Charlie Barnet - Charlie Barnet Presents A Salute To Harry James

Album: Charlie Barnet Presents A Salute To Harry James

Catalog Number: CST-160

Artist: Charlie Barnet

Genre: Big Band

Format: LP, Stereo, Red Vinyl

Year: 1959

Record Label: Crown Records

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TRACKLISTING

A1. (02:40) - Sleepy Lagoon                         

A2. (02:39) - Easter Parade                          

A3. (04:19) - One On The House                      

A4. (03:18) - Flatbush Flanagan                     

B1. (03:10) - Music Makers                          

B2. (03:59) - Back Beat Boogie                      

B3. (02:25) - The Mole                              

B4. (04:20) - Blues For Sale                        

Playing Time: 00:26:53

MATRIX NUMBERS

A Side Center Label: CST 160-1

B Side Center Label: CST 160-2

A Side Run Out Etching: CST-160-1 Δ 1629

B Side Run Out Etching: CST-160-2 Δ 1628

CREDITS

Photography: Steve Sokol

Recorded: Hollyiwood, Calif.

Cover Design: Rosentswieg

ADDITIONAL NOTES

(From the back of the album jacket)

Charlie Barnet Presents A Salute to Harry James

The man who has done so much for so many people in the music business . . . the "mad Mab of the Mill Pond' ... a title given him in Sandusky, Ohio, many years ago . . . Mr. Charlie Barnet . . . continues his giving ways as here he salutes the talents of one of the greatest jazz trumpet players alive . . . Mr. Harry James.

Harry James . . . owner of a stable of racing horses . . . married to a lovely movie star ... is still one of the greats in the music world. Why? Because of his lyrical and at times driving trumpet.

A salute to Harry James.

Who can forget the memorable night in December of 1 938 when the Benny Goodman Band played their first concert in Carnegie Hall in New York City. And who was the star sideman . . . Harry James. For it was only a matter of weeks later that Harry James went on the road with his own band.

Perhaps it has been forgotten but it was Harry James who hired a young and thin singer from the "log cabin" in New Jersey to sing with the band. His name . . . Frank Sinatra. So it was Harry James who started Frankie on his way to stardom.

But throughout all of the years it has been the golden tones of the Harry James trumpet that have kept him on top of the heap. Other bands have come and gone . . . but still Harry James is the one musician who has stayed on top. And musician is used carefully in this case . . . for he is indeed a consumate musician. His tone and his knowledge of music have not faltered through all of the years.

And so this is one musician's salute to another as Charlie Barnet offers a salute to Harry James.

FRANK EVANS

CROWN RECORDS STEREODISCS

9317 W. Washington Blvd.,

Culver City, Calif.

Made in Hollywood, U.S.A.

THIS IS STEREO

THE FULFILLMENT OF STEREO

Stereophonic sound is almost exactly "true" sound. Always before, you have heard the music as it was recorded—not as it was played. Now, in Stereo, you can hear music just as it is played. And you have more than a coveted front row seat—you are practically in the orchestra! If this is your first experience with Stereo, you're in for a thrill I

HOW DOES STEREO WORK?

Instead of one central sound that is the same no matter how many speakers you use, Stereo sound adds "left" and "right." This gives Stereo depth, dimension, and exciting realism—just as your two eyes and two ears provide depth in both seeing and hearing. Depth is achieved by recording separate "left" and "right" versions of the same music at the same time, and putting the different versions into the same groove.

STEREO VS. MONAURAL

In your old monaural records, the same sound was on both sides of the groove, and the needle wiggled sideways slightly, but picked up the same sound on both sides. In Stereo, the needle is actually two needles in one, and wiggles both sideways and up-an-down. With a different pick-up, preamp, amplifier and speaker for each separate side of the groove, your ears pick up the two sides of the sound and combine the differences for stereo "depth."

