Victor Feldman (5)

VICTOR FELDMAN - PLAYS EVERYTHING IN SIGHT (1967)

01.You and Me -
02.Sure as You're Born -
03.The Sunset -
04.Do the Jake -
05.Geronimo -
06.This Door Swings Both Ways -
07.Have a Heart -
08.In the Mood -
09.By Myself -
10.Sunshine Superman -

Victor Feldman Piano, Keyboards, Vibraphone, Main Performer

VICTOR FELDMAN - THE ARRIVAL OF VICTOR FELDMAN (1958)

1. Serpent's Tooth
2. Waltz
3. Chasing Shadows
4. Flamingo
5. S'posin'
6. Bebop
7. There Is No Greater Love
8. Too Blue
9. Minor Lament
10. Satin Doll

Victor Feldman had first recorded as a leader when he was 13 and a swing-based drummer. In 1957, he moved from his native London to the United States, and by early 1958 (when he was 23) was in great demand as a pianist and vibraphonist. For his second American release and debut for the Contemporary label, Feldman is completely in the spotlight. Joined by the brilliant bassist Scott La Faro (whose playing is a strong reason to acquire the album) and drummer Stan Levey, Feldman performs a mostly boppish set including "Serpent's Tooth," "There Is No Greater Love," Dizzy Gillespie's "Bebop," a Chopin waltz and three of his diverse originals. An excellent showcase for the still-developing Victor Feldman. ~ Scott Yanow

Personnel: Victor Feldman (vibraphone); Scott LaFaro (bass); Stan Levey (drums).

VICTOR FELDMAN - LOVE ME WITH ALL YOUR HEART (1964)

01 Love me with all your heart
02 I left my heart in San Francisco
03 Fly me to the moon
04 Valerie
05 Walk on the wild side
06 Hello Dolly
07 Girl from Ipanema
08 A taste of honey
09 On Green Dolphin Street
10 Moon river
11 Anna
12 New Delhi

Victor Feldman was a child prodigy who was a professional from the age of seven and sat in on drums with Glenn Miller's Army Air Force Band in 1944 when he was ten. He was active in his native England through the bebop years (mostly on drums), debuting as a leader in 1948. By 1952, Feldman was getting better-known for his vibes playing and he recorded extensively during the 1950s. After touring with Woody Herman (1956-1957), he decided to move to the U.S. in 1957, where he worked at the Lighthouse with Howard Rumsey. Feldman recorded (on vibes and piano) for Mode, Contemporary, and Riverside during 1957-1961, a period in which he became a busy studio musician. Feldman was with Cannonball Adderley's Quintet (mostly as a pianist) for six months in 1960-1961 and recorded with Miles Davis in 1963 (who offered him a job with his new quintet and recorded his original "Seven Steps to Heaven"), but remained in L.A. and the studios. He cut jazz dates for Choice, Concord, Palo Alto, and TBA and in the 1980s up until his death he led a soulful crossover group (the Generation Band) that often featured his son, Trevor Feldman, on drums. ~ Scott Yanow, Rovi

VICTOR FELDMAN - SUITE SIXTEEN (1955)

1. Cabaletto
2. Elegy
3. Suite Sixteen
4. Sonar
5. Big Top
6. Duffle Coat
7. Brawl For All
8. Sunshine On A Dull Day
9. Maenya

The late Victor Feldman was a tremendously talented jazz musician who never got his due, primarily because he spent his later years doing commercial studio work. But Cannonball Adderley and Miles Davis appreciated Feldman’s skills enough to hire the London native; and this session, recorded shortly before his first visit to America, finds him displaying his multi-instrumental skills (on vibes, piano, drums, and congas) and writing for small and large groups. Among the other British stars featured are Dizzy Reece, Ronnie Scott, and Tubby Hayes.

with Derek Humble, Jimmy Deuchar, Dizzy Reece, Tommy Pollard, Lennie Bush, Tony Crombie, Eric Peter, Ronnie Scott, Tubby Hayes, Jimmy Watson, Jim Powell, and others

Vicky Lane

VICKY LANE - I SWING FOR YOU (1959)

 

 

01. The Trolley Song (Martin-Blane)
02. Our Very Own (Young-Elliott)
03. My Romance (Hart-Rodgers)
04. You Hit The Spot (Gordon-Revel)
05. Love isn't Born (It's Made) (Loesser-Schwartz)
06. My Heart Stood Still (Hart-Rodgers)
07. They Say It's Wonderful (Berlin)
08. The Song is You (Hammerstein-Kern)
09. Long Ago and Far Away (Gershwin-Kern)
10. I Love You (Porter)
11. Right as the Rain (Arlen-Harburg)
12. This Heart of Mine (Kalmar-Ruby)

