Buddy Cole – Swing Fever (1960)

FrontCover1Edwin LeMar “Buddy” Cole (December 15, 1916 – November 5, 1964), was a jazz pianist and orchestra leader. He played behind a number of pop singers, including Rosemary Clooney, Jill Corey, Johnnie Ray and The Four Lads, who recorded for Columbia Records. As “Buddy Cole and his Trio” he recorded the albums Some Fine Old Chestnuts and New Tricks with Bing Crosby.

 

Buddy Cole was born in Irving, Illinois, and started his musical career in the theater playing between movies. He moved to Hollywood and played with a couple of bands, most notably the Alvino Rey big band, before becoming a studio musician. Joining the John Scott Trotter orchestra as a pianist in 1947, he worked closely with Bing Crosby for a number of years and in 1954 he began a daily radio show with Crosby supported by a trio comprising Vince Terri on guitar, banjo etc., Don Whittaker on bass and Nick Fatool on drums. Cole played piano and electric organ. He and Crosby built up a large library of songs which could then be inserted into the show. Cole also recorded a similar library of songs with Rosemary Clooney (with whom he had previously toured) and these songs together with those of Crosby’s were employed in The Bing Crosby – Rosemary Clooney Show (1960-1962). Albums with his combo were recorded on piano and Hammond organ.

BuddyCole01Cole recorded for Capitol Records as both Buddy Cole and Eddie LaMar and His Orchestra. He did both commercial and transcription recordings for Capitol.

Although primarily known as a pianist, he had an abiding love for the organ, both Hammond and theatre organ. In his capacity as a studio musician, he worked extensively with Henry Mancini, who used his distinctive Hammond organ sound for the sound track to the TV series “Mr. Lucky”. He also recorded several albums for Warner Brothers on piano, Hammond organ and theatre pipe organ.

The theatre organ heard on these albums was the 17-rank Wurlitzer organ from the United Artists theatre plus nine ranks from a one-time radio studio Robert Morton theatre organ which he installed in the garage of a former residence in North Hollywood and on which he recorded three albums for the Columbia and Capitol labels. The combined ranks were installed in a specially built studio next to his home.

Two albums – Modern Pipe Organ and Autumn Nocturne – were recorded for Warner Brothers, as well as two albums done in conjunction with arranger Monty Kelly, one of which contained an arrangement of Richard Rodgers’ Slaughter on Tenth Avenue, and the other of which contained transcriptions of big band arrangements with spaces for the organ. These two albums – for the Alshire label – were Cole’s last disc recordings.

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He married Yvonne King on 17 August 1940, member of the King Sisters, and with her had two daughters, actress Tina Cole and Cathy Cole Green. They divorced in 1953.

He married Clare Foley Woodruff on 12 November 1957, who already had two children, Jay and Jeffrey Woodruff, the latter of whom would often assist him in organ tuning. The marriage lasted until Cole’s death.

Cole had been suffering from an advanced case of heart disease for a number of years, and beginning as early as 1959, suffered a series of heart attacks as a result. On November 4, 1964, Cole was contracted to record some organ pieces featured in 20th Century Fox’s blockbuster hit The Sound of Music including sections of the “End Titles”, the reprise of “Climb Ev’ry Mountain” and “Processional” and “Maria”. In the early hours of November 5, after the marathon six-hour recording session had been completed for the evening, Cole headed home, went to bed and died in his sleep of a heart attack, being found the following morning by a staff member (by wikipedia)

And here´s one of his countless albums … this is not a real jazz-album but a Easy Listening album … with lot´s of all these swinging organ sounds from that period.

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Personnel:
Red Callender (bass)
Buddy Cole (organ)
Vince Terry (guitar)
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percussion:
Jack Costanzo – Al Stoller – Lou Singer – Milt Holland

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Tracklist:
01. Pagan Love Song (Brown/Freed) 1.36
02. Brazil (Barroso/Russell) 2.09
03. The Hour Of Parting (Khan/Spolianski) 2.15
04. The Peanut Vendor (Sunshine/Simons/Gilbert) 2.12
05. Solftly, As In The Morning Sunrise (Hammerstein/Romberg) 3.13
06. Old Devil Moon (Lane) 2.51
07. Heat Wave (Berlin) 2.07
08. La Rosita (Dupont/Stewart) 2.52
09. Frenesi (Charles/Russell/Dominguez) 2.19
10. The Moon Was Yellow (Leslie/Ahlert) 3.08
11. Poinciana (Bernier/Simon) 3.25
12, Crazy Rhythm (Caesar/Kahn/Meyer) 1,50

