DOCSLIB.ORG

Big Band Jump

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Big Band Jump BIG BAND JUMP NEWSLETTER BIG BAND JUMP NEWSLETTER FIRST-CLASS MAIL Box 52252 U.S. POSTAGE Atlanta, GA 30355 PAID Atlanta, GA Permit No. 2022 BIG BAUD JUMP NEWSLETTER VOLUME XL BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1995 A conversation with the German bandleader Thilo Wolf was schedided for this issue, but overseas logistics and a Thilo Wolf marriage and honeymoon delayed the interview. It'sour hope we canfeature him in a future issue. MARILYN KING INTERVIEW The Background Marilyn King is the youngest of the KING SISTERS, taking over when one of the older sisters was temporarily out of the group for some reason. She’s been brought into the spotlight this time with the Capitol release of a KING SISTERS album, an event that’s long overdue. Marilyn King is a solo performer now, working such outstanding locations as the Rockefeller Center Rainbow Room, the New Orleans, San Francisco and Dallas Fairmont Hotels, the Las Vegas and Tahoe rooms and Hollywood’s Vine Street Grill. She’s in demand on cruise ships, as co-hostess for telethons across the nation and as the star of such stage hits as HELLO DOLLY, GUYS & DOLLS and SOUTH PACIFIC. We first met Marilyn King at a Big Band Academy of Marilyn King smiles America dinner at Studio City a couple of years ago. Not knowing she is nearly three decades younger than warm and friendly. the oldest King Sister, it was difficult to reconcile her youthful appearance with the King Sisters of the late There w as seemingly no question we could ask her that 30’s and early 40’s, but she’s a genuine King Sister and she w'ouldn’t or couldn’t answer, for she’s not a shy possesses the bouncy ebullience that was one of the key person. We got the impression she’s: 1) Instantly ingredients of the sister singing act. comfortable with nearly everyone she meets, and 2) She can take care of herself. The Scene Our first question had to do with her youthful appearance. Marilyn had just had breakfast and a dip in the pool on one of those extremely hot Los Angeles days. It was BBJ: You’re a King Sister, but you appear so young. a late breakfast, for she’d been working a Los Angeles area club into the wee hours of the night before. No MK: I come from a big family; I’m the baby of eight. matter, Marilyn King was bubbly and cooperative, The seven were two years apart, and dad thought VOLUME XL BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1995 that was a nice little family, but twelve years after my MK: Not directly. My sister Yvonne who lives youngest sister, I was born. I was called a “mistake”. in San Francisco put on a big fund-raiser for her church, and she suggested that the King Sisters and BBJ: Were you a genuine King Sister? Alvino and the whole family do a variety show. Now, the family w'ere not professionals; we just sang at M K : Yes, but I substituted for each sister when they parties and picnics....we sang all our lives. The fund­ got pregnant or got married.... getting married first, raiser was such a success that w'e started raising funds I should say.... in that order. One of my sisters had for all these churches and we went up to B.Y.U. and the five children and we put her out to pasture and I took her TV crew at Brigham Young filmed it for us and Vonnie place. sent it to ABC and they just fell in love with it. They pre­ empted a Hollywood Palace program one night and we After I graduated from high school I went on the road with got so much fan mail that they put us on as a series Alvino Rey’s Orchestra as a soloist. Then I went to college. without doing a pilot; we also followed Lawrence Welk It was then the King Sisters decided to start singing again; on ABC, so it w'as kind of like a family night. they had gone into retirement to raise their little kids. BBJ: How long did the TV prominence last for the BBJ: How did the now famous KING FAMILY TV King Family? SHOWS come about? MK: Our network TV shows were on for about ten MK: We began with a local NBC TV show with years; we did a lot of specials. Harry Von Zell and Alvino Rey’s big orchestra. It was a smash out here but it was just in Los Angeles, BBJ: You’re doing a single now. so we started