Philadelphia Orchestra – Gala (1958)

FrontCover1The Philadelphia Orchestra (founded in 1900 !) is an American symphony orchestra, based in Philadelphia, Pennsylvania. One of the “Big Five” American orchestras, the orchestra is based at the Kimmel Center for the Performing Arts, where it performs its subscription concerts, numbering over 130 annually, in Verizon Hall.

From its founding until 2001, the Philadelphia Orchestra gave its concerts at the Academy of Music. The orchestra continues to own the Academy, and returns there one week per year for the Academy of Music’s annual gala concert and concerts for school children. The Philadelphia Orchestra’s summer home is the Mann Center for the Performing Arts. It also has summer residencies at the Saratoga Performing Arts Center, and since July 2007 at the Bravo! Vail Valley Festival in Vail, Colorado.

The first record from 1926 … The Nutcracker Suite … see below

The orchestra also performs an annual series of concerts at Carnegie Hall. From its earliest days the orchestra has been active in the recording studio, making extensive numbers of recordings, primarily for RCA Victor and Columbia Records.

The orchestra’s current music director is Yannick Nézet-Séguin, since 2012. (wikipedia)

And here´s one of their countless albums, called “Gala” and we hear 4 msterpieces of classic music (see tracklist).

And I´m very glad, that this old album is in a more or less good condition … so my vinyl rip should be s pleasure for everyone, who loves this kind of music, like I do.

Enjoy the power of classic music !

And the first time I heard a small little part of the “Nutcracker Suite” was while I´m listening the Emerson, Lake & Palmer album “Pictures At The Exhibition” and we should never forget, that Ravels “Bolero” was on a Colosseum album …


Philadelphia Orchestra conducted by Eugene Ormandy

Eugene Ormandy


Pyotr Ilyich Tchaikovsky

Nutcracker Suite, Op. 71a:
01. Miniature Overture 3.12
02. Danses Caracteristiques: March – Dance Of The Sugar-Plum Fairy – Russian Dance (Trepak) – Arabian Dance – Chinese Dance – Dance Of The Reed-Pipes 12.04
03. Waltz Of The Flowers 6.30

Claude Debussy:
04. Clair De Lune (from “Suite Bergamasque”) 4.13

Edvard Grieg:
05. Peer Gynt Suite No. 1, Op. 46 12.08
05.1. Morning Mood
05.2.Ase’s Death
05.3. Anitra’s Dance
05.4. In The Hall Of The Mountain King

Maurice Ravel:
06. Bolero 14.04




Various Artists – English Folk Dances (1974)

FrontCover1This album was produced by theEnglish Folk Dance and Song Society

The English Folk Dance and Song Society  was formed in 1932 when two organisations merged: the Folk-Song Society and the English Folk Dance Society. The EFDSS, a member-based organisation, was incorporated as a company limited by guarantee (no. 297142) in 1935 and became a registered charity (no. 305999) in England and Wales in 1963.

The Folk-Song Society, founded in London in 1898, focused on collecting and publishing, primarily folk songs of Britain and Ireland although there was no formal limitation. Participants included: Lucy Broadwood, Kate Lee, Cecil Sharp, Percy Grainger, Ralph Vaughan Williams, George Butterworth, George Barnet Gardiner, Henry Hammond, Anne Gilchrist and Ella Leather.

The English Folk Dance Society was founded in 1911 by Cecil Sharp. Maud Karpeles was a leading participant. Its purpose was to preserve and promote English folk dances in their traditional forms, including Morris and sword dances, traditional social dances, and interpretations of the dances published by John Playford. The first secretary of the society was Lady Mary Hepburn-Stuart-Forbes-Trefusis; Trefusis Hall in the EFDSS HQ, Cecil Sharp House, is named after her.

One of the greatest contributions that the EFDSS made to the folk movement, both dance and song, was the folk festival, starting with the Stratford-upon-Avon Festival in the 1940s and continuing with festivals in Whitby, Sidmouth, Holmfirth, Chippenham and elsewhere.

English Folk Dance and Song Society02

Since 1936 the EFDSS has published English Dance & Song at least four times a year. This has become the longest-established magazine devoted to folk music, dance and song in the country. English Dance & Song is aimed at stimulating the interest of the membership of the EFDSS, as well as the wider folk music and dance community.

Their regular scholarly publication is Folk Music Journal, published annually in December, which was formerly entitled the Journal of the English Folk Dance and Song Society until 1965. The work continues the earlier journals of the two societies: Journal of the Folk-Song Society, 1899–1931;[9] Journal of the English Folk Dance Society 191431.
Recent developments
Cecil Sharp House in Regent’s Park, London, is home to the English Folk Dance and Song Society

In 1998, with the folk movement strongly supported by a number of other organisations and the seeds planted by EFDSS thriving, the EFDSS altered its strategy to focus on education and archiving, with its primary goal the development of the Vaughan Williams Memorial Library as the country’s national archive and resource centre for folk music, dance and song.

English Folk Dance and Song Society (Inside)

In 2011 the society entered into a joint commission with Shrewsbury Folk Festival to create the Cecil Sharp Project, a multi-artist residential commission to create new works based on the life and collecting of Cecil Sharp. The project took place in March 2011, the artists involved being: Steve Knightley, Andy Cutting, Leonard Podolak, Jim Moray, Jackie Oates, Caroline Herring, Kathryn Roberts and Patsy Reid.

