1960s

Bobby Hackett plays Tony Bennett's Greatest Hits

Bobby Hackett plays Tony Bennett’s Greatest Hits

For a Hallmark budget release this album contains some fine trumpeting from Bobby Hackett if that is a correct term for the playing of a trumpet. Listen to “I Left My Heart in San Fransisco” and you’ll be transported to a place where a thick fug of smoke hangs languorously in the air, the gentle clink of cocktail glasses the only shrill sound and where velvet is the texture du jour. Time stands still and a request for water, even in a dirty glass, will have you removed unceremoniously with neither fanfare nor debate.

Sleeve Notes:

TONY BENNETT has about the most uncanny ear for hit songs in the music business (with a voice to match, we might add). For anyone who needs proof of this, a quick glance at even a small part of Tony’s private hit parade tells the story. How’s “I Left My Heart IN SAN FRANCISCO,” for openers? Or “Because Of You,” “I Wanna Be Around,” “The Shadow Of Your Smile,” “Rags To Riches,” “The Good Life”? .. . actually, we could go on until we ran out of ink.

Trumpet pundit Bobby Hackett, a friend and a fan of Tony, turns these same songs into a collection of instrumental gems in an album that says quite eloquently: ‘Tony sure can pick ’em and Bobby sure can play ’em.’

Tony Bennett, a friend and a fan of Bobby, has heard the album and digs what Hackett and his horn have done with the songs. We’re sure you’ll agree.

Bobby Hackett plays Tony Bennett's Greatest Hits

Label: Hallmark HM 613

1965 1960s Covers

Intimate Slow - Tony Danieli

Tony Danieli – Intimate Slow

Tony Danieli was a pseudonym used by Albert Ferreri, one of the founders of the VOGUE label.

Sleeve Notes:

Spécialiste du slow, cette danse calme, si propice aux plus tendres confidences, Tony Danieli avec son alto sax, nous invite à le suivre (avec votre partenaire) tout ou long des sillons de cet album consacré en totalité à cette danse.
Vous trouverez réunies ici les meilleures interprétations de Tony Donieli qui lentement mois sûrement monte vers le firmament des <Maitres à danser>, but vers lequel il aspire le plus pour se mettre totalement à votre service et guider vos pas sur les pistes cirées, baignées de lumière douce et tamisées…
OUR BEAU PROGRAMME

Intimate Slow - Tony Danieli

Listen to “Saxuality”.

Label: Pye VRL 3018

1965 1960s Covers

George Melachrino & His Orchestra - Serenade My Lady

George Melachrino & His Orchestra – Serenade My Lady

Sleeve Notes:

The name of George Melachrino will always be associated with rich, melodious instrumental music, and the titles on this L.P. ably demonstrate Melachrino’s easy-going style.

Melachrino was born in London in 1909 of Greek parentage, and he showed a leaning towards music at a very early age. “I wrote my first composition when I was four. There was never a chance of my becoming anything but a musician.” He first played the violin at three, and when he was three he made his first public appearance as a violin soloist m a day concert at a London music hall. At sixteen he won a scholarship to Trinity College of Music where he formed a jazz band and learned to play eight different instruments. After his graduation he appeared regularly as a singer and performer at the Old Savoy Hill Studios in London. In the 1930 he played in many different bands and proved to be accomplished performer on the violin. viola, oboe, clarinet and saxophone. During the Second World Was he became musical director of the Army Radio Unit and later formed and conducted the British band of the Allied Expeditionary Force. After the war George formed the Melachrino organisation which consisted mainly of the full size Melachrino Orchestra. He recorded extensively throughout his career and has also been responsible for many films and theatrical performances.

When the first song-writer was casting round for inspiration It is probable that it came to him in the shape of a woman. Through the ages the members of the fair sex have proved the stimulus for many a tunesmith to burst into song in their honour. On this L.P. we invite you to meet twelve beguiling beauties of modern times bewitchingly gowned in creations by George Melachrino and his Orchestra – the twelve lovely ladies who between them display such a variety of charms as to leave any poor male in a state of bemused enchantment. Each of our ladies has a personality that is all her own.

“Laura” is elegant and expensive with a hint of mystery in her eyes: “Dinah” a dusky charmer with a lazy southern drawl; “Louise is a coquettish Parisienne, while “Dolores” is a blackeyed senorita with a fiery Latin temperament. The enigmatic smile of “Mona Lisa”, the sweet innocence each portrait is subtly shaded and coloured by an artist who uses an orchestra for his palette and cellos for brushes. One thing they have in common… each is irresistible.

