Ted Heath And His Music - Big Band Blues

Artist: Ted Heath And His Music

Title: Big Band Blues

Record Label: London

Catalog Number: LL 3125

Format: Vinyl, LP, Mono, Album

Country: U.S.A.

Year: 1960

Genre: Big Band

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TRACKLISTING:
A-Side
A1 [4:45] St. Louis Blues
A2 [2:50] The Memphis Blues
A3 [2:25] Blues In The Night
A4 [2:30] Limehouse Blues
A5 [3:00] Basin Street Blues
A6 [2:15] Jazz Me Blues
B-Side
B1 [3:10] St James Infirmary
B2 [2:30] Tin Roof Blues
B3 [4:00] It's The Bluest Kind Of Blues My Baby Sings
B4 [3:10] Honky Tonk Train Blues
B5 [2:55] A Blues Serenade
B6 [3:00] Royal Garden Blues

Playing Time.........: 00:36:58

CREDITS:
Clarinet: Henry MacKenzie 
Piano: Stan Tracey
Soprano Saxophone: Ronnie Chamberlain
Tenor Saxophone: Bob Efford
Trombone: Don Lusher, Keith Christie
Trumpet: Eddie Blair

MATRIX NUMBERS:
A side center label: ARL.4435 LL.3125
B side center label: ARL.4436 LL.3125
A side run-out: ARL-4435-1A
B side run-out: ARL-4436-21A

LINER NOTES:
Ted Heath entered the music world 45 years ago when his father taught him the tenor horn. At seven Ted was playing in band contests and at 12 he switched to the trombone. Returning from service in World War I, Ted had a couple of lean years till his luck changed and Jack Hylton gave him a job. After this Ted worked his way through most of Britain's top bands and held the trombone chair on many record sessions with lop American stars.

In 1942 Ted became fired with the idea of having a band of his own. It all came about when he heard Glenn Miller's American Band of the AEF, then stationed in Britain. The forceful swing and full-bodied brass sound so fascinated him that he became determined to form a band which would play the kind of music he believed in.

Ted Heath and his Music were heard for the first time on a BBC broadcast in 1942, but not until the war ended could Ted really think about building up a regular orchestra. In 1945 the American trumpet player and arranger, Toots Camarata came to Britain as musical director of the film "London Town." Camarata commissioned Heath to provide the music for the film and in this way the band achieved a degree of permanence. When the film was completed Ted Heath's orchestra began touring and broadcasting regularly.

A small but fanatical following quickly sprang up; the band started coming top in the polls run by British musical papers; yet the music was still too advanced for most of the general public. But Ted refused to compromise; he preferred to wait for the public to catch up with his ideas. That they have now done so is reflected in the present-day sales of Ted Heath's records and the crowds which flock to see the band wherever it appears. And Ted Heath's music is just as popular on this side of the Atlantic as it is in Britain, as proved by the heavy demand for his records in the United States and the enormous success of his two American tours.

Various Artists - Decca Curtain Call Series - Volume 2

Artist: Various Artists 
Album Title: Decca Curtain Call Series - Volume 2

Record Label: Decca

Catalog Number: DL-7019

Format: 10", Vinyl, LP, Mono, Compilation

Country: U.S.A.

Year: 1956

Genre: Jazz

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TRACKLISTING:

A-Side

A1 [3:11] [Bing Crosby] I Surrender Dear

A2 [3:13] [The Andrews Sisters] Bei Mir Bist Du Schön (Means That Your Grand)

A3 [3:11] [The Ink Spots] If I Didn't Care

A4 [1:47] [The Mills Brothers] Tiger Rag

B-Side

B1 [3:18] [Bing Crosby] Where The Blue Of The Night

B2 [3:04] [The Andrews Sisters] (I'll Be With You) In Apple Blossom Time

B3 [2:47] [The Ink Spots] Do I Worry?

B4 [2:41] [The Mills Brothers] Paper Doll

Playing Time.........: 00:23:12

MATRIX NUMBERS:
A side center label: MG2395 DL 7019
B side center label: MG2396 DL 7019
A side run-out stamped: MG2395T5
B side run-out stamped: MG2396T6

LINER NOTES:
DECCA CURTAIN CALL SERIES

The Decca “Curtain Call” Series is devoted to the great performers of our times and the recorded songs which helped to make them famous. Here is the music with which America’s most popular singers have been identified. Here are musical events which were actually milestones in their careers and in Show Business – songs which vibrate with excitement and project the thrill of an experience recaptured…a Curtain Call especially for you.