Personnel: Pete Candoli, Barney Kessel, Johnny Williams, Joe Mondragon, Alvin Stoller, Larry Bunker, Milt Holland, Lou Singer, Ralph Hansell, Johnny Cyr, Gene Estes

This RCA Victor LP marked the recording debut of Vicky Lane, a native of Ireland who was also an actress. Although gifted with an attractive voice in the alto range, Lane evidently didn't make much of an impression with record buyers, as this also seems to be the only recording under her name. This doesn't mean this is a bad record; in fact, she shows a lot of promise for a first time recording artist, assisted by Pete Candoli's swinging arrangements and a supporting cast that also includes Jimmy Rowles, Barney Kessel, Alvin Stoller, and Joe Mondragon, along with a host of additional percussionists.

Vic Damone (5)

VIC DAMONE - LINGER AWHILE (1962)

1.Linger Awhile
2.Soft Lights and Sweet Music
3.Close Your Eyes
4.Deep Night
5.Stella by Starlight
6.One Love
7.Let's Face the Music and Dance
8.After the Lights Go Down Low
9.Change Partners
10.There! I've Said It Again
11.In the Still of the Night
12.When Lights Are Low

Vic Damone's first album for Capitol Records is also one of his best. Capitol brought Damone onboard to take the place of the defecting Frank Sinatra, so it shouldn't be much of a surprise that Linger Awhile With Vic Damone is essentially a mid-tempo bedroom swinger that falls somewhere between Sinatra's trendsetting Songs for Swingin' Lovers! and his slow-dance burner Nice 'N' Easy. Thankfully, the album itself is good enough that it can be enjoyed on its own terms. Damone's voice is as beautiful as ever and he finds a nice balance between intimate romance and winking good humor. Likewise, the underrated arranger and guitarist Jack Marshall perfectly combines elements of both Nelson Riddle and Billy May's charts for Sinatra into a satisfying whole, though he throws in plenty of jazz guitar. The song selection is a bright mix of standards and less-familiar fare, the highlight being the boudoir romp "After the Lights Go Down Low," which, along with the album cover, lets listeners know that the album is really geared toward amorous conquests and romantic evenings at home. That's where the comparisons between Vic Damone and Frank Sinatra end, as Damone rarely shows the interpretive depth or personal introspection that Sinatra brings to similar material. If this is what stopped Vic Damone from being ranked with the top echelon of truly great 20th century vocalists, Damone's talents are never in doubt and it also ensures that this album is a whole lot of fun. So while even "upbeat" Sinatra albums such as Nice 'N' Easy or A Swingin' Affair! brim over with regret and pain, Linger Awhile With Vic Damone is what you'll want to put on to set the stage for a romantic evening. This album has been released on CD on a budget EMI two-for-one release with the similar My Baby Loves to Swing. ~ Nick Dedina, Rovi

VIC DAMONE - Sings / Closer Than A Kiss (1985)

Vic Damone Sings:

1. Out Of Nowhere
2. The Night Has A Thousand Eyes
3. Ooooh, My Love
4. You Stepped Out Of A Dream
5. I Cried For You
6. Spring Is Here
7. Deep Purple
8. Toot, Toot, Tootsie
9. Swingin' Down The Lane
10.I Got It Bad

Closer Than A Kiss:

1. Closer Than A Kiss
2. I Kiss Your Hand, Madame
3. We Kiss In A Shadow
4. Cuddle Up A Little Closer
5. A Toujours
6. You And The Night And The Music
7. Prelude To A Kiss
8. How Deep Is The Ocean
9. Day By Day
10.As Time Goes By
11.Close As Pages In A Book

I don't think this one has ever been issued on CD. Indeed, it is labelled as a promotional product. In any case, Vic Damone was one of the finest popular singers of the 50's and 60's , so good that his career was still moving along towards the end of the last century. Now 83 years old he still keeps in touch with fans. Damone had many hits and was respected by his peers. Sinatra once said he had " the best set of pipes in the business". The voice is warm, smooth and very romantic, with an ease often matched to a swinging beat This double album varies in sound quality; mostly good but a couple of tracks are a little muffled in the original studio production. It's a nice album to put on and to settle down with a glass of wine and a special person, though!

