Shorty Rogers And His Giants – Modern Sounds (1952)

FrontCover1Milton “Shorty” Rogers (April 14, 1924 – November 7, 1994) was one of the principal creators of West Coast jazz. He played both the trumpet and flugelhorn, and was in demand for his skills as an arranger.

Rogers worked first as a professional musician with Will Bradley and Red Norvo. From 1947 to 1949, he worked extensively with Woody Herman and in 1950 and 1951 he played with Stan Kenton.

Rogers appeared on the 1954 Shelly Manne album The Three and the Two along with Jimmy Giuffre. Much of the music he recorded with Giuffre showed his experimental side, resulting in an early form of avant-garde jazz. He also made notable recordings with Art Pepper and André Previn, among others.

From 1953 through 1962 Rogers recorded a series of albums for RCA Victor (later reissued on RCA’s Bluebird label), as well as a series of Atlantic albums with his own group, Shorty Rogers and His Giants, including Shorty Courts the Count (1954), The Swinging Mr. Rogers (1955), and Martians Come Back (1955), the album title alluding to the tune “Martians Go Home” which Rogers had composed and performed on The Swinging Mr. Rogers earlier the same year. These albums incorporated some of his more avant-garde music. To some extent they could be classified as “cool” jazz; but they also looked back to the “hot” style of Count Basie, whom Rogers always credited as a major inspiration.

Credited with the composition of the music for UPA’s Mr. Magoo cartoon Hotsy Footsy and the Looney Tune Three Little Bops, Rogers eventually became better known for his skills as a composer and arranger than as a trumpeter.

In the critically acclaimed 1955 film The Man with the Golden Arm, starring Frank Sinatra, Eleanor Parker, Kim Novak, Arnold Stang and Darren McGavin, and directed by Otto Preminger, the film’s jazz soundtrack was played by Shorty Rogers and His Giants with Shelly Manne.

ShortyRogers01

Shorty Rogers and his Giants appear performing “Wig Alley” (a version of “Morpo”) and the opening bars of “Manteca” in the club scene of the surreal 1955 cult film Dementia aka “Daughter of Horror” with Adrienne Barrett as The Gamin who is caught in a nightmarish maelstrom of deeds.

In the 1950s, when Igor Stravinsky began experimenting with dodecaphony, one of the twelve-tone techniques originally devised by Arnold Schoenberg, Stravinsky was very impressed with Rogers’s playing, which, as Robert Craft reports in his book Conversations with Stravinsky, influenced the composer’s 1958 choral work Threni.

In the 1958 Peter Gunn TV series episode The Frog Shorty plays flugelhorn as Lola Albright sings How High the Moon at Mother’s. Rogers conducted the orchestra and chorus for Ray Peterson’s 1959 hit “The Wonder of You”.

ShortyRogers02

After the early 1960s Rogers stopped performing on trumpet, and left the jazz scene for many years. Among other composing and arranging activities, he arranged a series of records for the Monkees (including “Daydream Believer”) in the late 1960s, and in the 1970s wrote the jazzy background score to TV’s The Partridge Family during the show’s first season. He also contributed episode scores for the fourth season of Starsky & Hutch. Finally, in 1982, he was persuaded to pick up his trumpet and return to performing in jazz ensembles, playing first with Britain’s National Youth Jazz Orchestra and soon with Bud Shank and others. In the 1990s he was part of a Lighthouse All Stars group along with Shank, Bill Perkins, Bob Cooper, Conte Candoli, Claude Williamson, Monty Budwig, and John Guerin.

Rogers died of melanoma in Van Nuys, California, at the age of 70 (by wikipedia)

Shorty Rogers’ first album as leader was on the Capitol label, MODERN SOUNDS, SHORTY ROGERS & HIS GIANTS.  The session was produced by Gene Norman and licensed to Capitol for release.  Shorty’s compositions and arrangements on this album would come to typify the west coast sound.  The “Giants” description of Shorty’s sidemen would apply to any number of musicians that Shorty would assemble for concerts and recording sessions depending on who was in town and available at the time.

