Laurindo Almeida – Guitar From Ipanema (1964)

FrontCover1Laurindo Almeida (September 2, 1917 – July 26, 1995) was a Brazilian virtuoso guitarist and composer who made many recordings of enduring impact in classical, jazz and Latin genres. He is widely credited, with fellow artist Bud Shank, for creating the fusion of Latin and jazz which came to be known as the jazz samba. Almeida was the first artist to receive Grammy Awards for both classical and jazz performances. His discography encompasses more than a hundred recordings over five decades. (by wikipedia)

It is a bit ironic that guitarist Laurindo Almeida found himself in the 1960’s jumping on the bossa-nova bandwagon a bit late for he had actually pioneered the movement a decade earlier. The Brazilian guitarist plays well enough on the 11 bossa tunes included on this out-of-print Lp (mostly originals plus covers of “The Girl From Ipanema,” “Manha De Carnaval” and “Quiet Nights Of Quiet Stars”) but the arrangements (which sometimes utilize the whistling of Jack Marshall, George Field’s harmonica and flutist Harry Klee among others) are commercial and overly concise; all but two of the songs are under three minutes. Irene Kral’s two vocals (quite early in her career) are a plus and the music is quite pleasing but there are no surprises. (by Scott Yanow)

This music is magical …. and I imagine to touch the body of my lady with a feather …

Laurindo Almeida

Laurindo Almeida (guitar)
Justin Gordon (flute)
Al Hendrickson (guitar)
Djalma Ferreira (organ on 05.)
George Fields (harmonica on 02. + 10.)
Harry Klee (flute on 03., 06. + 07.)
Irene Kral (vocals on 03., 08.)
Fafá Lemos (violin on 11.)
Jack Marshall (guitar … occasional, whistling on 01., 09.)


01. The Girl From Ipanema (Jobim/Gimbel/DeMorares) 2.20
02. Manhã de Carnaval (Maria/Bonfa) 3.10
03. Sarah’s Samba (Almeida) 2.08
04. Winter Moon (Almeida/Nelson) 2.58
05. Izabella (Ferreira) 2.34
06. Choro For People In Love (Almeida) 2.50
07. Quiet Nights Of Quiet Stars (Corcovado) (Jobim) 2.42
08. Old Guitaron (Mercer/Almeida) 3.51
09. Um Abraço No Bonfa (Gilberto) 2.12
10. Twilight In Rio (Almeida) 3.04
11. The Fiddler’s Wolf Whistle (Lemos) 2.11


Hal Mooney – Flutes & Percussion (1960)

FrontCover1Hall Mooney, born Harold Mooney, (February 4, 1911 – March 23, 1995) was an American composer and arranger.
Hal Mooney was born in Brooklyn, New York. As a young man, Mooney was a professional pianist. He attended Brooklyn and St. John’s Law Schools. After studying music under New York University professor Orville Mayhood and then under the influential Joseph Schillinger, he was invited to join the arrangers’ roster for the popular Hal Kemp Orchestra, alongside John Scott Trotter (who was about to leave the band) and Lou Busch.
Mooney then moved to the Jimmy Dorsey Orchestra, but World War II was breaking out and soon he was called up by the United States Army.

On his return from the war, Mooney became a freelance arranger in Hollywood and started to make a name for himself, providing charts for top vocalists such as Bing Crosby, Frank Sinatra, Judy Garland, Peggy Lee, Kay Starr, and Billy Eckstine.
The Mercury Years
In 1956, Mooney finally swapped freelancing for an exclusive contract, becoming in-house arranger and A&R Director at Mercury Records, where he would remain until the late 1960s. There, he provided arrangements for another raft of top singers, including Sarah Vaughan, Dinah Washington, Helen Merrill, Ernestine Anderson and, on Mercury’s parent label, Philips Records, Nina Simone.