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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
Personnel:
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
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Tracklist:
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

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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.
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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.
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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)
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“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)

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Personnel:
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)
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Tracklist:
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

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Elmer Bernstein – The Magnificent Seven (OST) (1960)

frontcover1The Magnificent Seven is a 1960 American Western film directed by John Sturges and starring Charles Bronson, Yul Brynner, Horst Buchholz, James Coburn, Brad Dexter, Steve McQueen, Robert Vaughn, and Eli Wallach.[3] The film is an Old West-style remake of Akira Kurosawa’s 1954 Japanese masterpiece Seven Samurai. Brynner, McQueen, Buchholz, Charles Bronson, Robert Vaughn, James Coburn, and Brad Dexter portray the title characters, a group of seven gunfighters hired to protect a small village in Mexico from a group of marauding bandits and their leader (Wallach). The film’s musical score was composed by Elmer Bernstein. In 2013, the film was selected for preservation in the United States National Film Registry by the Library of Congress as being “culturally, historically, or aesthetically significant” (by Wikipedia)

Varese Sarabande’s reissue of Elmer Bernstein’s original score recording for The Magnificent Seven is virtually identical to Rykodisc’s 1998-vintage CD, except that it lacks the HDCD logo and includes fresh annotation that gives a fuller, more accurate account of originalmovieposterthe evolution of the movie and the score. The disc is still extremely impressive sonically, with a healthy, close, loud sound, with an astonishingly vivid guitar in the mix, and nicely dimensional stereo separation as well. Considering that it was never supposed to be heard fully exposed this way, and that the recordings were misplaced for more than three decades, the CD holds up well as a free-standing release and would probably please fans of Aaron Copland’s music as well as movie music enthusiasts. Bernstein always considered Copland his mentor and regarded the music for this movie as very much as “collaboration” in spirit with the older composer, and the nuances revealed on the fully exposed recording only bear this out further. It must be pointed out, however, that as good as this material is, some listeners may prefer the James Sedares recording with the Phoenix Symphony on Koch, which is more finely nuanced and a completely modern recording balanced down to the last detail for contemporary listeners (and also has, as a bonus, Bernstein’s overture and title music for The Hallelujah Trail). But for those who want the original, in all of its fiery glory, this is a perfectly fine album release that also explains a lot of history behind the movie and its makers and its score. (by Bruce Eder)
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Tracklist:
01. Main Title and Calvera 3.56
02. Council 3.14
03. Quest 1.00
04. Strange Funeral/After The Brawl 6.48
05. Vin’s Luck 2.03
06. And Then There Were Two 1.45
07. Fiesta 1.11
08. Stalking 1.20
09. Worst Shot 3.02
10. The Journey 4.39
11. Toro 3.24
12. Training 1.27
13. Calvera’s Return 2.37
14. Calvera Routed 1.49
15. Ambush 3.10
16. Bernardo 3.33
17. Surprise 2.08
18. Defeat 3.26
19. Crossroads 4.47
20. Harry’s Mistake 2.48
21. Calvera Killed 3.33
22. Finale 3.27
Composed by Elmer Bernstein

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Dick Hyman – Provocative Piano (1960)

FrontCover1Richard “Dick” Hyman (born March 8, 1927) is an American jazz pianist/keyboardist and composer, best known for his versatility with jazz piano styles. Over a 60-year career, he has functioned as a pianist, organist, arranger, music director, and, increasingly, as a composer.

Hyman was born in New York City. He trained classically by his mother’s brother, the concert pianist Anton Rovinsky, a fixture of the pre-war art scene in New York, noted for having premiered some of Charles Ives’s works, such as The Celestial Railroad in 1928. Hyman said of Rovinsky, “He was my most important teacher. I learned touch from him and a certain amount of repertoire, especially Beethoven. On my own I pursued Chopin. I loved his ability to take a melody and embellish it in different arbitrary ways, which is exactly what we do in jazz. Chopin would have been a terrific jazz pianist. His waltzes are in my improvising to this day.” Dick’s older brother, Arthur, introduced him to the music of Bix Beiderbecke, Louis Armstrong, Teddy Wilson, and others. By high school, he was playing in dance bands throughout Westchester County.