doing night clubs again in Tahoe and Vegas and we went back east and did the Copa and MK : I never thought of myself as being a vocal started doing a lot of the variety shows that were on in group. Daddy was a music teacher, and he those days. That’s when we started recording with taught each child how to play an instrument and how to Capitol. Iw'as with the sisters at the time. I replaced sing, and before I was bom they toured around the west Donna. That was when we did our IMAGINATION as a vaudeville troup when daddy wasn’t teaching album, and Playboy Magazine nominated us as an “up school. They’d get in this old Dodge touring car and go and coming new vocal group” not realizing that my from small city to small city. He’d put a poster up on sisters had recorded for RCA VICTOR in the 40’s and telephone poles and say “Concert tonight at the old had a lot of hits like MAIRZY DOATS and IN THE church down the street!” Mother made the costumes. MOOD and all those things. It was kind of amusing that That’s how they really got started. Playboy said “up and coming new vocal group.” BBJ: The King Sisters sang first with Horace Heidt. Also we were up for the Grammy Awards, but that was when they first started and they didn’t have the MK: Yes. They first went professionally with categories neatly organized yet, so the only two vocal Horace Heidt when they were discovered and groups that were nominated were the King Sisters and started broadcasting and recording. Les Paul and Mary Ford. She’s not a vocal group. .. she over-dubbed her voice, but they won. We laughed BBJ: Meantime, you were home. about it because Les Paul and Alvino Rey are such close friends. Because we were nominated we started MK: Daddy taught me opera; I was going to be a big doing all the variety shows like Steve Allen, Ed opera star.... a Broadway type thing. He was Sullivan and George Gobcl. very disappointed when I left high school to go on the road and began singing jazz. BBJ: Did those guest appearances lead to a perma­ nent TV slot? B BJ: What did you do when you weren’t singing with the King Sisters? 2 VOLUME XL BIG BAND JUMP NEWSLETTER SEPTEMBER-OCTOBER 1995 MK: Between singing with the King Sisters I had my back into my acting career. I’m having a ball. I’m own career. I sang with a lot of bands.... Freddy single; I’m a widow. My sw'eet husband passed away Martin and Les Brown.... and 1 had my own TV show up with cancer. He aid, “Honey, you just get yourself in San Francisco. We won our own Emmy Award up in shape and go back and stay in show business.” there. I’m a grandma; I’ve got five grandchildren and one on And then I studied drama all my life, so I got to really do the w'ay. I feel like I’m thirty years old. some musical comedy. I’ve had my own night club act and I’ve been in some TV show's as an actor. I’m the Nice, confident lady who knows where she’s going and only King sister that’s performing now. has the talent to get there. Parts o f the interview will be heard on the September 9-10, 1995 BIG BAND BBJ: How did the current King Sisters album come JUMP program, along with comments from an earlier about? interview withAlvino Rey and his wife, Marilyn’s sister Luise. MK: The young people that work in the catalog department at Capitol decided to resurrect some The King Sister's Capitol release referred to in the of the masters of the great artists that had w'orked interview should be available at any good record store. there; we’ve got some things on the new King Sisters album that’ve never been released. It’s called the (D.K.) Spotlight Scries, and this is part of the continuing series of the Great Ladies of Song. They’ve had such great EARLY BBJ NEWSLETTER INTERVIEWS reaction from the record stores and the deejays around the country. Our current subscribers missed some o f the earlier interviews with outstanding musical celebrities. Last BBJ: Is there anything special about the new King issue we capsulized Shaw’s pre-bandleader days. In Sisters album release? this issue, Artie Shaw comments on moments that led to the organization o f his own band and the moment o f MK: We decided to go with more of a fresh sound success. when the IMAGINATION album was origi­ nally made, kind of like the Four Freshmen or the HiLos.
