1961

Les Elgart - It's De-Lovely For Dancing and Listening

Les Elgart – It’s De-Lovely For Dancing and Listening

Sleeve Notes:

The infectious, sophisticated sound of Les Elgart and his orchestra is a natural for either those who like dancing (to The Most Beautiful Girl in the World, The Continental, for instance) or those who prefer that relaxed, reflective mood (as in I Concentrate on You, or Sermon). Elgart’s orchestra and his distinctive approach to a melody have been immensely popular for some time.

Most recent evidence: he was twice voted Favorite Band in Disc Jockey Polls by the authoritative music trade paper Billboard, and in a poll by Cash Box, another music trade publication, Elgart was voted Most Programmed Band by disc jockeys.

How did this all come about? As a mere ten-year-old in New London, Connecticut, Les began playing the bugle; in high school he switched to a more widely-appreciated trumpet. An excellent baseball player, Les was also adept at organizing his own teen-age orchestras. But proficiency in more than one skill breeds its own problems and choices. Although three major league scouts spotted him, Les excused himself from baseball and chose instead to pursue a career in popular music.

In the Forties, Les played with the Bunny Berigan, Charlie Spivak and Hal McIntyre orchestras. When the Elgart orchestra was formed, an important step was taken in achieving distinctive quality of sound. On-stage seating of the musicians was re-arranged for better spread between the instruments; plywood reflector boards were placed behind them to focus the sound more sharply. These innovations resulted in an improved resonance and a richer sound.

On IT’S DE-LOVELY we can hear further developments Les has made in the famous “Elgart sound,” as well as his fresh arrangements of many “standards.” He proves, for example, that the venerable Trees could make good dance music, that Lerner and Weill’s Green-Up Time (from the Broad-way show Love Life) is irresistible. Newer tunes treated by Elgart are Off Shore, Scotch Hop, and Sermon.

Here, then, are Les’ latest offerings for those who enjoy either dancing or just listening – In the Still of the Night.

Curtis F. Brown

Les Elgart - It's De-Lovely For Dancing and Listening

Label: Columbia CL 1659

1961 1960s Covers

The Mike Sammes Singers, New World Show Orchestra Conducted By Johnny Douglas – South Pacific

The Mike Sammes Singers, New World Show Orchestra Conducted By Johnny Douglas – South Pacific

Sleeve Notes:

Every smash-hit musical seems to be more overwhelming that the last, yet amongst them all South Pacific is something of a phenomenon – ever since the memorable night of April 7th, 1949, when it opened at the Majestic Theatre, New York.

James A. Michener had already been awarded the Pullitzer Prize for his “South Pacific” stories, and they looked like remaining at the top of the best selling lists for years to come. Joshua Logan, one of the most distinguished directors working on Broadway and in Hollywood, collaborated with Oscar Hammerstein 2nd on an adaptation for the stage. Richard Rodgers set about writing the music which was eventually to include some of the best-loved songs ever written. When South Pacific opened the notorious Broad-way critics were unanimous in their glowing praises. Rodgers and Hammerstein had done it again. Oklahoma!, Carousel and now South Pacific.

The setting, an exotic tropical island, is the background for the story of Emile de Becque, a French widower and planter, and Nellie Forbush, a young nurse stationed there with American troops during the last war.

After an opening song (“Dites Moi”), a conversation takes place between Nellie and her host, Emile, who is giving a party. He listens to her philosophy of life (“Cock-eyed Optimist”) and tells her of his love in the beautiful song “Some Enchanted Evening”. Emile lives on the island because he has fled from France for mysterious reasons, some years before. He had married a Polynesian woman and they had several children. She is long since dead. Nellie is attracted to him, feels herself falling in love with him, but is frightened to make a decision.

Meanwhile, “Bloody Mary”, a Tonkinese woman who trades with the Yankee soldiers, listens to the riotous “There is Nothin’ Like a Dame”, but suddenly the atmosphere changes with the arrival of Lt. Joseph Cable. Mary is fascinated by him, and tells him about “Bali Ha’i”, an island just visible from the shore, where she lives. But Cable has a mission to perform. He is here to enlist Emile’s help on a spying mission, and the commander of the American troops asks Nellie to sound out the French-man. Nellie. having just decided against seeing Emile again (“I’m Gonna Wash That Man Right Out-a My Hair”) has to admit in the end “I’m In Love With a Wonderful Guy”.