Hyman completed his freshman year at Columbia University, and in June 1945, he enlisted DickHyman01in the Army, transferred to the Navy, and began playing in the band department. When he returned to Columbia, he won an on-air piano competition, earning him 12 free lessons with Teddy Wilson, the Swing Era pianist who a decade earlier had broken the race barrier as a member of the Benny Goodman Trio. A few years later, Hyman himself became Goodman’s pianist.

While developing a facility for improvisation in his own piano style, Hyman has also investigated ragtime and the earliest periods of jazz and has researched and recorded the piano music of Scott Joplin, Jelly Roll Morton, James P. Johnson, Zez Confrey, Eubie Blake and Fats Waller which he often features in his frequent recitals. Hyman recorded two highly regarded ragtime albums under the pseudonym “Knuckles O’Toole”, and included two original compositions.[citation needed] In 1952, he played with Charlie Parker on the only television appearance Parker ever made; the band included Dizzy Gillespie and played Hot House.

In the 1960s, he was regularly seen on NBC-TV’s weekly musical series Sing Along with Mitch. Other solo recordings include the music of Irving Berlin, Harold Arlen, Cole Porter, George Gershwin, and Duke Ellington. He recorded as a member of the Dick Hyman Trio, including a 78 rpm hit called ‘Baubles Bangles and Beads.’ During the 1970s, he was also member of Soprano Summit.

Hyman served as artistic director for the Jazz in July series at New York’s 92nd Street Y for twenty years, a post from which he stepped down in 2004. (He was succeeded in that post by his cousin, Bill Charlap, a jazz pianist.) He continues his Jazz Piano at the Y series as well as his post as jazz advisor to The Shedd Institute’s Oregon Festival of American Music. In 1995, he was inducted into the Jazz Hall of Fame of the Rutgers Institute of Jazz Studies and the New Jersey Jazz Society.

Hyman has had an extensive career in New York as a studio musician and won seven Most DickHyman02Valuable Player Awards from the National Academy of Recording Arts and Sciences. He acted as music director for such television programs as Benny Goodman’s final appearance (on PBS) and for In Performance at the White House. For five years (1969–1974), he was the in-studio organist for the stunt game show Beat the Clock. He received an Emmy Award for his original score for Sunshine’s on the Way, a daytime drama, and another for musical direction of a PBS Special on Eubie Blake. He continues to be a frequent guest performer with The Jim Cullum Jazz Band on the long-running public radio series Riverwalk Jazz, and has been heard on Terry Gross’ Fresh Air. He has also collaborated with Ruby Braff extensively on recordings at Arbors Records.

Dick Hyman’s Century of Jazz Piano, an encyclopedic series of solo performances, has been released on Arbors Records. Other new recordings include Thinking About Bix and E Pluribus Duo with Ken Peplowski.

Hyman has served as composer/arranger/conductor/pianist for the Woody Allen films Zelig, The Purple Rose of Cairo, Broadway Danny Rose, Stardust Memories, Hannah and Her Sisters, Radio Days, Bullets Over Broadway, Everyone Says I Love You, Sweet and Lowdown, The Curse of the Jade Scorpion and Melinda and Melinda. He was also the music coordinator, arranger, and conductor for Allen’s multi-Oscar-winning Mighty Aphrodite, which featured the Dick Hyman Orchestra and Chorus.[citation needed]

His other film scores include Moonstruck, Scott Joplin, The Lemon Sisters and Alan and Naomi. His music has also been heard in Mask, Billy Bathgate, Two Weeks Notice, and other films. He was music director of The Movie Music of Woody Allen, which premiered at the Hollywood Bowl.

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Hyman composed and performed the score for the Cleveland/San Jose Ballet Company’s Piano Man, and Twyla Tharp’s The Bum’s Rush for the American Ballet Theatre. He was the pianist/conductor/arranger in Tharp’s Eight Jelly Rolls, Baker’s Dozen, and The Bix Pieces and similarly arranged and performed for Miles Davis: Porgy and Bess, a choreographed production of the Dance Theater of Dallas. In 2007, his Adventures of Tom Sawyer, which had been commissioned by the John G. Shedd Institute for the Arts, and set by Toni Pimble of the Eugene Ballet, premiered in Eugene, Oregon.