VIC DAMONE - ANGELA MIA (1959)

Angela Mia
Tell Me You're Mine (Per un Bacio d'Amor)
Arrivederci, Roma
Just Say I Love Her
Non Dimenticar
O Sole Mio
You're Breaking My Heart
Serenade in the Light
Luna Rossa
I Have But One Heart
Anema E Core
Tell Me That You Love Me

Based on the beautiful, if somewhat bizarre, cover shot, listeners may expect this to be one of the weirder Vic Damone albums ever released. The sleeve pictures a downcast but dapper Damone looking so melancholy that he doesn't seem to notice that he inhabits a surreal world of Roman columns, multi-colored tapestries, and sexy beatniks recast as Italian maidens. It truly looks like a still from a movie collaboration between Michelangelo Antonioni, Salvador Dali, and a cadre of Madison Avenue hacks. Alas, Vic Damone was a lot of things during the 1950s, but neither eccentric nor bizarre were among them. That's not to say Angela Mia is a bad record, just not a very exciting one — especially if you're expecting an Italianate musical recasting of Camus' The Stranger. What Angela Mia does offer is a button-down view of white ethnicity aimed at 1950s Italian Americans and open-minded WASPs who want to take a bedroom tour of Italy from the safety of the suburbs. Thankfully, Vic Damone is the right man for this job. Damone has a gorgeous voice, a true feeling for Italian standards, and while he comes from the same American mean streets that produced Dean Martin and Frank Sinatra, he projects the kind of country-club cool that Boston bluebloods have to go to prep school to learn. Damone doesn't possess Dino's easy good humor or goofy charisma on these Italian standards, but he's got great pipes and an intimate, romantic feeling for the material. With Angela Mia, Damone creates a Technicolor Hollywood version of Italy brimming over with eternal summers, factory-produced lunchmeats, and the promise of statuesque sex goddesses. And while the Italian social realism of The Bicycle Thief may be more "artistically satisfying," the languorous dream world that Damone paints with Angela Mia isn't really such a bad place to spend 45 minutes.

Vic Damone - That Towering Feeling! (1956)

 

01 - You Stepped Out Of A Dream
02 - Wait Till You See Her
03 - Out Of Nowhere
04 - The Song Is You
05 - Spring Is Here
06 - Let’s Fall In Love
07 - (When Your Heart’s On Fire) Smoke Gets In Your Eyes
08 - Time On My Hands (You In My Arms)
09 - I’m Glad There Is You
10 - The Touch Of Your Lips
11 - All The Things You Are
12 - Cheek To Cheek


VIC DAMONE - STAY WITH ME (1966)

01 - Pretty Butterfly
02 - Meditation
03 - Once I Loved
04 - How Insensitive
05 - Girl from Ipanema
06 - You Are
07 - Stay with Me
08 - Someone to Light up my Fire
09 - Quiet Nights of Quiet Stars
10 - Shadow of your Smile
11 - Sinnig Sea
12 - Time for Love
13 - Flamingo

Veronika Harcsa

VERONIKA HARCSA - SPEAK LOW (2005)

 

1. Whisper Not
2. Look Of Love, The
3. I Put A Spell On You
4. Speak Low
5. Don't Let Me Be Misunderstood
6. What's New
7. After You've Gone
8. Parole Parole
9. Lullaby To An Anxious Child
10. All Blues
11. Nature Boy
12. La Belle Damme Sans Regrets

Veronika Harcsa was born in Budapest. During her schooling years she went to several music schools learning to play the piano, the saxophone, and studying classical/ jazz singing.
She graduated from the vocal jazz faculty of the Ferenc Liszt College of Music Budapest in June 2008.
She formed her own jazz quartet in 2005, featuring leading Hungarian jazz musicians (Attlia Blaho – piano, Zoltán Oláh – double bass, Bálint Majtényi – drums). In the very same year she produced and released her first jazz standard album titled Speak Low in Hungary.

Vera Lynn

VERA LYNN - WE'LL MEET AGAIN: Very Best Of (2009)

 

1. (There'll Be Bluebirds Over) The White Cliffs Of Dover
2. Auf Wiederseh'n Sweetheart
3. We'll Meet Again
4. Travellin' Home
5. As Time Goes By
6. Dream
7. Faraway Places
8. Harbour lights
9. It's A Lovely Day Tomorrow
10. If You Love Me
11. When You Hear Big Ben
12. Yours Vera Lynn
13. The Loveliest Night Of The Year
14. Wish Me Luck As You Wave Me Goodbye
15. Half As Much - Isle Of Innisfree - You Belong To Me
16. Up The Wooden Hill To Bedfordshire
17. When I Grow Too Old To Dream
18. Medley: Somewhere Along The Way - Here In My Heart - Let The Rest Of The World Go By
19. I'm Forever Blowing Bubbles Eric Rogers and his Orchestra
20. From The Time You Say Goodbye (The Parting Song)