In 2013, EFDSS launched The Full English, an ongoing archive project supported by the Heritage Lottery Fund, The Folklore Society, the National Folk Music Fund and the English Miscellany Folk Dance Group. This free and searchable resource of 44,000 records and over 58,000 digitised images is the world’s biggest digital archive of traditional music and dance tunes.

As well as folk music, the EFDSS is home to a number of performance artists, providing a regular performance platform for acts including the Ukulele Orchestra of Great Britain, the Massive Violins and the Swingle Singers. (wikipedia)


There is a huge variety of dance associated with English folk music, some of it quite alien to modern culture. Folk music was either written as song or for dancing, and the dances have deep roots in the social history of England, as well as offering an insight into agriculture, industry and cultural diversity. (

And here are 15 songs from the past (recorded in 1958 and 1961; the musical leader was Nan Fleming-Williams), but we should never forgot, that this music inspüired a lot auf Britis Folk-Rock Bands like Fairport Convention and much miore !

Enjoy this trip in the past !



McBain’s Country Dance Band:
01. Durham Reel 1.38
02. Waltz Country Dance 5.03
03. The Waves Of Troy 3.56
04. Haymaker’s Jig 2.40
05. The Road To California 3.48
06. The Steamboat 3.38
07. Margaret’s Waltz 3.01

Jack Armstrong And His Northumbrian Barnstormers:
08. Drops Of Brandy 2.58
09. Pins And Needles 3.13
10. The Sylph 3.13
11. The Triumph 3.05

The Country Dance Band:
12. The Rifleman 3.33
13. Wiltshire Reel 1.47
14. Dorset Triumph 3.12
15. Stoke Golding Country Dance 3-36

All songs: Traditional




English Folk Dance and Song Society01

Chuck Berry – Is On Top (1959)

LPFrontCover1Charles Edward Anderson Berry (October 18, 1926 – March 18, 2017) was an American singer and songwriter, and one of the pioneers of rock and roll music. Nicknamed the “Father of Rock and Roll”, Berry refined and developed rhythm and blues into the major elements that made rock and roll distinctive with songs such as “Maybellene” (1955), “Roll Over Beethoven” (1956), “Rock and Roll Music” (1957) and “Johnny B. Goode” (1958). Writing lyrics that focused on teen life and consumerism, and developing a music style that included guitar solos and showmanship, Berry was a major influence on subsequent rock music.

Born into a middle-class African-American family in St. Louis, Missouri, Berry had an interest in music from an early age and gave his first public performance at Sumner High School. While still a high school student he was convicted of armed robbery and was sent to a reformatory, where he was held from 1944 to 1947. After his release, Berry settled into married life and worked at an automobile assembly plant. By early 1953, influenced by the guitar riffs and showmanship techniques of the blues musician T-Bone Walker, Berry began performing with the Johnnie Johnson Trio. His break came when he traveled to Chicago in May 1955 and met Muddy Waters, who suggested he contact Leonard Chess, of Chess Records. With Chess, he recorded “Maybellene”—Berry’s adaptation of the country song “Ida Red”—which sold over a million copies, reaching number one on Billboard magazine’s rhythm and blues chart.

Chuck Berry01By the end of the 1950s, Berry was an established star, with several hit records and film appearances and a lucrative touring career. He had also established his own St. Louis nightclub, Berry’s Club Bandstand. He was sentenced to three years in prison in January 1962 for offenses under the Mann Act—he had transported a 14-year-old girl across state lines. After his release in 1963, Berry had several more hits, including “No Particular Place to Go”, “You Never Can Tell”, and “Nadine”. But these did not achieve the same success, or lasting impact, of his 1950s songs, and by the 1970s he was more in demand as a nostalgic performer, playing his past hits with local backup bands of variable quality. In 1972 he reached a new level of achievement when a rendition of “My Ding-a-Ling” became his only record to top the charts. His insistence on being paid in cash led in 1979 to a four-month jail sentence and community service, for tax evasion.

Berry was among the first musicians to be inducted into the Rock and Roll Hall of Fame on its opening in 1986; he was cited for having “laid the groundwork for not only a rock and roll sound but a rock and roll stance.” Berry is included in several of Rolling Stone magazine’s “greatest of all time” lists; he was ranked fifth on its 2004 and 2011 lists of the 100 Greatest Artists of All Time. The Rock and Roll Hall of Fame’s 500 Songs That Shaped Rock and Roll includes three of Berry’s: “Johnny B. Goode”, “Maybellene”, and “Rock and Roll Music”. Berry’s “Johnny B. Goode” is the only rock-and-roll song included on the Voyager Golden Record.