Recorded in Hollywood ; October 8, 1951

AlternateFront+BackCover

Alternate front+backcover

Personnel:
Don Bagley (bass)
Gene Englund (trombone)
Jimmy Giuffre (saxophone)
John Graas (french horn)
Hampton Hawes (piano)
Shelly Manne (drums)
Art Pepper (saxophone)
Shorty Rogers (trumpet)

BackCover

Tracklist:
01. Popo (Rogers) 3.03
02. Four Mothers (Guiffre)  2.51
03. Over The Rainbow (Arlen/Harburg) 3.03
04. Didi (Rogers) 2.26
05. Sam And The Lady (Rogers) 3.07
06. Apropos (Rogers) 2.38

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John Lee Hooker – House of the Blues (1959)

FrontCover1In 1951 Delta emigre’ John Lee Hooker was a Detroit resident enjoying the raging success of recent singles and gearing up to wax his urgent folk blues for a host of record companies under various noms de blooze. Chess was one of the firms, and twelve sides cut between 1951 and 1954 eventually turned up on this 1959 long-player. Hooker’s singing, lubricious and steely, inveighs against annoying women; his rudimental guitar is exciting; and his stamping the plywood floor in ruttish insistence makes for exemplary blues rhythm. Most of the tracks JohnLeeHooker01Ahave him solo. Caveat emptor: Two songs have atrocious sound. (Frank John Hadley)

John Lee Hooker is in my opinion the first true Detroit rock and roll artist that follows in a fine tradition of the Stooges, The MC5, and Motown. The music on this album is probably the heaviest type of blues of ever heard. A little more ferocius, and darker than most stuff I’ve heard. If you like your blues squeeky clean like something Eric Clapton would record these days then you’ll probably feel like the reviewer below that only gave this album two stars. But if you’re like me and can just appreciate an individual with a lot of soul then this album will shake the foundation. (by Hippie Smell)

JohnLeeHooker03Personnel:
John Lee Hooker (vocals, guitar)
+
Eddie Kirkland (guitar on 09., 11. + 12.)
Bob Thurman (piano on 04.+12.)
Tom Whitehead (drums on 12.

BackCover1Tracklist:
01. Walkin’ The Boogie 2.44
(with double-tracked vocal and speeded up guitar – recorded April 24th, 1952)
02. Love Blues 3.01
(Recorded April 24th, 1952)
03. Union Station Blues 2.58
(Recorded circa April, 1951)
04. It’s My Own Fault (a.k.a. Baby, I Prove My Love to You)  2.59
(Recorded circa 1952)
05. Leave My Wife Alone 2.48
(Recorded circa April, 1951)
06. Ramblin’ By Myself 3.20
(Recorded circa April, 1951)
07. Sugar Mama 3.16
(Recorded April 24th, 1952)
08. Down at the Landing 2.56
(Recorded April 24th, 1952)
09. Louise 3.06
(Recorded circa April, 1951)
10. Ground Hog Bluesb2.58
(Recorded circa April, 1951)
11. High Priced Woman 2.44
(Recorded April, 1951)
12. Women and Money 2.53
(Recorded 1952)

Label1*
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Amalia Rodrigues – The Queen Of Fado (2011)

FrontCover1When Amalia Rodrigues died October 6th, 1999 (aged 79) the government of Portugal declared three days of national morning. Political activity in the country’s general election campaign came to a halt. The president was the chief mourner at the singer’s state funeral. It was a singular expression of national grief and in some ways a peculiar one.

Entertainers, however famous, rarely, if ever, depart in such ceremony. It did not happen to Maria Callas, perhaps the most celebrated opera singer of recent times, when she died in 1977; or to Frank Sinatra, who died in 1998. There was some sadness, certainly; a lot of reminiscences, of course; but life went on largely uninterrupted in Greece and America. The sanctifying of Amalia Rodrigues may say something about the nature of the Portuguese as well as about what the prime minister called “the voice of the country’s soul”.