After more than 60 years, the utterly distinctive timbre of Vera Lynn's voice still brings a special poignancy to these ballads of hope and heartache. We'll Meet Again - The Very Best of Vera Lynn is a nostalgic collection of songs from the height of Dame Vera's popularity including her greatest hits: "We'll Meet Again", "The White Cliffs Of Dover", "Yours, It's A Lovely Day Tomorrow" and the immortal song "As Time Goes By" featured in the film hit of 1944 Casablanca. This new collection containing 24 of the most popular songs from her early years proved an instant hit with the UK reaching #1 on the UK charts. At 92, Dame Vera made chart history as the oldest artist to achieve such a feat. The Times (UK) declared, "It's official: Vera Lynn is bigger than the Beatles" while The Guardian noted Vera Lynn is "still our sweetheart." The Vera Lynn spirit has an optimistic and heartening message that proves timeless. Her songs have just as much relevance today as they did back when mankind plunged into the madness of WWII.

Valerie Day

VALERIE DAY & THE KNIGHTS OF SWING - BEGINNING TO SEE THE LIGHT (2003)

1. Song Is You
2. Almost Like Being in Love
3. I Remember You
4. I'm Beginning to See the Light
5. Lover Man
6. Just in Time
7. I Cried for You
8. It Don't Mean a Thing (If It Ain't Got That Swing)
9. I've Got the World on a String
10. When I Fall in Love
11. The Gentleman Is a Dope
12. Big Spender
13. Nobody
14. That's All

Dynamic and self assured, Valerie Day has a voice that is evocative of another time, when sweet lyrical music was the norm, and singers were real musicians. Remembered for her work with the 1980's R&B/Dance band NU SHOOZ, Valerie has returned to her musical roots. On her newest recording, Beginning To See The Light, Valerie injects new life into a collection of standards from the Great American Songbook with impressive range and effortless delivery. From the opening track, a lyrical yet hard-swinging take on "The Song is You, " it's clear that a serious musician is at work. Backed by an impressive Big Band she has dubbed "The Knights of Swing", her voice is an integral part of the ensemble, riffing with the horns and sparring with the rhythm section with clear timbre and flawless intonation. Throughout the collection, there is no grandstanding in Valerie's approach, no superfluous displays of technique. Instead, like a seasoned jazz player, she searches for, and finds, the musical heart of each song. Her background as a percussionist comes through in her singing; in her subtle syncopations, skillful use of space and ability to flat-out swing. And when the tempo slows down, Valerie shines on classic ballads such as "That's All" and "When I Fall In Love," bringing the lyrics to life like a talented actress. She sums up the "Knights of Swing" project by saying. "Doing this record got me reconnected with the reason I do music in the first place - because it brings me joy." The Knights of Swing features some of the finest, most experienced jazz musicians in the world today. The rhythm section alone boasts an incredible lineup of talent, and all have backed quite an impressive line up of stars: Gary Hobbs on drums (the Stan Kenton Big Band, Anita O'Day, Tom Grant), Phil Baker on bass (Diana Ross, Marvin Gaye, Michael Jackson, Rosemary Clooney), George Mitchell on piano (Diana Ross, Smokey Robinson, Phyllis Diller), and John Smith on guitar (Nu Shooz, Suzanne Sommers). The sessions for Beginning to See the Light came about because of Valerie's love of jazz. Many years ago she discovered the voice of a jazz singer named Sarah Vaughn. Hers was the first of many voices that would influence Valerie's vocal style along with Dinah Washington, Billie Holiday, and Ella Fitzgerald. This background set the stage for Valerie's musical odyssey and her later success in the world of pop music. In 1983 she recorded an R&B/Dance single for the band Nu Shooz. "I Can't Wait" became a smash hit in Europe and soon found it's way back to New York where it landed at the top of the charts. Nu Shooz went on to record several other hit singles, and after selling more than a million records world wide, was nominated for a Best New Artist Grammy in 1987. Since then, Valerie has become one of a handful of female vocalists who also play every type of exotic percussion instrument known. She is a sought after session player and has performed or recorded as a percussionist and or vocalist with Obo Addy's band Kukrudu, the Oregon Symphony Pops, Woody Hite Big Band, Tom Grant, Michael Allen Harrison, David Frischberg, Craig Carothers and many others as well as recording for regional and national radio commercials. The proceeds from Beginning To See the Light will benefit arts education in schools so that every child will have a chance to explore their own unique means of self expression.

