Andre Kostelanetz And His Orchestra – Music Of Jerome Kern (1955)

FrontCover1Andre Kostelanetz (Russian: Абрам Наумович Костелянец, December 22, 1901 – January 13, 1980) was a Russian-born American popular orchestral music conductor and arranger who was one of the major exponents of popular orchestra music.Andre Kostelanetz (Russian: Абрам Наумович Костелянец, December 22, 1901 – January 13, 1980) was a Russian-born American popular orchestral music conductor and arranger who was one of the major exponents of popular orchestra music.

Biography This section needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. (October 2015) (Learn how and when to remove this template message)
Abram Naumovich Kostelyanetz was born in Saint Petersburg, Russia to a prominent Jewish family. He was a cousin of physicist Lew Kowarski. His father, Nachman Yokhelevich (Naum Ignatyevich) Kostelyanetz was active on St. Petersburg stock exchange; his maternal grandfather, Aizik Yevelevich Dymshitz, was a wealthy merchant and industrialist, engaged in timber production. Kostelanetz escaped in 1922 after the Russian Revolution.

Andre Kostelanetz

He arrived in the United States that year, and in the 1920s, conducted concerts for radio. In the 1930s, he began his own weekly show on CBS, Andre Kostelanetz Presents. Kostelanetz was known for arranging and recording light classical music pieces for mass audiences, as well as orchestral versions of songs and Broadway show tunes. He made numerous recordings over the course of his career, which had sales of over 50 million and became staples of beautiful music radio stations. For many years, he conducted the New York Philharmonic in pops concerts and recordings, in which they were billed as Andre Kostelanetz and His Orchestra.
Andre Kostelanetz may be best known to modern audiences for a series of easy listening instrumental albums on Columbia Records from the 1940s until 1980. Kostelanetz actually started making this music before there was a genre called “easy listening”. He continued until after some of his contemporaries, including Mantovani, had stopped recording.

Andre Kostelanetz3

Outside the United States, one of his best known works was an orchestral arrangement of the tune “With a Song in my Heart”, which was the signature tune of a long-running BBC radio program, at first called Forces Favourites, then Family Favourites, and finally Two Way Family Favourites.
He commissioned many works, including Aaron Copland’s Lincoln Portrait, Jerome Kern’s Portrait of Mark Twain, William Schuman’s New England Triptych, Paul Creston’s Frontiers, Ferde Grofé’s Hudson River Suite, Virgil Thomson’s musical portraits of Fiorello La Guardia and Dorothy Thompson, Alan Hovhaness’s Floating World, and Ezra Laderman’s Magic Prison. William Walton dedicated his Capriccio burlesco to Kostelanetz, who conducted the first performance and made the first recording, both with the New York Philharmonic.
His last concert was A Night in Old Vienna with the San Francisco Symphony Orchestra at that city’s War Memorial Opera House on December 31, 1979.

His first wife was actress/singer Sarah Loy; they were married from 1923 to 1937, when the marriage was dissolved. He was then married to soprano Lily Pons from 1938 to 1958, when the marriage was dissolved. They owned a home in Palm Springs, California which was built in 1955. In 1960 he married Sara Gene Orcutt; the marriage lasted several years.
His brother Boris Kostelanetz (1911–2006) was a prominent tax defense lawyer.

Kostelanetz died of pneumonia in Haiti on January 13, 1980, at the age of 78. (by wikipedia)

Andre Kostelanetz2

And here we can hear him with many compositions by Jerome Kern:

Jerome David Kern (January 27, 1885 – November 11, 1945) was an American composer of musical theatre and popular music. One of the most important American theatre composers of the early 20th century, he wrote more than 700 songs, used in over 100 stage works, including such classics as “Ol’ Man River”, “Can’t Help Lovin’ Dat Man”, “A Fine Romance”, “Smoke Gets in Your Eyes”, “All the Things You Are”, “The Way You Look Tonight”, “Long Ago (and Far Away)” and “Who?”. He collaborated with many of the leading librettists and lyricists of his era, including George Grossmith Jr., Guy Bolton, P. G. Wodehouse, Otto Harbach, Oscar Hammerstein II, Dorothy Fields, Johnny Mercer, Ira Gershwin and E. Y. Harburg.