MORE THAN CONCERT FIDELITY

In listening to a concert you hear different instruments at the extreme left and right, but much of the music comes right down the middle. In Stereo, too, the recording mikes each pick up part of the middle section of the sound. So in hearing this Stereo record you will find that you not only hear left and right, you also hear part of the sound right between the speakers. The sound surrounds you and you almost become part of it. In hearing a concert you are never as close as the recording mikes. So when the mikes are ex­pertly placed you get more total sound from Stereo than you do at an actual concert!

TUNING THE SPEAKERS

You may find that the left speaker has slightly less volume than the right. This has been done so you can tune the speakers to an exact balance. The effect will vary according to the room, the place­ment of the speakers, and the position of the listener. The speakers must be placed at least 36 inches apart to achieve the bare mini­mum Stereo sound. Two speakers alone do not make Stereo. You must have Stereo pickup needles and heads. It is possible (but not ad­visable) to play this Stereo record on a monaural set. The sound will not be Stereo, and the pickup may not be compatible. We recom­mend playing this disc only with Stereo pickups.

TECHNICAL DATA

This disc was recorded on an Ampex stereo tape recorder from 15 CPS bottom to 25,000 CPS top; transferred to disc with Scully lathe plus a Westrex 3A cutting head, and utilizes the standard 'RIAA' playback curve. The disc was pressed from the finest virgin vinyl, in a process that removes surface noise and distortion. A microgroove-stereo pickup with a .0007 tip radius +.0001 is recom­mended for finest results, with a stylus weight of not more than 4 grams. Handle this disc with great care, especially avoiding touch­ing the playing surface with fingers (skin oils damage the vinyl). Use a soft, damp cloth to clean the disc, and store it carefully in this jacket at moderate temperature. With proper care this high fidelity stereophonic disc should last indefinitely.

The Dukes Of Dixieland Featuring Pete Fountain

Album: The Dukes Of Dixieland Featuring Peter Fountain
Catalog Number: LSP-2097(e)
Artist: The Dukes Of Dixieland
Genre: Dixieland
Format: LP, Stereo
Year: 1961
Record Label: RCA Victor

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Tracklisting
A1. (03:30) At The Jazz Band Ball
A2. (03:23) Beale Street Blues
A3. (04:30) Muskrat Ramble
A4. (02:53) Blue Prelude
A5. (04:15) That's A-Plenty
A6. (03:26) Original Dixieland One-Step
B1. (03:43) Panama
B2. (02:54) Wolverine Blues
B3. (03:20) Fidgety Feet
B4. (06:51) Tin Roof Blues
B5. (03:36) Tiger Rag
B6. (03:53) When The Saints Go Marching In

Playing Time.........: 00:46:14

Matrix Numbers:
A Side: Center Label: M2PY-3092 LSP2097
B Side: Center Label: M2PY-3092 LSP2097
A Side: Run Out Etching: M2 PY3092-1S
B Side: Run Out Etching: M2 PY3093-1S

Credits
Trumpet: Frankie Assunto
Trombone: Freddie Assunto
Clarinet: Pete Fountain
Piano: Artie Seelig
Bass: Bill Potter
Drums: Roger Johnston

Additional Notes
Reissue of "At The Jazz Band Ball" released in 1955

The Dukes of Dixieland obviously get a tremendous wallop out of music-making. They have always been able to kick into the ensembles like the liner United States plowing into twenty-foot waves. But it was during the time that they were spark-plugged by the hard-driving, albeit soulful and expressive, clarinet of Pete Fountain that they were in their peak form. Here are The Dukes as they were heard during their finest period—the era when their unbeatable combination of great enthusiasm and enormous ability made theirs one of the truly fine jazz groups of all time.