Load more

Recommended publications
  • Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (Guest Post)*
    “Manteca”--Dizzy Gillespie Big Band with Chano Pozo (1947) Added to the National Registry: 2004 Essay by Raul Fernandez (guest post)* Chano Pozo and Dizzy Gillespie The jazz standard “Manteca” was the product of a collaboration between Charles Birks “Dizzy” Gillespie and Cuban musician, composer and dancer Luciano (Chano) Pozo González. “Manteca” signified one of the beginning steps on the road from Afro-Cuban rhythms to Latin jazz. In the years leading up to 1940, Cuban rhythms and melodies migrated to the United States, while, simultaneously, the sounds of American jazz traveled across the Caribbean. Musicians and audiences acquainted themselves with each other’s musical idioms as they played and danced to rhumba, conga and big-band swing. Anthropologist, dancer and choreographer Katherine Dunham was instrumental in bringing several Cuban drummers who performed in authentic style with her dance troupe in New York in the mid-1940s. All this laid the groundwork for the fusion of jazz and Afro-Cuban music that was to occur in New York City in the 1940s, which brought in a completely new musical form to enthusiastic audiences of all kinds. This coming fusion was “in the air.” A brash young group of artists looking to push jazz in fresh directions began to experiment with a radical new approach. Often playing at speeds beyond the skills of most performers, the new sound, “bebop,” became the proving ground for young New York jazz musicians. One of them, “Dizzy” Gillespie, was destined to become a major force in the development of Afro-Cuban or Latin jazz. Gillespie was interested in the complex rhythms played by Cuban orchestras in New York, in particular the hot dance mixture of jazz with Afro-Cuban sounds presented in the early 1940s by Mario Bauzá and Machito’s Afrocubans Orchestra which included singer Graciela’s balmy ballads.
    [Show full text]
  • Jazz and the Cultural Transformation of America in the 1920S
    Louisiana State University LSU Digital Commons LSU Doctoral Dissertations Graduate School 2003 Jazz and the cultural transformation of America in the 1920s Courtney Patterson Carney Louisiana State University and Agricultural and Mechanical College, [email protected] Follow this and additional works at: https://digitalcommons.lsu.edu/gradschool_dissertations Part of the History Commons Recommended Citation Carney, Courtney Patterson, "Jazz and the cultural transformation of America in the 1920s" (2003). LSU Doctoral Dissertations. 176. https://digitalcommons.lsu.edu/gradschool_dissertations/176 This Dissertation is brought to you for free and open access by the Graduate School at LSU Digital Commons. It has been accepted for inclusion in LSU Doctoral Dissertations by an authorized graduate school editor of LSU Digital Commons. For more information, please [email protected]. JAZZ AND THE CULTURAL TRANSFORMATION OF AMERICA IN THE 1920S A Dissertation Submitted to the Graduate Faculty of the Louisiana State University and Agricultural and Mechanical College in partial fulfillment of the requirements for the degree of Doctor of Philosophy in The Department of History by Courtney Patterson Carney B.A., Baylor University, 1996 M.A., Louisiana State University, 1998 December 2003 For Big ii ACKNOWLEDGEMENTS The real truth about it is no one gets it right The real truth about it is we’re all supposed to try1 Over the course of the last few years I have been in contact with a long list of people, many of whom have had some impact on this dissertation. At the University of Chicago, Deborah Gillaspie and Ray Gadke helped immensely by guiding me through the Chicago Jazz Archive.