Chuck Berry Is on Top is the third studio album by rock and roll pioneer Chuck Berry, released in July 1959 on Chess Records, catalogue LP 1435. With the exception of one track, “Blues for Hawaiians,” all selections had been previously released on 45 rpm singles, several of which were double-sided and charted twice. (wikipedia)

Chuck Berry02

If you had to sweat all of Chuck Berry’s early albums on Chess (and some, but not all, of his subsequent greatest-hits packages), this would be the one to own. The song lineup is exemplary, cobbling together classics like “Maybellene,” “Carol,” “Sweet Little Rock & Roller,” “Little Queenie,” “Roll Over Beethoven,” “Around and Around,” “Johnny B. Goode,” and “Almost Grown.” With the addition of the Latin-flavored “Hey Pedro,” the steel guitar workout “Blues for Hawaiians,” “Anthony Boy,” and “Jo Jo Gunne,” this serves as almost a mini-greatest-hits package in and of itself. While this may be merely a collection of singles and album ballast (as were most rock & roll LPs of the 1950s and early ’60s), it ends up being the most perfectly realized of Chuck Berry’s career. (by Cub Koda)


Fred Below (drums)
Chuck Berry (vocals, guitar)
Bo Diddley (guitar)
Willie Dixon (bass)
Jerome Green (maracas)
Ebbie Hardy (drums)
Johnnie Johnson (piano)
Lafayette Leake (piano)
George Smith (bass)
Jaspar Thomas (drums)
The Moonglows (background vocals)

Chuck Berry03

01. Almost Grown 2.23
02. Carol 2.49
03. Maybellene 2.23
04. Sweet Little Rock & Roller 2.23
05. Anthony Boy 1.54
06. Johnny B. Goode 2.42
07. Little Queenie 2.44
08. Jo Jo Gunne 2.48
09. Roll Over Beethoven 2.25
10. Around And Around 2.42
11. Hey Pedro 1.57
12. Blues For Hawaiians 3.25

All songs written by Chuck Berry



More Chuck Berry:

John Coltrane – Standard Coltrane (1962)

LPFrontCover1John William Coltrane (September 23, 1926 – July 17, 1967) was an American jazz saxophonist and composer. Working in the bebop and hard bop idioms early in his career, Coltrane helped pioneer the use of modes and was at the forefront of free jazz. He led at least fifty recording sessions and appeared on many albums by other musicians, including trumpeter Miles Davis and pianist Thelonious Monk. Over the course of his career, Coltrane’s music took on an increasingly spiritual dimension. He remains one of the most influential saxophonists in music history. He received many posthumous awards, including canonization by the African Orthodox Church and a Pulitzer Prize in 2007. His second wife was pianist and harpist Alice Coltrane. The couple had three children: John Jr. (1964–1982), a bassist; Ravi (born 1965), a saxophonist; and Oran (born 1967), also a saxophonist

Standard Coltrane is an album credited to jazz musician John Coltrane, released in 1962 on Prestige Records, catalogue 7243. It is assembled from unissued results of a single recording session at the studio of Rudy Van Gelder in Hackensack, New Jersey, in 1958. As Coltrane’s fame grew during the 1960s long after he had stopped recording for the label, Prestige used unissued recordings to create new marketable albums without Coltrane’s input or approval. This album was rereleased in 1970 as The Master (PR 7825) with that version rereleased on CD to include the other four tunes recorded at the same 11th July session. Those other tunes had previously been released on two other albums assembled from spare recording (Stardust and Bahia).

UK Labels A + B:
UK Label A+B1

John Coltrane had yet to move into his modal post-bop phase in 1958 when he recorded a session for Prestige Records on July 11 with trumpeter/flügelhornist Wilbur Harden, pianist Red Garland, bassist Paul Chambers, and drummer Jimmy Cobb, the results of which were issued in 1962 as Standard Coltrane. His groundbreaking modal work with Miles Davis on Kind of Blue was still a few months into the future, which makes this set more historical than vital or transitional, although it’s pleasant enough, featuring Coltrane on several standards, including a ten-plus-minute version of “Invitation.” Other Coltrane material from this 1958 Prestige era ended up on the albums Stardust (1963) and Bahia (1965), and all of it, including these four tracks, has been collected on The Stardust Session from Prestige Records, which is probably the way to go. (by Steve Leggett)


Paul Chambers (bass)
Jimmy Cobb (drums)
John Coltrane (saxophone)
Red Garland (piano)
Wilbur Harden (trumpet, flugelhorn)

01. Don’t Take Your Love From Me (Nemo) 9.17
02. I’ll Get By (Ahlert/Turk) 8.13
03. Spring Is Here (Hart/Rodgers) 6.57
04. Invitation (Kaper/Webster) 10-21


More from John Coltrane:


Billie Holiday With Ray Ellis And His Orchestra – Lady In Satin (1958)

FrontCover1Lady in Satin is an album by jazz singer Billie Holiday released in 1958 on Columbia Records, catalogue CL 1157 in mono and CS 8048 in stereo. It is the penultimate album completed by the singer and last released in her lifetime (her final album, Last Recording, being recorded in March 1959 and released just after her death). The original album was produced by Irving Townsend, and engineered by Fred Plaut.

For the majority of the 1950s, Billie Holiday was signed to jazz producer Norman Granz’s Clef Records, which was later absorbed into the newly founded Verve Records by 1956. All of her work for Norman Granz consisted of small jazz combos, reuniting her with musicians she recorded with back in the 1930s when she made her first recordings with Teddy Wilson. There were talks in the early 1950s of Holiday making albums, or songbooks, dedicated to composers such as George and Ira Gershwin and Jerome Kern, but they fell through and ended up going to Ella Fitzgerald when she signed to Verve. By 1957, Holiday had recorded twelve albums for Granz and was unhappy. Therefore, she decided not to renew her contract.