Pee Wee Hunt - Dixieland Kickoff

Album Title: Dixieland Kickoff
Catalog Number: ST-1265
Artist: Pee Wee Hunt
Genre: Dixieland
Format: LP, Stereo
Year: 1959
Record Label: Capitol Records

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Tracklisting
A1. (02:25) Illinois Loyalty (University Of Illinois)
A2. (02:39) Notre Dame Victory March (University Of Notre Dame)
A3. (01:55) As The Backs Go Tearing By (Dartmouth College)
A4. (02:27) The Victors (University Of Michigan)
A5. (01:59) The U. Of M. Rouser (University Of Minnesota)
A6. (02:02) Across The Field (Ohio State University)
B1. (02:20) Down The Field (Yale University)
B2. (01:58) Iowa Corn Song (State University Of Iowa)
B3. (02:26) Fight On For U.S.C. (University Of Southern California)
B4. (02:40) Our Director (Harvard University)
B5. (02:59) The Princeton Cannon Song (Princeton University)
B6. (02:12) On Wisconsin (University Of Wisconsin)

Playing Time.........: 00:28:02

MATRIX NUMBERS:

A Side Center Label: ST1-1265
B Side Center Label: ST2-1265
A Side Run Out Etching: ST1-1265-D1#2
B Side Run Out Etching: ST2-1265-D1

Additional Notes
(From the back of the album jacket)

Kickoff! The home team snags the ball, smashes its way back to midfield in a brilliant return, and loyal alumni rise and roar as the college band breaks into the old school fight song. Ah, what memorable moments! And here's all the high-spirited fun of a Saturday afternoon as the redoubtable Pee Wee and his team invade the nation's campuses and give the Hunt two-beat treatment to a dozen of the country's rousin'est collegiate fight songs.

Pee Wee has picked these favorite tunes primarily for their musical zest, but they range across the country from the Ivy League to Southern Cal. And, the happy thing is, his skedaddlin' style and march-down-the-field tempos will stir up those zippy game-day get-togethers just as much even if you're headed out to cheer for old Slippery Rock High. And if you're one of those people who think a split T is a minor golfing catastrophe, you'll still find this the good time album of any season.

So whether the agenda calls for dancing, cheering yourself hoarse in the crackling outdoor air, or just listening, let's break up the huddle, put the record on, and get a real ball rolling...45...78...33...Hike!

STEREO NOTE: Pee Wee's bounding trombone leads every play to a win as he calls the signals from the fifty-yard line, with close support from trumpet and clarinet. Bass and drums hold down the end zone on the right, piano and guitar are on the left.

Al Hirt - Struttin' Down Royal Street

Album Title: Struttin' Down Royal Street

Catalog Number: CAS-2138

Artist: Al Hirt

Genre: Dixieland

Format: Vinyl

Year: 1967

Record Label: RCA Camden Records

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TRACKLISTING:

A1. (02:43) Keep On The Firing Line

A2. (02:52) There's A Great Day Coming

A3. (03:12) This World Is Not My Home

A4. (02:25) I Shall Not Be Moved

A5. (03:02) Just A Closer Walk With Thee

B1. (02:38) Do Lord

B2. (02:50) Just A Little While

B3. (02:33) Lily Of The Valley

B4. (02:12) Pleyel's Hymn

B5. (02:35) Oh, Didn't He Ramble

Playing Time.........: 00:27:08

MATRIX NUMBERS:

A Side Center Label: CAS2138 UCR-3652

B Side Center Label: CAS2138 UCR-3653:
A Side Run Out Etching: UCR-3652-1S A2 R
B Side Run Out Etching: UCR-3653-1S A1 R

ADDITIONAL NOTES:

(From the back of the album jacket)

STRUTTIN' DOWN ROYAL STREET        AL HIRT

Mono CAL-2138

Stereo CAS-2138

Orchestra Conducted by Marty Paich

Arrangements Adapted by Marty Paich

"Did he ramble? Did he gamble? Did he lead a good life?" Listen to this strange and exciting music.

A fascinating sidelight to musical Americana is commemorated in this album by a man who witnessed it many times as a boy.

Al Hirt says, "The New Orleans Negro funeral is something that I grew up with. It was really something to see—and hear. Although it was, first of all, an event, it was the music, the strange and exciting music, that really made it what it was.

