Vivian Blaine – Sings songs from the Ziegfeld Follies

Sleeve Notes:

IF FLORENZ ZIEGFELD WERE ALIVE TODAY, Vivian Blaine would be a sure bet for stardom in one of his fabulous Follies. She has everything the late Broadway showman most admired in the stars of his own era—the grace and beauty of Ann Pennington, the shrewd timing and comedy sense of Fanny Brice, and the radiant personal magnetism of Marilyn Miller.

Although Vivian was born too late to be a Follies star, she aptly demonstrates, in this album, just what theatregoers of Ziegfeld’s day were missing. The solid showmanship and vocal know-how that made her an overnight Broadway star in Guys and Dolls is spotlighted here on twelve memorable standards from past Ziegfeld Follies productions. A legend during his own lifetime, Ziegfeld was better known than any Broadway producer today, including such outstanding legit tycoons as Billy Rose, Mike Todd and Leland Hayward. Tickets to a Follies opening night were harder to get than for the current smash My Fair Lady.

The Follies, first presented in 1907, were literally star-studded with dozens of top names making their first Broadway hit under the Ziegfeld banner, among them Will Rogers, Eddie Cantor, Fanny Brice, Bobby Clark, W. C. Fields, Ruth Etting, Marilyn Miller, Ann Pennington, Ed Wynn and Mae Murray. However, Ziegfeld’s most lasting claim to fame was his glorification of the American chorine. His discriminating eye for beauty made the words Follies Girl synonymous with glamour. The producer also appreciated beauty in his private life. His first wife was the vivacious musical comedy star Anna Held who divorced him in 1912. His second wife was the equally lovely and talented stage and motion picture actress Billie Burke. A list of the big name song writers associated with the Follies down through the years reads like an ASCAP Honour Roll of Hits. For instance, The Ziegfeld Follies of 1919 introduced such great Irving Berlin standards as A Pretty Girl Is Like A Melody, Mandy, and You’d Be Surprised. Berlin also penned Shaking The Blues Away, rendered by Ruth Etting in The Ziegfeld Follies of 1927. The Ziegfeld Follies of 1934 produced three poignant Vernon Duke songs—Suddenly (lyrics by Billy Rose), I Like The Likes Of You, and What Is There To Say—plus Billy Hill’s moving western classic The Last Roundup. Duke also wrote the wonderful Bunny Berrigan hit I Can’t Get Started With You for The Ziegfeld Follies of 1936 which starred the late Fanny Brice. Miss Brice of course, scored one of her greatest triumphs in The Ziegfeld Follies of 1921 with the tender French torch song My Man. The bouncy novelty Row, Row, Row was written by William Jerome and Jimmy Monaco for The Ziegfeld Follies of 1912, while the hit Follies song in 1915 was Gene Buck and Louis Hirsch’s Hello Frisco!

Ziegfeld’s life was full of spectacular ups and downs, and the lavish nature of his successes was only equalled by the king-sized scale of his failures. He lost two fortunes on Broadway, and in 1929, the Wall Street crash cost him more than $2,000,000. He died in 1932 at 63, and the last Follies produced under his personal supervision was presented in 1931. However, in 1934 his widow granted the Schuberts permission to use the name Ziegfeld Follies, and two more editions were subsequently produced on Broadway in ’36 and ’42. The Great Ziegfeld has been dead almost 25 years, but his name still stands for the ultimate in glamorous entertainment, feminine perfection and all-time great musical scores.