By October 1957, Holiday contacted Columbia producer Irving Townsend and expressed interest in recording with bandleader Ray Ellis after listening to his album Ellis in Wonderland. Originally, she wanted to do an album with bandleader Nelson Riddle after hearing his arrangements for Frank Sinatra’s albums, particularly In the Wee Small BillieHoliday01Hours, but after hearing Ellis’s version of “For All We Know”, she wanted to record with him. When Holiday came to Townsend about the album, he was surprised:
“ It would be like Ella Fitzgerald saying that she wanted to record with Ray Conniff. But she said she wanted a pretty album, something delicate. She said this over and over. She thought it would be beautiful. She wasn’t interested in some wild swinging jam session…She wanted that cushion under her voice. She wanted to be flattered by that kind of sound. ”

Townsend got in touch with Ellis about the album. Ellis, having heard of Holiday’s work throughout the 1930s and 1940s, was excited for the project, saying “I couldn’t believe it…I didn’t know she was aware of me.” Townsend arranged a meeting for both Holiday and Ellis to sign a contract with Columbia. Columbia provided an unlimited budget for the album. The musicians in the orchestra were paid $60 for the three sessions and Holiday was paid $150 per side in advance. Townsend went on to set up the recording dates for late February 1958.


When Holiday signed her contract for Columbia, the label looked at it as new beginning, for this was her return to the label after sixteen years. During Holiday’s time with Norman Granz’s label, she revisited old material she had previously recorded and songs that were well known in her repertoire, such as “My Man”, “Lover, Come Back to Me”, “I Cover the Waterfront”, “Them There Eyes”, “I Only Have Eyes for You” and others. Columbia wanted Holiday to do an album of songs she had never recorded before,[5] so the song material for Lady in Satin derived from the usual sources for Holiday in her three decade career, that of the Great American Songbook of classic pop. Also, unlike the bulk of Holiday’s recordings with Norman Granz and her early years at Columbia in the 1930s and early 1940s, rather than in the setting of a jazz combo Holiday returns to the backdrop of full orchestral arrangements as done during her Decca years eight years earlier. She wanted the album to be in the same contemporary vein of Frank Sinatra or Ella Fitzgerald on her Songbooks series.

Ray Ellis made his arrangements of the songs to match Holiday’s voice. By the mid- to late 1950s, Holiday’s voice changed drastically due to years of alcohol and drug abuse, BillieHoliday05altering its texture and gave it a fragile, raspy sound. Despite her voice’s setback, she never lost the edge that had always made it so distinctive and was able to still use her style of phrasing that made her a popular jazz singer. Ray Ellis said of Holiday’s voice:
“ I heard her voice [and] I dug it. I was in love with that voice and I was picturing a very evil, sensuous, sultry, very evil…probably one of the most evil voices I’ve heard in my life…Evil is earthy to me. When you say someone is evil, it means very, very bad. I don’t mean bad. ”

Ellis used a forty-piece orchestra, complete with horns, strings, reeds and even a three-piece choir. It would turn out to be Holiday’s most expensive music production. Soloists on the album included Mel Davis, Urbie Green, and bebop trombone pioneer J. J. Johnson.

Reaction to the album has been mixed. Holiday’s voice had lost much of its upper range in her 40s, although she still retained her rhythmic phrasing. The Penguin Guide to Jazz gave the album a three-star rating out of a possible four stars, but expressed a basic reservation about the album, describing it as “a voyeuristic look at a beaten woman.” The Rolling Stone Jazz Record Guide said “Lady in Satin presents the Lady overdressed. It’s an album from the late Fifties, when much of Billie’s punch was gone.”

However, trumpeter Buck Clayton preferred the work of the later Holiday to that of the younger woman that he had often worked with in the 1930s. Ray Ellis said of the album in 1997:

I would say that the most emotional moment was her listening to the playback of “I’m a Fool to Want You”. There were tears in her eyes…After we finished the album I went into the control room and listened to all the takes. I must admit I was unhappy with her performance, but I was just listening musically instead of emotionally. It wasn’t until I heard the final mix a few weeks later that I realized how great her performance really was.” (by wikipedia)


This was Billie Holiday’s penultimate album, recorded when her body was telling her enough was enough. During the sessions with arranger Ray Ellis she was drinking vodka neat, as if it were tap water. Despite her ravaged voice (the sweetness had long gone), she was still an incredible singer. The feeling and tension she manages to put into almost every track set this album as one of her finest achievements. “You’ve Changed” and “I Get Along Without You Very Well” are high art performances from the singer who saw life from the bottom up. (by Rovi Staff)

There are two kinds of Jazz Singers. Billie Holiday and everyone else. And amongst everyone else, there are also two kinds of Jazz singers – those who came before Billie Holiday and those who came after, who are equally cursed and blessed – cursed to live in her shadow and blessed to be able to learn from her craft. And, while the voice wavers here with it ravages, the craft is impeccable. “I’m a Fool to Want You” is enough to make a believer of even the stoniest-hearted cynic. (Seb Nmd)