Amalia01She was known simply as Amalia. The diminution of her name was itself a reflection of her fame (as was Britain’s Diana, or Di, whose death in 1997 also briefly interrupted the life of her country). Her style of singing is called fado, the Portuguese word for fate. “I have so much sadness in me,” Amalia said. “I am a pessimist, a nihilist. Everything that fado demands in a singer I have in me.” Amalia’s message of fatalism seems to have echoed a mood among her admirers. Portugal is still among the least modern of European countries, though it has been modernising rapidly of late. It expects its economy to grow by about 3% this year, compared with an average of only 1.9% growth for the rest of the euro area. But GDP does not change a country’s sentiment overnight. Portugal was the first European country in modern times to carve out a great trading empire. Go almost anywhere in the world and you find traces of Portuguese architecture, language and genes. Generation by generation, the once-rich Portuguese have seen their empire slowly vanish, and not very gracefully. East Timor is still formally Portuguese. “I sing of tragedy,” Amalia said, “of things past.”

Amalia02Amalia Rodrigues was never sure of her exact birthday. Her grandmother said it was in the cherry season, so she assumed she was born in early summer. Other details of her childhood were also obscure. Some accounts said her father was a shoemaker; others that he was a musician. The story that as a teenager she sold fruit on the docks of Lisbon, capturing the hearts of her customers with her singing, was willingly believed by those who adored her. The adoration was put to the test in 1974 when Portugal emerged from half a century of dictatorship. Amalia’s critics said she had benefited from the patronage of the most enduring of Europe’s fascist regimes.

“I always sang fado without thinking of politics,” Amalia responded angrily. It was a claim impossible to contradict. Yet fado, with its melancholy fatalism, was an appropriate accompaniment to the thinking of the Portuguese leader, António de Oliveira Salazar. Not for him the ruthless urgency of Hitler. Rather, in his corporate state he wanted to preserve Portugal as a rural and religious society where industrialisation and other modernising influences would be excluded. He kept Portugal out of the second world war. It was too wearisome.

Amalia03Fado was the music of Portuguese tradition. If it had any foreign ingredients they were from Africa, but these were acceptable: huge areas of Africa had been Portuguese. And here was Amalia, the queen of fado, clad all in black, her throbbing voice accompanied by two guitarists, her head thrown back, her eyes closed. She was the essence of sadness, bearing the memories of two marriages; both unhappy. When Salazar heard “O Grito” (“The Cry”) he allowed himself a tear.

Unsurprisingly, the Portugal that followed the dictatorship wanted cheering up, as well as modernising. The question of whether Amalia had been a supporter of the old regime became irrelevant. Fado itself fell out of fashion. Rock was the music of democracy.

Amalia, however, had built up other audiences abroad. The Brazilians, whose language is Portuguese, flocked to see her dozen or so films. A six-week tour to Rio and other cities had to be expanded to three months. In the United States record collectors said that her songs, with their four-line stanzas, were like the blues, and she did indeed make some recordings with a jazz saxophonist, Don Byas. Italians claimed to see links between fado and opera. The French said Amalia reminded them of Edith Piaf, who sang nostalgically of the tragedies in her life. A fado song given the English title “April in Portugal” became a hit in several countries.

In Portugal fado and Amalia gradually made a comeback. Amalia showed that she was really a democrat at heart by recording “Grandola Vila Morena”, the song that had swept the country when the dictatorship ended. The socialist government presented her with the country’s highest decoration, the Order of Santiago. She was giving concerts up to a year ago, and every one was sold out. “The sadder the song, the more the Portuguese like it,” she said. In this new time of change, pessimism was back in fashion. For Amalia, it was the happiest of endings.(by economist.com)

And this is a unique collection of her greatest and most popular songs from a glittering career spanning more than 50 years.