In the 1960s, Hyman recorded several innovative pop albums on Enoch Light’s Command Records. At first, he used the Lowrey organ, on the albums Electrodynamics, Fabulous, Keyboard Kaleidoscope and The Man From O.R.G.A.N. He later recorded several albums on the Moog synthesizer which mixed original compositions and cover versions, including Moog: The Electric Eclectics of Dick Hyman, and The Age of Electronicus. The former has now been reissued on CD by Varese Sarabande with some, but not all, of the tracks from The Age of Electronicus.

The track “The Minotaur” from The Electric Eclectics charted in the US top-40,[5] (#20 Canada) becoming the first Moog single hit (although, as originally released on 45, it was labeled as the B-side to the shorter “Topless Dancers of Corfu”). Some elements from the track “The Moog And Me” (most notably the whistle that serves as the song’s lead-in) on the same album were sampled by Beck for the track “Sissyneck” on his 1996 album Odelay. (by wikipedia)

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Dick Hyman and His Orchestra pretty much stick to jazz-flavored, though often upbeat, easy listening arrangements on this studio session. No matter how flashy his piano is, the musical backgrounds are rather monotonous and the amount of actual improvising at the keyboard is minimal. The music includes reworkings of Chopin’s “Polonaise” and his “Nocturne in E Flat,” an excerpt from the first movement of Tchaikovsky’s “Piano Concerto No. 1,” as well as pretty if hardly memorable treatments of “Autumn Leaves,” “Canadian Sunset,” and Claude Thornhill’s “Autumn Nocturne.” Although Dick Hyman is a first-rate musician who is always dependable in a true jazz setting, this long unavailable LP will be of little interest to jazz fans. (by Ken Dryden)

But it´s a high class “easy listening” album !

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Personnel:
Dick Hyman (piano)
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unknown orchestra

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Tracklist:
01. Cumana (Spino/Hillman/Allen) 3.12
02. Near You (Craig/Goell) 2.51
03. Polonaise (Traditional) 2.17
04. Autumn Leaves (Kosmo/Mercer/Prevert) 3.13
05. Piano Concerto (Tschaikowsky) 2.19
06. Canadian Sunset (Heywood) 3.19
07. Warsaw Concerto (Addinsell) 3.25
08. Sunrise Serenade (Carle/Lawrence) 3.00
09. Miserlou (Wise/Leeds/Roubanis/Arkuss) 3.04
10. Nocturne (Chopin) 3.14
11. Nola (Arndt/Skylar) 2.55
12. Autumn Nocturne (Myrow/Gannon) 3.15

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Larry Young – Young Blues (1960)

FrontCover1If Jimmy Smith was “the Charlie Parker of the organ,” Larry Young was its John Coltrane. One of the great innovators of the mid- to late ’60s, Young fashioned a distinctive modal approach to the Hammond B-3 at a time when Smith’s earthy, blues-drenched soul-jazz style was the instrument’s dominant voice. Initially, Young was very much a Smith admirer himself. After playing with various R&B bands in the 1950s and being featured as a sideman with tenor saxman Jimmy Forrest in 1960, Young debuted as a leader that year with Testifying, which, like his subsequent soul-jazz efforts for Prestige, Young Blues (1960), and Groove Street, (1962), left no doubt that Smith was his primary inspiration. But when Young went to Blue Note in 1964, he was well on his way to becoming a major innovator. Coltrane’s post-bop influence asserted itself more and more in Young’s playing and composing, and his work grew much more cerebral and exploratory. Unity, recorded in 1965, remains his best-known album. Quick to embrace fusion, Young played with Miles Davis in 1969, John McLaughlin in 1970, and Tony Williams’ groundbreaking Lifetime in LarryYoungthe early ’70s. Unfortunately, his work turned uneven and erratic as the ’70s progressed. Young was only 38 when, in 1978, he checked into the hospital suffering from stomach pains, and died from untreated pneumonia. The Hammond hero’s work for Blue Note (as both a leader and a sideman) was united for Mosaic’s limited-edition six-CD box set The Complete Blue Note Recordings. (Alex Henderson)

Young Blues is the second album led by jazz organist Larry Young which was recorded in 1960 and released on the New Jazz label.

