Jackie Gleason presents Music To Make You Misty

Sleeve Notes:

Beautiful music can evoke sentimental memories … and Jackie Gleason has chosen the loveliest of ballads for his Music To Make You Misty… melodies whose nostalgic phrases bring back the tender moments of everyone’s romance. For Jackie Gleason has just the right touch … the deft touch that has already given best-selling popularity to two great albums — Music For Lovers Only and Lover’s Rhapsody. Now, in this presentation of favorite tunes, he appeals again to all the young in heart.

Two superb instrumental soloists are featured in this album, Bobby Hackett on trumpet and Toots Mondello on alto saxophone; the tasteful arrangements are by Sid Feller and Richard Jones. Their lyrical work is a tribute to Jackie Gleason’s fine musical taste. So here is Jackie conducting his orchestra in a splendid offering for your romantic listening pleasure.

Jackie Gleeson presents Music To Make You Misty

Label: Capitol W455
Photo by Richard Nadel, Camera Associates, Inc.

1957 1950s Covers

Rimsky Korsakov, The Pittsburgh Symphony Orchestra – Scheherazade

Sleeve Notes

In the year spanning 1887 and 1888, Nicolai Andreyvitch Rimsky-Korsakov managed to produce three symphonic tributes to three separate lands — his own Russia, Spain, and the Land of Make-Believe. The Russian Easter Overture (Opus 36) and Capriccio Español (Opus 34 ) both offered glittering festival music.

But the elements of pageantry, excitement and sensuality found even more triumphant expression in Opus 35 —which is Scheherazade. Rimsky always regarded this work with special interest and affection, suspecting perhaps that here he had created his immortal monument.

The career of Rimsky-Korsakov got off to a singularly unpromising start.

In the Navy circles in which, as a midshipman, young Rimsky moved, he was conceded to be indifferent officer material but a first-rate musician.

Among musicians, he was rated a rather bad pianist.

On reaching his twenty-first birthday in 1865, Rimsky had yet to decide just where he belonged. He loved the sea; but the dull, vulgar, and inhuman life with the Tsar’s Imperial Navy depressed him. And although he possessed an unmistakeable musical gift, Rimsky’s disposition was better suited to being an aristocratic young dilettante than to study, practice, and serious composition.

Yet, from such lean beginnings finally emerged one of the most astonishing talents in music!

Of the group of rebellious Russian composers later to be immortalized as the Mighty Five, Rimsky is considered by many as the mightiest. Balakirev, Cui, Moussorgsky, and Borodin made up the rest of the coterie. These five young men were the musical manifestation of the drive toward nationalism which all Russia was feeling at the time. Together they waged war on traditional “conservatory” music, as symbolized to them by Rubinstein and Tchaikovsky. Each of the five had his special genius to contribute. But none of the group (and, indeed, very few composers before or since) addressed himself with such success to the imagination of his listeners, as did the composer of Scheherazade.

It is to the lasting credit of Mili Balakirev, leader of the young dissidents, that he saw beyond Rimsky’s ignorance of harmony, notation, and the use of the musical instruments themselves. With a teacher’s intuition, Balakirev guessed at Rimsky’s latent greatness and goaded his protege to abandon mere musical dabbling. Not only was such waste of talent an abomination, but the Mighty Five needed a major musical work with which to gain recognition and stature. Thus Rimsky-Korsakov’s First Symphony, performed in 1865, was also the group’s first public testament.

The audience applauded, then gasped, as the composer was brought out onto the stage wearing his Naval uniform! But by September of the same year, Rimsky’s sailing days had ended, and he settled down to work in St. Petersburg. As he learned, he composed. And as he composed, he learned. Two fresh works: Sadko (1867), a symphonic poem; and the opera, The Maid of Pskov (1868 ) further established his success.

Yet he was scarcely prepared, in 1871, for an incredible stroke of luck: his appointment to a professorship at the St. Petersburg Conservatory. Urged on by his friends (particularly by Balakirev who jumped at the chance to plant one of his rebels in the hostile Conservatory), Rimsky accepted the post. Had he known a little more about music at the time, he would have been appalled at the magnitude of his own inadequacy. When the realization did smite him, it was too late to back out.