Jerome Kern

A native New Yorker, Kern created dozens of Broadway musicals and Hollywood films in a career that lasted for more than four decades. His musical innovations, such as 4/4 dance rhythms and the employment of syncopation and jazz progressions, built on, rather than rejected, earlier musical theatre tradition. He and his collaborators also employed his melodies to further the action or develop characterization to a greater extent than in the other musicals of his day, creating the model for later musicals. Although dozens of Kern’s musicals and musical films were hits, only Show Boat is now regularly revived. Songs from his other shows, however, are still frequently performed and adapted. Many of Kern’s songs have been adapted by jazz musicians to become standard tunes. (by wikipedia)

First release on 78 rpm in 1946 (four shellac records)

Jerome Kern2

Personnel:
Andre Kostelanetz And His Orchestra

BackCover1
Tracklist:
01 Smoke Gets In Your Eyes 4.38

Medley 1 (4.45):
02.1. Yesterdays
02.2.  I’ve Told Ev’ry Little Star
02.3.  The Song Is You

Medley 2 (4.14):
03.1. The Night Was Made For Love
03.2.  She Didn’t Say Yes
03.3.  All The Things You Are

Medley 3 (4.25):
04.1. Look For The Silver Lining
04.2. They Didn’t Believe Me
04.3. Long Ago (And Far Away)

Medley 4 (4.47):
05.1. I Dream Too Much
05.2. The Jockey On The Carousel

Medley 5 (4.47):
06.1. Why Was I Born?
06.2. The Way You Look Tonight
06.3. Who?

Medley 6 (4.18):
07.1. Only Make Believe
07.2. Bill

Medley 7 (4.34):
08.1. Why Do I Love You?
08.2. You Are Love
08.3.Ol’ Man River

List of the musicals from which the tracks were taken from:

1: “Smoke Gets In Your Eyes” and “Yesterdays” taken from “Roberta” (1933).
2: “I’ve Told Ev’ry Little Star” and “The Song Is You” from “Music In The Air” (1932)
3: “The Night Was Made For Love” and “She Didn’t Say Yes” taken from “The Cat And The Fiddle” (1931). “All The Things You Are” taken from “Very Warm For May” (1939)
4: “Look For The Silver Lining” taken from “Sally” (1920). “They Didn’t Believe Me” taken from “The Girl From Utah” (1913). “Long Ago (And Far Away)” taken from the movie “Cover Girl” directed by Charles Vidor (1944).
5: “I Dream Too Much” and “The Jockey On The Carousel” taken from the movie “I Dream Too Much” directed by John Cromwell (1935).
6: “Why Was I Born?” taken from “Sweet Adeline” (1929). “The Way You Look Tonight” taken from the movie “Swing Time” directed by George Stevens (1936). “Who?” taken from “Sunny” (1925).
7 & 8: “Only Make Believe”, “Bill”, “Why Do I Love You?”, “You Are Love” and “Ol’ Man River” taken from “Show Boat” (1927).Recorded in March-April 1946, except tracks 7 and 8 recorded in December 1945.

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Original front + backcover from 1946:

OriginalFront+BackCover

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Roy Brown – Hard Luck Blues (1976)

FrontCover1Roy James Brown (September 10, 1925 – May 25, 1981) was an American R&B singer, songwriter and musician, who had a significant influence on the early development of rock and roll. His original song and hit recording “Good Rocking Tonight” was covered by Wynonie Harris, Elvis Presley, Bruce Springsteen, Ricky Nelson, Jerry Lee Lewis, Pat Boone, James Brown, the Doors, and the rock group Montrose. Brown was the first singer in recording history to sing R&B songs with a gospel-steeped delivery, which was then considered taboo by many churches. In addition, his melismatical pleading, vocal style influenced such notable artists as B.B. King, Bobby Bland, Elvis Presley, Jackie Wilson, James Brown and Little Richard.

