"Jazz" Alstone Signed

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Alstone Signed Alex Alstone orchestra has been signed by RCA Victor and is due for the big buildup. With the band business on the upswing band discs have enjoyed better sales than in any year since 1945. Record companies are all support ing new bands. Capitol has Billy May; MGM has launched Skip Martin crew; Coral is pushing Neal Hefti and Mercury is spark ing the Ralph Marterie outfit. a classic BING CROSBY and Judy Garland at a rehearsal for a Crosby radio of fhe American show. The recent Crosby debut on POPOFF? tv was a mild sensation. Miss New radio set, The Popov, has musical stage Garland will take her two-a-day gone into production in Russia. sung superbly by vaudeville show to Chicago and Soviets say it’s named after inven Detroit in the fall. tor of radio, Alexander Popov. GORDON MacRAE Day Exits "Jazz" and LUCILLE NORMAN Doris Day will not co-star with Danny Thomas in Warners re make of "The Jazz Singer” as orig Thirteen great songs are here—songs that run the whole inally announced. Though Day- remarkable gamut of Jerome Kern’s talent, from the saucy Thomas team was a hit in "See Let’s Begin to Lovely To Look At, I Won’t Dance, Yester You in My Dreams” studio feels days, and the all-time favorite Smoke Gets In Your Eyes. femme lead in "Jazz Singer” is too small a role for Miss Day. There’s a brand new excitement in the sound of this familiar music. George Greeley’s sparkling arrangements set the stage for incomparable performances by the stars, WESTWARD HERD and Anne Triólas bright, diverting comedy support. To Woody Herman heads the herd gether, they all project a warmth and intimacy that make back to L.A. for an engagement "Roberta’s” charm irresistible. at the Hollywood Palladium on RITA GAM, tv actress, plays the L-334 • 33'A rpm 16 September. Billy May will lead in her first motion picture, KDF-334 • 45 rpm come in off the road to follow "The Thief." Ray Milland starrer DDN-334 • 78 rpm Herman on 7 October. will have no dialogue. v // 28.

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Jo April 2019.PPP
An alphabetical listing of her studio recordings, including recording dates, matrix numbers and, when known, dates first issued. Compiled by Jim Marshall, and updated April 2019 I first produced a Jo Stafford discography ‘way back in 1995, encouraged by the late Tom Colborn who probably knew more about Jo’s career than the lady herself. Tom had already done much of the groundwork and, knowing that I’d acquired a computer - an early Amstrad - suggested that I take over the task. I was well into my research when the indispensable "In Tune" magazine started publishing its own in-depth listing of Jo’s huge catalogue of recordings. The work put into that by Brian Henson, Colin Morgan, Robert W. Rice and others was an immeasurable help. My thanks also go to Ken Seavor, John Ridgeway, Lucas Tuinstra, Jeff Lasbury and Ray Purslow plus, of course Jo Stafford and Paul Weston , all of whom contributed to Tom’s original research. More recently I’ve had important help from Michel Ruppli, Tim Weston, Robert Rice, Richard Weize and Adam Daff resulting in what I like to think is an almost “complete" alphabetical listing of Jo’s commercial recordings, including her work with the Pied Pipers and her alter egos, Cinderella G. Stump and Darlene Edwards, not forgetting Jonathan! (Apologies if I’ve forgotten anyone!) Apart from a handful of never-ever issued Capitol and Columbia tracks, almost all Jo’s studio recordings seem to have been reissued on CD and are probably still in print. In fact, the seemingly relentless reissue of Stafford CDs, mainly in the UK, is proof, if proof was needed, of the lady’s long-lasting popularity.