Vivian Blaine - Sings songs from the Ziegfeld Follies

Label: Mercury Records MPL 6518

1957 1950s Covers

Beryozka Folk Dancers, Moiseyev Dance Company – Moiseyev Beryozka

Sleeve Notes:

Monitor presents the accordions and the balalaikas of the Moiseyev Dance Company and the Beryozka Folk Dancers Recorded in Paris

MOISEYEVI In the Spring of 1958. the Moiseyev Dance Company, virtually unknown to American audiences, arrived in the U. S. for its first appearance. By the time the gold curtains of the Metro-politan Opera House came down at the conclusion of the premiere, it was obvious that this spectacular company of 100 dancers had scored a triumph, probably without parallel in this century. The unanimous acclaim was unique. Balletomanes and Critics were overwhelmed by the ingenuity and inventiveness of Moiseyev’s choreography; the public marvelled at the delicious humor, high spirits ‘and virtuosity of a fantastic group of dancers. Three y,ars later, S. Hurok brought the dancers back for another sensationally successful tour; this time they needed no introduction, ,This recording was made in Paris under the personal supervision of Moiseyev’s Musical Director, Samson Galperin. Included is the unforgettable ‘Partisans.. (Detailed notes on the organization and development of the Moiseyev Dancers can be found on Monitor’s Russian Folk Dances of the Moiseyev Dance Company. MF 310.)

BERYOZKA -Captivating” . . …Charming” .. . . . “Grace. ful” … these were the words most frequently used by American critics and audiences in describing the creative choreography of the Beryozka Russian Dancers during their visit to the U. S. in 1959. The Beryozka Dancers, an all female group formed at an amateur folk dance festival in Moscow a decade ago, take their name from the Beryozka Reel, their most popular and enchanting dance. (Side 2, No. 1) Beryozka is the Russian for birch tree and traditionally symbolizes youth and spring, qualities which pervade most of the group’s dance.. One critic described their opening night this way: “. . . the Beryozka Russian dance company brought both charm and excitement. The charm exuded naturally from the freshness and vivacity of the all girl troupe: the excitement came from the fluidity and precision of their movements.” (Miles Kastendieck in the N. Y. Journal:American.)

A Statement by S. HUROK
A dream to pursue makes life continually challenging. My dream has always been to aid in bringing a closer understanding between peoples and nations through the international exchange of dance, music and drama. During my many years as an impresario, importing to the U.S. the most distinguished artists from some twenty countries, no groups have created greater excitement than the dance companies from the Soviet Union. All America remembers the extraordinary Moiseyev dancers…
S. Hurok

Beryozka Folk Dancers, Moiseyev Dance Company – Moiseyev Beryozka

Label: Monitor MF 311
Cover Photo: “Beryyozka reel” from USSR Magazine through Sovfoto
Cover Design: David Chasman

1959 1950s Covers

Gordon Jenkins His Orchestra and The Ralph Brewster Singers – Night Dreams

Sleeve Notes:

Our dreams at night shape the familiar patterns of daytime in a strangely fascinating way. And so with the romantic music of this album: it molds well-known melodies into new arrangements,’ imaginative and intriguing.

Such musical re-creation needs the special talents of a Gordon Jenkins. In his long career as composer, arranger, and conductor, he has always sought the fresh approach to popular music, and displayed it many is through a wide range of material—in hit tunes, in longer original works, in such unusual combinations of song and drama as his very successful “Manhattan Tower”.
Here, Gordon Jenkins has assembled several favorite musical ingredients: a large orchestra, his own distinctive piano style, The Ralph Brewster Singers, and a choice selection of ballads. But it is his arrangements, most of all, that give the album its very refreshing quality. The voices join the ensemble as an instrumental section in cleverly devised harmonies; the melody emerges in delightfully unexpected places; and familiar themes are colorfully wrought into the captivating mood of “Night Dreams.”
Gordon Jenkins His Orchestra and The Ralph Brewster Singers - Night Dreams

Label: Capitol T 781
Cover Photo by Ken Whitmore

1957 1950s Covers

Joe Reisman and His Orchestra – Door Of Dreams

Sleeve Notes:

