The Glen Gray Casa Loma Orchestra – Sounds of the Great Bands in Latin

Sleeve Notes:

The Glen Gray Casa Loma Orchestra generates more swinging excitement than ever before as it brings new Latin rhythms to authentic re-creations of America’s big-band favorites.

A String Of Pearls, Take The “A” Train, Casa Loma Stomp, Stardust, No Name Jive,
Frenesi, Collaboration, The Mole, Early Autumn, King Porter Stomp

The Glen Gray Casa Loma Orchestra - Sounds of the Great Bands in Latin

Label: Capitol ST 2131
Cover Photo: Capitol Photo Studio/George Jerman

1964 1960s Covers

Harry James and His Orchestra – Laura

Sleeve Notes:

Once Harry James’s band was on tour and delayed by a snowstorm. Harry picked up a group of local musicians and went on the aft. A listener observed, “The audience heard that trumpet and they never knew the difference!” His great, honeyed horn always cuts a very wide swath — it’s a powerhouse. Even in the midst of the great sidemen in the Goodman band of the late Thirties and early Forbes where he played, James stood out like a jewel. He was “born in a circus trunk” where his mother was a trapeze artist and his father a bandleader. His full name is Henry Haag James, the Haag from the circus of the same name where his parents worked. In this album, we’ve chosen some of his greatest recordings — they’re danceable and very listenable and they include some of the finest songs in recent years. As an added bonus, two of the numbers feature the marvelous voice of Doris Day, who was once the band vocalist for Harry — her first big break. When you add it all up, it’s a package you should be proud to take home and play.

Harry James and His Orchestra - Laura

Label: Columbia HS 11326
Cover Photo: Horn/Griner

1969 1960s Covers

The Melachrino Strings and Orchestra – The Waltzes of Irving Berlin

Sleeve Notes:

Irving Berlin was the first of a handful of brilliant American songwriters who, between the years 1910 and 1930, changed the direction and character of popular music. It was the phenomenal, musically untrained genius of this Russian-born immigrant boy that literally touched off the modern era of popular song by creating sophisticated melodies, rhythms and lyrics as a distinct. break with the simple-minded so, of the past.

Unable to read or write a single note of music, and living a life of extreme poverty in the immigrant sections of New York City, Berlin started his career in the turbulent world of Tin Pan Alley as a singer in the streets and saloons of the Bowe,. From this he stepped up to work as a song plugger and singing waiter in cafes and restaurants in the downtown areas of the city. His fine lyric, written with a café pianist, earned him royalty of thirty-seven cents.

Success, however, came early. Installed as a staff lyricist with a leading Tin Pan Alley music publishing house, Berlin quickly established himself as one of that frantic industry’s top writers of words to other composer’s melodies. By 1910, he was already in demand and even appeared in a Shubert Broadway revue performing his own songs.

It was purely by chance that Berlin started composing music to the words of his songs. A lyric lie had submitted to a publisher was thought to be complete with music. Not wishing to lose the sale, Berlin quickly wrote a melody. It was accepted and published. The success of this first effort opened the door to his career as a composer of music as well as lyrics.

In 1910, Berlin wrote a hit that solidly established him as one of Tin Pan Alley’s leading composers. Alexander’s Rag-time Band not only popularized the vogue for “rag.,” but later inspired a major motion picture.

In 1912, Berlin’s first wife died suddenly, shortly after their honeymoon. His intense sense of loss was expressed in the first of his poignant ballads, When I Lost You, heard in this album. It was this deep personal involvement in his so, that, throughout his career, produced the great series of haunting ballads that have become standard repertoire the world over. Creator during World War I of the still legendary all-soldier revue, “Yip Yip Yaphank,” Berlin emerged from the war years a major composer for the musical stage.

Between 1921 and 1924, he wrote the book, music and lyrics for four editions of the “Music Box Revue.” What’ll I Do and All Alone, in this album, are from these productions, still remembered as the most sophisticated and dazzling of the Twenties. In 1927, he wrote the songs for Florenz Ziegfeld’s “Follies” followed by two collaborations with Moss Hart: 1932, “Face the Music,” and 1933, “As Thousands Cheer.”

Again, in this period, Berlin’s personal expression in his ballads produced some of his greatest song success.. ‘Following his stormy romance with Ellin Mackay, whose father, head of the Postal Telegraph Company, objected to the marriage, Berlin wrote Always and Remember, heard in this album.

Also included are other great Berlin hits of the later Twenties: Because I Love You, 1926; Russian Lullaby, 1927; and The Song Is Ended,1927.

In the 1930s began what might be considered the “modern” period of Berlin’s songwriting. Writing for a succession of smash hit Broadway musicals and Hollywood Boss, Berlin produced a virtual catalog of fabulous modern songs. Poignant and heartwarming, they were at the same time sophisticated and knowledgeable commentaries on the love antics and situations of Twentieth Century hoiho sapiens. From the 1930 Broadway show, “Reaching for the Moon,” came the song by the same name. From “Annie Get Your Gun,” 1946, Berlin’s biggest box office success-a show which ran over a thousand performances and ranks even today as one of the biggest touring and summer-musical favorites-came The Girl That I Marry; from “Miss Liberty,” 1949, starring Eddie Albert, came Lets Take an Old Fashioned Walk and (Just One Way to Say) I Love You-all heard in this album.