HalMooney01Mooney was described as a “nuts and bolts arranger” by fellow chart writer Billy May. It was meant as a compliment, and Mooney’s versatility can be characterised by some of the more notable arrangements he wrote at the Mercury stable.
For Vaughan, he provided lush, string settings (along with more brassy, upbeat numbers) on albums such as Great Songs From Hit Shows (1956) and Sarah Vaughan Sings George Gershwin (1957). Though those arrangements grated with some jazz purists, their dramatic qualities inspired the acclaimed singer to some of her finest work, for example Hit Shows’ “It Never Entered My Mind” [1] and the Gershwin album’s Isn’t It a Pity?. Apart from such highbrow projects, Mooney also arranged some of Vaughan’s forays into R&B-inspired 50s pop, for example the Clyde Otis-penned “Sweet Affection” (1957).
Mooney’s numerous arrangements for Dinah Washington, meanwhile, ranged from straight big band swing, through Latin mambo to rhythm and blues, but the seven albums on which he worked with Simone, between 1964 and 1967, display the greatest versatility. Though they contain the occasional string-backed track not unlike Mooney’s classic work with Vaughan, they took him a world away from it at other times. For example, Simone’s final Philips album, High Priestess of Soul (1967), is a diverse combination of pop, jazz and gospel. Mooney’s two best-known arrangements for Simone, “I Put A Spell On You” and “Feelin’ Good”, might be quite different in some ways to his earlier work with Vaughan, but the same sense of drama is evident.
In his A&R capacity, Mooney helped to woo Xavier Cugat to Mercury, and he also produced several albums, including Dizzy Gillespie’s Jambo Caribe (1964) and Vaughan’s MiltHintonpenultimate work for Mercury It’s a Man’s World (1967), for which Mooney also arranged some of the songs.

Mooney recorded numerous orchestral albums in his own name, such as “Ballet With A Beat” (1961), which fused famous ballet melodies like Dance of the Sugar Plum Fairy and Sabre Dance with West Coast jazz, and the earlier Musical Horoscope, for which Mooney composed a different tune for each of the signs of the zodiac.
Having joined ASCAP in 1936, Mooney’s compositions included Rigamarole, Hodge-Podge, Jumpin’ Jiminy, Sing, It’s Good For Ya, and Goin’ to Town.

Philips decided to phase out the Mercury label in the late 1960s and so Mooney moved on to Universal Studios, where he became musical director on many of the most popular TV shows of the 1970s, including Columbo, Marcus Welby, M.D., Ellery Queen, The Six Million Dollar Man, The Bionic Woman, Kolchak: The Night Stalker and The Rockford Files. His film work included the score to the Richard Burton war film Raid on Rommel (1971), as well as television movies such as The Longest Night (1972), Runaway! (1973), Sunshine (1973), A Case of Rape (1974) and The Execution of Private Slovik (1974).

Hal Mooney retired after composing the musical score to the 1977 television movie, The Storyteller. This stalwart of Hollywood died in the apt location of Studio City, Los Angeles, California in 1995 at the age of eighty-four. He was cremated. His ashes were given to his family. (by wikipedia)

Eddie Costa

Bright and sparkling space-age pop from everyman conductor and arranger Hal Mooney. One of the first releases from Bob Shad’s Time Series 2000 label (a direct competitor with Enoch Light’s Command label), Flutes and Percussion isn’t that inventive with its takes on several standards, but the sound is sharp and punchy, with a sweet electric guitar lead on “Summertime” over a shimmering group of flutes. Tracks like “Liza” and “The Best Thing for You” are sunny, up-tempo, and hard to resist for anyone into bachelor pad sounds. As on most Time releases, there are no musician credits. (by Ted Mills)
John Pizzarelli
Phil Bodner (flute on 02., 07. – 10. + 12.)
Eddie Costa (vibraphone, xylophone, bells, percussion)
George Duvivier (bass on 02., 07. – 10. + 12.)
Barry Galbraith (guitar on 02., 07. – 10. + 12.)
Milt Hinton (bass 01., 03. – 06. + 11.)
Phil Kraus (percussion on 02., 07. – 10. + 12.)
Dave Kurtzer (clainet, bassoon on 02., 07. – 10. + 12.)
Walt Levinsky (clarinet 02., 07. – 10. + 12., flute on 01., 03. – 06. + 11. )
Romeo Penque (flute on 02., 07. – 10. + 12.)
John Pizzarelli (guitar on 01., 03. – 06. + 11.)
Wallace Richardson (bass on 02., 07. – 10. + 12.)
Bob Rosengarden (percussion on 01., 03. – 06. + 11.)
Teddy Sommer (percussion)
Stan Webb (flute, oboe, english horn)
Moe Wexler (organ, celeste, piano)
Arranged and conducted by Hal Mooney