Mel Davis ( solo trumpet)
Barry Galbraith (guitar)
Urbie Green (solo trombone)
Billie Holiday (vocals)
Milt Hinton (bass)
J.J. Johnson (solo trombone)
Osie Johnson (drums)
Janet Putman (harp)
Mal Waldron (piano)
George Ockner – Emmanual Green Harry Hoffman – Harry Katzmann – Leo Kruczek  – Milton Lomask – Harry Meinikoff – David Newman – Samuel Rand – David Sarcer
Sid Brecher – Richard Dichler
David Soyer – Maurice Brown
Danny Bank – Phil Bodner – Romeo Penque – Tom Parshley
Billy Butterfield – Jimmy Ochner – Bernie Glow
Jack Green – Tommy Mitchell
background vocals:
Elise Bretton – Miriam Workman


01. I’m A Fool To Want You (Sinatra/Herron/Wolf) 3.25
02. For Heaven’s Sake (Bretton/Edwards/Meyer) 3.29
03. You Don’t Know What Love Is (DePaul/Raye) 3.51
04. I Get Along Without You Very Well (Carmichael) 3.02
05. For All We Know (Coots/Lewis) 2.56
06. Violets For Your Furs (Adair/Dennis) 3.27
07. You’ve Changed (Carey/Fischer) 3.20
08. It’s Easy To Remember (Hart/Rodgers) 4.03
09. But Beautiful (Burke/Van Heusen) 4.32
10. Glad To Be Unhappy (Hart/Rodgers) 4.10
11. I’ll Be Around (Wilder) 3.27
12. The End Of A Love Affair (mono only) Redding) 4.52

The album was released in stereo (CS 8048) and mono (CL 1157) versions; the mono release contained an extra track, “The End of a Love Affair”.



Billie Holiday (April 7, 1915 – July 17, 1959)

Connie Francis – Who´s Sorry Now (1958)

LPFrontCover1.jpgWho’s Sorry Now? is the first studio album recorded by U. S. Entertainer Connie Francis.

By 1957, none of Connie Francis’ first nine solo singles had charted. Her duet single with Marvin Rainwater, “The Majesty Of Love”, b/w “You, my Darlin’ You” had only been a minor hit, peaking at # 93 (though it sold over one million copies). As a result of these failures, the managers at MGM Records had decided not to renew her contract after the last scheduled single release.

During what was supposed to be her last recording session for MGM Records in October 1957, Francis recorded a cover version of the song “Who’s Sorry Now?”. For quite some time, Francis’ father, George Franconero, Sr., had wanted his daughter to record this song with a contemporary arrangement, but the discussion had become heated and Francis had refused to record it, considering the song old fashioned and corny. Her father persisted and Francis agreed.


As her father had predicted, “Who’s Sorry Now?”, released as MGM Records Single K 12588, became a huge hit. With this success, MGM Records renewed the contract with Francis. The recording sessions for a new album, which would include the breakthrough hit, began in March 1958 and were completed in April 1958.

The album’s formula is clearly inspired by the arrangement of its title song: Choose Standards from the time between the 1910s and 1940s, but present them in a contemporary arrangement. To give the album some diversity in music styles, there were two exceptions: “My Melancholy Baby” and “How Deep is the Ocean,” which featured grand orchestra arrangements. When the album was released in May 1958, it failed to chart. The album was re-packaged with a new cover design and re-released in March 1962. (by wikipedia)


The music for the brilliant song Who’s Sorry Now? was written by Ted Snyder with lyrics by Bert Kalmar and Harry Ruby, and published in 1923. Snyder (1881-1965) gave Irving Berlin his start in the music business by hiring him in 1909 as a song plugger for his publishing company, as I wrote here. Kalmar (1884-1947) ran away from his home in New York at the age of ten and worked in a travelling tent show as a magician. He performed in vaudeville mainly as a comedian and began writing material for his own and other performers. He did not have much success until he met Ruby and they began working together. Ruby (1895-1959), also from New York, failed at his early ambition to become a professional baseball player. He then toured the vaudeville circuit as a pianist. Kalmar and Ruby were a successful songwriting team for nearly three decades.


Who’s Sorry Now? was featured in the 1946 Marx Brothers film A Night in Casablanca, but was best known as a hit for Connie Francis. She had released nine records which all flopped when she went into the studio in October 1957 for the last session in her ten-record contract with MGM. Her father wanted her to record Who’s Sorry Now? but she didn’t like the song, and deliberately took so long at the session with other numbers that there was almost no time left. She recorded Who’s Sorry Now? with just a few seconds to spare on the tape. In April 1958, it reached No 4 in the US and No 1 in Britain. (


Connie Francis (vocals)
Joe Lipman Orchstra

OrigianlFrontCover.jpgAlternate frontcover

01. Who’s Sorry Now (Snyder/Kalmar/Ruby) 2.20
02. I’m Nobody’s Baby (Davis/Ager/Santly) 2.24
03. It’s The Talk Of The Town (Livingston/Neiburg/Symes) 2.55
04. I Miss You So (Henderson/Robin/Scott) 2.35
05. I Cried For You (Arnheim/Freed/Lyman) 2.59
06. Heartaches (Hoffman/Klenner) 2.34
07. I’m Beginning To See The Light (Ellington/Hodges/James/George) 2.41
08. My Melancholy Baby (Burnett/Norton) 3.54
09. You Always Hurt The One You Love (Fisher/Roberts) 2.26
10. How Deep Is The Ocean (Berlin) 2.25
11. If I Had You (King/Shapiro) 2.48
12. I’ll Get By (Ahlert/Turk) 2.48
13. Too Young (Dee/Lippman) 2.56
14. That´s My Desire (Kressa/Loveday) 3.22
15. April Love (Webster/Fain) 3.57

(taken from the Connie Francis album “One For The Boys” (1959)



Art Blakey – Holiday For Skins Vol. 1 (1958)

FrontCover1.jpgArthur Blakey (October 11, 1919 – October 16, 1990) was an American jazz drummer and bandleader. He was briefly known as Abdullah Ibn Buhaina after he briefly converted to Islam in the late 1940s.