Brown was born in New Orleans, Louisiana on September 10, 1925. As with most R&B singers, he started singing gospel music in the church. His mother was an accomplished singer and church organist. After a move to Los Angeles, California some RoyBrown2time in the 1940s, and a brief period spent as a professional boxer in the welterweight category, he won a singing contest in 1945 at the Million Dollar Theater covering “There’s No You”, originally recorded by Bing Crosby. In 1946, Brown moved to Galveston, Texas, where he sang in Joe Coleman’s group performing mostly songs from the Hit Parade, in a club called the Club Granada. His numbers included a song he wrote entitled “Good Rocking Tonight”. After being rejected by the Armed Forces because of flat feet, he secured his first major job in a Shreveport, Louisiana club singing mostly pop ballads such as “Stardust” and “Blue Hawaii”. The owner of Bill Riley’s Palace Park hired him, as Brown told a Blues Unlimited interviewer, because of his appeal as “a Negro singer who sounds white.” It was at the Palace Park that Brown started developing a blues repertoire, learning contemporary R&B tunes such as “Jelly Jelly” (recorded by Billy Eckstine). He returned to New Orleans in 1947, where he performed at The Dew Drop Inn.

Brown was a big fan of blues singer Wynonie Harris. When Harris appeared in town, Brown tried but failed to interest Harris in listening to “Good Rocking Tonight.” Dejected, Brown approached another blues singer, Cecil Gant who was appearing at another club in town. Brown introduced his song, and Gant had Brown sing it over the telephone to the president of De Luxe Records, Jules Braun, reportedly at 4:00 in the morning. Brown was signed to a recording contract immediately. Brown recorded the song in a jump blues style with a swing beat. It was released in 1948 and reached #13 on the US Billboard R&B chart. Ironically, Wynonie Harris covered it and hit the top of Billboard’s R&B chart later in 1948. Presley also covered the song for Sun Records in 1954; later re-released on RCA Victor when his recording contract was sold to that record label in 1956.

RoyBrown

Brown continued to make his mark on the R&B charts, scoring 14 hits from mid-1948 to late 1951 with De Luxe, including “Hard Luck Blues” (his biggest seller in 1950), “Love Don’t Love Nobody”, “Rockin’ at Midnight,” “Boogie at Midnight,” “Miss Fanny Brown,” and “Cadillac Baby”, making him, along with Harris, one of the top R&B performers for those three years.

After his popularity peaked, Brown began to experience a lull in his career. Doo-wop and R&B groups were quickly gaining popularity as the standard sound of R&B in the early to mid-1950s. The decline of his fortunes coincided with his successfully winning a lawsuit against King Records for unpaid royalties in 1952, one of the few African American musicians to do so in the 1950s. This has led some, such as author Nick Tosches (in his book Unsung Heroes Of Rock ‘N’ Roll, which contained a chapter on Brown) to believe that Brown may have been blacklisted. Brown’s other misfortunes included trouble with the IRS. When confronted by the government for unpaid taxes he owed, he approached Elvis Presley for help. Presley wrote him a check on a brown paper bag, but it wasn’t enough to keep him out of jail. Brown did a little prison time for tax evasion.

Brown had a brief comeback through Imperial Records in 1957. Working with Dave Bartholomew, Brown returned to the charts with the original version of “Let the Four Winds Blow”, co-written with Fats Domino, who would later have a hit with it.

He returned to King Records where his popularity ground down to a low by 1959, but he sporadically managed to find work and do some recording through the 1960s, making appearances where ever he was wanted. To supplement his income, Brown sold the rights to “Good Rocking Tonight”. “I was selling door to door,” he once reminisced. He also worked as an encyclopedia salesman.

In 1970, Brown closed The Johnny Otis Show at the Monterey Jazz Festival. As a result of the crowd’s positive reaction, he recorded “Love For Sale”, which became a hit for Mercury Records.