There are many aspects to the work of every outstanding musician, and versatility is one of Joe Reisman’s prime assets. Settle back now and allow Reisman to conduct you through the DOOR of DREAMS, gateway to the floating sea of daydreams. Such a trip is fun, inexpensive and can be taken at a moment’s notice. Among the many places and moods available to the listener are the theater (Front Row Center), America’s majestic west (Covered Wagon), Spain (El Dorado), the relaxed mood of Sunday Afternoon and reflective thoughts on romance (For My Love). Arranger-composer-conductor Joe Reisman is a talented man who believes that the works of young composers should be heard. Practicing what he preaches, Joe has chosen six tunes by fresh, new composers for this album. Only Door of Dreams and When Sunny Gets Blue have been heard before, and the remaining four numbers are Reisman originals. This marks the first time that Joe has used any of his own material in an album. Using a good blend of all the orchestral colors in these arrangements for a thirty-five piece band, Joe collected some of the finest musicians and soloists in New York, among whom can be heard Urbie Green, trombone; Eddie Manson, harmonica; Tony Mattola, guitar; Jimmy Maxwell, trumpet; and Stanley Webb, oboe. The collection of mood music which comprises DOOR OF DREAMS follows rapidly on the heels of Joe’s recent album, PARTY NIGHT AT JOE’S, which featured one of the swinging-est big bands to be heard in many a moon.

Other albums by Joe Reisman and His Orchestra:

Delightful arrangements of Walt Disney favorites which every member of the family— from the youngest to the oldest — will love.
Superb standards done in a swinging big band style . . . perfect for dancing.
© by Radio Corporation of America, 1957

Joe Reisman and His Orchestra - Door Of Dreams

Label: RCA-Victor LPM-1519

1957 1950s Covers

Ziggy Elman and his Orchestra – Sentimental Trumpet

Sleeve Notes:

“Sentimental Trumpet” – the sweet, soaring trumpet of Ziggy Elman, of course—and moody music-making designed for either relaxed listening or a bit of intimate, cheek-to-cheek dancing by the side of your record player!

The mood is on the nostalgic, quiet side—one for memories or memory-making. Not that Ziggy doesn’t brighten the listening here and there with a warmish solo flight or some beatful bluesy swing. That happens here and there for a bit of welcome contrast. But, mostly “Zig” sticks to the designation of the title and his orchestra follows along as his horn sings sentimentally tunes you know and love in a fresh and endlessly entertaining fashion! Along the way here you’ll encounter many an old favorite tune of yours. There’s Jerome Kern’s unforgettable LOVER COME BACK To ME, setting the note of sentimentality. Then comes Mr. Kern’s wonderful SMOKE GETS IN YOUR EYES. From the pens of Roy Turk and Fred Ahlert comes MEAN To ME. And, for a trumpet showcase, Zig presents the haunting MOON NOCTURNE. Remember AT SUNDOWN, MORE THAN You KNOW, YOU’RE MINE, You, TEA FOR Two (the last a Vincent Youmans favorite)? They’re here in stellar performances in the inimitable Ziggy Elman manner. And so is Peter DeRose’s immortal STAR DUST. For a change of pacing, there’s BLUES FOR TRUMPET. But, back to standards with CHEEK To CHEEK (Irving Berlin, of course) and the evergreen MY BLUE HEAVEN. That’s the musical line-up for you here. Sit back in your easy chair and relax or get on your dancing pumps —either way you’ll find Ziggy’s “SENTIMENTAL TRUMPET” oh, so inviting and oh, so memorable!