BING CROSBY

Although well over a hundred songs have been distinguished by the Bing Crosby treatment, two special numbers immediately are recognized as Bing's particular property. They are '"Where the Blue of the Night Meets the Gold of the Day" and "I Surrender. Dear." Both date back to the year 1931 and both have been countlessly revived. The first was the result of a three-part collaboration, joining the talents of Roy Turk, Fred Ahlert, and Bing Crosby him serf. Everyone knows that it became Bing's theme song, in fact, this ''signature melody" is probably the best known of any artist's identifying melody. Bing himself has sung it in many versions and against many settings, including Hawaiian style. Here the background is furnished by John Scott Trotter and his orchestra. "I Surrender Dear," a song of the same vintage, was almost a family affair. The words were by Gordon Clifford, the music by Bing's musical team-mate, Harry Barris, and Bing himself had a part in it. According to Ted Crosby, it was Bing who suggested the theme and it was Barris who pointed out that the song was ideally suited to the singer's voice. Like Bing himself, both songs have become as perennial as spring and as popular as popcorn.

ANDREWS SISTERS

On November 24, 1937, Maxene, Patty, and La Verne Andrews entered one of the recording studios at Decca for the first time to give out with a brisk, happy-go-lucky version of an old Yiddish song, "Bei Mir Bist Du Schön." Within an hour the girls had waxed the English version which became identified with the trio from that time on. From the mo-lent the record hit the airways, via disc jockey shows, the Andrews Sisters were the hottest thing in Swingdom. People mobbed record counters, struggling for the few "Bei Mir" platters which remained only a few hours after their release.

For quite a while the sisters were known as vivid exponents of highly syncopated tunes, hot singers developed in the swing era. No one could surpass them in the field of jazz. Suddenly they made an abrupt departure. In 1940 they waxed a recording of "In Apple Blossom Time" in a version that was as tender as it was straightforward. From that time on the Andrews Sisters were as celebrated for their sweet stylings as for their hot numbers.

INK SPOTS

It was a long time before the Ink Spots found their own unique style. For quite a while their singing was fast, hot, and jumping with jive. The group never dreamed that their specialty would ever be the mellow kind of ballad which made them famous.

In 1939, "If I Didn't Care" became a tremendous hit. It established itself among the best-selling tunes of the day—and it established the Ink Spots. The quartet changed its style to conform with this discovery, and they began to adapt the slow, sweet manner implicit in Jack Lawrence's persuasive "If I Didn't Care." Within a year—in 1940, to be exact —the Ink Spots came up with another overwhelming success: Cowan and Worth's "Do I Worry?" Although the Ink Spots have recorded scores of records for Decca as well as several collections ranging from popular hits to religious songs, they have never done anything more appealing or effective than the two songs coupled here.

MILLS BROTHERS

The Mills Brothers are a many-gifted group and they have a special gift when it comes to the selection of songs. They are particularly happy when they breathe new life into old numbers, when they take a song which has been almost worn out by repetition and give it fresh meaning and impetus because of their unique interpretation.

"Tiger Rag" was popular as far back as 1917. It was one of the hottest items in the repertoire of the Original Dixieland Jazz Band. The song lay dormant until the Mills Brothers created their phenomenal vocal interpretation, imitating instruments with the human voice. This brought them an immediate popularity which has never ebbed. John Black's "Paper Doll" was first heard in 1924 and was a surprise hit every time it was revived. It became a spectacular success in 1943 when, according to Sigmund Spaeth, in A History of Popular Music in America, "it began a phenomenal reincarnation that even its publishers could not explain." Perhaps the Mills Brothers could have explained it—at least their rendition of these two numbers brought the tunes to the attention of q public which relished the new and vivid Mills Brothers treatment.

Matty Matlock & His Dixie-Men - Dixieland

Artist: Matty Matlock & His Dixie-Men 
Title: Dixieland 
Record Label: Mayfair 
Catalog Number: 9569S 
Format: Yellow Vinyl, LP, Stereo, Album 
Country: U.S.A.
Year: 1957 
Genre: Dixieland 
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TRACKLISTING:
A-Side
A1 [3:51] Jazz Me Blues
A2 [4:02] Blues My Naughty Sweetie Give Me
A3 [3:30] Paper Doll
A4 [5:44] Shimmy Sha Wabble
A5 [4:07] Oh, Didn't He Ramble
B-Side
B1 [4:16] Surgarfoot Strut
B2 [3:45] Tishomingo Blues
B3 [3:01] Ballin' The Jack
B4 [3:18] Ida
B5 [5:31] There'll Be Some Changes Made

Playing Time.........: 00: 40:24

CREDITS:
Bass: Phil Stephens
Clarinet: Matty Matlock
Drums: Nick Fatool
Guitar: Al Hendrickson
Piano: Stan Wrightsman
Tenor Saxophone: Eddie Miller
Trombone: Abe Lincoln
Trumpet: Dick Cathcart

MATRIX NUMBERS:
A side center label: 95695-A
B side center label: 95695-B
A side run-out etched: 9569-S-A RE
B side run-out etched: 9569-S-B

LINER NOTES:
Magnificent New Stereophonic

WEST COAST DIXIE BY THE MATTY MATIOCK JAZZ GROUP

Proving that the best Dixieland jazz music doesn’t emanate exclusively from Eddie Condon's or Nick's in the Village, clarinetist Matty Matlock leads a bunch of the boys through some of the most gustful, rousing two-beat jazz ever waxed. This is WEST COAST DIXIE — and if anyone itches to start an argument over the comparative merits of East vs. West, well, this album represents weighty evidence in the case FOR Dixie Pacifica.