01. My Reverie (Robbis) 2.15
02. Mountain Greenery (Harms) 1.58
03. Little Girl Blue (Harms) 1.53
04. Summertime (Gershwin) 2.03
05. The Best Thing For You Berlin) 2.08
06  Moonlight Becomes You (Traditional) 2.19
07. Liza (unknown) 1.57
08. Maria (Schirmer) 2.29
09. Comes Love (Chappell) 1.59
10. Let There Be Love (Shapiro/Bernstein) 2.29
11. Small World (Williamson/Stratford) 2.17
12. Moonglow (Mills) 2.38




Duke Ellington & John Coltrane – Same (1963)

FrontCover1Duke Ellington & John Coltrane is a jazz album by Duke Ellington and John Coltrane recorded on September 26, 1962, and released in February 1963 on Impulse! Records.
It was one of Ellington’s many collaborations in the early 1960s with musicians such as Count Basie, Louis Armstrong, Coleman Hawkins, Max Roach, and Charles Mingus, and placed him with a quartet (in this case, saxophone, piano, bass, and drums), rather than a big band.

Coltrane played in a more accessible style during this time, on albums such as John Coltrane and Johnny Hartman and Ballads. Despite their differences in background, style, and age – Ellington was 63 and Coltrane 36 when the tracks were recorded – it has been said[by whom?] that the two interacted seamlessly.
The quartet was filled out by the bassist and drummer from either of their bands. The album featured Ellington standards (e.g., “In a Sentimental Mood”), new Ellington compositions, and a new Coltrane composition (“Big Nick”).

Coltrane said:
I was really honoured to have the opportunity of working with Duke. It was a wonderful experience. He has set standards I haven’t caught up with yet. I would have liked to have worked over all those numbers again, but then I guess the performances wouldn’t have had the same spontaneity. And they mightn’t have been any better! (by wikipedia)
John Coltrane & Duke Ellington
The classic 1962 album Duke Ellington & John Coltrane showcased the rising jazz saxophone innovator performing alongside the long-established piano institution. While the pairing might have portended a dynamic clash of the musical generations, instead we got a casual, respectful, and musically generous meeting of like-minded souls. Similarly, while one might have assumed that Ellington would use his sidemen, instead producer Bob Thiele (who also produced similar albums for Ellington including pairings with Louis Armstrong and Coleman Hawkins) chose to bring in Coltrane’s own outfit for the proceedings. Consequently, the duo is backed here at various times by bassist Jimmy Garrison and drummer Elvin Jones, as well as alternates bassist Aaron Bell and drummer Sam Woodyard. The most surprising aspect of the Ellington/Coltrane date is how well suited Coltrane and his group are at playing what largely ends up being Ellington’s own material. While he was certainly in the nascency of his more avant-garde period in 1962, Coltrane had a deep understanding of traditional jazz vocabulary, having played in a swing band in the Navy in the 1940s and studied the style of artists like Hawkins and Ben Webster while coming up in Philadelphia.

Similarly, though an icon of the big-band era by the 1960s, Ellington had been on the upswing of a career resurgence ever since his dynamic performance at the 1958 Newport Jazz Festival, later released as Ellington at Newport. His meeting with Coltrane was emblematic of his renewed creativity and was one of several albums he recorded in his latter life with theretofore unexpected artists, not the least of which his other 1962 date, Money Jungle with bassist Charles Mingus and drummer Max Roach.