Amalia04Personnel:
Amalia Rodrigues (vocals)
+
various orchestras and musicians

Booklet03ATitel:
01. Barco Negro (1955) (Mourão/Ferreira/Velho) 4.12
02. Nao Digas Mal Dele (1953) (Barbosa/Armandinho) 3.26
03. Uma Casa Portuguesa (1953) (Ferreira/Seqeira/Fonseca) 2.28
04. Novo fado da Severa (1953) (DantasdeFreitas) 3.11
05. Perseguicao (1945) (deSousa/Pereira/da Maia) 2.35
06. Duas luzes (1945) (de Mata/do Amaral) 3.20
07. Faz hoje um ano (1952) (Galhardo/Ferrao) 4.40
08. Passei Por Vocк (1945) (de Brito/Marceneiro) 2.55
09. Fado do ciume (1945) (do Vale/Valério) 2.57
10. Sei finalmente (1945) (Barbosa/Armandinho) 2.53
11. As penas (1945) (Caldeira/Bacalhau) 3.10
12. A tendinha (1945) (Gallhardo/Ferraro) 2.06
13. Fado Amalia (1951) (Gallhardo/Valerio) 3.01

CD1*
**

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Maynard Ferguson His Orchestra and Octet – Band Ain’t Draggin’ (2005)

FrontCover1When he debuted with Stan Kenton’s Orchestra in 1950, Maynard Ferguson could play higher than any other trumpeter up to that point in jazz history, and he was accurate. Somehow he kept most of that range through his career and since the 1970s has been one of the most famous musicians in jazz. Never known for his exquisite taste (some of his more commercial efforts are unlistenable), Ferguson nevertheless led some important bands and definitely made an impact with his trumpet playing.

After heading his own big band in Montreal, Ferguson came to the United States in 1949 with hopes of joining Kenton’s orchestra, but that ensemble had just recently broke up. So instead, Ferguson gained experience playing with the big bands of Boyd Raeburn, Jimmy Dorsey, and Charlie Barnet. In 1950, with the formation of Kenton’s Innovations Orchestra, Ferguson became a star, playing ridiculous high notes with ease. In 1953, he left Kenton to MaynardFergusonwork in the studios of Los Angeles and three years later led the all-star “Birdland Dreamband.” In 1957, he put together a regular big band that lasted until 1965, recorded regularly for Roulette (all of the band’s recordings with that label are on a massive Mosaic box set) and performed some of the finest music of Ferguson’s career. Such players as Slide Hampton, Don Ellis, Don Sebesky, Willie Maiden, John Bunch, Joe Zawinul, Joe Farrell, Jaki Byard, Lanny Morgan, Rufus Jones, Bill Berry, and Don Menza were among the more notable sidemen.

After economics forced him to give up the impressive band, Ferguson had a few years in which he was only semi-active in music, spending time in India and eventually forming a new band in England. After moving back to the U.S., Ferguson in 1974 drifted quickly into commercialism. Young trumpeters in high school and colleges were amazed by his high notes, but jazz fans were dismayed by the tasteless recordings that resulted in hit versions of such songs as the themes from Star Wars and Rocky and much worse. After cutting back on his huge orchestra in the early ’80s, Ferguson recorded some bop in a 1983 session, led a funk band called High Voltage during 1987-1988, and then returned to jazz with his “Big Bop Nouveau Band,” a medium-sized outfit with which he toured the world up until his death from kidney and liver failure on August 23, 2006. (by Scott Yanow)

MaynardFergusonStanKentonMaynard Ferguson + Stan Kenton

This great CD was released in 2005 and it includes many of Maynard’s tracks from the early 1950s. It starts off with MF fronting what was essentially the Kenton Orchestra on the tracks Band Ain’t Draggin’, Short Wave, Love Locked Out, and Take the “A” Train (9/13/50). Next are What’s New? and The Hot Canary (5/31/51), Roses all the Way, And So I Waited Around, Homing Pidgeon, and Wow! (2/25/52), then finishes off with Thou Swell, The Way You Look Tonight, All God’s Chillun Got Rhythym, Willie Nillie, Hymn to Her, Lonely Town, and Over the Rainbow (2/19/54). Great, GREAT stuff!!!