SIDE 1

  1. Laura
  2. Rosalie
  3. Sweet Sue, Just You
  4. Mona Lisa
  5. Liza
  6. Marie

SIDE 2

  1. Chloe
  2. Dolores
  3. Irene
  4. Louise
  5. Dinah
  6. Sally
George Melachrino & His Orchestra - Serenade My Lady

Label: MFP 1173

1966 1960s Covers

Timi et ses Tahitiens - Amour et Tamoure

Timi et ses Tahitiens – Amour et Tamouré

Sleeve Notes:

TWIST DE TAHITI Le tamour se compose de 3 figures principales : les “ciseaux”, la “glissade”, le “roulement á  bille” TWIST OF TAHITI The tamour consists of 3 main figures: the “scissors”, the “slip”, the “ball bearing”

“LES CISEAUX” “Les ciseaux” est un pas exclusivement réservé aux hommes. Les genoux á  demi flechis doivent s’écarter et se rapprocher (fig. 1-2-3-4) en rythme. La cavaliére pendant ce temps tourne autour de son partenaire en se déhanchant (“roulement á  bille” fig. 9- 10) “SCISSORS” “Scissors” is a step exclusively reserved for men. Half-flexed knees should move apart and move closer (Fig 1-2-3-4) in rhythm. During this time, the rider turns around his partner while swaying (“ball-bearing” Fig. 9-10)

“LA GLISSADE” “La glissade” est un pas exécuté par les deux partenaires. Alors qu’une des jambes (la droite ou la gauche) sécarte et se resserre sans toucher le sol dans un mouvement de ciseau. Le pied á  terre dans un mouvement de glissade fait avancer le corps de face ou de coté. “SLIDING” “Sliding” is a step taken by both partners. While one of the legs (the right or the left) spreads and tightens without touching the ground in a chisel movement. Foot down in a sliding motion moves the body forward or sideways.

“LE ROULEMENT A BILLE” C’est le pas de la femme. Le haut du corps est immobile. Faire avec les hanches un mouvement ondulatoire tandis que l’homme fait les ciseaux. Pour finir la danse, les deux partenaires face á face se baissent, continuant leur figure : l’homme, les ciseaux; sa partenaire, le roulement á  bille. “THE BALL BEARING” It’s the step for woman. The upper body is still. Make with the hips an undulatory movement while the man does the scissors. To finish the dance, the two partners face each other lower, continuing their figure: the man, the scissors; his partner, the ball bearing.

Timi et ses Tahitiens - Amour et Tamouré

Listen to the last track from Side One – and imagine you’re watching Sponge Bob Squarepants

Label: RCA Victor 430 113 S

1963 1960s Covers

The George Shearing Quintet - Soft and Silky

The George Shearing Quintet – Soft and Silky

Sleeve Notes:

George Albert Shearing was born totally blind in London, England on August 13th, 1919. Studying piano by the Braille method at the Linden Lodge School for the Blind, he developed a solid classical technique and a lasting affection for Bach and Debussy.

After graduating from Linden Lodge, he toured with a band of blind musicians, discovered jazz and settled into a solo piano career.

During the War, he was featured with the Ambrose orchestra, starred on his own B.B.C. radio show and wrote arrangements for top English bands. He was voted Britain’s outstanding pianist for seven straight years in polls conducted by the Melody Maker.

He paid America a brief professional visit in 1945 and two years later moved his wife and small daughter there to stay. His unique Bach-to-bop piano stylings were soon adding to the excitement on New York’s 52nd Street.

In 1949, a quartet (composed of piano, clarinet, bass and drums) with which he had been working was approached to make records. At the last moment, it was discovered that a previous contractual agreement prevented the clarinettist from playing the record date. George quickly put together a new group, substituting vibraphone and electric guitar for the clarinet.

The group’s first recording for MGM produced September in the Rain. It and the new “Shearing Sound” were an overnight sensation. Nightclub, theatre and concert offers poured in as the George Shearing Quintet turned out hit after hit. The rest is history.

The “Shearing Sound” flows effortlessly from a mellow blend of piano, vibraphone, electric guitar, bass and drums. It floods ballads and up-tempo numbers with warmth, humour and an abiding respect for the melody. It keeps a fascinating balance between liquid-smooth ensembles and glittering solo work. It makes new material sound “lived in” and more familiar material shimmer and sparkle with surprise. Rhythmically, it never pushes –  it floats. As a most functional and flexible kind of mood music, it soothes or stimulates – as unobtrusive background music or, for those who prefer to probe more as an unfailing source of absolutely first-rate collective and individual musicianship.

This collection of favourites by the quintet includes some of its most compelling performances. Sit back, relax and get to know the soft and silky “Shearing Sound”. As your ears will lose little time in telling you, familiarity breeds content.

The George Shearing Quintet - Soft and Silky

Listen to mellowness incarnate from George Shearing

Label: MGM C-912

1962 1960s Covers