Here, Ellington and Coltrane play a handful of well-known Ellington book numbers, including a supremely lyrical “In a Sentimental Mood” and a soulful, half-lidded version of Billy Strayhorn’s “My Little Brown Book.” Ellington even supplied the brisk original “Take the Coltrane,” allowing plenty of room for Coltrane to let loose with knotty, angular lines. (by Matt Collar)

Aaron Bell (bass on 01., 04., 05. + 07.)
John Coltrane (saxophone)
Duke Ellington (piano)
Jimmy Garrison (bass on 02., 03. + 06.)
Elvin Jones (drums on  01. – 03. +  06.)
Sam Woodyard (drums on 04., 05. +  07.)

01. In A Sentimental Mood (Ellington) 4.14
02. Take The Coltrane (Ellington) 4.42
03. Big Nick (Coltrane) 4.30
04. Stevie (Ellington) 4.22
05. My Little Brown Book (Strayhorn) 5.20
06. Angelica (Ellington) 6.00
07. The Feeling Of Jazz (Troup/Ellington/Simon) 5.34


John Pizzarelli – John Pizzarelli meets The Beatles (1998)

FrontCover1Beatles fans love to explain that the key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities — Lennon was the tongue in cheek sardonic wit, McCartney the earnest balladeer. On John Pizzarelli Meets the Beatles, a sharply conceived tribute which sets the duo’s classics in a jazz trio with big-band arrangements, the singer/guitarist hits the mark more often when he’s taking on the Lennon persona. He approaches “Cant’ Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy, and adding colorful touches like scatting and even ad libbing his own lyrical verses based on the originals. Likewise, he attacks the all-instrumental “Eleanor Rigby” with a jumpy, swinging aggression. Pizzarelli, however, becomes overly schmaltzy in presenting ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” too seriously, with maudlin, straightforward arrangements that grind the party to a halt. The one exception is the more percussive “Oh Darling,” where his intense vocal helps the tune rise above the hotel lounge mentality. (by Jonathan Widran)

John Pizarelli

This is probably the most talked about CD I have made. The idea was to place the songs into a different time as if someone else had performed them first. For instance, “Can’t Buy Me Love” was a Woody Herman tune (hence, the Woodchopper’s Ball references), “Things We Said Today” was in the Moondance groove, “Here Comes The Sun” was a Jobim/Getz tribute, and so on. It is really a CD I am proud of, from Don Sebesky’s great arrangements (once again) to the terrific performances from the string players, big band members, soloists and trio. This CD was also #1 on the Swing Journal jazz charts in Japan and was released with two different songs in Canada. The Canadian version features the songs “You Can’t Do That” and “Got To Get You Into My Life.” They were nixed from the American release in favor of “Eleanor Rigby” and “You’ve Got To Hide Your Love Away.” We also did a terrific concert for Canadian TV of the Beatle CD live entitled John Pizzarelli Chante Les Beatles. It has run on the BET on Jazz channel and features a Canadian big band and strings conducted by Don Sebesky. (John Pizzarelli)

Beatles fans love to explain that one key to the successful partnership of John Lennon and Paul McCartney was their contrasting songwriting personalities: Lennon was the tongue-in-cheek, sardonic wit, McCartney, the earnest balladeer. On john pizzarelli’s John Pizzarelli Meets the Beatles (RCA Victor), a well-conceived tribute that sets the duo’s classics in jazz-trio and big-band arrangements, the singer/guitarist hits the mark most often when taking on McCartney’s tunes. He approaches “Can’t Buy Me Love,” “When I’m 64,” and “Get Back” with a playful wink, jumping off his speedy melody lines and the rising brass sections for extended improvisational tradeoffs with pianist Ray Kennedy. Pizzarelli adds colorful touches like scatting and even ad-libs his own lyrical verses based on the originals. Likewise, he treats an instrumental version of “Eleanor Rigby” with an aggressive sense of swing. And his intense vocal on a percussive “Oh, Darling” helps the tune rise above mere cover-band fare. However, when Pizzarelli presents ballads like “You’ve Got to Hide Your Love Away” and “Long and Winding Road” with maudlin arrangements, he pretty well grinds the party to a halt. (by Jazziz Maganzine, 2000)
John Pizarelli2