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An American in Paris Capitol H-301 Paul Whiteman Released February, 1952
Capitol Albums, 301 to 400 and EP Identifier Gershwin: An American in Paris Capitol H-301 Paul Whiteman Released February, 1952. Gershwin: Rhapsody in Blue Capitol H-302 Leonard Pennario, Piano, with Paul Whiteman & His Orchestra Released February, 1952. An American in Paris/Rhapsody in Blue Capitol P-303 Paul Whiteman Released February, 1952. Combines H-301 and H-302. Later reissued as T-303. Moods for Candlelight Capitol DCN-304 = KCF-304 < L-304 Francis Scott & His Orchestra Released March, 1952. The LP contains two bonus tracks. Reissued later in 1952 as H-304. Keyboard Cocktails Capitol CDF-305 = H-305 Chuy Reyes Released April, 1952. Kitten on the Keys Capitol CCN-306 = CCF-306 < H-306 Ray Turner Released April, 1952. The LP contains two bonus tracks; the first back cover does not mention the bonus tracks. Accordion Powerhouse Capitol DCN-307 = KCF-307 < L-307 Ernie Felice Released April, 1952. The title on the cover is Accordion Power House. The LP contains two bonus tracks. Top Banana Capitol FDR-308 = EDM-308 = S-308 Original Cast featuring Phil Silvers Released January, 1952. With a Song in My Heart Capitol DDN-369 = KDF-309 = L-309 Jane Froman Released March, 1952. Pal Joey Capitol FDR-310 = EDM-310 = S-310 Original Cast Released March, 1952. Sugar Blues Capitol CCN-311 = CCF-311 < H-311 Clyde McCoy Released May/June, 1952. The LP contains two bonus tracks. Dixieland Detour Capitol CCN-312 = CCF-312 < H-312 Pee Wee Hunt Released June 1952. The LP contains two bonus tracks. Circus Parade Capitol DCN-313 = KCF-313 < L-313 Merle Evans Released April, 1952.
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THE PRESS Friday, December 13, 1963 TELEVISION LOG for the WEEK FRIDAY SATURDAY SUNDAY
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Ambassador Auditorium Collection ARS.0043
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Capitol Records.” They Removed That Word from Their Logo in 1951, Helping Us Distinguish First Pressings from Later Copies
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Eihhfltrko KEITH's Way, Closes Saturday Night, Goes Into the Books As a Failure
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WP Mileposts Oct 1949 No. 3
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A Welcome for Warenskjold the Soviet's Gilels /^AH the Mazurkas Kleiber's Beethoven No. 5
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AMM ers Will Probe Problems At Convention I (Ed. Note: Following in the annual pre-eonvention mcvMige lu the By Hal Webmen (alionul Ansoeiation of Munir Merchant» by the asnociation*« president New York—the music —thi« year Ray S. Erlandwm. president, San Antonio Munir Company, ¡an Antonio, Texan.) merchants uf America begin to converge on thia city to par As the year 1952 opened, I predicted that consumers and ticipate in the annual National government would give us a hard time; that we should be on (Trademark Registered V. 3. Patent Office) he offensive and place our best promotional foot forward; VOL. 19—No. 15 CHICAGO, JULY 30, 1952 convention, it >» quite apparent that the industry at (urge is begging for (Copyright, 1952, Down Boot, Inc.I md that the year would look more like 1951 than ’52. So far, a stimulant which will make the [this estimate has not been too in general public more seriously ron- Accurate. «rioun of the industry. J At this halfway mark, the con- The Association has taken a launier seem.« to have taken the number of steps designed to spread prize with his pocketbook strike Music Biz Healthier Abroad, But Europe the music industry’s gospel, most in a period when employment is encouraging of which is a music Hgli, uiapvoauiv iiivviiiv ai ivc education plan designed to func Ughest, and every conceivable rea tion from a local level. This is dis ion why business should be good. Isn't Musicians' Paradise: Paul Weston cussed in the pre-convention mes While the business was sage of NAMM president Ray S.
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Go North, East South - orlVest ••• youngman! THE BETTER WE PRODUCE, ~.. , THE BETTER WE LIVE '\t;;;;I e'G . THE o West, young man, and grow up output of each of us for every hour we r/MIRACLE ------------, with the country." Horace Greeley said work. OF' FREESend for this it in 1854. He was right ... but he was AMERII The best is yet to come - _~II valuable booklet today! also wrong. He was wrong because all This is what we have done, and this is Approved by representatives of of America turned out to have room for Management, Labor and development then undreamed of. the way we have done it-to get higher the Public wages, shorter hours, and lower-cost I" words a"d pic!llres, it tells you Let's look at the record: goods for everybody. • How our U. S. Economic System Here's what's happened all over Amer And this is the way we can make a started ica just dming the last 40 years. still better living in the future-with • Why Americans enjoy the world's highest standard of living Income: Since 1910 we have increased greater use of machine power, better • How mass production began our annual income per household from an machines, better distribution, better col. lective bargaining. • How we have been able to raise average of less than $2400 to about $4000 wages and shorten working hours (in dollars of the same purchasing power), Sure, our system still has faults ... yet- • Why tbe mainspring of our sys· but none that we cannot cure if we all tern is productivity Work hours: Since 1910 we have cut work together to do it.
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