By diligent application and brilliant bluffing, Rimsky managed to hide his ignorance from his students and, eventually; to keep one jump ahead of them. As the composer explains: “… having been undeservedly accepted at the Conservatory as a professor, I became one of its best and possibly its very best pupil!”

He was engrossed in some revisions of Borodin’s Prince Igor when he received the inspiration for an orchestral piece derived from and suggesting the exotic tales of the Arabian Nights. And, in the summer of 1888, the symphonic suite in four movements — entitled Scheherazade, was completed.

In all of music it is hard to single out another composition equalling Scheherazade’s power to liberate the imagination of the listener and send it flying by magic carpet to the strange and wonderful world which Rimsky-Korsakov conjured up—a land of Oriental splendor—of djinns and magical fantasies-of heavy-lidded princesses — glistening Nubians — cruel Caliphs — beautiful slave-girls dancing and stamping their little belled feet in the crowded bazaar.

Each listener, according to his special mood and fancy, may improvise symbols of his own — just as did the composer of the music and the choreographer of the famous ballet based upon it.

For Rimsky-Korsakov intended his tone poem to be evocative rather than narrative. The “kaleidoscope of fairy-tale images”— as he himself characterized it — shifts from one to another with no continuing plot.

The titles of the four movements: The Sea and Sinbad’s Ship; The Kalander Prince’s Tale; The Prince and the Princess; The Bagdad Festival and the Ship Dashing Upon the Rock Surmounted by the Bronze Statue of a Warrior — serve mainly as thematic cues. The combined effect of these four movements is a melodic reflection of some of the tales by which the Sultana Scheherazade —over a period of A Thousand and One Nights — charmed her surly husband, the Sultan Schahriar, out of the notion of executing her.

The first violins establish the theme of Scheherazade as narrator. This same theme, repeated and embellished, leads to other musical figures and to other images. Wood-winds, horns, harp, cymbal, and tambourine take their turns assembling the mosaic of sound and enchantment.

Here is magnificent proof of Rimsky-Korsakov’s pain-fully acquired virtuosity. Every symphonic ornament is exhibited in this satisfying work, as though the composer had challenged not only himself but the orchestras and. conductors who would perform it. A concert showpiece from the day of its debut, Scheherazade makes exacting demands, ranging from pianissimo solos to its fortissimo climax and exploiting all of the colorations and shadings of musical sound.

No amount of repetition can diminish the vitality of such a composition. It brings something new and wonderful to all who hear it for the first — or for the hundredth — time.

WILLIAM STEINBERG is justly celebrated as one of the foremost conductors of our time. Coming to the United States in 1938 with a European reputation of the highest order, he has since distinguished himself with equal success and acclaim on this continent. His memorable appearances with most of the nation’s major symphony orchestras are climaxed now in his permanent conductorship of the Pittsburgh Symphony Orchestra, with which he displays the full scope and sensitivity of his magnificent talent. Among their recordings are these works:
BEETHOVEN: Symphony No. 6 (“Pastoral”) P-8159
SCHUBERT: Symphony No. 2 Symphony No. 8 (“Unfinished”) P-8162
STRAUSS: Till Eulenspiegel Death and Transfiguration P-8291
BEETHOVEN: Symphony No. 5 Symphony No. 8 P-8292
RACHMANINOFF: Symphony No. 2 P-8293
TCHAIKOVSKY: Serenade in C Major PROKOFIEV: Classical Symphony P-8290
TCHAIKOVSKY: Symphony No. 5 in E Minor P-8325

Rimsky Korsakov, The Pittsburgh Symphony Orchestra - Scheherazade

Label: Capitol P8305

1955 1950s Covers

Victor Silvester and his Silver Strings – You Were Never Lovelier

Sleeve notes:

THE TUNES included on this superb Long Play Record have been chosen with a dual purpose in view; for those who wish to dance, and for those who wish to listen to some of the most romantic melodies ever written.