In the late 1970s, a compilation album of his old work brought about a minor revival of interest. In 1978 he had a successful tour in Scandinavia following the releases of Laughing But Crying and Good Rocking Tonight. Shortly before his death he performed at the Whisky A Go-Go in West Hollywood, California and headlined the New Orleans Jazz and Heritage Festival in 1981.

Brown died of a heart attack, at Pacoima Lutheran Memorial Hospital, near his home in the San Fernando Valley on May 25, 1981. He was 55 years old. The Reverend Johnny Otis conducted the funeral. He was posthumously inducted into the Blues Hall of Fame the same year. (by wikipedia)

Roy Brown’s highly influential crying vocal style is convincingly showcased on this two-record set of his late-’40s and ’50s material. (by George Bedard)

And … this is an unbelieveable good record !!!

RoyBrown3Personnel:
Roy Brown (vocals)
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many unknown studio musicians

BackCover1Tracklist:
01. Hard Luck Blues (Brown) 3.00
02. Good Rockin’ Man (Brown) 2.58
03. Ain’t It A Shame  (Glover) 2.10
04. Love Don’t Love Nobody (Brown) 2.42
05. I’ve Got The Last Laugh Now (Brown) 2.53
06. Trouble At Midnight (Brown/Stone) 2.55
07. Boogie At Midnight (Brown/Bernard) 2.51
08. Travelin’ Man (Brown) 3.01
09. Ain’t Got No Blues Today (Redd) 2.35
10. Wrong Woman Blues (Brown) 3.08
11. Queen Of Diamonds (Brown) 2,52
12. Worried Life Blues (Brown) 2.37
13. Ain’t No Rockin’ No More (Brown) 2.32
14. Letter From Home (Brown) 2.24
15. Beautician Blues (Brown) 2.34
16. Long About Sundown (Brown) 2.56
17. Bar Room Blues (Brown) 3.02
18. Train Time Blues (Brown) 1.55
19. Sweet Peach (Brown) 2.54
20. Double Crossin’ Woman (Brown) 1.51
21. Lonesome Lover (Brown) 1.50
22. Big Town (Brown) 2.50
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Frank Yankovic + Victor Zembruski Orchestra – Polka Party (1954)

FrontCover1Frank John “Frankie” Yankovic (July 28, 1915 in Davis, West Virginia – October 14, 1998 in New Port Richey, Florida) was a Grammy Award-winning polka musician. Known as “America’s Polka King,” Yankovic was considered the premier artist to play in the Slovenian style during his long career.

Born to Slovene immigrant parents, Yankovic was raised in South Euclid, Ohio. He released over 200 recordings in his career. In 1986 he was awarded the first ever Grammy in the Best Polka Recording category.[2] He rarely strayed from the Slovenian-style polka, but did record with country guitarist Chet Atkins and pop singer Don Everly. He also recorded a version of the “Too Fat Polka” with comedian Drew Carey.

Frank YankovicYankovic’s father, a blacksmith, and his mother, a cook, met in a lumber camp in West Virginia where they both worked. When Yankovic was young, his father moved to Cleveland to escape authorities who learned of his bootlegging, and the rest of the family followed shortly thereafter. While living in Cleveland, he became enthralled by the brass bands that played at Slovenian social functions. His mother took on boarders to help with the family finances, including a man named Max Zelodec who performed Slovenian tunes on a button box. Yankovic acquired an accordion at age 9, and received a few lessons from Zelodec. By the late 1920s, in his early teenage years, he was a working musician, playing for community events. In the 1930s, he formed a business relationship with Joe Trolli and began making radio appearances on stations such as WJAY and WGAR. As his reputation spread, he sought opportunities to make phonograph records, but the major labels turned him down. His first records were made for the Yankee and Joliet labels operated by Fred Wolf,[4] and the expenses were paid for by Yankovic himself.