The music on these sides is the product of different sessions that represent, between them, a veritable Blue Book of West Coast jazz. At the head of each ensemble, enjoying himself to the full, is trumpeter extraordinary Maynard Ferguson. Most of the men heard in this CD were old friends, either colleagues from the Stan Kenton band or Californians with whom he had worked on and off for several years. 18 total tracks originally recorded in 1950-54. (by amazon)

MaynardFerguson2Maynard Ferguson in 1962

Personnel:
Alfred ‘Chico’ Alvarez (trumpet)
Don Bagley (bass)
Milt Bernhart (trombone)
Harry Betts (trombone)
Ralph Blaze (guitar)
Kay Brown (vocals)
Bart Caldarell (saxophone)
Bob Cooper (saxophone)
Curtis Counce (bass)
Gene Englund (tuba)
Maynard Ferguson (trumpet, valve trombone, vocals)
Bob Fitzpatrick (trombone)
Russ Freeman (piano)
Bob Gioga (saxophone)
Jimmy Giuffre (saxophone)
Bob Gordon (saxophone)
John Graas (french horn)
Herbie Harper (trombone)
John Howell (trumpet)
Dick Kenney (trombone)
Stan Kenton (piano)
Barney Kessel (guitar)
Shelly Manne (drums)
Joe Mondragon (bass)
Abe Most (saxophone)
Frank Patchen (piano)
Art Pepper (saxophone)
Al Porcino (trumpet)
Shorty Rogers (trumpet)
Joe Rotundi (piano)
Jimmy Salko (trumpet)
Bud Shank (saxophone, flute)
Paul Weigand (bass trombone)

InletATracklist:
01. Band Ain’t Draggin’ (Greene) 2.10
02. Short Wave (Rogers) 2.35
03. Love Locked Out (Noble/Kester) 2.57
04. Take the “A” Train (Strayhorn) 2.53
05. What’s New (Haggart/Burke) 3.11
06. The Hot Canary (Nero/Gilbert) 2.21
07. Roses All The Way (Carpenter/Weber) 2.38
08. And So I Waited Around (Altman(Kaye) 2.52
09. Homing Pidgeon (Drake/Shirl/Jerome) 2.36
10. Wow! (Roders) 2.06
11. Maiden Voyage (Maiden) 3.00
12. Thou Swell (Rodgers/Hart) 2.44
13. The Way You Look Tonight (Kern/Fields) 2.54
14. All God’s Chillun Got Rhythm (Kaper/Jurman) 2.55
15. Willie Nillie (Maiden) 3.04
16. Hymn To Her (Maiden) 2.34
17. Lonely Town (Comden/Green/Bernstein) 3.08
18. Over The Rainbow (Arlen/Harburg) 3.03

MaynardFerguson3
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John Coltrane & Dizzy Gillespie – Trane’s First Ride 1951 (2013)

FrontCover1Here’s another slice of jazz history.

Thanks to u014945 who uploaded the tracks; and to ShaReeF who shared them at HungerCity.

Uploader’s notes:

Typical of many jazz bootleg LPs, this one contains no dates nor any information beyond song titles and the year of 1951 (despite having a long liner essay by one “E.S.Spoe”). After a good Birdlandbit of research (and matching some of it with my recollections from countless hours of listening to the pedantic, yet informative Phil Schaap on Bird Flight here in New York City weekday mornings on WKCR), I have come up with the following probable list of dates and line-ups.

The venue is always Birldand.

Recorded live at Birdland, NY. Very good radio broadcasts. Ripped from vinyl, slight crackling noises and hiss.
Tracks 01, 02, 03 – January 6, 1951

Tracks 04, 06, 08 – February 3, 1951
Track 05 – January 13, 1951
Track 07 – March 17, 1951

Personnel:
Art Blakey (drums)
John Coltrane (saxophone)
Carl “Kansas” Fields (drums on 07.)
Dizzy Gillespie (trumpet)
Percey Heath (bass)
Milt Jackson (vibraphone)
JJ Johnson (trombone on 04., 06. + 08.)
John Lewis (piano on 07.)
Billy Taylor (piano)