In his lifetime Jerome Kern composed so many excellent numbers that it was a difficult task to decide on just which should be included in this selection, but we think you will agree that Victor Silvester has certainly chosen most of Jerome Kern’s greatest successes.

“You were never lovelier”, “I’m old fashioned” and “Dearly beloved” were all featured in the 1943 film “You were never lovelier”, which starred Fred Astaire and Rita Hayworth.

From “Showboat” which was first presented in 1927, two numbers are included —”Make believe” and “Why do I love you?”

“Smoke gets in your eyes” and “Lovely to look at” are from the 1935 production “Roberta”, starring Fred Astaire and Irene Dunne, although the first title was originally from a musical show “Gowns for Roberta” in 1933.

“Moon love” was written for “The Beauty Prize”, a show produced in 1923.

In 1940 Jerome Kern wrote a haunting melody that was to win an Academy Award film “Oscar” as the best tune of 1941—a tune that recalled the capital of France before its war-time occupation. The film was “Till the clouds roll by”. The tune—”The last time I saw Paris”.

“They didn’t believe me” is the earliest of Jerome Kern’s many hit tunes, dating back to 1914, when it brought happiness to many people during the first World War. It was in a show called—”Tonight’s the night”.

“All the things you are” was composed for a show called “Very warm for May”, in 1939, and was later featured in a Hollywood film “Broadway rhythm”.

“All the things you are” was composed for a show called “Very warm for May”, in 1939, and was later featured in a Hollywood film “Broadway rhythm”.

“A fine romance” and “The way you look tonight” both came from one of the early Ginger Rogers-Fred Astaire successes “Swingtime”. Incidentally “The way you look tonight” also won an Academy Award “Oscar” as the best film tune of 1936.

In 1942 he wrote the music for what was to be his last film score; Rita Hayworth and Gene Kelly were the stars, and the film was called “Cover Girl”. Even if you find it hard to remember the film, one tune from it has become a standard favourite—”Long ago and far away”.

These, then, are the melodies featured on this record—melodies by one of the greatest composers of all time. Victor Silvester has paid tribute to a famous American by presenting these tunes to you in a way we think you will long remember, and, we hope, enjoy over and over again.

THE NAME of Victor Silvester is synonymous with dancing and music for dancing throughout Europe and South America, and in large sections of Asia and Africa. In addition, many G.I.’s returning home after the war from places as far apart as Chung-king and Casablanca carried with them memories of his inimitable music.

At the age of 22 Victor won the World’s Dancing Championship, an outstanding feat as he had only begun dancing three years before. His success was due to intensive training and exceptional ability.

He then opened his own dancing school in London’s famous Bond Street, and this became the largest and most famous in the British Isles. People from all parts of the world came to learn dancing there, and these included many notable personalities, such as Madeleine Carroll, Merle Oberon and Belita—to mention only a few. It was his experience as a dancer and his association with Columbia which led to the formation of his Ballroom Orchestra.

At his Dancing Academy—in common with other teachers at the time—Victor found that it was difficult to obtain satisfactory records suitable for dancing, and so he hit upon the brilliant idea of forming his own orchestra. He had learned to play the piano as a boy, and his studies at a London College of Music were to prove of great value. His records were best-sellers from the first issue.

The popularity of Victor’s Ballroom Orchestra led to the formation of an entirely different unit—the Silver Strings—and this combination, featuring the music of Latin-America—soon emulated the popularity of its ballroom counterpart. Today he is one of the few artists in the entertainment world who has at least three records issued every month! He has a seven year contract with Columbia (English label), and a three-year contract with the B.B.C., for whom he has provided a regular programme called “The Television Dancing Club” since 1948. He also undertakes well over 100 broadcasts a year in B.B.C. radio series, among which is a request programme “Music for Dancing” which has been heard regularly on the North American Service of the B.B.C. for the past ten years. Recently Victor has begun to open dancing studios throughout the British Isles in association with the Rank Organisation, and it is estimated that over two hundred studios will be in operation within the next three years.