In the world of music, Ziggy Elman occupies a lasting place of prominence which has been attained by few. His golden trumpet has weathered the changes of many a musical style and taste and trend—and, in the latter case, Ziggy has started off on its way many a trend on his own. A musical child, he first attracted attention to his gifts when at the age of six he began, unprompted, identifying notes as they were picked out at the piano. In his youth, he mastered successively the trumpet, trombone, clarinet, sax and practically every other instrument you usually find in a band. Benny Goodman, who gave him his featured start in the band business, got Ziggy to pin himself down to a horn and stick to it. As featured soloist with the B.G. band, Ziggy won himself more fame and acclaim than most band-leaders do. At one time or another, he has placed first in nearly every newspaper and magazine poll held in this country as America’s No. 1 trumpet man. While with Goodman, Ziggy was featured on scores of B.G. records, the most famous of which was probably the one which bore a composition of his own called “And The Angels Sing”. After an ailing Benny Goodman disbanded his great band, Ziggy passed on to another famed side-man post with the Tommy Dorsey aggregation, where he became a valued assistant to the bespectacled maestro with the trombone. A stint in the Air Corps came along during the war and after that Ziggy re-joined the T.D. band, until its temporary disbandment. At that point, Ziggy organized his own band of renown. In recent years, “Zig” has alternated between fronting this group and various musical chores in Hollywood and generally on the coast. He is tall, dark, personable, exceptionally modest, likeable—his friends term him “a regular guy.” He’s married and the father of a boy named Marty Joe. Aside from his trumpet, his second love is a camera—he’s a shutter fiend and pursues his photographing with the utmost seriousness.

Ziggy Elman and his Orchestra - Sentimental Trumpet

Ziggy Elman at Wikipedia

Label: MGM Records E3389

1957 1950s Covers

Jackie Gleason presents Music for the Love Hours

Sleeve Notes:

What are the love hours? Something more than mere minutes and seconds certainly, for they are moments magically fashioned by the fantasies of people in love. To the young, the love hours hold a promise of eternal spring; to those who are older, a wisp of romantic nostalgia; and to the lonely, the dream of what might have been – or still may be.

For all those who know these hours, here are warm and familiar ballads featuring rich-sounding strings and the mellow trumpet of Bobby Hackett, and styled by the incomparable master of romantic music – Jackie Gleason.

Jackie Gleason presents Music for the Love Hours

Label: Capitol LCT 6131

1957 1950s Covers

Eartha Kitt – St. Louis Blues

Sleeve Notes:

ST. LOUIS BLUES, the motion picture, is a new notch on Eartha Kitt’s achievement tree – her first Hollywood dramatic part. ST. LOUIS BLUES, the record album, scales a new promontory in her variegated recording career, presenting primarily as a blues singer an artist mainly known as the purveyor of sophisticated, mink-lined lyrics.

It is no surprise that the executives and cast of the W. C. Handy film biography expressed delight at her performance in the role of the “other woman” in Handy’s life; nor will it amaze those who know her well that the lithe little girl from the obscure town of North in South Carolina has successfully picked up the gauntlet of the blues. The unsophisticated childhood in southern poverty, the chaotic adolescence among friends and relatives in the Bronx and upper Manhattan, the limited education and the catapulting into an international glamour world as a Katherine Dunham dancer, somehow produced a mature personality rare in anyone of tender age and unstable background: a girl who chatted with Churchill and Nehru and Einstein, who learns new languages as most women buy new clothes. If genius be the ability to meet each challenge in any field of one’s particular choice and interest, then Eartha Kitt surely is a genius.

The material in this album, though uniformly credited to W. C. Handy, is not all strictly blues; nor is all of it to be heard in the movie, though most of the songs have at least some exposure by Eartha or one of the other artists. The details of their origin have been documented in a book of text and music, A Treasury of the Blues (Charles Boni), edited by Mr. Handy with an historical and critical analysis by Abbe Niles; comments from this book are quoted below.

The Memphis Blues, the song that pointed to Handy’s destiny, was the first blues ever documented and published. In 1909 there were three candidates for mayor of Memphis and three leading Negro bands in town. Handy, hired to play for candidate E. H. Crump, decided to celebrate the event with a new song, based on the blues form that had long been at the back of his mind. The Memphis public sang and danced in the streets to the melody of Mr. Crump; Crump was elected and Handy was lionized. The melody (there were no lyrics at that time except for a since-abandoned 16-bar middle strain) lay dormant until 1912, when a local department store worker took the manuscript, re-titled it The Memphis Blues (“better known as Mr. Crump as played by Handy & His Band,” said the sheet music cover), printed 2000 copies and put half of them in the store window. Handy, told that only 1000 copies were printed, was convinced that the piece was too hard for the public and surrendered his copyright to a selling agent for $50. Not until the statutory 28-year first-copyright period had expired was Handy able to reclaim his first hit song. Eartha’s version is the one now most often used, in which lyrics were added that speak of Handy in the third person and describe the impact of his hand on the Memphis public; George Norton of Melancholy Baby fame wrote these words. Shorty Rogers has the instrumental solo; Eartha’s concluding high note is a delightful shocker.