In 1940, he married his first wife June, and they began to raise a family. However, the expenses of family life quickly overcame the incoming money from his music career, so he opened a tavern, calling it the Yankovic Bar. It became a popular hangout for local musicians, and he continued to run it until he sold it in 1948, dedicating himself to the accordion.

Frank Yankovic2Yankovic enlisted in the armed forces in 1943, and cut numerous records while on leave, prior to his departure for Europe. He fought in the Battle of the Bulge where a severe case of frostbite nearly required the amputation of his hands and feet. Fortunately, he was able to beat the gangrene before that became necessary, and was awarded a Purple Heart. The doctors urged him to have his fingers amputated, but he refused, as that would have ended his music career. After getting out of the hospital, he and four other musicians were assigned to special services to entertain the troops, including General George Patton and his Third United States Army.

Frank Yankovic5Yankovic hit the national scene when he earned two platinum singles for “Just Because” (1947) and “Blue Skirt Waltz” (1949). Columbia Records initially refused to record “Just Because”, because other versions of the song had been around for years without much success; only allowing it when Yankovic said that he would buy the first 10,000 records. Yankovic obtained the title of America’s Polka King after beating Louis Bashell, Romy Gosz, Harold Loeffelmacher and the Six Fat Dutchmen, Whoopee John Wilfahrt, and Lawrence Duchow in a battle of the bands in Milwaukee at the Milwaukee Arena on June 9, 1948.

In 1970, a house fire destroyed the gold records for “Just Because” and “Blue Skirt Waltz”.

Yankovic also hosted the television series Polka Time for Buffalo, New York-based WKBW-TV for 26 weeks in 1962. He commuted from Cleveland to host each episode, which aired live. He also hosted a similar show at WGN-TV Chicago at about the same time. He won a Grammy Award in 1986 for his album 70 Years of Hits. He was the first winner in the Polka category. The NARAS (Grammy) organization dropped the category in 2008.

He has performed with musical comedian and fellow accordionist “Weird Al” Yankovic, although the two are not related. Al, who also performs polka music among many other styles, has jokingly hypothesized that he was given accordion lessons as a child because his parents thought that “there should be at least one more accordion-playing Yankovic in the world.”[6] Al performed accordion on “Who Stole the Kishka?” on one of Frankie’s final records, Songs of the Polka King, Vol. 1. A portion of Frankie’s “The Tick Tock Polka” is included in the song “Polka Face” on Weird Al’s Alpocalypse; it was used as a lead-in for “Tik Tok” by Ke$ha.

Yankovic died on October 14, 1998 in New Port Richey, Florida, from heart failure, at the age of 83. He is buried in Cleveland’s Calvary Cemetery. Hundreds of friends, family, his loyal fans and fellow musicians attended his memorial service. At his peak, Yankovic traveled extensively and performed 325 shows a year. He sold 30 million records during his lifetime.

Frank Yankovic6In Bob Dolgan’s 2006 biography of Yankovic, Frankie’s longtime drummer Dave Wolnik observed that Yankovic didn’t have a street named for him in his own hometown. This launched a campaign by the National Cleveland-Style Polka Hall of Fame and Museum and City Councilman Michael Polensek, and in a ceremony on August 21, 2007, the square at the intersection of Waterloo Rd. and East 152nd St. in Cleveland (41.569°N 81.5752°W), not far from where Yankovic grew up, was named in his honor. (by wikipedia)

The recordings of this album hast a real strange history.

“Don Gabor also released most of these recordings on his later labels in 1956. The earliest I could find was on the Paris label:

#6 “Frank Yankovic and Other Polka Stars” (side B is Victor Zembruski)

The same recordings of the same songs were released on both the Masterseal and Paris labels:

Masterseal #5009 “Frank Yankovic’s Polka Party”
Palace #704 “Frank Yankovic’s Polka Party” (both have the same exact covers, and both have V. Zembruski on the flip).

So, enjoy this rare recordings of early Polka music from the USA and I will present more informations about The Victor Zembruski Orchestra next time.