Cable visits Bali Ha’i with Bloody Mary. where she lets him meet her lovely daughter, Liat. Alone together the couple shyly talk, and Cable, very much in love, sings “Younger Than Springtime” to her. Mary paints a glowing picture of their life together (“Happy Talk”). Their songs are among the most beautiful in the score.

Back at camp Nellie and the nurses entertain the soldiers (“Honey Bun”), but Emile. saddened because Nellie is still horrified at his former marriage to a Polynesian, asks Cable to explain this American attitude (“Carefully Taught”). Resigned to life alone. Emile sings “This Nearly Was Mine”.

The two men go off on their secret mission. Cable is killed, and Nellie. fearing that Emile is also dead, comes to a maturer understanding of her own love and his. She comforts his children until he makes his dramatic re-appearance.

This love story is threaded through a background of vital and amusing characters -an irresistible Bloody Mary, the wonderful Luther Billis, who runs the local laundry baths and showers in his spare time. There is also a rough bunch of tender-hearted American soldiers and sailors, attractive nurses and various island eccentrics.

HERE ARE THE ARTISTS

On this record, Johnny Douglas has conducted the Nee World Show Orchestra in his own special orchestrations of the songs which fully capture the flavour of the original.

Ian Wallace who sings Emile de Becque, understudied Enzio Pinza in New York. He has sung with the Glyndebourne Opera, and also in Rome, Venice, Parma and Berlin. More recently he played the Pinza role in the London production of Fanny.

Joyce Blair is a perfect choice to sing Nellie Forbush. She appeared in the London production with Mary Martin in 1951. A talented dancer, singer and straight actress, Miss Blair has appeared in a long list of shows such as Annie Get Your Gun, Kiss Me Kate, Guys and Dolls, Grab Me a Gondola and The Teddy Bear.

Peter Grant plays Lieutenant Cable, the role which brought him high praise in the original London production. He also played the juvenile lead in Kismet on the West End stage, and sings with the Sadler’s Wells Opera Company.

Isabelle Lucas, who comes from Toronto, sings the part of “Bloody Mary”. Her ambitions lie in the field of opera, but she enjoys the lighter side of music and played in the famous all-coloured show The Jazz Train, Simply Heavenly and The Crooked Mile. Miss Lucas has recently made Miracle in Soho for the Arthur Rank Organisation.

Music supervised and conducted by Johnny Douglas.

Arrangements by Johnny Douglas.

Sound Engineers: Christopher Noel-Smith and Ron Godwyn.

Design supervision by Frederick Woods. Produced by Cyril Ornadel.

An F.C.M. Production.

The Mike Sammes Singers, New World Show Orchestra Conducted By Johnny Douglas – South Pacific

World Record International LMP 1

1961 1960s Covers

The Melachrino Strings and Orchestra - More Music For Dining

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

Harold Smart - Smart Work

Harold Smart – Smart Work

Sleeve Notes:

Once, a distinguished orchestral leader, used to having scores of instruments at his command, was asked which instrument he would choose if (Desert Island Discs fashion) he was castaway with only one. The Hammond organ was his immediate reply. It was so versatile, satisfying in result yet challenging in approach.

Just how satisfying it can be is well demonstrated here by Harold Smart (we nearly said Hammond Smart because the two are inseparable) who launches into a tip-top medley of tip-top tunes with happy-go-lucky zest. They are tunes to set your toes a-tapping, your pulse racing. All your favourites are here and your favourite man at the organ playing them! Harold started playing the Hammond organ at the age of 14. He was inspired to learn after hearing the pre-war stars, the Milt Herth Trio making marvellous music at such instruments.

His father gave him the early lessons—with such good result that before the year was out, 14-year-old Harold was making his first broadcast. It turned out to be the first of many. In recent years, he has delighted radio listeners with a regular spot in the popular “Showband Show” . . . a spot he held for six tuneful years. His playing was a regular feature of the “Sing It Again” programmes—and how they sang when his fingers touched the keyboards. And for five years, his music highlighted the “Take Your Pick” quiz show.

Even war did not stop him playing. He served for four and a half years in the Royal Army Medical Corps, seeing service in North Africa, France and Norway, and it was as a soldier he did a number of broadcasts in Oslo. The tunes he plays now are the ones he has had most demands for through his broadcasts and appearances. You can tell by the way they sound that he loves playing them. And there is no doubt you’ll love listening to them, too.