    [Show full text]
  • Vocal Jazz in the Choral Classroom: a Pedagogical Study
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 5-2019 Vocal Jazz in the Choral Classroom: A Pedagogical Study Lara Marie Moline Follow this and additional works at: https://digscholarship.unco.edu/dissertations Recommended Citation Moline, Lara Marie, "Vocal Jazz in the Choral Classroom: A Pedagogical Study" (2019). Dissertations. 576. https://digscholarship.unco.edu/dissertations/576 This Text is brought to you for free and open access by the Student Research at Scholarship & Creative Works @ Digital UNC. It has been accepted for inclusion in Dissertations by an authorized administrator of Scholarship & Creative Works @ Digital UNC. For more information, please contact [email protected]. © 2019 LARA MARIE MOLINE ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School VOCAL JAZZ IN THE CHORAL CLASSROOM: A PEDAGOGICAL STUDY A DIssertatIon SubMItted In PartIal FulfIllment Of the RequIrements for the Degree of Doctor of Arts Lara Marie MolIne College of Visual and Performing Arts School of Music May 2019 ThIs DIssertatIon by: Lara Marie MolIne EntItled: Vocal Jazz in the Choral Classroom: A Pedagogical Study has been approved as meetIng the requIrement for the Degree of Doctor of Arts in College of VIsual and Performing Arts In School of Music, Program of Choral ConductIng Accepted by the Doctoral CoMMIttee _________________________________________________ Galen Darrough D.M.A., ChaIr _________________________________________________ Jill Burgett D.A., CoMMIttee Member _________________________________________________ Michael Oravitz Ph.D., CoMMIttee Member _________________________________________________ Michael Welsh Ph.D., Faculty RepresentatIve Date of DIssertatIon Defense________________________________________ Accepted by the Graduate School ________________________________________________________ LInda L. Black, Ed.D. Associate Provost and Dean Graduate School and InternatIonal AdMIssions Research and Sponsored Projects ABSTRACT MolIne, Lara Marie.
    [Show full text]
  • Drums • Bobby Bradford - Trumpet • James Newton - Flute • David Murray - Tenor Sax • Roberto Miranda - Bass
    1975 May 17 - Stanley Crouch Black Music Infinity Outdoors, afternoon, color snapshots. • Stanley Crouch - drums • Bobby Bradford - trumpet • James Newton - flute • David Murray - tenor sax • Roberto Miranda - bass June or July - John Carter Ensemble at Rudolph's Fine Arts Center (owner Rudolph Porter)Rudolph's Fine Art Center, 3320 West 50th Street (50th at Crenshaw) • John Carter — soprano sax & clarinet • Stanley Carter — bass • William Jeffrey — drums 1976 June 1 - John Fahey at The Lighthouse December 15 - WARNE MARSH PHOTO Shoot in his studio (a detached garage converted to a music studio) 1490 N. Mar Vista, Pasadena CA afternoon December 23 - Dexter Gordon at The Lighthouse 1976 June 21 – John Carter Ensemble at the Speakeasy, Santa Monica Blvd (just west of LaCienega) (first jazz photos with my new Fujica ST701 SLR camera) • John Carter — clarinet & soprano sax • Roberto Miranda — bass • Stanley Carter — bass • William Jeffrey — drums • Melba Joyce — vocals (Bobby Bradford's first wife) June 26 - Art Ensemble of Chicago Studio Z, on Slauson in South Central L.A. (in those days we called the area Watts) 2nd-floor artists studio. AEC + John Carter, clarinet sat in (I recorded this on cassette) Rassul Siddik, trumpet June 24 - AEC played 3 nights June 24-26 artist David Hammond's Studio Z shots of visitors (didn't play) Bobby Bradford, Tylon Barea (drummer, graphic artist), Rudolph Porter July 2 - Frank Lowe Quartet Century City Playhouse. • Frank Lowe — tenor sax • Butch Morris - drums; bass? • James Newton — cornet, violin; • Tylon Barea -- flute, sitting in (guest) July 7 - John Lee Hooker Calif State University Fullerton • w/Ron Thompson, guitar August 7 - James Newton Quartet w/guest John Carter Century City Playhouse September 5 - opening show at The Little Big Horn, 34 N.
    [Show full text]
  • King Sister Yvonne Burch Dies at 89
    King Sister Yvonne Burch dies at 89 (AP) – 4 hours ago SACRAMENTO, Calif. — Yvonne King Burch, who gained early fame as one of the singing King Sisters during the big band era before launching her entire extended musical clan into show business as the King Family, has died. She was 89. Burch died in a Santa Barbara hospital Sunday, where she was taken for injuries she suffered in a fall last week, said her daughter, Tina Cole. Burch was the matriarch of the King Family, a popular and enduring show business dynasty. She spent three decades singing and recording with the King Sisters, one of the most popular vocal groups of the 1930s and 1940s. A Grammy nomination for their Capitol Records album "Imagination" capped the group's career in 1959. In 1963, Burch conceived and produced a benefit concert with her sisters and three dozen relatives including brothers, husbands, wives, aunts, uncles and children that marked the debut of the King Family. The King Family appeared on "The Hollywood Palace" before headlining their own TV special. Strong fan response led to two variety series and 17 specials during the 1960s and 1970s. The family appeared on "The Ed Sullivan Show" and performed with entertainment legends, including Bing Crosby and Dean Martin. Besides landing a national concert tour, the clan recorded five albums for Warner Brothers. The family showcased its multigenerational talent with performances by the King Cousins and the King Kiddies. The King Sisters performed and toured with big bands led by Horace Heidt and Artie Shaw before starting their own orchestra with Luise King's husband, Alvino Rey.