Victor Zembruski OrchestraThe Victor Zembruski Orchestra

Personnel:
Frank Yankovic (accordeon, vocals)
+
a bunch of unknown studio musisicans
+
The Victor Zembruski Orchestra (on 08. – 15.)

BackCover1Tracklist:

Frank Yankovic :
01. Bye Bye Baby Polka 2.36
02. To-The-Left-To-The-Right Polka 2.51
03. Be Happy Polka 2.36
04. My Honey Polka 2.30
05. My Wife´s Chirping Voice 2.41
06. Golden Stars Polka 2.33
07. Cherry Polka 2.36

Victor Zembruski Orchestra:
08. It´s Raining Polka 2.39
09. Clarinet Polka 2.56
10. Good Time Pola 2.42
11. Piano Polka 2.40
12. Wedding Bell Polka 2.34
13. Guitar Polka 2.47
14. Dzuleida Polka 2.46
15. Domino Polka 2.41

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Frank Yankovic3

Dean Martin – Forever Cool (2007)

FrontCover1 The concept of the artificially created duets collection — in which newly recorded vocal or instrumental performances by an array of big-name contemporary artists are spliced with existing tracks from another artist, living or dead — is hardly a new one. Now it’s Dean Martin’s turn: Capitol Records, Martin’s home throughout most of the 1950s, follows the established format by taking vintage tracks by the late, beloved crooner and grafting onto them vocal takes by country star Martina McBride, neo-R&B diva Joss Stone, actor Kevin Spacey, jazz musicians Chris Botti and Dave Koz and others, to unsurprisingly mixed results.

DeanMartin01The thing to keep in mind before diving in to Forever Cool is that Martin’s coolness credentials have never been in question — hence the title — whereas just about anyone who would dare breathe in his airspace is relatively uncool by default. Spacey, for example, may be engaging on the screen, but pretending to banter with the monumentally überhip Dino on “Ain’t That a Kick in the Head” and Roger Miller’s “King of the Road” (which Martin cut for Reprise, his post-Capitol label, on 1965’s (Remember Me) I’m the One Who Loves You album), only makes Spacey seem dorky and the whole exercise somewhat ghoulish. Relative newbies like Stone and former American Idol contestant Paris Bennett don’t stand a chance in this company, trying so hard when all Martin has to do is open his mouth. Even a seasoned vocalist like McBride, taking the traditional female role in Frank Loesser’s seasonal perennial “Baby, It’s Cold Outside,” comes off as flat and uninspired. And Robbie Williams’ turn on “Please Don’t Talk About Me When I’m Gone” just emphasizes that he’s out of his league.

The instrumentalists fare better: Big Bad Voodoo Daddy was born to create Rat Pack-style big-band arrangements, and they do Martin justice on both “Who’s Got the Action” and “You’re Nobody Till Somebody Loves You,” which they share not only with the big bad CharlesAsznavourvoodoo boozer himself but with country’s Shelby Lynne, who holds her own. And both Botti (trumpet) and Koz (sax), maybe because they don’t need to vocalize, only blow and brighten up their respective tracks: “I’ve Grown Accustomed to Her Face” and “Just in Time.” There is one true standout here, the only character in the bunch with as much certifiable personality as Martin, and that would be French superstar Charles Aznavour, who swings with Dino on the signature “Everybody Loves Somebody.” Too bad, however, that the original hit single was not used but instead a lesser version. In the end, it’s Dean Martin who saves the day each time out. What Forever Cool ultimately reaffirms is that there is no one like him. So just don’t go expecting world-class performances from the posthumous partners and it’s easy to have a good time with this experiment in studio manipulation. Now, where is that martini? (by Jeff Tamarkin)