Harold Smart - Smart Work

Wondering what all the fuss was about with Harold and his organ? Wonder no more, listen to his “Green Cockatoo” here:

Label: Embassy Records WLP 6015

1961 1960s Covers

Katyna Ranieri - and now Katyna Ranieri

Katyna Ranieri – and now Katyna Ranieri

Sleeve Notes:

Birthplace? Italy, of course. It takes sun-drenched land to give birth to a sun-drenched voice.

Voice training? Again, Italy. Katyna Ranieri, as a wide-eyed youngster from Florence, studied operatic singing in Rome, but soon gave up the trills and cadenzas of Verdi and Rossini for the world of show business. At seventeen she “went pop” and soon appeared in an Edoardo Spadaro musical show. But wherever she sang—Belgium, Sweden, France, Mexico—she sang always in her native tongue. A voice of lights and shadows singing in a language of lights and shadows. Perhaps this partially explains the fact that, today, Ranieri, superb artist that she is, accomplished in half-a-dozen languages and known throughout the civilised (and sophisticated) world—is still the most loved and famous Italian woman singer of our time.

The secret of her art? She never sings a cheap or vulgar song. What she sings has been carefully, meticulously selected. And
when she sings there Is in her voice that rare quality that tells you quietly, but instantly and undeniably, that she is not singing to a roomful of people—she is singing for you alone. The secret of her highly polished art is simple, dramatic communication.

Here we are concerned with her performance, her “act”, her show. You are sitting first-row table at the posh Persian Room in New York, or perhaps, better still, in the star-studded brilliance of Frank Sennes’ Ciro’s, in Hollywood. Famous names and famous faces are all about you. The curtains part and Ortolani appears, baton in hand. He is the distinguished orchestra conductor Katyna met and married in Mexico some years ago. His arrangements and conducting add verve and accent to Ranieri’s singing. There is a brief overture, exotic, tempestuous, exciting. Then Katyna Ranieri appears, richly gowned, warmly voiced.
There is a single spotlight on her as she turns toward you . . . you must listen.

Katyna Ranieri - and now Katyna Ranieri

Label: M-G-M MGM-C 856
Katyna Ranieri Wikipedia

1961 1960s Covers

Felix Mendelssohn and his Hawaiian Serenaders

Felix Mendelssohn and his Hawaiian Serenaders – Pearls Of Hawaii

Sleeve Notes:

There can be few sounds more evocative of a place than the music of Hawaii. The soft, undulating melodies conjure up an image of the sun, the blue sea and the golden beaches. During his lifetime Felix Mendelssohn devoted his time to bringing those musical scenes to British audiences and the happy, carefree atmosphere of the Pacific Islands is captured again with the issue of these sixteen titles. To most people living in Britain, Hawaii seems like some make-believe dream world created by Hollywood and the picture-postcard manufacturers.

In fact, Hawaii is the largest of eight main islands comprising the Hawaiian Islands located near the centre of the Pacific Ocean. The picture of wonderful beaches, tropical flowers and hula dancers is a true one as far as it goes but there is more to the Hawaiian Islands than the immediate tourist appeal. Hawaii is proud of the fact that on August 21st, 1959, it became the 50th U.S. State, while on the island of Oahu, one of the group forming Hawaii, is located the American naval base of Pearl Harbour. Throughout the entire year the average temperature on the islands never drops below the lower seventies while surfboard riding, deep-sea fishing and swimming are some of the main pursuits of visitors. The visitors—the Hawaiians refer to newcomers as Malihinis, incidentally—are invariably captivated by the extreme friendliness of the people and the fabulous array of flowers (including the famous night-blooming cereus). At a luau, or Hawaiian feast, the visitor is likely to be offered poi, a paste made from the root of the taro plant, to say nothing of such exotic local fruits as pineapple, papaya, guava nectar, passion-fruit juice and papaya juice. Small wonder then that many of the Malihinis find the inducement so strong that they become Kamaainas, or old-timers!

Anyone who has ever visited Hawaii is likely to find that the music of Felix Mendelssohn will bring memories flooding back. Perhaps it will recall a particularly colourful Hukilau, or community fishing festival or possibly a trip to Honolulu’s Upside-Down Falls where a heavy rain dashes over cliffs and is blown upwards instead of falling downwards. Maybe My Isle of Golden Dreams will remind listeners of unspoiled Molokai, one of the smaller islands of the group where wild deer roam freely through pine-apple plantations. But even if Hawaii is only a fantasy world to you then we guarantee that the music of Felix Mendelssohn and his Hawaiian Serenaders will bring sunshine and colour into your home.