"Here in this album, we have tried to capture the sound and flavor of the spectacle. Using a big band—with clean playing and intonation—we tried to create the same exciting beat, the idea and feeling."

The pattern of the funerals was a firmly established tradition. On the way to the graveyard, the musicians played slowly and solemnly, following the trumpeter or cornetist who was always the leader. Generally, there were one or two cornets, one or two clarinets, banjo, tuba and drums. After the burial—to the accompaniment of such rhetorical questions as "Did he ramble? Did he gamble? Did he lead a good life?"—the band would turn around and march back toward the center of town, swinging bombastically and contagiously all the way.

Such ceremonies, common not only in New Orleans but all over the South and as far west as Colorado, have not died out entirely. To find authentic source material, Hirt and his clarinetist Pee Wee Spitelera checked with members of the Eureka Brass Band, which, to this day, plays for funerals.

"We included just about all of their repertoire," says Al. "Mostly Baptist hymns, plus a few others that fit the idea—Do Lord, Great Day Coming, Pleyel's Hymn, Keep on the Firing Line."

Some tracks are composed entirely of after-the-funeral march music with a strong pre-ragtime flavor; others include the introductory pre-funeral dirge. Typical of the latter is Just a Closer Walk with Thee, with its somber drum roll, spirited solos and the strange, almost calliope-like unison sound of the clarinets, the hard-driving last chorus and the return to a march feeling with the percussive ending.

The big size of the band in this album, incidentally, is not incongruous. One veteran New Orleans guitarist has stated that it was not unusual to see funerals that had several bands in the procession, because the deceased was active in a large number of social clubs, all of whose members offered their services. On such occasions, had the participants been equipped with first-class instruments, plenty of time to work together, and the general level of musicianship that prevails throughout this album, it is not unreasonable to speculate that this is the way they would have wanted to sound.

I wish it were possible to bring this studio band to New Orleans, send it struttin' down Royal Street (which is a continuation of St. Charles Street going downtown from Canal), and watch the crowds gather under the Pied Piper-Samson-Tarzan leadership of Al Hirt. It would probably raise the greatest ruckus since 1917. That, you may recall, is the year Storyville was closed down forever.

LEONARD FEATHER

IMPORTANT! RCA Camden's monophonic records can be played on stereophonic phonographs. RCA Camden's stereophonic records must be played on phonographs equipped for stereophonic reproduction.

Library of Congress Card Numbers R67-2849 (Mono) and R67-2850 (Stereo) apply to this recording.

TMK(S) ® Radio Corporation of America • Marca(s) Registrada(s) ©1967, RCA, New York, N.Y. • Printed in U.S.A. 

10" LP: Decca Curtain Call Series - Volume 2

Album Title: Decca Curtain Call Series - Volume 2
Catalog Number: DL-7019
Artist: Various Artists
Genre: Jazz
Format: 10", LP, Mono, Compilation
Year: 1956
Record Label: Decca Records


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TRACKLISTING:
A1. (3:11) Bing Crosby – I Surrender Dear
A2. (3:13) Andrews Sisters, The – Bei Mir Bist Du Schön (Means That Your Grand)
A3. (3:11) Ink Spots, The – If I Didn't Care
A4. (1:47) Mills Brothers, The – Tiger Rag
B1. (3:18) Bing Crosby – Where The Blue Of The Night
B2. (3:04) Andrews Sisters, The – (I'll Be With You) In Apple Blossom Time
B3. (2:47) Ink Spots, The – Do I Worry?
B4. (2:41) Mills Brothers, The – Paper Doll

Playing Time.........: 00:23:12

MATRIX NUMBERS:
A Side Center Label: MG2395 DL 7019

B Side Center Label: MG2396 DL 7019
A Side Run Out Etching: MG2395T5
B Side Run Out Etching: MG2396T6

ADDITIONAL NOTES:
(From the back of the album jacket)

DECCA CURTAIN CALL SERIES

The Decca “Curtain Call” Series is devoted to the great performers of our times and the recorded songs which helped to make them famous. Here is the music with which America’s most popular singers have been identified. Here are musical events which were actually milestones in their careers and in Show Business – songs which vibrate with excitement and project the thrill of an experience recaptured…a Curtain Call especially for you.