Careless Love, which Eartha does with Nat Cole in the picture, has a traditional, non-blues 16-bar melody that Handy recalls having heard in Bessemer, Alabama, as far back as 1892. He published it in 1921 as Loveless Love; four years later came the present version, with “additional words by Martha E. Koenig and Spencer Williams,” three stanzas of which Eartha offers.

Atlanta Blues is named for the city where Handy made headlines in 1916. His band drew 7000 to an auditorium better known for its visits from the Metropolitan Opera company. Equally well known as Make Me One Pallet on Your Floor, it was published by Handy in 1924, the composer credit being shared with Dave Elman (“known to Americans through his Hobby Lobby broad-cast,” insists the sheet music). This one, too, has a 16-bar main strain, to which Eartha adheres faithfully, as do trombonist Moe Schneider and trumpeter John Best in their solos.

In Beale Street Blues (1916) Handy recaptured some of the turbulence of the Memphis town that was later to honor him with a W. C. Handy Theatre and a Handy Park. Eartha trades lines joyously with the vocal group; the punch line refers, of course, to Prohibition’s emasculating effect on the sinful street. Gilda Gray, one of the earliest white artists to acknowledge the blues, helped make Beale Street famous.

Yellow Dog Blues (1914), which Eartha sings in the movie, has three 12-bar themes, the last taking the lyrical form of a letter from the “easy rider” to his gal (“Dear Sue .. .”). The key line, “tie’s gone where the Southern cross the Yellow Dog,” refers to two railroad lines, the Southern and the Yazoo Delta, which intersected at Morehead, Mississippi. “On the hog” means broke, and “vamp it” is a synonym for “walk it.”

Friendless Blues, ironically, was selected for the picture to be sung by Eartha as an illustration of an inadequate song, before her discovery of Handy’s music. Nevertheless, Handy did write it, in 1926, and Eartha found it so far from inadequate that she insisted on including it in the album.
Hesitating Blues, often mislabeled Hesitation, was published by Handy in 1915 and sung soon after by Blossom Seeley. Handy once credited the style of the chorus to the improvisations of a blind pianist at Mulcahy’s saloon in Memphis.

The delightful Long Gone (1920), is the true life story of a jail trusty in Bowling Green, Kentucky, who contrived an ingenious escape. Chris Smith, who wrote Bailin’ the Jack, was Handy’s collaborator. “I was happy to sing this,” says Eartha, “because I remember hearing Willie Bryant do it with his band, when I was a kid.”

Chantez-les bas (Sing ’em Low), according to Abbe Niles, “is in the Arcadian French patois with which a soft-voiced neighbor asked some of Handy’s men to please pipe down while they were serenading a girl in a Louisiana town.” As was usual with Handy, there are three different strains. and as is Eartha’s wont through. out these sides, the melodies are adhered to loyally while the Kitt personality effects a perfect merger with them. One of Handy’s later publications (1931), it is sung by Eartha in the dramatic film sequence that reveals his incipient blindness.

St. Louis Blues (1914) is Handy’s monument, the most famous blues in the world. Nat Cole and Eartha sing it in the film, in a version strikingly different from that heard here. Matty Matlock’s arrangement keeps a suggestion in the opening chorus of the tango rhythm that was a revolutionary novelty when the song was first performed. Eartha, by being herself and allowing the melody to be itself, offers one of the most genuine interpretations of the five hundred recorded in the song’s forty-four years of life.