    [Show full text]
  • Jazz and Radio in the United States: Mediation, Genre, and Patronage
    Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson Submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy in the Graduate School of Arts and Sciences COLUMBIA UNIVERSITY 2014 © 2014 Aaron Joseph Johnson All rights reserved ABSTRACT Jazz and Radio in the United States: Mediation, Genre, and Patronage Aaron Joseph Johnson This dissertation is a study of jazz on American radio. The dissertation's meta-subjects are mediation, classification, and patronage in the presentation of music via distribution channels capable of reaching widespread audiences. The dissertation also addresses questions of race in the representation of jazz on radio. A central claim of the dissertation is that a given direction in jazz radio programming reflects the ideological, aesthetic, and political imperatives of a given broadcasting entity. I further argue that this ideological deployment of jazz can appear as conservative or progressive programming philosophies, and that these tendencies reflect discursive struggles over the identity of jazz. The first chapter, "Jazz on Noncommercial Radio," describes in some detail the current (circa 2013) taxonomy of American jazz radio. The remaining chapters are case studies of different aspects of jazz radio in the United States. Chapter 2, "Jazz is on the Left End of the Dial," presents considerable detail to the way the music is positioned on specific noncommercial stations. Chapter 3, "Duke Ellington and Radio," uses Ellington's multifaceted radio career (1925-1953) as radio bandleader, radio celebrity, and celebrity DJ to examine the medium's shifting relationship with jazz and black American creative ambition.
    [Show full text]
  • Student's Worksheets
    Student’s worksheets Jazz Cristina CLIL Fuertes Music activities for optional subject High School Level IES Obert de Catalunya Cristina Fuertes. Institut Obert de Catalunya course 2007-08 CLIL – Student’s Worksheet Jazz Unit 1 What’s jazz? Contents CONTENTS................................................................................................................2 UNIT 1 WHAT’S JAZZ?..............................................................................................4 1. Starting point. What do you know about jazz? ..................................................5 2. Jazz...................................................................................................................9 3. Feelings about jazz ......................................................................................... 10 4. What do you know now about jazz? ................................................................ 11 5. What’s jazz for you?........................................................................................ 12 6. Homework: search on the web ........................................................................ 13 UNIT 2 ELEMENTS OF JAZZ .................................................................................... 14 1.What’s jazz and what’s not .............................................................................. 15 2. Who or what am I? Jazz elements................................................................... 17 3. What does each instrument sound like? .........................................................
    [Show full text]
  • PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb
    CHICAGO. FEBRUARY IS, PROTEST POP MUSIC ATTACK! Musicians Not Hearings on Leaders Wire Scarce—Pollack Tea Charges Senators Who Start Feb. 16 Sidemen Themselves Took Fast Rap Have Wrong Picture New York—Trial of Pvta. Mike Bryan and George Auld on nar Of True Situation cotic charges, originally scheduled "Good Thing If Ban On for February 4, was «witched to Chicago "Im rearing induction« February 16 by joint agreement Records Wipes Out All nay alter the situation, but there of the government and defense at­ Jive and Jazz," They Say hat- been no serious snortagi of torneys Bryan ha» already been good musicians up to this point,” given u sentence of a year in jail ■aid Ben Pollack, manager of the y a military court on charges of Chicago—Indignant pro­ | Chieo Marx orchestra, during their desertion, this because of his ab­ tests from America’s nam recent engagement at the Oriental sence from a military stockade in theater here. Miami last month. bandleaders flooded the U. S. Two other defendants, Teddy Senate in U aahington last Reig and Rose Reynolds, will prob­ “If you’re talking about the week as a mult of ihe rurtitin- ‘name’ sidemen, chaps who have ably plead guilty to chargee of built reputations with big bandx, evasion of the marijuana tax law. wide publicity drriding popu­ Andrew Weinberger, Auld’a at­ that’s something else again,” add­ lar American mnide stirred up ed the chubby discoverer of more torney, said he thought he would real musical talent than any lead­ fight the ease pointing out that by the senate's investigate« Auld was merely charged with con­ er in the field.