Blakey made a name for himself in the 1940s in the big bands of Fletcher Henderson and Billy Eckstine. He then worked with bebop musicians Thelonious Monk, Charlie Parker, and Dizzy Gillespie. In the mid-1950s, Horace Silver and Blakey formed the Jazz Messengers, a group that the drummer was associated with for the next 35 years. The group was formed as a collective of contemporaries, but over the years the band became known as an incubator for young talent, including Freddie Hubbard, Wayne Shorter, Lee Morgan, Benny Golson, Kenny Dorham, Hank Mobley, Donald Byrd, Jackie McLean, Johnny Griffin, Curtis Fuller, Chuck Mangione, Chick Corea, Keith Jarrett, Cedar Walton, Woody Shaw, and Wynton Marsalis. The Biographical Encyclopedia of Jazz calls the Jazz Messengers “the archetypal hard bop group of the late 50s”.

Blakey was inducted into the Down Beat Jazz Hall of Fame (in 1981), the Grammy Hall of Fame (in 1998 and 2001), and was awarded the Grammy Lifetime Achievement Award in 2005. He was inducted into the Modern Drummer Hall of Fame in 1991

Holiday for Skins is a 1959 album by jazz drummer Art Blakey. Recorded for the Blue Note label in November 1958, the album was released in two volumes before being reissued together in a CD set in 2006. (by wikipedia)

Art Blakey01.jpg

This is Art Blakey’s most rare project dedicated to percussion and probabaly the best one. Art Blakey is here leading a great jazz and percussionist large band. Art Taylor and Philly Joe Jones on drums, Donald Byrd on trumpet, Ray Brant on the piano, on percussions not less than Ray Barreto, Sabu Martinez, Victor Gonzales, Julio Martinez, Chonguito Vicenten, Fred Pagani Jr and additionally a great choir. The result is a rich confrontation of african and latin rythms with contemporary jazz of these late fifties. “The Feats”, “Agnaho” & “Lamento Africano” represent the peak of this recording session, counterpoints, breathtaking variations in rythm and tempo and a real liberty of expression for each soloist. Classic jazz is not absent and is illustrated here by tracks such as “Otinde”, or the Ray Bryant compositions : “Swinging Kilts” and “Reflection”. The whole record is a vibrant celebration of pure rythm, let us no forget that Art Blakey has travelled extensively until Africa and was deeply aware what Jazz was owing to african and latin patterns. The sound of the record is unbelievable for this date of 1958. (

Donald Byrd

This 1958 release, recorded the same year as Art Blakey’s canonical album Moanin’, bears little resemblance to that more famous release. While the personnel on Holiday for Skins features some of the finest players of the hard bop era (including drummer Philly Joe Jones and trumpeter Donald Byrd), the music on the album draws its inspiration directly from African and Latin folk forms.

This is especially evident on tracks like “The Feast” and “Aghano,” which feature circular drum patterns and chanting from the bandmembers. Tunes like “Mirage,” however, blend these exotic sounds with a more straightforward bop vocabulary, resulting in the set’s most engaging moments. As one of the more adventurous dates from Blue Note’s ’50s period, Holiday for Skins is an intriguing listen. (by Rovi Staff)


Art Blakey (drums, chanting)
Ray Bryant (piano)
Philly Joe Jones (drums, chanting, vocals)
Wendell Marshall (bass)
Art Taylor (drums)
Donald Byrd (trumpet on 01. + 04.)
Ray Barretto – Victor Gonzales  Julio Martinez – Sabu Martinez – Chonguito Vincente -Fred Pagani – Andy Delannoy
Austin Cromer – Hal Rasheed –

Ray Bryant

01. The Feast 8.52
02. Aghano 6.03
03. Lamento Africano 8.21
04. Mirage 10.26

All compositions by Art Blakey



Art Blakey02Art Blakey (October 11, 1919 – October 16, 1990)

Carl Stevens – ”Skin” and Bones (1958)

FrontCover1.jpgCarl Stevens was the alias of Charles H. “Chuck” Sagle:

Chuck was born July 28, 1927 in Aurora, Illinois. He showed an early aptitude for music, excelling at keyboard and trumpet in high school. He entered the University of Illinois at age 16, where he joined Phi Delta Theta fraternity, and became director of its chorale. His college career was interrupted in 1944 by World War II. He toured the Pacific with the Navy as a musical arranger, trumpet player, and bandleader. When the war ended, he returned to the University of Illinois, where he completed studies in music and advertising, and graduated in 1950.