Here are a group of some of the top studio musicians in Hollywood just doin what comes naturally — blowing jazz in the manner they best understand and love. Says Matty, "We don't claim it's the purest Dixieland. We like to call it just jazz". That's what this richness is — played with all the heart and heat of which these master practitioners in the art are capable.

Particular attention is directed to the intro to "Oh, Didn't He Ramble" where, after the marching drums Cathcart blows two quick notes that may seem in error to some listeners. This is not, of course, a goof but a cue-in for band to enter with that "back from the graveyard" spirit a la Dixie In old New Orleans, marks Cathcart, the musicians wore black aprons en route to the cemetery when they played dirges and blues for the deceased. On the way home, however, the aprons were reversed to show gleaming white and the band swung out with happy intent to banish the gloom of the funeral.

ABOUT THE ARTISTS

MATTY MATIOCK . . . was born in Paducah, Ky. in 1909. Matty first came into jazz prominence when he replaced Benny Goodman in the Ben Pollack Orchestra in 1929. When Pollack disbanded, what remained of the ork organized under Bob Crosby in 1935, with Malty remaining as one of the key soloists. Settling in Los Angeles in 1943, he has broadcast and recorded with Crosby, Red Nichols, Jack Teagarden and other Dixieland groups too numerous to mention. He is currently in the orchestra on the Bob Crosby Show daily over the CBS television network.

EDDIE MILLER . . . is a native of the cradle of jazz, New Orleans, where he was born in 1911. Eddie, too, is an alumnus of the Ben Pollack contingent which he joined at 19. He stayed on to become one of the Bob Crosby Band's top solo men until 1947. Uncle Sam put a lien on his services in 1943-44. After his discharge, he led his own band in California and became engaged in studio work. Eddie is another member of the CBS-TV Bob Crosby Show orchestra.

DICK CATHCART . . . was born into an all musician family in Michigan City, Ind. After study at Indiana University, he went on his first job with Ray McKinley's first band, playing jazz and lead trumpet. A stint with Alvino Rey's group followed before Dick enlisted in the Air Force. When Bob Crosby revived his band for a short term after the war, Dick joined the trumpet section and then went on to studio work — was with MGM for two years. He has since played on many jazz albums. His work on the "Pete Kelly's Blues" radio show with Jack Webb earned him the soundtrack cornet chore in the motion picture of the same name. Dick is another member of the Bob Crosby television show — but he's not in the band. He sings tenor in the Modernaires vocal group.

ABE LINCOLN . . . who started in music at five, was born in Lancaster, Pa. in 1907. Abe's first important band job was in New York with the California Ramblers from 1924 on. He has played in the bands of brother, Bud Lincoln; Ace Brigode; Roger Wolfe Kahn; Paul Whiteman; Leo Riesman; and worked the Packard Show. Since 1925, he has been freelancing in Hollywood, having played on all the major radio and television shows. Moreover, his trombone has been an important voice in a great many of the Walter lantz cartoons.

STAN WRICHTSMAN . . . whose piano has been an important factor on most of the better Dixieland record dates to come from the west coast during the past 20 years, was born in Oklahoma City in 1910. At 14, he joined his father's band which worked around Springfield, Mo. He played in bands all over the south for several years. Stan found his way to Chicago and worked there with Ben Pollack for a year, then moved to California in 1936. Some of the jazz groups he has recorded with include those of Bob Crosby, Artie Shaw and Wingy Manone.

Al HENDRICKSON . . . widely acknowledged as one of the greatest rhythm guitarists in the business, is a native of Eastland, Tex., born 1920. Since I925, home base has been California, but the years have been liberally interspersed with road trips with name bands, such as Artie Shew, Benny Goodman, Freddy Slack, Boyd Raeburn, Ray Noble, Woody Herman and others. Celebrated, also, as a singer Al confines himself to instrumental work in this album.

PHIL STEPHENS . . . was born in Atlanta, Ga., in 1911. Phil was 16 when he went on the road with Vincent Lopez’ band. In the years ensuing, he spent 3 1/2 years with Charlie Barnet and an equal period of time with Tommy Dorsey's great band. Phil then settled in California where he’s been doing freelance studio work for 14 years. Stars with whom he has worked include Bing and Bob Crosby, Frank Sinatra, David Rose and many others. This fine bassist is currently in the orchestra of the Stubby Kaye television show.

NICK FATOOL . . . has been "Dr. Rhythm" to countless bands and combos for the past 20 years. A native of Milbury, Mass, born 1915, he was with the bands of Don Bestor and Joe Heymes; George Hall; graduated to Benny Goodman's powerhouse band in 1939, joined Artie Shaw in 1940. Nick has since worked with Claude Thornhill, Jan Savitt, Alvino Rey and Harry James from the west coast. In recent years, he has been active on motion picture assignments and in recording.

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