St. Louis Blues (1914) is Handy’s monument, the most famous blues in the world. Nat Cole and Eartha sing it in the film, in a version strikingly different from that heard here. Matty Matlock’s arrangement keeps a suggestion in the opening chorus of the tango rhythm that was a revolutionary novelty when the song was first performed. Eartha, by being herself and allowing the melody to be itself, offers one of the most genuine interpretations of the five hundred recorded in the song’s forty-four years of life.

Steal Away and Hist the Window, Noah, both Handy spiritual adaptations and both sung in the picture by Mahalia Jackson, offer us a chance to hear a different Eartha. “I sang these purely with chest tones,” she says; “all the other songs are done mainly with head tones. I’ve always wanted to do Negro spirituals and we thought it would be a fine idea for contrast to include a couple of them in the album.”

The arrangements by Julian “Matty” Matlock, 49-year-old clarinet veteran from Paducah, Kentucky, and alumnus of the Ben Pollack, Bob Crosby and Red Nichols bands, are in perfect keeping with the spirit of the album and of Handy’s music. I suspect that this album will spend many hours on Mr. Handy’s own turntable. For once, a set of his works has been performed, arranged and sung with the same loving care and fidelity that would be accorded them by the composer himself.

LEONARD FEATHER © by Radio Corporation of America, 1958
Jester Hairston arranged Steal Away and Hist the Window, Noah, and it is his choir that accompanies Miss Kitt on those selections. The arrangements for all the other numbers were made by Matty Matlock, and Miss Kitt was backed by the following people: SHORTY ROGERS—Leader and Trumpet JOHN BEST—Trumpet MOE SCHNEIDER—Trombone MATTY MATLOCK—Clarinet STAN WRIGHTSMAN—Piano AL HENDRICKSON—Guitar MORTY CORB—Bass NICK FATOOL—Drums MILT HOLLAND—Conga Drums
EARTHA KITT With Shorty Rogers and his Orchestra ® 1958 RCA RECORDS

Eartha Kitt - St. Louis Blues

Label: RCA NL 89436

1958 1950s Covers (1984 reissue)

My Fair Lady and The King and I – Al Goodman and Orchestra

Sleeve Notes:

The world of music and musicals has produced many smash hits during our time, but none has surpassed the beauty, the sheer musical elegance of “My Fair Lady” and “The King and I”. Although worlds apart in theme and production here are two musical comedies that possess everything: delightful story, brisk patter, charming lyrics, and fascinating music. One hears enough of the music from “My Fair Lady” and “The King and I”.


My Fair Lady opened at the Shubert Theatre in New Haven February 4, 1956, at the Erlanger Theatre in Philadelphia on February 15, and at the Mark Hellinger Theatre in. New York on March 15.

My Fair Lady, a musical adaptation of Bernard Shaw’s Pygmalion, is beautiful, delightful, tuneful and funny, that even the great “Shaw” would have approved this production.

Henry Higgins, an English professor, is taking notes on British dialects. He is especially impressed with Eliza – a Cockney flower-girl. He tells Eliza that he and his friend, Colonel Pickering, can teach her to speak like a lady, and become successful as a shop-owner and not remain a flower-girl.

The next day she appears at the professors home to ask him to teach her proper “English” and he agrees. However, her Cockney ways and ideas almost make the professor give up his experiment. However, Eliza learns correct pronunciation and the professor introduces his “protege” to society at the Ascot Races. At the races she attracts the attention of Freddy Eynsford-Hill, a wealthy Englishman, who follows her home hoping to see her again.

After months of hard work, Eliza is ready for the great experiment. She is taken to a ball where she is a success. The people at the ball assume she is of great wealth or nobility.

The professor and his friend are elated over their successful experiment and completely for-get their “protege”. Eliza, hurt and angry, leaves the house and runs into Freddy. Freddy professes his love for Eliza.

The day after the ball, the professor realizes that Eliza is gone. He finds Eliza at his mother’s home where she has gone for comfort and sympathy. The professor offers Eliza a truce which she refuses.