Harry Allen (saxophone)
Sanford Allen (violin)
Wayne Andre (trombone)
Kenny Berger (saxophone)
Joseph Bongiorno (bass)
Alfred Brown (violin)
Avril Brown (violin)
Kenneth Burward-Hoy (viola)
Stephanie Cummins (cello)
Rick Dolan (violin)
Max Ellen (violin)
Sammy Figueroa (percussion)
Barry Finclair (violin)
Andy Fusco  (saxophone)
Peter Gordon (french horn)
Adam Grabois (cello)
Juliet Haffner (viola)
Evan Johnson (violin)
Karen Karlsrud (violin)
Tony Kadleck (trumpet)
Gary Keller (saxophone)
Chungsun Kim (cello)
Jeanne LeBlanc (cello)
Jesse Levy (cello)
Lisa Matricardi (violin)
Melissa Meel (cello)
John Miller (bass)
John Mosca (trombone)
Laura Oatts (violin)
Jim O’Connor (rrumpet)
Ken Peplowski (clarinet)
Joel Pitchon (violin)
John Pizzarelli (guitar, vocals)
Martin Pizzarelli (bass)
Jim Pugh (trombone)
Allen Ralph (trombone)
Barry Ries (trumpet)
Maxine Roach (viola)
Douglas Romoff (bass)
Laura Seaton (violin)
Don Sebesky  (accordion, flute)
Richard Sortomme (violin)
Mitsue Takayama (viola)
Tony Tedesco (drums)
Liuh-Wen Ting (viola)
Leslie Tomkins (viola)
Ron Tooley (trumpet)
Belinda Whitney-Barratt (violin)
Chuck Wilson (saxophone)
Xin Zhao (violin)

Orchestra conducted by Don Sebesky


01. Can’t Buy Me Love 3.37
02. I’ve Just Seen A Face 2.49
03. Here Comes The Sun 5.05
04. Things We Said Today 4.16
05. You’ve Got To Hide Your Love Away 3.26
06. Eleanor Rigby 5.03
07. And I Love Her 3.57
08. When I’m 64 2.46
09. Oh Darling 4.04
10. Get Back 4.03
11. Long And Winding Road 3.46
12. For No One 3.11

All songw written by John Lennon + Paul McCartney, except 03. which was written by George Harrison






Alternate front + back cover

Various Artists – Percussion For Playboys (early 60´s)

frontcoveromega1A real strange LP …:

It starts with “Sports Car Races ” and you´ll hear the sounds of the motors of (Sport) cars …

And then you´ll hear a couple of unknown jazz bands like the Dick Marx Quintet … The Bay Big Band … The Frank Comstock Orchestra … and much more.

This one looks like it was released in… oh, say 1960/61. The LP is a compilation of whatever Omega had on the shelf at the moment… including several weird tracks that include a sound effects track from an automobile race and the track titled A Visit To A Hindu Monastery (that I tacked onto the sample track above)! There are no artist credits and there is precious little “percussion” on the album. Actually this is more of a “jazz” album. Omega slapped the provocative title and cheesecake photo on the cover and they were good to go. (by artworkbymanicmark.blogspot)

This is a sort of compilation from Omega record which is triply “lost” – it’s a long forgotten Album  on a long forgotten label  …

It´s jazz, it´s easy listening, it´s  a real strange Album and … it´s beautiful !

The UK version of the US compilation titled “Bedside Companion For Playboys”

This entry is dedicated to all the unknowns muscians from this golden era of Jazz !


