber said he had an idea he could persuade the officers of the depot to invest in a organ (barbers have a great influence over their victims when they are in the chair). Although only a Trooper himself, his persuasion worked (by what method we shall never know) and a Hammond organ was bought. They became the first Army unit to have such a group which played for the depot dances in the gymnasium. The B.B.C. in Bristol heard of them, wired the gymnasium for sound and they made their first broadcast. These were followed by Overseas Broadcasts and visits to the Stage Door Canteen in company with some of the leading American bands. In 1945 he was transferred to the central pool of artists responsible for the Stars in Battledress shows, and toured Germany with a show he wrote called "Wit and Polish".

Harry Farmer left the Army in 1946 and in the summer played at the Blue Lagoon Ballroon in Newquay. One of the tunes that was featured there with some success was Slipped Disc. There were lighting dashed back to the studios for broadcasts in Variety Bandbox, the Hammond organ being carried in a trailer at the back of the car. Broadcasts in They're Out, Bright and Early, Morning Rhythm, Music While You Work, Workers' Playtime, became regular engagements.

Harry still gets around the country doing one-night stands and acting as entertainment host on a Cornwall hotel every summer at St. Austell. This issue is his most important recording session to date and one which will be wanted by all people who like to hear a Hammond organ excellently played and recorded.


Moonglow
A Kiss In The Dark
I'll See You In My Dreams
Because I Love You
Moonlight Serenade
I've Got You Under My Skin
Deep Purple
Cheek To Cheek
I'm In The Mood For Love
Goodnight, Sweetheart
I Only Have Eyes For You
Spread A little Happiness.

Thursday, September 28, 2017

Cha Cha Festival - Perez Prado & Pepito Pavos

Cha Cha Caribe
Cha Cha Festival
All Star Orchestras of Perez Prado and Peptio Pavon
Palace M-667

Lucky Cha Cha
Azuquita Con Leche
Harvest Moon Cha Cha
Rainbow Cha Cha
So In Love
Roseland Cha Cha
Asi Asi
Tu Ve Tu Ve
Apple Tree Cha Cha
Cuddle Up Cha Cha
Ladies Day Cha Cha
Cha Cha Caribe

The Electric Junkyard

Ten Little Indians
The Electric Junkyard
Arranged by Frank Hunter
Produced by Gregg Productions
RCA LSP-4158
1969

Also see:
White Goddess
Frank Hunter And His Orchestra
Kapp Records KS-3019
1959

From the back cover: The Electric Junkyard uses the following instruments: two guitars (one rhythm, one solo), electric piano (plus organ), alto and tenor saxophone, tenor and bass trombone, trumpet and flugelhorn (all horns are electrified), fender bass, fuzz bass, drums and percussion.

Also from the back cover: And now, a message from The Electric Junkyard. Dig it.

Aquarius (From The American Tribal Love-Rock Musical "Hair")
Smoke Coming Out Of Your Ears
Manchester England (From The American Tribal Love-Rock Musical "Hair")
Annie's Place
The Joint
Freeway
L. David Sloane
Garbage Can Ballet (From The Otto Preminger Film "Skidoo")
Ten Little Indians
Bony Moronie

Wednesday, September 27, 2017

Let's Put Out The Lights! - Tony Mottola

Hindustan
Let's Put Out The Lights!
Tony Mottola And His All-Stars
Featuring: Lou Stein, Johnny Guarnieri, Bob Haggard, Charles Magnante, Harry Breuer, Cliff Leeman, Terry Synder, Frank Carroll and Stanley Webb.
Photo by Irv Bahrt
RCA Camden CAL-305
1956

When You're Smiling (The Whole World Smiles With You)
Bidin' My Time
It All Depends On You
Ti-Pi-Tin
Let's Put Out The Lights
Where Oh When
I Don't Care If The Sun Don't Shine
I'll Never Be The Same
How High The Moon
Hindustan
It Happened In Monterey
Hold Me

Mood Music From Cuba - Felix Guerrero

Ritmo De Congas De Oriente
Mood Music From Cuba
Rapsodia de Cuba Vol. II
Orquesta de Camara de Madrid
Conducted by Felix Guerrero
Orchestral arrangements by Guerrero
Montilla FM 80

Somehow the peppy track, Ritmo De Congas De Oriente (featured above) managed to make its way onto this set of generally more subdued "mood" music.

From the back cover: Felix Guerrero Diaz, the son of the famous guitar virtuosos, Felix Guerrero Reyna, was born in Havana on January 13, 1917. Still in his youth, Guerrero is one of the most firmly established talents in the Cuban musical scene. He began his studies under the direction of his father and with Isidro Laguna, in the Municipal Conservatory of Havana. Thereafter he studied harmony and counterpoint with the renowned Amadeo Rodin, and finally, composition with the Spanish composer and conductor, Pedro Sanjuan.

Eager to perfect his studies, Guerrero journeyed to the United States in 1947 to enroll at the Julliard School. Ultimately, he went to Europe where he took summer courses at the School Of American Art with Nadia Boulanger and Marcel Dupre. The Paris Conservatory followed where he completed his studies in composition with Nadia Boulanger and in conducting with Eugene Bigot. These extended years of study brought as accumulation of prized to Guerrero. They were First prize for harmony and composition in the Academy of Maestro Pedro Sanjuan; Award for Composition in Paris; Honor prizes in Marianao of the Province of Pinar del Rio for his work in Cuban music, and, in 1955, he was singled out as the most distinguished director by the Radio and Television Chronicle.