Organist Larry Young’s second recording (cut shortly before he turned 20) is the best from his early period before he completely shook off the influence of Jimmy Smith.

With guitarist Thornel Schwartz in top form, and bassist Wendell Marshall and drummer Jimmie Smith excellent in support, Young swings hard on a few recent jazz originals, some blues and two standards (“Little White Lies” and “Nica’s Dream”).

Recommended as a good example of his pre-Blue Note work. (by Scott Yanow)

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Personnel:
Wendell Marshall (bass)
Thornel Schwartz (guitar)
Jimmie Smith (drums)
Larry Young (organ)

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Tracklist:
01. Young Blues (Young) 6.28
02. A Midnight Angel (Bailey) 2.24
03. African Blues (Young) 4.55
04. Little White Lies (Donaldson) 4.15
05. Minor Dream (Draper) 5.03
06. Something New/Something Blue (Young) 7.25
07. Nica’s Dream (Silver) 6.39

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Eric Dolphy Quintet – Outward Bound (1960)

LPFrontCover1 Unlike Ornette Coleman—who wanted to blow orthodox jazz form out of the water—John Coltrane and Eric Dolphy initially worked to change the system from within, making music that fit the jazz standards of the time while injecting their own unique spin. This is why Outward Bound, Dolphy’s first recording as a leader, is a not-so-distant relative of Coltrane’s My Favorite Things (Atlantic, 1960).

On balance, both discs have a conventional base. While Coltrane stuck to the Great American Songbook, Dolphy penned over half the tunes on Outward Bound; even so, those originals mesh perfectly with classics like “On Green Dolphin Street and Charles Greenlea’s “Miss Toni. It’s the respective opening tracks that separate both discs from the norm. As Coltrane used an innocuous song from The Sound of Music to launch us into space, so does Dolphy use “G.W. to prove Coleman’s theory that “you could play sharp or flat in tune.

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A fast 4/4 beat drives borderline-dissonant opening salvos from the front line. While the rest of the band lays down beats and fills that would not be out of place on any bop date, Dolphy steps out of the head to blister us with a mind-boggling, lightning-fingered alto solo that threatens to go over a cliff at any moment. Dolphy and his partners maintain this unorthodox balancing act throughout the 1960 session.

At the time, the bass clarinet was nearly unheard of as a lead instrument, but Dolphy uses it to great atonal effect on the zippy “Miss Toni. It also applies a noir-like patina to the opening of “Green Dolphin Street. Dolphy’s flute on Rodgers and Hart’s “Glad To Be Unhappy is flat and mournful one second, jumping and dancing (and sometimes screaming) the next, but rarely following a predictable path. Jaki Byard is Dolphy’s faithful wingman, contributing Monk-laced lines that stay within “acceptable guidelines while tipping the reality a little bit further out.

George Tucker’s foundation on bass is key, rooting the music so the other players can create in space. Roy Haynes displays a range as big as all outdoors, playing drums like a machine gun on the blasting “Les one minute, using brushes like an artist on “Green Dolphin Street the next. Freddie Hubbard’s trumpet is as empirical as Dolphy’s reedwork is existential; the 21-year old Hubbard’s solos (particularly on “Les and the bluesy “245 ) show power and control beyond his years. One wonders what would have happened if he’d stayed with Dolphy and not gone off with Art Blakey.

It makes sad sense we lost Coltrane and Dolphy too soon—Trane from cancer, Dolphy of complications from diabetes. Stars burn out, meteors crash… but while they live, they burn oh so bright. Outward Bound is Dolphy’s first burst of light, a beautiful and frightening glow that must be experienced. (by J.Hunter)

EricDolphyPersonnel:
Jaki Byard (piano)
Eric Dolphy (saxophone, clarinet, flute)
Roy Haynes (drums)
Freddie Hubbard (trumpet)
George Tucker (bass)

LPBackCover1Tracklist:
01. G.W. (Dolphy) 7.54
02. On Green Dolphin Street (Kaper/Washington) 5.42
03. Les (Dolphy) 5.11
04. 245 (Dolphy) 8.04
05. Glad To Be Unhappy (Rodgers/Hart) 5.26
06. Miss Toni  (Greenlee) 5.40

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