On his way home, he thinks about the way she has affected his life. Later in the evening as the professor sits quietly at home listening to a recording of Eliza’s voice, Eliza returns “home.”

“THE KING and I”

Also received immediate acclaim by public and critics alike immediately upon its opening March 29, 1951. Here was another achievement of the team of Rodgers and Hammerstein, creators of “Oklahoma!”, “South Pacific”, “Carousel and other triumphant musical pro-ductions that have made their names synonomous with beautiful music.

Rodgers and Hammerstein have that rare ability to integrate the score with the theme. In “The King and I” which is an adaptation of Margaret Landon’s “Anna and the King of Siam”, Rodgers and Hammerstein capture every emotion from humor to pathos in their melodious tunes, yet continue to maintain an accurate musical picture of the situations in the play. How lovely are “Something Wonderful”, “Getting ;o Know You”, Shall We Dance”, and how truly in-dicative they are of each situation they present. This album of “The King and l” will occupy a cherished part of your music-listening hours.

AL GOODMAN famous conductor and musician has devoted all his life to music. His love for music and his inherent musical ability were manifest at an early age when he sang soprano in his father’s choir, became a musician in the pit of a local “movie house”, and was awarded a scholarship to the Pea-body Conservatory in Baltimore.

In 1915 Al Goodman was selected by Earl Carroll to accompany him to California as arranger and conductor. That was Goodman’s official entry into show business . . . the start of an illustrious musical career which brought him into personal contact with the all-time “greats” of show business . . . as the conductor of many shows and musical productions whose successes were due in great measure to his outstanding ability. Al Goodman produced musical comedies with Earl Carroll . . . never-to-be forgotten hits like “So Long Letty” and “Canary Cottage”. He became Al Jolson’s personal conductor and arranger, then J. J. Shubert made him general musical director and composer of all Shubert musical productions.

He later became associated with various Radio and TV Shows as musical consultant and director such as the Hit Parade & the Colgate Hour. In his wide and varied career he was associated arranger, conductor, recording artist or musical supervisor for about 200 famous musical shows and programs. He has worked with the biggest names in the history of Broadway: Earl Carroll, Al Jolson, George White, Sigmund Romberg, Jack Benny, Fannie Brice, George Jessel, Flo Ziegfeld, James Melton, Max Gordon, Bob Hope, and many, many others. The name of Al Goodman, arranger, conductor, musician is one of the brightest lights of show business on Broadway.

The recording you have just purchased was made on an Ampex Tape Recorder, Model 600, with Altec and Telefunken Microphones. The Masters were cut on a Scully Lathe with Grampion Feedback Cutter Heads driven by specially designed 200 Watt Amplifier. Mastering was done with maximum stylus velocity consistent with minimum distortion realizing the ultimate in signal to noise ratio. Although the total frequency range of 16 CPS to 20,000 CPS on this record is not within the range of ordinary hearing, microscopic examination will reveal the etchings of the upper dynamic frequencies. However, it is the opinion of the producers of this record that the inclusion of these inaudible frequencies does convey a certain warmth of tone that is lensed by the listener rather than usually heard.
This recording may be played on any 331/3 RPM record playing instrument; but the wide range and fine technical features incorporated in this record will be most fully realized on playback equipment of extremely high fidelity.
Low Frequency Limit 16 CPS High Frequency Limit 25,000 CPS Crossover 500 CPS Rolloff 13.75 DB at 10KC


In order to enjoy this recording to its fullest, set the volume control at the point at which the sound seems to fill the room and is not objection-ally loud.
The Bass Control should be set so as to pick up only the fullness and mellowness of the rhythm instruments without thumpy reverberation.
The Treble Control is set for best results when the music comes through without a static interruption and the sound comes through without distortion.
Naturally a diamond stylus will in-sure more perfect sound reproduction but this record will provide hours of enjoyable listening when played with any other type of reproducing styli.

My Fair Lady and The King and I - Al Goodman and Orchestra

Label: Promenade Records 2061

1957 1950s Covers