Chuck joined the Artists & Repertoire (A&R) department of Mercury Records, first in Chicago, and later in New York City, where he produced Joni James and the Del Vikings. As musical director of the New York publishing firm Aldon Music, he worked with songwriters Carole King and Neil Sedaka. As an arranger and conductor, he appeared on “The Ed Sullivan Show” and “The Tonight Show.” He later held an A&R position at Epic Records in New York. He was associated with acts including the Hi-Los, The Crew Cuts, The Platters, Bobby Darin, Gene Pitney, and the Lennon Sisters.

CarlStevensIn the 1960s, he moved to Los Angeles to serve as musical director for Reprise Records, where he produced and arranged for Frank Sinatra, Dean Martin, Ethel Merman, and Sammy Davis, Jr. His greatest musical passion was always Big Band music, exemplified in his best-known instrumental album, “Splendor in the Brass.”

Chuck developed a love for Nashville when he visited in the 1960s to record with the area’s great musicians. After moving to the city in 1972, he arranged for ABC-Dot, Sugartree Records, Starday-King Records, the Jack Daniels Silver Cornet Band, and the Establishment Orchestra. Chuck developed a second career in the late 1970s when he returned to college to study computer programming. He worked in this capacity for ten years, retiring at age 67. He became a father again at age 68, retiring to stay home with his son, Jacob.

Chuck pursued many interests with diligence and intensity. He loved photography and read voraciously, especially biography, history, and science fiction. He enjoyed bridge and Scrabble. He taught a class on Jewish music at West End Synagogue, and composed a musical for the synagogue choir. In 2008, at age 81, he arranged and conducted a concert in celebration of his son Jacob’s bar mitzvah at Sherith Israel Congregation.


Charles H. “Chuck” Sagle died peacefully April 13, 2015 from complications following a stroke.

Chuck is survived by his wife and love of his life, Sarah Stein. He is also survived by his sons, Jacob Sagle of Nashville and Christopher (Clara) Sagle of Los Angeles, and two grandchildren.

He was preceded in death by his parents, Herbert and Helen Sagle, and a younger brother, James. (

This is his first pretty good solo album.

And here´s a review from Billboard, December, 15, 1958:


If you like this Easy Listening sound with a great touch of Jazz … you should listen !


Benny Baileys (saxophone)
Bobby Christian (percussion)
Paul Crumbaugh (trombone)
Bob Dale (trombone)
Howard Davis (saxophone)
Phil Durant (percussion)
Pete Eagle (harp)
John Frigo (bass)
Norm Jeffries (percussion)
Barrett O’Hara (trombone)
Dick Marx (piano)
Sam Porfirio (accordion)
Frank D’Rone (guitar)
Marty Rubenstein (piano)
Frank Rullo (percussion)
Tommy Shepherd (trombone)
Mike Simpson (saxophone)
Carl “Chuck” Stevens (trumpet)
Cy Touff (trombone)

Alternate frontcovers (slightly different)

01. Love For Sale (Porter) 3.18
02. Walkin’ Shoes (Mulligan) 1.57
03. How Long Has This Been Going On (Gershwin) 3.07
04. Long Ago And Far Away (Robin/Rainger) 1.53
05. Fascinating Rhythm (Gershwin) 2.53′
06. The Moon Was Yellow (And The Night Was Young) (Leslie/Ahlert) 2.13
07. It Had To Be You (Khn/Jones) 2.20
08. Winter Dreams (Palmer/Raye) 2.24
09. Soon (Gershwin) 2.21
10. Imagination (Burke/Van Heusen) 2.18
11. All Of You (Porter) 2.31



Duke Ellington – Duke Ellington’s Greatest Hits (1968)

FrontCover1.jpgDuke Ellington was the most important composer in the history of jazz as well as being a bandleader who held his large group together continuously for almost 50 years. The two aspects of his career were related; Ellington used his band as a musical laboratory for his new compositions and shaped his writing specifically to showcase the talents of his bandmembers, many of whom remained with him for long periods. Ellington also wrote film scores and stage musicals, and several of his instrumental works were adapted into songs that became standards. In addition to touring year in and year out, he recorded extensively, resulting in a gigantic body of work that was still being assessed a quarter century after his death. (by William Ruhlmann)

Columbia’s Greatest Hits features many of Duke Ellington’s best-known songs and biggest hits, including “Satin Doll,” “Don’t Get Around Much Anymore,” “Take the ‘A’ Train,” “Solitude,” “Mood Indigo,” “I’m Beginning to See the Light,” “Prelude to a Kiss” and “Perdido.” It’s a fine sampling of Ellington’s most familiar melodies and works as a good introduction for novices. (by Stephen Thomas Erlewine)

Duke EllingtonDuke Ellington’s work cannot possibly be summed up in one CD. Even his most important and influential work could barely make up a three CD collection. When I was beginning to get interested in Jazz, though, I wanted an album that, for a low price, would best represent what he has done for the world of jazz and music in the twentieth century.
Well, this album more then achieved that. If you could only have 10 of the Duke’s songs, then these would be the ones to have. C Jam Blues, I’m Beginning to See the Light, and Perdido are something every musician and music lover should hear. I strongly recommend this album, cuz’ its muy perfecto! (by Jason Decristofaro)


Duke Ellington Orchestra
Al Hibbler (vocals on 02.)
Betty Roche (vocals on 04.)