01. Sports Car Races 1.51
02. Dick Marx Quintet:  Mickey Mouse Theme (Dodd) 2.37
03. Andre Montero: Take The “A” Train (Strayhorn) 3.47
04. Inez Jones with The Oscar Moore Quintet: Dancing On The Ceiling (Rodgers/Hart) 1:55
05. The Hi-Lo’s with The Frank Comstock Orchestra: Island Of Desire (Meyer/Jones) 2.39
06. The Lighthouse All-Stars: Coop Salutes (Cooper) 5.43
07. Los Gatos Ritmos: Return To Paradise (Tiomkin/Washington) 2.14
08. The Bay Big Band:  Latin Heat (Bolero) (Ravel) 3.22
09. Ernestine Anderson with Dick Marx Quintet Limehouse: Limehouse Blues (Farber/Braham)  4.18
10. Brussels World’s Fair Orchestra:  Laura (Raksin/Mercer 3.50
11. The Bay Big Band: Daybreak (Grafe) 2.25
12. Oscar Moore + Leroy Vinnegar: Angel Eyes (Dennis/Brent) 2.25
13. The John Evans Group:  It Ain’t Necessarily So (Gershwin) 3.46
14, A Visit To A Hindu Monastery 0.37



Glenn Miller Orchestra (directed by Buddy de Franco) – Recorded Live Royal Festival Hall London (1971)

frontcover1Boniface Ferdinand Leonard “Buddy” DeFranco (February 17, 1923 – December 24, 2014) was an American jazz clarinet player. One of few clarinetists playing bebop, DeFranco was described by critic Scott Yannow as the leading American jazz musician on his instrument from the 1940s until Eddie Daniels came to prominence in the 1980s.[1] In addition to his own work as a bandleader, DeFranco led the Glenn Miller Orchestra for almost a decade in the 1960s and ’70s.
Born in Camden, New Jersey, DeFranco was raised in South Philadelphia. He was playing the clarinet by the time he was 9 years old and within five years had won a national Tommy Dorsey[2] swing contest.
He began his professional career just as swing music and big bands—many of which were led by clarinetists like Artie Shaw, and Benny Goodman—were in decline. While most jazz clarinet players did not adapt to this change, DeFranco successfully continued to play clarinet exclusively, and was one of the few bebop clarinetists.
In 1950, DeFranco spent a year with Count Basie’s Septet. He then led a small combo in the early 1950s which included pianist Sonny Clark and guitarist Tal Farlow. In this period, DeFranco recorded for MGM, Norgran and Verve; the latter two labels were owned by Norman Granz.
During the years 1960-64, DeFranco released four innovative quartet albums as co-leader with the accordionist Tommy Gumina.
He was bandleader of the Glenn Miller Orchestra from 1966 to 1974, under the name, “The World Famous Glenn Miller Orchestra, Directed By Buddy DeFranco”. He also performed with Gene Krupa, Charlie Barnet, Art Tatum, Oscar Peterson, Billie Holiday and many others, and released dozens of albums as a leader.
DeFranco died in Panama City, Florida at the age of 91 (by wikipedia)
As far as I know, this Album was never released as Cd …
So enjoy another sentimental, listen to this brilliant Big Band Sound … ad you´ll hear some magic moments and much more !
Bob Crea (saxophone, cornet)
Danny D’Imperio (drums)
Buddy de Franco (clarinet)
Bobby Hackett (trumpet, cornet)
Pat LaBarbera (Saxophone)
much more musicians

01. Medley: Moonlight Serenade (Miller/Parish)  + In The Mood (Garland) 4.05
02. A String Of Perls  (Gray) 3.36
03. Sunrise Serenade (Carle/Lawrence) 3.33
04. My Sentiment (Fischer/Guttmann) 2.54
05. Magic Moments (Bennett) 2.49
06. Bugle Call Rag (Myers/Schoebel/Pettis) 4.05
07. Tuxedo Junction (Feyne/Hawkins/Dash/Johnson) 3.06
08. Serenade In Blue (Warren) 3.24
09. The Odd Couple (Hefti) 5.00
10. American Patrol (Whitney/Gray) 3.07
11. St. Louis Blues March (Handy) 3.48
12. Moonlight Serenade (Miller/Parish) 0.42
13. The complete concert (in one take) 41.14