He has written a book “Modern Ballroom Dancing” which has sold over a million copies in 50 different editions! With his pianist Ernest Wilson, who is also his arranger, and who so brilliantly orchestrated the music for this record, he has written over 150 dance tunes, including Tangos, Rumbas, Sambas, Viennese Waltzes, Mambos, Calypsos, and Rock and Roll! Victor decided to extend its range to encompass the more general field of popular music.

His Orchestras play, and have always played, for those who like to dance, as well as those who like to listen. The musical sound he has achieved is as distinctive in its own right as that of the late Glenn Miller, with whom he formed a close personal friendship during the war, which continued until Glenn’s tragic death in 1944.

Perhaps the best summing-up of the principles which Victor believes in, was given by the maestro himself when he said “The basic essentials of true dance music are melody, simplicity and a consistent rhythm. Join these three entities together and you have music that is nice to dance to and pleasing to listen to.” These principles are clearly defined on this record, and we feel sure that you will find many hours, days and years of enjoyment with this record.

Victor Silvester and his Silver Strings - You Were Never Lovelier

Label: Columbia 33SX 1061

1957 1950s Covers

Rosita Serrano

Sleeve Notes:

This record is a glowing tribute to the Chilean song-stress Sofia Maria Esther del Carmen Rosario Celia Aldanate del Campo Fuentes Cordobes y Carerra.

Although that’s her full name she invariably signs herself quite simply: Rosita Serrano. Does this “Chilean Nightingale”, adored not only in her own country but all over the world, whose repertoire embraces no less than sixteen languages, need any further introduction? Everyone knows that this flattering “nightingale” nickname does not only describe her voice, but is equally applicable to another of her unique gifts: whistling. Rosita has not only learnt to imitate a bird in song, but can whistle like a bird too. She has mastered both these techniques in truly a personal, but nevertheless virtuoso manner.

The programme on this record is made up of Spanish, Spanish-related and German songs. Those are just two of the sixteen languages she has mastered and sings. It will suffice to give a picture of her artistic personality which, as far as her repertoire is concerned, often evidences particularly happy affinities with the musical folklore and musical characteristics of other lands and peoples.

Take La Picaronera, for example: a Peruvian folk-song telling the tale of a street-seller specializing in honey-cakes. It is typically Peruvian in all its bright-ness and colour.
Rosita’s long-playing programme also includes a number of compositions by the well-known German composer Michael Jary, a good example of which is that tender, fairytale-like Der kleine Liebesvogel relating the adventures of a bird that only sings “als zwei sich gut sind und ihr Herz in Liebe gluht” Then there’s Jary’s saucy “Oui Madame“, the story of a Paris conquest, and Roter Mohn, a lament about a lost sweetheart. Other numbers in the German section of the programme are Mein Herz sehnt sich nach Liebe and Und die Musi spielt dazua, a lilting scene from a Viennese ballroom to lyrics by Fred Raymond.

In addition to La Picaronera the Spanish section includes that ever-popular world success La Paloma – Resist’s whistling is bound to surprise you in this song and possibly even more so in Corrio Chileno – Brisas del Sur, a “lamento” with lyrics by Rosita and music by Victor del Monte, who conducts the orchestra on this ‘record, Adios Mariquita Linda, a Mexican folk-song, in which an unknown poet bids farewell to the pleasures of this world, No, No, No, Quiero, an exhilarating guaracha, and that short ballad Amotu yaney, a Chilean-Indian love-song that sparkles from beginning to end.