BING CROSBY

Although well over a hundred songs have been distinguished by the Bing Crosby treatment, two special numbers immediately are recognized as Bing's particular property. They are '"Where the Blue of the Night Meets the Gold of the Day" and "I Surrender. Dear." Both date back to the year 1931 and both have been countlessly revived. The first was the result of a three-part collaboration, joining the talents of Roy Turk, Fred Ahlert, and Bing Crosby him serf. Everyone knows that it became Bing's theme song, in fact, this ''signature melody" is probably the best known of any artist's identifying melody. Bing himself has sung it in many versions and against many settings, including Hawaiian style. Here the background is furnished by John Scott Trotter and his orchestra. "I Surrender Dear," a song of the same vintage, was almost a family affair. The words were by Gordon Clifford, the music by Bing's musical team-mate, Harry Barris, and Bing himself had a part in it. According to Ted Crosby, it was Bing who suggested the theme and it was Barris who pointed out that the song was ideally suited to the singer's voice. Like Bing himself, both songs have become as perennial as spring and as popular as popcorn.

ANDREWS SISTERS

On November 24, 1937, Maxene, Patty, and La Verne Andrews entered one of the recording studios at Decca for the first time to give out with a brisk, happy-go-lucky version of an old Yiddish song, "Bei Mir Bist Du Schön." Within an hour the girls had waxed the English version which became identified with the trio from that time on. From the mo-lent the record hit the airways, via disc jockey shows, the Andrews Sisters were the hottest thing in Swingdom. People mobbed record counters, struggling for the few "Bei Mir" platters which remained only a few hours after their release.

For quite a while the sisters were known as vivid exponents of highly syncopated tunes, hot singers developed in the swing era. No one could surpass them in the field of jazz. Suddenly they made an abrupt departure. In 1940 they waxed a recording of "In Apple Blossom Time" in a version that was as tender as it was straightforward. From that time on the Andrews Sisters were as celebrated for their sweet stylings as for their hot numbers.

INK SPOTS

It was a long time before the Ink Spots found their own unique style. For quite a while their singing was fast, hot, and jumping with jive. The group never dreamed that their specialty would ever be the mellow kind of ballad which made them famous.

In 1939, "If I Didn't Care" became a tremendous hit. It established itself among the best-selling tunes of the day—and it established the Ink Spots. The quartet changed its style to conform with this discovery, and they began to adapt the slow, sweet manner implicit in Jack Lawrence's persuasive "If I Didn't Care." Within a year—in 1940, to be exact —the Ink Spots came up with another overwhelming success: Cowan and Worth's "Do I Worry?" Although the Ink Spots have recorded scores of records for Decca as well as several collections ranging from popular hits to religious songs, they have never done anything more appealing or effective than the two songs coupled here.

MILLS BROTHERS

The Mills Brothers are a many-gifted group and they have a special gift when it comes to the selection of songs. They are particularly happy when they breathe new life into old numbers, when they take a song which has been almost worn out by repetition and give it fresh meaning and impetus because of their unique interpretation.

"Tiger Rag" was popular as far back as 1917. It was one of the hottest items in the repertoire of the Original Dixieland Jazz Band. The song lay dormant until the Mills Brothers created their phenomenal vocal interpretation, imitating instruments with the human voice. This brought them an immediate popularity which has never ebbed. John Black's "Paper Doll" was first heard in 1924 and was a surprise hit every time it was revived. It became a spectacular success in 1943 when, according to Sigmund Spaeth, in A History of Popular Music in America, "it began a phenomenal reincarnation that even its publishers could not explain." Perhaps the Mills Brothers could have explained it—at least their rendition of these two numbers brought the tunes to the attention of q public which relished the new and vivid Mills Brothers treatment.