TwoGiantsJohn Coltrane & Dizzy Gillespie

Tracklist:
01. Congo Blues (Norvo) 3.06
02. Night in Tunisia (Gillespie/Paparelli) 6.24
03. Yesterdays (Harbach/Kern) 3.06
04. Birk’s Works (Gillespie) 4.50
05. Good Bait (Dameron) 3.33
06. I Can’t Get Started (Gillespie) 2.53
07. Birk’s Works (Air Check 2) (Gillespie) 5.16
08. Jumping With Symphony Sid (Young) 302

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Alan Jay Lerner & Frederick Loewe – Paint Your Wagon (1951)

FrontCover1Paint Your Wagon is a Broadway musical comedy, with book and lyrics by Alan J. Lerner and music by Frederick Loewe. The story centers around a miner and his daughter and follows the lives and loves of the people in a mining camp in Gold Rush-era California. Popular songs from the show included “Wand’rin’ Star”, “I Talk to the Trees” and “They Call the Wind Maria”. (While the name in this title is pronounced as in the currently popular spelling “Mariah,” the original spelling is the classical spelling of “Maria.”)

The musical ran on Broadway in 1951 and in the West End in 1953. In 1969 the film version also titled Paint Your Wagon was released. It had a highly revised plot and some new songs composed by Lerner and André Previn.

Act I
In the California Wilderness in May 1853, a crusty old miner, Ben Rumson, is conducting a makeshift funeral for a friend. Meanwhile his 16-year-old daughter Jennifer discovers gold dust. Ben claims the land, and prospectors start flocking to the brand new town of Rumson (“I’m On My Way”). Two months later Rumson has a population of 400, all of whom are men except for Jennifer. Prospector Jake Whippany is waiting to save enough money to send for Cherry and her Fandango girls (“Rumson”), while Jennifer senses the tension building in town (“What’s Going On Here?”). Julio Valveras, a handsome young miner forced to live and work outside of town because he is Mexican, comes to town with dirty laundry and runs into Jennifer, who volunteers to do his laundry. They also talk to each other (“I Talk to the Trees”). Steve Bulmarck and the other men ponder the lonely nomadic life they lead in the song “They Call the Wind Maria”.

Two months later the men want Ben to send Jennifer away, and he wishes her mother was still alive to help him (“I Still See Elisa”). Jennifer is in love with Julio (“How Can I Wait?”), and when Ben sees Jennifer dancing with Julio’s clothes, he decides to send her East on the next stage. Jacob Woodling, a Mormon man with two wives, Sarah and Elizabeth, arrives in Rumson where the men demand Jacob sell one of his wives. To his surprise, Ben finds himself wooing Elizabeth (“In Between”) and wins her for $800 (“Whoop-Ti-Yay”). Jennifer is disgusted by her father’s actions and runs away, telling Julio that she will be reunited with him in a year’s time (“Carino Mio”). Cherry and her Fandango girls arrive (“There’s a Coach Comin’ In”). Julio learns his claim is running dry which means he has to move on to make a living and that he will not be there to greet Jennifer when OriginalMusicalPoster1951she returns.

Act II
A year later in October, the miners celebrate the high times in Rumson now that the Fandango girls are around (“Hand Me Down That Can o’ Beans”). Edgar Crocker, a miner who has saved his money, falls for Elizabeth and she responds, although Ben does not notice since he thinks Raymond Janney is in love with her (he is). Another miner, Mike Mooney, tells Julio about a lake that has gold dust on the bottom and he considers looking for it (“Another Autumn”). Jennifer returns in December, having learned civilized ways back East (“All for Him”). Ben tells his daughter that he will soon be moving on since he was not meant to stay in one place for long (“Wand’rin’ Star”). The next day as Cherry and the girls are packing to leave they tell her about Julio leaving to find the lake with a bottom of gold. Raymond Janney offers to buy Elizabeth from Ben for $3,000, but she runs off with Edgar Crocker.