Rosita Serrano

Label: Philips B 08110 L

1957 1950s Covers

Morton Gould and His Orchestra – Blues in the Night

Sleeve Notes:

SIDE 1 Band 1 — Arlen BLUES IN THE NIGHT (from “Blues in the Night”) Band 2 —De Sylva BIRTH OF THE BLUES (from “George White’s Scandals of 1926”) Band 3 —Ellington SOLITUDE Band 4 — Lane OLD DEVIL MOON (from “Finian’s Rainbow”) Band 5 — Griselle NOCTURNE (from “Two American Sketches”) Band 6 —Braham LIMEHOUSE BLUES (from “Andre Chariot’s Revue”)

SIDE 2 Band I —Ellington MOOD INDIGO Band 2 —Handy ST. LOUIS BLUES Band 3 — Ellington SOPHISTICATED LADY Band 4 — Gould BIG CITY BLUES Band 5 —Hudson MOONGLOW Band 6—De Rose DEEP PURPLE (Arranged by Morton Gould)

You, too, can create a blues theme. Perhaps you already have. It can happen most any time after dark, when you suffer an attack of nostalgia. This is not classical nostalgia, which is Heimweh, but Authentic Nostalgia, which involves a ponderable quota of self-pity. It is likely to be engendered by thoughts of an affront from someone who should have treated .you better. It needn’t be that personal, of course, but it is more fun to make up a blues theme about the some-one who didn’t understand ( or, more poignantly, certainly did! ) than about discomforts, even though they be financial. You may find words for your blues theme, but we’re talkin’ tunes now.

When you’re suffering from Authentic Nostalgia, a blues theme can be an agreeable palliative. You hum it or sing it or whistle it in musical contemplation of your sentimental malaise. You keep on giving it voice or vent, in an apparently definitive set of tones, but if you taped your first venture in self-expression and your second, you might be astonished to notice the changes in the theme. Perform it for a listener who might, in turn, sing or play it, and there would be further variations on your scrap of melody. As it passes from hand to hand, or, as some have remarked, from mouth to foot, it continues to have a somewhat amorphous design. As Morton Gould observes, a blues theme is “not set.” It is, he believes, the kick-off for improvisation, and almost everyone who deals with it is in some degree an improviser. The “not set” nature of a blues theme is obvious in its uncertainty about its tonality, which usually is ambivalent, not being convinced that it is all major or all minor — or that this makes much difference. When the little theme grows up to be a composition, it is likely to come to a major conclusion. It’s a not too rigid tradition of blues compositions, and has no special implication concerning the major-minor dichotomy of blues themes.

The basic materials of the dozen settings collected here as BLUES IN THE NIGHT are not simply blues themes and they don’t contain anything made from the home kit for blues manufacture. They are blues compositions, in which musicians of gifts and skills have developed blues themes or suggestions of blues atmosphere into successful songs and instrumental works. The initial blues elements have indicated to Mr. Gould the treatments that you hear in these presentations, but the entire composition is involved in the orchestral fantasy that ensues. Some of them are not officially blues, but all have within them an emotion that finds voice in melodié bleue. Six of them were originally instrumental music; two began as unaffiliated songs, two were from revues, one was from a film, and one was from a musical play. It may be pertinent to observe that one of the works, the Nocturne, is from Thomas Griselle’s Two American Sketches (the other sketch was a march) , which won the first prize of $10,000 in a Victor Talking Machine Company competition in 1928.

Let us revert, for a moment, to the subject at hand. Most blues concern a personal unhappiness. And to expand a well-esteemed cliché, this unhappiness becomes more agree-able when it is shared. When this sorrow is converted into the writing of one of our leading American composers, and then translated to a large orchestra, your sorrow is shared by so many people that the whole transaction has become eminently attractive.

The fantasies, which, Mr. Gould remarks, develop from the periphery of the blues, are improvisatory in feeling but written down on score paper as precisely as if they were a four-movement symphony in G-flat minor, in which key none of these is — or many symphonies, for that matter.

Even the electronic devices and techniques are part of the scores which Mr. Gould has prepared. This then, is an amalgamation of individual inspiration and electric wizardry, but the free-jazz factor underlies Mr. Gould’s writing. It does so because many of these men, who are experienced and resourceful in playing the symphonic repertory, are accomplished jazz artists also. They can bring to the performance of music on paper not only the surety of expert symphonic readers and stylists, but the necessary waywardness of the popular improviser. They can “play strict and keep loose,” as the early-nineteenth-century conductors used to say to their bands, if this has been reduced to English correctly. The result is quite personal, both as to Mr. Gould’s settings and interpretations and as to your reaction. Some of the compositions will have special associations, perhaps mnemonic twinges that recall some blues moments of your own. Others will be simply a few minutes of brilliant sound — and is that a misfortune?