01. Satin Doll (1958) (Ellington) 3.54
02. Don’t Get Around Much Anymore (1947) (Russell/Ellington) 3.06
03. Do Nothing Till You Hear From Me (1947) (Russell/Ellington) 3.07
04. Take The “A” Train (1952) (Strayhorn) 8.03
05. Solitude (1957) (Ellington/DeLange/Mills) 4.44
06. C Jam Blues (1959) (Ellington) 4.55
07. Mood Indigo (1957) (Bigard/Ellington/Mills) 3.06
08. I’m Beginning To See The Light (1960) (George/Ellington/James/Hodges) 2.06
09. Prelude To A Kiss (1957) (Ellington/Gordon/Mills) 4.45
10. Perdido (1960) (Drake/Lenk/Tizol) 6.44



Taken from the original liner notes:


The Gaylords – Let’s Have A Pizza Party (1958)

FrontCover1.jpgThe Gaylords were an American singing trio, consisting of Ronald L. Fredianelli (who changed his name for performances to Ronnie Gaylord, taken from the group name), Bonaldo Bonaldi (who also, in 1976, changed his name to Burt Holiday, at which time the group became Gaylord and Holiday), and Don Rea (who had left the group by the time it became Gaylord & Holiday).

Fredianelli was born on June 12, 1930, in Detroit, Michigan. They formed the Gaylords (originally The Gay Lords) in Detroit in 1949.

The group’s name was decided upon after a chance encounter with Marcus Wren.

In the 1950s the group had a number of Italian-flavored hits on the charts, often consisting of a song partly sung in Italian and partly in English. Their most successful release was “Tell Me You’re Mine”, which had sold over one million copies by 1958. “Tell Me You’re Mine” reached #3 on the US chart.

Gaylords01As Gaylord and Holiday, the two remaining members of the group continued to perform until 2003.

Fredianelli died on January 25, 2004 in Reno, Nevada. Bonaldi still performed with Ron Gaylord, Jr., Ronnie Gaylord’s oldest son (the other son being rock guitarist Tony Fredianelli) until his death on May 10, 2017 in Carson City, NV.

Donald “Don” Rea, keyboardist for The Gaylords, born in Detroit, Michigan, on 9 December 1928, died in Reno, Nevada, on 30 June 2017 after a short battle with cancer. (by wikipedia)

A pre-rock white vocal trio, the Gaylords had a series of hits from 1952 to 1954 with novelty flavored material and Italian-derived love songs. It’s difficult for the latter-day listener not to associate the records with the kind of background music you might hear at the average pizza parlor. In its day, however, it was not background fodder, but highly commercial fare that was cleanly executed and unreservedly sentimental, wearing its heart on its sleeve as surely as excess tomato sauce on a napkin.

Formed in Detroit, the group, featuring Ronnie Fredianelli, Burt Bonaldi and Don Rea, made number two in 1952 with their debut outing, “Tell Me You’re Mine.” Derived from an Italian ballad, the song was originally recorded as a disc to be sold at Bonaldi’s father’s store. The engineer on that session was impressed enough to help pitch the act to established labels, and the trio ended up with Mercury. After a couple more hits, Fredianelli was drafted into the Army, changed his name to Ronnie Gaylord, and began recorded for Mercury as a solo vocalist. The Gaylords decided to keep going, recruiting Billy Christ as Ronnie’s replacement.


“From the Wine Came the Grape,” “Isle of Capri,” and “The Little Shoemaker” were all big hits for the Gaylords over the next couple of years. Ronnie Gaylord had a big hit of his own with “Cuddle Me,” and got in on the rock & roll cover game with a version of Fats Domino’s “Ain’t That a Shame.” The rock & roll revolution, however, made groups such as the Gaylords passe, although they continued to record for Mercury into the ’60s. Burt Bonaldi, after changing his name to Burt Holiday, formed the Gaylord & Holiday duo with Ronnie Gaylord. The pair even had a tiny hit in 1976 with “Eh! Compuri,” recorded for, of all things, a subsidiary label of Motown. (by Richie Unterberger)

And here´s their third album … I gues, The Gaylord was a important of the Italian-American music history …

It´s a nice lbum and I include a very interesting interview about the history of The Gaylords.


Burt Bonaldi (vocals)
Ronnie Fredianelli (vocals)
Don Rea (vocals)
a bunch of unknown studio musicians


01. Ah Marie (Barlow) 2.17
02. Neapolitan Nights (Zamecnik/Kerr) 2.52
03. Quando Mi Bacio Teresa (Raimondo/Gianipa) 2.39
04. Ti Volgio Tanto Bene (de Curtis/Furno) 2.49
05. Sicilian Tarantelle (Balsamo/Conn) 2.16
06. La Romanina (Lazzaro/Michell) 2.33
07. Bionda Biondina (unknown) 2.04
08. Scrivimi (Frati/Raimondo) 2.02
09. Sbarazzina (Lazzaro/Frati/Bruno) 2.11
10. Pansy (Rendine/Pisano) 2.09
11. Carmela (Stone) 3.05
12. Non Ti Scordar Di Me (Say You Will Not Forget) (Wimperis/de Curtis) 2.38