OriginalLabelWord comes of another strike 40 miles south of Rumson and the rest of the town packs up to leave except for Jennifer, who is waiting for Julio to return, and Ben, who suddenly realizes that Rumson is indeed his town. Late in April, Julio appears, a broken man. The now dying Ben welcomes him and Julio is amazed to see Jennifer is there. As they move toward each other, the wagons filled with people move on.

The musical opened on Broadway at the Shubert Theatre on November 12, 1951, and closed on July 19, 1952, after 289 performances. The production was directed by Daniel Mann, set design by Oliver Smith, costume design by Motley, lighting design by Peggy Clark, music for dances arranged by Trude Rittman, with dances and musical ensembles by Agnes de Mille set to the orchestrations of Ted Royal.

It starred James Barton (as Ben Rumson), Olga San Juan (Jennifer Rumson), Tony Bavaar (Julio Valveras), Gemze de Lappe (Yvonne Sorel), James Mitchell (Pete Billings), Kay Medford (Cherry), and Marijane Maricle (Elizabeth Woodling). Burl Ives and Eddie Dowling later took over the role of Ben Rumson. De Mille later restaged the dances as a stand-alone ballet, Gold Rush (by wikipedia)

Sheet01The 50-year European copyright limit on recordings allowed the original Broadway cast recording of Paint Your Wagon, originally released by RCA Victor in 1951, into the public domain early in the 21st century, and British bottom-feeder reissue label Prism Leisure has responded by pressing up its own version. The sound quality is good, suggesting that someone simply went to a record store and bought the latest RCA CD for transfer, though, of course, the original was recorded in mono under what are now thought of as primitive conditions. Still, cast members James Barton, Olga San Juan, Tony Bavaar, and Rufus Smith come through loud and clear in their performances of the memorable Western-tinged score for the Gold Rush story, including the songs “They Call the Wind Maria,” “I Talk to the Trees,” and “Wand’rin’ Star.” And there is a bonus track of “They Call the Wind Maria” by Vaughn Monroe, whose RCA recording, contemporary to the show, is also in the public domain in Europe. The RCA version of the cast album is to be preferred for its superior sound and packaging over what is essentially a legal bootleg, but for casual listeners on a budget, this one will serve. (Although technically issued only in Europe, the album was readily available at a modest price in the U.S. upon release.) (by William Ruhlmann)

Tray1

Personnel:
James Barton (as Ben Rumson)
Tony Bavaar (Julio Valveras)
Olga San Juan (as Jennifer Rumson)
Gemze de Lappe (as Yvonne Sorel)
Marijane Maricle (as Elizabeth Woodling)
Kay Medford (as Cherry)
James Mitchell (Pete Billings)
+
Vaughn Monroe & His Orchestra

OriginalFrontCover1Original frontcover, 1951

Tracklist:
01. I’m on My Way (Chorus / Robert Penn / Rufus Smith / Dave Thomas) 3.54
02. Rumson (Robert Penn) 0.48
03. What’s Going on Here? (Olga San Juan) 3.28
04. I Talk To The Trees (Tony Bavaar) 3.31
05. They Call the Wind Maria (Chorus / Rufus Smith) 3.17
06. I Still See Elisa (James Barton) 3.17
07. How Can I Wait? (Olga San Juan) 4.13
08. In Between (James Barton) 2.40
09. Whoop-Ti-Ay! (Chorus) 1.45
10. Carino Mio (Tony Bavaar / Olga San Juan) 2.46
11. There’s A Coach Comin’ In (Chorus) 1.58
12. Hand Me Down That Can O’Beans (Chorus / Robert Penn) 1.44
13. Another Autumn (Tony Bavaar / Rufus Smith) 2.52
14. All For Him (Olga San Juan) 2.28
15. Wand’rin’ Star (James Barton / Chorus) 2.31
16. They Call The Wind Maria (bonus track) (Vaughn Monroe) 2.50

Music: Alan Jay Lerner / Book & lyrics: Frederick Loewe

CD1*
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FrontCover1965AReissue, 1965