Peter Appleyard Orchestra – Percussive Jazz (1960)

frontcover1Peter Appleyard, OC (26 August 1928 – 17 July 2013[1]) was a British–Canadian jazz vibraphonist, percussionist, and composer. He spent most of his life living and performing in the city of Toronto where for many years he was a popular performer in the city’s nightclubs and hotels. He also played and recorded with many of the city’s orchestras and been featured on Canadian television and radio programs. In the early 1970s he drew wide acclaim for his performances with Benny Goodman’s jazz sextet with which he toured internationally. In 1992, he was made an Officer of the Order of Canada in recognition of his being an “internationally renowned vibraphonist [who] has represented the Canadian jazz community across North America, Europe, the Middle East and Australia”.
Born in Cleethorpes, Lincolnshire, Appleyard became apprenticed to a nautical instrument maker after being forced to leave school owing to economic reasons related to the Second World War. At that time the popularity of the American Big Bands was growing in England, particularly through a major influx in big band recordings from America by jazz musicians like Benny Goodman, Duke Ellington, and Count Basie. These recordings had a strong influence on Appleyard and he decided to pursue a career as a jazz musician. He began his career in the early 1940s playing in the Boys Brigade, a youth organization. He performed as a drummer in several other British dance bands during the 1940s and, while a member of the Royal Air Force during in the mid-1940s, played in RAF bands.

In 1949 Appleyard moved to Bermuda where he lived for two years. While there he spent his holidays in Canada and picked up his first set of vibes. He was so impressed with Canada that, when the time came to leave Bermuda the choice of a new home was easy – he headed for Toronto. At first, unable to get a union card in Toronto, Appleyard worked as a room booking clerk at the King Edward Hotel and as a salesman at Simpson’s department store. He began studying music with Gordon Delamont and soon thereafter began playing the vibraphone in concerts with Billy O’Connor in the early 1950s. From 1954 to 1956 he played with a band at the Park Plaza Hotel and made numerous appearances on CBC Radio with jazz pianist Calvin Jackson. He formed his own jazz ensemble in 1957 which performed not only in Toronto but also toured throughout North America and appeared on American television during the 1960s. Among the ensemble’s original members was pianist and arranger Jimmy Dale. The group notably accompanied singer Gloria DeHaven for a year.
From 1961 to 1962 Appleyard co-hosted, with singer Patti Lewis, the CBC Radio program Patti and Peter. He spent most of the mid-1960s on the road touring. In the late sixties, he ceased his busy touring schedule and returned to Toronto on a more permanent basis. He began playing once more at the Park Plaza Hotel. In 1969 he co-hosted the program Mallets and Brass with Guido Basso for CBC TV. In addition he began studying timpani and percussion and extended his musical expertise substantially.

In the early 1970s Appleyard gained wide international notice as a member of Benny Goodman’s jazz sextet. With the group he toured in Europe in 1972 and 1974 and in Australia in 1973. Afterwords, he played only periodically with the group for the remainder of the decade, notably playing three performances with the ensemble at Carnegie Hall in the mid to late 1970s. During these years he continued to live in Toronto where he remained a popular performer in nightclubs and hotel lounges, serving as music director for a number of local jazz bands. He was also a leading percussionist in the city’s orchestras for both theatre and studio work. Throughout the 1970s, he was a frequent guest to the Colorado Springs Invitation Jazz Party where he performed with numerous international famous jazz musicians. From 1977 to 1980 he had his own television program, Peter Appleyard Presents, a jazz and variety show syndicated in North America.

In 1976, Frank Sinatra requested Appleyard to join him in concert with the Count Basie Orchestra and Ella Fitzgerald at the Uris Theatre in New York City. Sinatra made this request based on Appleyard’s work with Goodman. Appleyard and Sinatra performed together several years later during a benefit concert in Ottawa that was arranged by Rich Little.
In 1982 Appleyard formed the All Star Swing Band which specializes in performing old pop and jazz tunes, often in medley arrangements by Rick Wilkins. The ensemble’s 1982 release Swing Fever earned a gold record certification for sales of 50,000 units within Canada and was nominated for a Juno Award for Instrumental Artist of the Year. The ensemble toured throughout the world, including several appearances in New York City (notably appearing with Mel Tormé at Michael’s Pub), a 1987 tour to Great Britain, a 1998 tour to Switzerland, and at festivals like the Du Maurier Jazz Festival, Moncton Jazz Festival, the Ottawa Jazz Festival, and Dick Gibson’s Jazz Party in Colorado. The group has also performed in Chicago, Florida, Texas, Scandinavia, Germany, and Japan.