DeanMartin02Personnel:
Kevin Axt (bass)
Charles Aznavour (vocals)
Rick Baptist (trumpet)
Paris Bennett (vocals)
Wayne Bergeron (trumpet)
Chuck Berghofer (bass)
Big Bad Voodoo Daddy (vocals)
George Bohannon (trombone)
Chris Botti (trumpet)
Brian Bromberg (bass)
Richard Bullock (trombone)
Lee Callet (saxophone)
John Chiodini (guitar)
Rob Christie (background vocals)
Gene Cipriano (saxophone)
Vinnie Colaiuta (drums)
Bill Elton (trombone)
Tiziano Ferro (vocals)
Gregg Field (drums)
Joey Gian (background vocals)
Craig Gosnell (trombone)
Gary Grant (trumpet)
Daniel Greco (vibraphone)
Justin Hageman (french horn)
James Harrah (guitar)
Dan Higgins (saxophone)
Greg Huckins (saxophone)
Dave Koz (saxophone)
Steve Kujala (flute)
Michael Lang (piano)
Charles Loper (trombone)
Sal Lozano (saxophone)
Warren Luening (trumpet)
Larry Lunetta (trumpet)
Shelby Lynne (vocals)
Frank Marocco (accordion)
Andy Martin (trombone)
Dean Martin (vocals)
Martina McBride (vocals)
Bob McChesney (trombone)
Larry McGuire (trumpet)
Rick Mitchell (flute)
Suzette Moriarty (french horn)
Brian O’Connor (french horn)
Tom Ranier (piano)
Paula Salvatore (background vocals)
Bob Sheppard (saxophone)
Robert Shulgold (flute)
Kurt Snyder (french horn)
Kevin Spacey (vocals)
Joss Stone (vocals)
Vince Trombetta (saxophone)
Randy Waldman (piano)
Chauncey Welsch (trombone)
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Capitol Studio Orchestra

Booklet04ATracklist:
01. Who’s Got the Action?  (feat. Big Bad Voodoo Daddy) (Duning) 3.12
02. Ain’t That A Kick In The Head? (feat. Kevin Spacey) (Van Heusen(Cahn) 2.38
03. I’ve Grown Accustomed To Her Face (feat. Chris Botti) (Loewe/Lerner) 3.05
04. Baby O (feat. Paris Bennett) (Mercer/Rotella)
05. Who Was That Lady? (with The Capitol Studios Orchestra) (Heusen/Cahn) 2.24
06. Please Don’t Talk About Me When I’m Gone (feat. Robbie Williams) (Stept/Clare) 2.32
07. I Can’t Believe That You’re In Love (feat. Joss Stone) (Gaskil/McHugh) 2.42
08. Just In Time (featuring Dave Koz) (Styne/Comden/Green) 2.43
09. Baby, It’s Cold Outside (feat. Martina McBride) (Loesser) 2.56
10. King Of The Road (featuring Kevin Spacey) (Miller) 3.14
11. You’re Nobody Till Somebody Loves You (feat. Shelby Lynne and Big Bad Voodoo Daddy) (Morgan/Stock/Cavanaugh) 3.10
12. Arrivederci Roma (feat. Tiziano Ferro) (Rascel/Garinei/Giovannini/Sigman) 2.43
13. Everybody Loves Somebody (feat. Charles Aznavour) (Taylor/Lane) 3.17
14. Lullaby (Brahms/Traditional) 2.12

 

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Sydney Bechet – Summertime (2000)

FrontCover1Such an extraordinary and marvellous destiny was traced for this pioneer of jazz who, during the last ten years of his life, became a prominent star in France on a par with the celebrities of song. The life of Sidney Bechet, of New Orleans birth, is comparable to a fairy tale with certain episodes extracted from gloomier literature. His teenage debut in his home town, the encounter with the first legends, Freddie Keppard, Bunk Johnson, King Oliver and then very rapidly, curiosity and crazy ambition drew him to Europe for the first time in 1919. “How moving it was to meet this fat black boy, who is really pleased that his music is appreciated, but who cannot say anything of his art, apart from that he is following his ‘own way’, and when you think that this ‘own way’ is perhaps the wide avenue which will engulf the world tomorrow”, wrote the classical conductor Ernest Ansermet.