What any blues composition — or even wispy blues theme that you became possessor of — says to you is between you and the blues. It doesn’t need to say the same thing every time you hear it, and it may not even sound the same way every time you hear it on the same recording! There are many shadings in BLUES IN THE NIGHT. They won’t seem quite the same to you always, depending on your own mood as you play the record. You know how it is with the blues!
Notes by ROBERT A. SIMON © by Radio Corporation of America, 1957

This Is an RCA Victor “New Orthophonic” High Fidelity Recording.
It is distinguished by these characteristics: 1. Complete frequency range. 2. Ideal dynamic range plus clarity and brilliance. 3. Constant fidelity from outside to inside of record. 4. Improved quiet surfaces.

It is distinguished by these characteristics: 1. Complete frequency range. 2. Ideal dynamic range plus clarity and brilliance. 3. Constant fidelity from outside to inside of record. 4. Improved quiet surfaces.
A blunted or chipped needle can permanently damage your most valuable records. A worn needle will impair the quality of sound reproduction you hear. Make sure your needle is in good condition before you play this record. If in doubt, have it checked by your dealer — or buy a new needle.
LM-2104 Printed in U. S. A.

Morton Gould and His Orchestra - Blues in the Night - beautiful record covers from Cover Heaven

Label: RCA LM-2104
Morton Gould Biography

1957 1950s Covers

Gerald Shaw – Beautiful Dreamer – The Wedding Album

Sleeve Notes:

GERALD SHAW is one of the best known organists playing in this country. He is the resident organist at the Odeon Leicester Square, the veritable flag ship of the Rank cinema fleet, where he can be heard every day throughout the year. In fact, this is now the only cinema in Britain which has an organ in daily use. A frequent broadcaster, Gerald Shaw is known to organ enthusiasts all over the world.

The organ on which he plays was built by John Compton and it is the only five manual instrument of this make to be found on this side of the Atlantic, a magnificent instrument which you can hear to full advantage on this record.

Gerald Shaw here plays a selection of what could be considered the most popular music in the world tunes that have survived the test of time and still come up fresh and smiling every time they are played. The two Wedding Marches by Wagner and Mendelssohn are still played at most nuptials all over the world, in spite of the attempts of many other composers.

Gerald Shaw - Beautiful Dreamer - The Wedding Album

Label: Society SOC 909

1957 1950s Covers

George Shearing – Latin Escapade

Sleeve Notes:

Music that suggests the darkest corner of a smoky bar… the sweet wild mood of a Latin Escapade

For aficionados of Latin music, George Shearing plays these tropical tempos with a romantic touch all his own. He has long been a master of jazz with a Latin beat, and now, for the first time in a complete album, this special mastery finds fine, full expression. Backed by the colorful sounds of maracas, timbale, cloves, and conga drum, Shearing’s deft piano and his famed quintet make music that is sultry indeed; it will lure even the shyest dancer to the floor, and thoroughly delight the listener who does not choose to dance.

George Shearing - Latin Escapade

Label: Capitol T737

1957 1950s Covers

Norrie Paramor – My Fair Lady

Sleeve Notes:

As everyone knows My Fair Lady has had a sensational success in New York and it must surely be one of the most eagerly awaited musicals ever to come the way of the British public. it opens at the Theatre Royal, Drury Lane on April 30th, 1958.

Alan Jay Lerner and Frederick Loewe’s entrancing score was inspired by George Bernard Shawls immortal Pygmalion. It is a triumph of Anglo-American artistic co-operation and likely to be one of the most enduring musical successes of our time.

Norrie Paramor, one of the most dynamic conductors, arrangers and composers in British light music, was intrigued with My Fair Lady’s sparkling score and his orchestrations retain all the delight of the original music, flavoured with those touches that have made his name an international favourite.

Norrie Paramor - My Fair Lady

Label: Columbia 33SX 1079

1957 1950s Covers