    [Show full text]
  • The Recordings
    Appendix: The Recordings These are the URLs of the original locations where I found the recordings used in this book. Those without a URL came from a cassette tape, LP or CD in my personal collection, or from now-defunct YouTube or Grooveshark web pages. I had many of the other recordings in my collection already, but searched for online sources to allow the reader to hear what I heard when writing the book. Naturally, these posted “videos” will disappear over time, although most of them then re- appear six months or a year later with a new URL. If you can’t find an alternate location, send me an e-mail and let me know. In the meantime, I have provided low-level mp3 files of the tracks that are not available or that I have modified in pitch or speed in private listening vaults where they can be heard. This way, the entire book can be verified by listening to the same re- cordings and works that I heard. For locations of these private sound vaults, please e-mail me and I will send you the links. They are not to be shared or downloaded, and the selections therein are only identified by their numbers from the complete list given below. Chapter I: 0001. Maple Leaf Rag (Joplin)/Scott Joplin, piano roll (1916) listen at: http://www.youtube.com/watch?v=9E5iehuiYdQ 0002. Charleston Rag (a.k.a. Echoes of Africa)(Blake)/Eubie Blake, piano (1969) listen at: https://www.youtube.com/watch?v=R7oQfRGUOnU 0003. Stars and Stripes Forever (John Philip Sousa, arr.
    [Show full text]
  • Jazzletter 93023 March 1987 Vol
    P.O. Box 240 Ojai, Calif. Jazzletter 93023 March 1987 Vol. 6 N0. 3 LfiflfifS It deals not so much with society (or does one call this sociology now?) as with “mother earth”, the soil, food, public-milking Before getting into records and radio as a conductor, I did schemes due to government promotion of pseudo-foods and some arranging for motion pictures, and got to spend some pseudo-drugs from irradiated grains to fluoridated water. The time with two famous songwriters. The Bob Crosby band was A bsolute Sound is the third pillar of integrity and wisdom among hired to do some off-camera recording for Holiday Inn, and I theperiodicals. It deals with music and art and engineering, not arranged most of Fred Astaire’s dance numbers as well as duets nuclear or war engineering, but engineering for thejoy of it, aural with Astaire and Bing Crosby. In doing so, l spent some o . unforgettable moments with Irving Berlin. Victor Young told J ilfthe Jazzletter were to fold, only two magazines would be left me then, “Stay away from the motion Picture busines5, it’lI to hold up the spirit and we, mankind, would be much closer to . break your heart.” extinction. But the most interesting day was spent with Jerome Kern Maybe we need to go, however. The earth’s spirit may need or after I received a call to arrange a number for Cover Girl, for want to clean house. Who knows? which Kern was writing the songs. Kern, Gene Kelly, Morris Frank Uhlig, Auburn, Alabama Stoloff — then music head of Columbia Pictures — and I were in a meeting.