After an unfortunate shooting scrape in 1928 in Paris’ Pigalle district then some needy moments in New York where he sold and patched worn clothes, he continued to follow this regal route with pride and steadfastness, forever coming over as a powerfully lyrical soloist irresistible to all who heard him and as the most prominent specialist of the soprano saxophone. His true glory lay in delighting both the pure fanatics as well as the millions of lightsome young dames who, lost in a reverie, danced to his music. (Claude Carrière)

SydneyBechetPersonnel:
Bernard Addison (guitar)
Rudolph Adler (saxophone)
Christian Azzi (piano)
Danny Barker (guitar)
Everett Barksdale (guitar)
Sidney Bechet (clarinet, saxophone)
Eddie Bernard (piano)
Roland Bianchiani (bass)
Dave Bowman (piano)
Wellman Braud (bass)
Clarence Brereton (trumpet)
Harry Brooks (piano)
Ernie Caceres (saxophone)
Sidney Catlett (drums)
Kenny Clarke (drums)
Bill Coleman (trumpet)
Tony Colucci (guitar)
Pierre Dervaux (trumpet)
Vic Dickenson (trombone)
Warren “Baby” Dodds (drums)
Don Donaldson (piano)
Jack Epstein (trombone)
Alfie Evans (clarinet)
George “Pops” Foster (bass)
François “Moustache” Galépidès (drums)
Johnny Glasel (cornet)
Fank “Big Boy” Goodie (saxophone)
Henry Goodwin (trumpet)
Earl Hines (piano)
Art Hodes (piano)
Charles Howard (guitar)
Cliff Jackson (piano)
Mario Janarro (piano)
Jimmy Jones (bass)
Manzie Johnson (drums)
Mowgli Jospin (trombone)
Max Kaminsky (trumpet)
Wilbert Kirk (drums)
Henry “Hot Lips” Levine (trumpet)
Nat Levine (drums)
Charles Lewis (piano)
John Lindsay (bass)
George Lugg (trombone)
Claude Luter (clarinet)
Pierre Michelot (bass)
Bob Mielke (trombone)
Jimmy Miller (guitar)
Freddie Moore (drums)
Wilson Myers (bass)
Harry Patent (bass)
Sidney De Paris (trumpet)
Claude Philippe (banjo)
Charlie Shavers (trumpet)
Zutty Singleton (drums)
Willie “The Lion” Smith (piano)
Rex Stewart (cornet)
Danny Strong (drums)
Charlie Treager (bass)
Henry Turner (bass)
Leonard Ware (guitar)
Dick Wellstood (piano)
Gil White (saxophone, clarinet)
Sonny White (piano)
Bob Wilber (clarinet)
Sandy Williams (trombone)
Ernest Williamson (bass)

(see booklet for details)

Booklet01A

Tracklist:
01. Indian Summer (Dublin/Herbert)  3.06
02. Shake It And Break It (FriscoeClark) 2.54
03. Blues In Thirds (Hines) 2.56
04. Jungle Drums (Singleton/Bechet) 2.28
05.  Mon Homme (My Man) (Willemetz/Maurice) 2.58
06. Muskrat Ramble (Edward)  2.49
07. American Rhythm (Bechet) 2.51
08. What Is This Thing Called Love (Porter) 3.33
09. After You’ve Gone (Creamer/Layton) 2.28
10. Kansas City Man Blues (Williams/Johnson)     2:41
11.  Stompy Jones (Ellington) 2.48
12.  Blues In The Air (Bechet) 2.45
13. Les Oignons (Bechet) 2.42
14. Bechet Creole Blues (Bechet) 3.03
15. Rose Room (Williams/Hickman) 2.36
16. High Society (Steele) 3.33
17.  Margie (Davis/C.Conrad/J.R.Robinson) 2.25
18. St. Louis Blues (William) 3.04
19. Summertime (Radio broadcast) (Du Bose – Gerschwin) 2.54
20. When The Sun Sets Down South (Bechet) 3.10
21. Georgia Cabin (Bechet) 2.58
22. Twelfth Street Rag (Razaf/Bowman) 3.00

CD1*
**