Felix Mendelssohn and his Hawaiian Serenaders

Label: Encore ENC 199

1961 1960s Covers

Dance Date - Various Artists

Dance Date – Various Artists

Sleeve Notes:

They’re young, very much in love and they’re all set for their first dance date together. Yes, a real swinging evening lies ahead. In terms of money it will cost them little, but they’ll derive more pleasure from this evening than they would from an expensive night out at the most exclusive night club.

So off they go, with their eyes sparkling and their feet a-tapping. At the dance hall, the band is really letting rip, with rock ‘n’ roll, the Latin-American beat of the Cha Cha, the soft, soothing strains of the waltz (to allow them to get their breath back after that hectic rock number). And then the dance that Mum and Dad did some 25 years ago but which they now claim as their own, yes—the Charleston. All too soon, the night is over, and two tired but very happy and starry eyed teenagers make their way home. Yes, the night is over for them—until the next time; for you the night can go on indefinitely, because on this LP is every dance that you can want. 16 titles in fact and you can have a DANCE DATE every night. Happy dancing.

Dance Date - Various Artists

Label: Embassey WLP 6019

1961 1960s Covers

Carmen Cavallaro - Dancing In The Dark

Carmen Cavallaro – Dancing In The Dark

Sleeve notes:

Apparently it didn’t take the human race long to find out that dancing is fun! For all we know, Adam and Eve may have engaged in a primitive form of the waltz or foxtrot. But although there are dances and dancing to fit every hour, the phrase “dancing in the dark” has a very special and intimate meaning all its own.

Dancing in the dark is more exciting, more romantic, more inviting, more interesting, than dancing at other times. Your own imagination – as did Adam and Eve’s, in all probability – can tell you why’.

Here, then, is a collection of melodies for dancing in the dark; familiar – yet ever new – love songs adapted by that master of the romantic keyboard, Carmen Cavallaro. It might not be inappropriate to suggest that you may even enjoy not dancing to these melodies.

As you probably have guessed by the ease and brilliance of his playing, New York-born Carmen Cavallaro was trained for a concert career. A close friend of the family hearing him pick out tunes on a toy piano at the age of three, urged that the youngster’s musical talents be developed immediately. His parents were receptive to the idea and so, from the age of five years on, Carmen was sent to study at various conservatories. After finishing his courses, he travelled extensively to advance his studies. Subsequently he played in all the leading capitals of Europe.

There is no doubt that Cavallaro’s training in the classics and his ability to play from memory the most difficult music aided him immeasurably and contributed a color and scintillating glitter that caught on at once and made him highly successful in his new field. Carmen emphasized a delicate phrasing interspersed with bits of flashing technique, unexpected changes of pace, and a beautiful full legato tone that makes his interpretations so appealing and so unique.

Connoisseurs agree that Carmen’s style is entirely different from that of any other player of popular music and one which he has made peculiarly his own. While there is no one who plays exactly like him, he has many followers, as is the case with all successful artists. Carmen himself has imitated no one in forming his style, which explains why the public has so quickly recognized and acclaimed its freshness and distinction.

Carmen Cavallaro - Dancing In The Dark

Label: Ace Of Hearts AH 6

1961 1960s Covers

Kismet

Kismet

Sleeve notes:

London’s Stoll Theatre has gone. A giant block of offices stands on its site. A small theatre is hidden inside it. But the memories of great nights at the Stoll linger on. On April 20, 1955, the curtain of the Stoll rose on one of the greatest first nights of all – Kismet. The audience knew the music was based on themes by Borodin. They knew the story had been written before the first World War. But they still gasped with surprise at the lavishness of the costumes, the exotic dancing of the slave girls, the words that made Borodin’s music live anew as a segment of The Arabian Nights was spread on the stage, colourful, vigorous, vital. Princess Margaret went twice in six nights. The Queen and Prince Philip went. All London – if they could get tickets – went. The story of the beggar-poet whose daughter married a king captivated Britain as it had already captivated America. Here, on this record, is the music that set the world singing, first on the stage, then as a film. It is music that does not need a linking narrative. It tells its own story of love and violence beneath the hot sun and cool moonlight of a fairy-tale land.

Kismet

Label: World Record Club TP 68

1961 1960s Covers