He was as composer, begun in 1937 followed an uninterrupted line of diversity and prolific achievement. He has tried all aspects of the music field with the same good fortune. He has composed music for the theatre, the motion pictures, symphonic, chamber, vocal, and instrumental; thus embracing every aspect of the music. Among his important works, the following should be mentioned: "Chopiniana," an interesting bitonal experiment composed in 1953, "Cinco dances cabanas," "Sonatina for Viola and Piano," "Guajiras for Guitars," "Cuarteto para cured en re," the ballet "El rumbero maravilloso," "Rapsodia cubana," and innumerable nocturnes for orchestra, songs, etc.

The musical ingenuity of Guerrero is definitely reflective of modern times in its harmonic structure; however, over-adventurous stridencies are absent and the music is invariably nationalistic in accent. In his work as orchestrator, he has a profound knowledge of orchestral timbre which he handles with great ease, and of impressionistic tonalities which he manages to blend with the native rhythms and strains of his country.

Montilla engaged this notable Cuban musician, who is the director of Channel 4 of "Television National de Cuba," in order to record and conduct and anthology of Cuban instrumental works as well as some of the principal works of Ernesto Lecuona. Under Guerrero's direction, with the "Orquesta de Camara de Madrid" and a group of renowned Spanish artists, these recordings came to life in Madrid.


La Bella Cubana
Se Fue
Suavecito
Siempre En Mi Corazon
Aquellos Ojos Verdes
Para Vigo Me Voy
Serenata Cubana
Noche Azul
El Que Siembra Su Maiz
Tu
Marta
Ritmo De Congas De Oriente
Ahi Viene El Chino

Baile Con Cortijo Y Su Combo - Ismael Rivera

A Bailar Mi Bomba
Baile Con Cortijo
Y Su Combo
(Dance with Cortijo and his combo)
con Ismael Rivera
Cover: Lee Myles Assoc. N.Y.C
Seeco Gold Series
SCLP-913

From the back cover: All centers of the world have typical music and songs, and Puerto Rico is no exception. In this beautiful tropical paradise, the typical is the Plena, Bomba and Danza. Puerto Rico has had many composers of these rhythms, but all of the interpretations Cortijo & His Combo are the number one stylists. Cortijo is classified as the best interpreter of these songs, especially of the Bomb and Plena. The vocalist, Ismael Rivera is perfectly matched with this group as his singing is considered the best for these songs. SEECO is pleased to release this second LP of Contijo & His Combo.

El Negro Bembon - Guaracha
Alegria Y Bomba - Bomba
Dejalo Que Suba - Plena
Te Lo Voy A Contar - Bomba
El Satellite - Plena
Huy Que Pote - Plena
El Chivo De La Campana - Guaracha
Con La Punta Del Pie, Teresa - Bomba
Lo Deje Llorando - Plena
A Bailar Mi Bomba - Bomba
Lo Tuyo Es Cronico - Plena

Monday, September 25, 2017

The Barry Sisters Sing Fiddler On The Roof

The Barry Sisters Sing Fiddler On The Roof
Arranged, Conducted and Produced by Sid Feller
Vocal Arrangements by Jerry Graff
Cover Photo and Design: ARW Productions, Inc.
Liner Design by Joe Lebow
Liner Notes by Rick Ward
Engineer: Phil Macy
ABC-Paramont ABC-516
1965

Words and music by Sheldon Harnick and Jerry Bock
Published by Sunbeam Music Corp. (BMI)

The set is available from online vendors so I will not be posting a sample. Presented here to share the original cover.

From the back cover: Just as no Broadway production is ever brought before the footlights without dreams, dedication and years of plain hard work, the same is true of performers such as the Barry Sisters. Claire and Merna have been entertaining professionally since their pre-teen years. They have steadily been gaining the knowledge, experience, and show business knowhow that have brought them to their present position as two of the most professional performers in the entertainment world. While maturing chronologically and vocally, and building their repertoire in nine languages, the Barry Sisters have become familiar names in the finest supper clubs and on the most poplar television shows, internationally and in the United States; London's Talk of the Town, New York's elegant Persian Room of the Plaza Hotel – where they received standing ovations on opening and closing night – The Copacabana and Latin Quarter; and TV's Ed Sullivan Show," Jack Paar, and "Tonight" shows are just a few of the spots that claim the Barry Sisters as regular tenants.

From Billboard - March 20, 1965: The Barry Sisters have a following and so does the Broadway smash, "Fiddler On The Roof." It follows, therefore, that the sister team and the Jerry Bock-Sheldon Harnick score should bring a lot of enjoyment to many fans.

Matchmaker, Matchmaker
Sunrise, Sunset
To Life
Do You Love Me
Sabbath Prayer
Tradition
Far From The Home I Love
Now I Have Everything
Miracle Of Miracles
Anatevka
If I Were A Rich Man
Fiddler Of The Roof