Una Mae Carlisle (3)

UNA MAE CARLISLE 1944-1950 (2002)

1. The Rest Of My Life
2. That Glory Day
3. That's My Man
4. If It Ain't Mine
5. I'm Crazy 'Bout My Baby
6. Throw It Out Of Your Mind
7. Stop Goin' Through The Motions
8. Tonight Be Tender To Me
9. Ohi-Ohio Boogie
10. Frenzy
11. I Bought Myself A Book
12. The Best Idea You Had
13. Mad About Love
14. We've All Got A Lesson To Learn
15. Three Little Bugs
16. Tired Hands
17. Strange
18. Long
19. Gone
20. There's Something About The Boogie / A One Minute Journey To Boogieland / Una's Boogie
21. A Rhythm Mood / Escape To Nowhere / Jumpin' With The Stars
22. Troubled Waters / War / Democracy Triumphant
23. The Great Mesmer / Hypnotized /Piano Magic
24. Forgive Me For Getting Forgetful / Good Better Best / Baby Please Be Good To Me
25. Do / Doodle Doo / Perfectly

UNA MAE CARLISLE 1941-1944 (2002)

1. Can't Help Lovin' Dat Man
2. It Ain't Like That
3. Anything
4. City Called Heaven
5. I'm The One Who Loves You
6. My Wish
7. Coffee And Cakes
8. Moonlight Masquerade
9. Don't Tetch It !
10. So Long, Shorty
11. I'm Tryin'
12. Sweet Talk
13. 'Tain't Yours
14. Without You Baby
15. I'm A Good, Good, Woman
16. Ain't Nothin' Much
17. I Like It, 'Cause I Love It
18. You Gotta Take Your Time
19. He's The Best Little Yankee To Me
20. I Speak So Much About You
21. Teasin' Me
22. You And Your Heart Of Stone
23. You're Gonna Change Your Mind
24. I've Got A Crying Need For You

For the best introduction to the music of Una Mae Carlisle, consult her 1938-1941 recordings (Classics 1209). Thrust into the limelight by her friend Fats Waller, Carlisle established herself as an able pianist, vocalist and leader of small swing bands, relinquishing her place at the piano in 1941 and '42 in order to concentrate on presenting herself as a singer. Backed by pianist Billy Kyle and the John Kirby Sextet, she delivered quite a number of sentimental songs and a handful of upbeat novelties. It's important to bear in mind the fact that during this time she was grappling with the debilitating effects of mastoiditis, a painful malady brought on by an infection of the inner ear. This may account for the fact that on many of these sides the singer sounds somewhat tentative, less focused and lacking the full power of her earlier recordings. "Don't Tetch It!" turned out spunky because it was a spunky number to begin with. "It Ain't Like That" is an upbeat bounce, loosely garnished with "hep-talk" lyrics. "So Long, Shorty" is addressed to a soldier who is headed for Tokyo. After the end of the notoriously inconvenient and historically frustrating recording ban that began in 1942, Una Mae Carlisle found herself eliminated from the roster of Bluebird recording artists. Securing work with the tiny Joe Davis label, she went back to singing from the piano. The material seems stronger than what she'd been trying to pull off with Bluebird. "'Tain't Yours" is based in a solid groove, and swings accordingly. Ray Nance shines and Budd Johnson blows his tenor sax lustily. Both men spruce up "I'm A Good, Good Woman" with notably expressive solos. Even the slow numbers from 1944 are substantial, more soulful and less flimsy than before. Una sounds healthier and more mature. Operating the piano obviously kept her in touch with the band's collective thought processes. "Take Your Time" works well, "Best Little Yankee" fulfills a wartime thematic obligation, and "I Speak So Much" holds its own largely because of the amazing trumpet and sax solos. This volume of the chronological Carlisle closes with a session from the end of August 1944. The band is said to be comprised of Bob Crosby bandmembers, which is another way of saying that Una fell in with the Eddie Condon Mob. From here her career led to radio and television appearances, in addition to further phonograph recordings. These may be heard on the final volume of Carlisle 's recordings (Classics 1265), covering the years 1944 through 1950. ~ arwulf arwulf, Rovi

UNA MAE CARLISLE - CLASSICS (1938-1941)

1. Don't try your jive on me

2.I would do anything for you

3.Hangover blues

4.Love wakled in

5.Mean to me

6.I'm crazy 'bout my baby

7.I can't give you anything but love, baby

8.Now I lay me down to dream

9.Papa's in bed with his britches on

10.If I had you

11.You made me love you

12.Walkin' by the river

13.I met you then, I know you now

14.Blitzkrieg baby

15.Beautiful eyes

16.There'll be some changes made

17.It's sad but true

18.I see a million people

19.Oh I'm evil

20.You mean so much to me

21.The booglie wooglie piggy