    [Show full text]
  • 2015 STREET DATES MAY 4 MAY 12 Orders Due April 7 Orders Due April 15 5/4/15 AUDIO & VIDEO RECAP
    ISSUE 10 MUSIC • FILM • MERCH axis.wmg.com NEW RELEASE GUIDE 2015 STREET DATES MAY 4 MAY 12 Orders Due April 7 Orders Due April 15 5/4/15 AUDIO & VIDEO RECAP ARTIST TITLE LBL CNF UPC SEL # SRP ORDERS DUE Minstrel In The Gallery 40th Anniversary Jethro Tull PRH CD 825646157181 157181 18.98 4/07/2015 La Grandé Edition Minstrel In The Gallery 40th Anniversary Jethro Tull PRH CX 825646157204 157204 44.98 4/07/2015 La Grandé Edition (2CD/2DVD) Minstrel In The Gallery 40th Anniversary Jethro Tull PRH A 825646157198 157198 24.98 4/07/2015 La Grandé Edition (180 Gram Vinyl) Plumb Exhale CUR CD 715187941625 79416-C 13.98 4/07/2015 Readers Digest: A Kiss Readers Digest: A Kiss Is Still a Kiss TSV CD 610583516425 31154-D 29.98 4/07/2015 Is Still a Kiss (4CD) Readers Digest: Long Readers Digest: Long Ago and Far Away TSV CD 610583516326 31153-D 29.98 4/07/2015 Ago and Far Away (4CD) Readers Digest: Moon Readers Digest: Moon River (4CD) TSV CD 610583516227 31152-D 29.98 4/07/2015 River Readers Digest: White Readers Digest: White Cliffs of Dover TSV CD 610583516128 31151-D 29.98 4/07/2015 Cliffs of Dover (4CD) Readers Digest: Autumn Readers Digest: Autumn Leaves (4CD) TSV CD 610583505320 30992-D 29.98 4/07/2015 Leaves Readers Digest: Readers Digest: Moonlight In Vermont TSV CD 610583515824 31103-D 29.98 4/07/2015 Moonlight In Vermont (4CD) Readers Digest: Readers Digest: Moonlight Piano (4CD) TSV CD 610583512427 31060-D 29.98 4/07/2015 Moonlight Piano Readers Digest: Mr Readers Digest: Mr Sandman (2CD) TSV CD 610583505221 30989-D 19.98 4/07/2015 Sandman Readers Digest: The Readers Digest: The Piano Men (4CD) TSV CD 610583515923 31102-D 29.98 4/07/2015 Piano Men Readers Digest: Those Readers Digest: Those Sentimental Years TSV CD 071138730220 07302 24.98 4/07/2015 Sentimental Years (3CD) Seals & Crofts Original Album Series (5CD) FLS CD 081227955908 547364 24.95 4/07/2015 Schulz, Robin Prayer ATL CD 825646111374 549656 13.99 4/07/2015 Last Update: 03/23/15 For the latest up to date info on this release visit axis.wmg.com.
    [Show full text]
  • Alvino Ite J New Capitol Disc Artist
    j ■ ■ ■ ■ ■ ■ ■ ■ ■ i ■ vo l. 4, NO. 3 ' 52 MARCH, 1946 Alvino Ite j New Capitol Disc Artist Capitol Records, f o llo w in g its policy of signing the best in modern entertainment, has in k e d A lvino Rey’s new band to an exclusive re­ cording contract. Bandleader re­ cently came out of service to build a I crew that has been arousing plenty of attention out here with its “double ie li­ brass” section. Idea behind th e new es section work involves open horns play­ ing against muted ones to produce un­ er usual and b eautiful e ffects. to Rey, who has already cut wax for Capitol and will have his first “ Hits From Hollywood” disc on the market this month, played his first major date IT’S WELCOMF NEWS to a great here recently at Casino Cardens. He’ ll Harry James Ork many swing fans that Alvino Rey is continue to work the west coast for a back in business again with a new short time, then travel east with his Has New Chirp band . and an unusual one at band fo r a May opening a t th e Hotel that, boasting a “ double-brass” sec­ Astor in NYC. Cal singer with the ork is Harry James, whose band w ill tion. Even b e tte r news is th e fa c t Joanne Ryan. Rey expects to add a continue at the Meadowbrook here that Alvino and his guitar and band vocal group shortly. until March 21 when Gene Krupa will be featured exclusively on Capi­ tol records.
    [Show full text]