Following the death of Benny Goodman, Appleyard formed the Benny Goodman Tribute Band in 1985 which is composed of a number of Goodman alumni and some great Toronto musicians. Appleyard was also leader of the “Swing Fever Band”. He made several concert tours for NATO, most of which were at his own expense. He completed four tours at bases in Europe and three tours in Cyprus and the Gaza Strip and also performed for Canadian and American servicemen at the North Pole Christmas Show in Greenland.

Peter Appleyard performed as a special guest at Carnegie Hall on numerous occasions through the late 90’s and onwards under the direction of Skitch Henderson and the New Yorks Pops orchestra. He regularly toured overseas from London to Switzerland to Japan where he was asked by the Japanese Government to do a one-night performance at the Sapporo jazz festival. Appleyard said it was such a fantastic experience as the treatment and reception was first-class. He received the Queen’s Diamond Jubilee award on 18 June 2012. He spent his final years living on a farm at Rockwood, Ontario.

He died at his farm of natural causes on 17 July 2013 (by wikipedia)
“Percussion, according to Merriam-Webster, is a striking or beating of sound on the ear. Percussion, according to Peter Appleyard and Sid Cooper, is the vital fundamental of creative jazz. They embellish it with new tonal essences and record it with a perspicacious ear for the vagaries of stereophonia. Their interpretation of the jazz beat goes a step further than just the feel of a swinging tempo. They add a variety of percussive colors, sometimes subtle tints, sometimes brash hues.  Twelve of New York’s top recording jazz artists walked into a 24th Street recording studio on an incogruously cool August evening and sat down behind these Cooper arrangements. Telefunken microphones were hung strategically to pick up every last overtone and nuance.

On cue from Peter Appleyard, Bobby Rosengarden counted off an integrated swinging beat. In the control room, amid the usual, partially-drained coffee containers, Sid Frey, young company President of Audio Fidelity, now wearing his Artist and Repertoire ‘hat’, hovered over audio engineer Ernie Oelrich who set his myriad dials with an inimitably deft touch. In the subsequent paroxysms that rent the studio air, every last note was brought to account for volume, position, dynamics, presence and tonal quality. The result is an audiophile’s dream-the happy blend of superlative jazz in the modern idiom with percussive treatments, brilliant virtuosity and engineering wizardry. On a competent play-back system, the dynamics of the 1812 Overture are bland by comparision. Just listen!” (taken from the original liner notes)

John Abney (organ)
Robert Alexander (trombone)
Peter Appleyard (vibraphone)
Sidney Block (bass)
Philip Bodner (flute, reeds)
Edwin Costa (percussion)
Melvyn Davis (trumpet)
Harold Gayler (bass)
Sol Gubin (drums)
Philip Kraus (percussion)
Sy Mann (organ)
Sam Most (flute, Saxophone)
Romeo Penque (flute, reeds)
John Rae (percussion)
Bob Rosengarden (drums)
Beril Rubinstein (fortepiano)
Carl Severinsen (trumpet)
Raymond Starling (saxophone)
Nicholas Tagg (organ)
Harold Weed (fortepiano)
Earl Zinders (percussion)

01  The Man With The Golden Arm (Bernstein) 2.25
02. The Man That Got Away (Arlen) 2.34
03. Dragnet (Schumann) 3.10
04. Witchcraft (Coleman) 3.22
05. Harlem Nocturne (Hagen) 3.20
06. There Will Never Be Another You (Warren) 3.07
07. Peter Gunn (Mancini) 2.28
08. Mack The Knife (Weill) 2.45
09. Why Don’t You Do Right (McCoy) 2.55
10. Tenderly (Gross) 2.35
11. Mambo Inn (Bauza) 2.33
12. Undecided (Shavers) 1.58