These were also the years of the Broadway hit “Call Me Madam” and of Berlin’s great film musicals-only two of which were “Top lint,” 1933, starring Fred Astaire and Ginger Rogers, and “Holiday Inn,” 1942, with Astaire and Bing Crosby. Still at the peak of his profession at age 74, Berlin rang up the curtain on his latest Broadway musical, “Mr. President,” in the fall of 1962. Its opening occasioned no surprise. America and the world theater audience simply expected from Irving Berlin another landmark in the his-tory of its musical theater and more of the wonderful so, that have brightened almost half a cent, of modern life.

© 1962, Radio Corporation of Ame

The Melachrino Strings and Orchestra - The Waltzes of Irving Berlin

Label: RCA LSP-2561

1962 1960s Covers

The Kilima Hawaiians – Moonlight Over Hawaii

Sleeve Notes:

In writing about THE KILIMA HAWAIIANS, one imagines the beautiful sounds of these wonderful Islands coming to you in their very special style, which has made this group to be loved in all parts of the world. With “FAREWELL HAWAII”, their first CBS Album, THE KILIMA HAWAIIANS rapidly have reached an almost world-wide audience. They provide a unique sound and their Hawaiian styled music has never been equalled. From the U.S.A. to Japan, from Mexico to Australia, from Israel to Great Britain, almost from everywhere, the special KILIMA HAWAIIANS’ sound will come to you.

So, get set for “MOONLIGHT OVER HAWAII” and you will be carried away by the “swinging” music from the Islands! Aloha!

The Kilima Hawaiians - Moonlight Over Hawaii

Label: CBS SS62903
Liner Notes: Gerald Hulsebosch

1968 1960s Covers

The George Shearing Quintet – Satin Affair

Sleeve Notes:

Capturing the essence of a romantic mood is a George Shearing specialty. Nor is this the first album in which his specialty is displayed, along with an inimitable and seemingly effortless style. His previous mood albums include two all-time best-sellers—”Velvet Carpet” and “White Satin:”

The mood created so beautifully here re-calls those albums, and makes it more certain than ever that. George Shearing turns America’s lights down low.

George’s popularity undoubtedly stems from the urbane sophistication and taste which mark his music, together with his wealth of musical ideas. For when he suggests a mood—like this satiny-textured one—the result is an adventure in listening as well as feeling, dancing as well as romancing. The pattern of his mood-weaving in this album comes from his arrangements, orchestrated and conducted by Billy May, which treat strings as a smart, lyric background for the Quintet. This creative interplay produces a fabric of many delicately-shaded mood colors. Dreamy Star Dust. glowing Midnight Sun, casual Here’s What I’m Here For, bright / Like to Recognize the Tune, Latin Bolero #3—all come together in a lush “Satin Affair!’ And each in its own way is singularly Shearing.

The George Shearing Quintet - Satin Affair

Label: Capitol T 1628
Cover/Gown by Iris Petri

1962 1960s Covers

Hammond Party with Will Horwell

Sleeve Notes:

Siebzehn Jahr, Blondes Haar, Strangers In The Night, Er Ist Wieder Da
Traumerei’n, A Taste Of Honey, Lara’s Theme From ‘Dr. Zhivago’, In Un Fiore, Spanish Eyes, Beat-Special No. 1, Michelle, I Left My Heart In San Francisco, Ab Und Zu, Kinki, Edelweiss From The Musical ‘The Sound Of Music’

Hammond Party with Will Horwell

Label: Fontana SFL13153

1967 1960s Covers

The Banjoliers – The Banjo’s Back In Town

Sleeve Notes:

The Banjo’s Back In Town, Mack The Knife, South Rampart Street Parade, Tennessee Wig Walk, Limehouse Blues, When The Saints Go Marching In, Roll Out The Barrel, Canadian Capers, American Patrol, Black Cat Rag, Aba Daba, Honeymoon, Banjo Rag

Drinking medley: Tavern in the town — Landlord fill the flowing bowl — Little brown jug — Another little drink — Here’s to good old whiskey — What shall we do with the drunken sailor — Tavern in the town

The Banjoliers directed by Jack Mandel - The Banjo's Back In Town

Label: Fontana TL 5423

1967 1960s Covers

The Melachrino Strings and Orchestra – More Music For Dining

Sleeve Notes:

The inimitable, cascading sound of the Melachrino Strings has glorified the music of many eras and many lands. In the field of mood music, no orchestra has contributed more than the Melachrino ensemble, investing already treasured melodies with a warm, rich interpretation that has given a unique identity to the orchestra.

Here the Melachrino Strings and Orchestra play a group of songs ideally suited for dining. Perfectly selected, the songs—in Melachrino’s able hands—become a single aura of sound, regal yet inobtrusive, distinctive yet never dissonant.

As you savor the aromas of the dishes you serve, as you perform the tantalizing touches that transform basic ingredients into an epicurean’s choice, as you present to your guests the fruits of your culinary adventure, nothing could be more appropriate than the enveloping waves of sound created by the Melachrino Strings.

As a host, you can be grateful to Melachrino—for providing music that effectively fills the gap you alone could not fill. Like an assembly of loyal friends, the Melachrino Strings and Orchestra bring the romance of music enticingly into your home.

Listening to this music as you dine, you will discover that you are closer to the heart of all that matters in matters of dining than you had been before Melachrino entered your life. To paraphrase the Bard, it is an experience devoutly to be wished.

The Melachrino Strings and Orchestra - More Music For Dining

Enjoy the lush, smooth sounds of the Melachrino strings on this track “Ramona”.

Label: RCA Victor LPM/LSP-2412

1961 1960s Covers