— — The Cash Box , USIC Page 26 January 9 , 1960 1 II|I| IMmun mill 1 1 li il 1 ill HffiS £S/y7/iv/iers “THE SKYLINERS”—Calico LP 3000 P0 P If LAE PlgiK OF THE WEE ! lJ Vocal group which scored chart-wise “Since I Don’t Have You” (among others) is heard in a v program of and its pop successes on its wmmmm. "THE SOUND OF MUSIC”—Percy Faith standards and His Orch.—Columbia CL 1418 initial LP date. In fairly typical rock and roll style, with a semi-swing drive added to some of An excellent instrumental companion the updated standards, they sing the above- piece to Columbia’s original-cast LP of the mentioned first hit plus “This I Swear,” “When Rodgers-Hammerstein musical. Here, of I Fall In Love,” “I’ll Be Seeing You” and “I Can course, Rodgers alone has the spotlight Dream Can’t I.” Good teen merchandise. and his melodies here are among his most charming creations. Despite the lushness _ of the Faith ork, the renditions are appro- priately light-on-the-foot and with the melodies all the way. “MISTER GUITAR”—Chet Atkins- -RCA Victor LPM 2103 Atkins is indeed “Mr. Guitar” of country mu- “CAREFREE”—Paul Weston—Capitol ST 1261 sic, having been selected as the most programmed instrumentalist in Cash Box deejay polls for A lightly swinging mood session that draws The the past seven years. In this set he demonstrates upon brass colorings for its lovely sound. Wes- his excellent technique on “Rainbow,” “Hello ton’s ork here is all brass; four each of flugel- Bluebird,” “I’m Forever Blowing Bubbles” and horns, french horns and trombones, plus one sax “Country Style” among others. Top item for c&w and rhythm. A dulcet, subdued backing is given markets and for guitar fans all over. soloists Don Fagerquist (trumpet) and Bab Rus- sin (sax) among others on such selections as “Give Me the Simple Life,” “Hooray for Love,” “They All Laughed” and “On the Alamo.” A top mood shelf attraction. “SHOUT!"—The Islev Brothers—RCA Victor LPM 2156 FULL DIMENSIONAL STEREO “THE KENTON TOUCH”—Stan Kenton—Capi- Three brothers whose wildly frantic sounds tol ST 1276 scored with the public on the title tune bow on # j Subtitled “Portraits in Strings,” this album their initial LP. The infectious, fervent sound is presents ten such numbers arranged by Pete carried through on such standards as “When the K&n&raM Rugolo. This is mood music, but of a much more Saints Go Marching In,” “Yes Indeed,” “That TOUCH intriguing nature than usual mood albums. The Lucky Old Sun,” “Without a Song” and an espe- pott-m&rrsi original compositions (“Elegy for Alto,” “Minor cially exciting gospel-styled version of “He’s s.-m}N<cw* Riff,,” “Opus in Chartreuse,” “Theme for Sun- Got the Whole World in His Hands.” Session day” etc.) draw upon both jazz and classical with a thunderous impact. forms, using colors, shadings and textures dy- namically. Among the soloists are Milt Bernhart, Laurindo Almeida and Shelly Manne. Not at all “1001 ARABIAN NIGHTS” — Original Sound jazz, but of interest to many jazz fans. Track featuring Jim Backus, the Clark Sisters and the Jud Conlon Singers—Colpix CP 410 “BACK IN TOWN” Mel Torme with the Mel- tones—Verve MG VS-6063 The Nearsighted Mr. Magoo’s first full length cartoon feature is, in the best Disney tradition, a The delightful Mel-Tones are “Back in Town” delight for both adults and children. The film and deserve to stay around for a long time. Fore- score will be especially cherished by the kiddies; runners of vocal group singing, Tonne’s quartet it is cute, charming and quite melodic. The vocals had, a far-reaching influeuce on the style of to- are in fine pro hands, the entire album maintain- day’s “smart” vocal groups, but none have been ing interest throughout. “You Are My Dream” is able to capture the fresh quality and jazz voic- a good ballad that can stand on its own. The pic’s ing^ they were admired for. With Mel Torme eminent success should reflect important sales arranging and in lead parts they offer perform- here. ances of “It Happened in Monterey,” “What Is This Thing Called Love,” “Hit the Road to Dreamland” and 12 others. A pop and jazz special. “PREPARE TO FLIP!”—The Signatures in the House of Brass—Warner Bros. W 1352 “ONCE UPON A TIME”—Johnny Desmond— Columbia CL 1399 The Signatures are more than just a smart vocal group. They approach each number with An attempt at exact recreation of the songs youthful exuberance, not unbridled but with a that Desmond sang as featured vocalist with the solid rhythmic sense and a jazz orientation. They Glenn Miller band during the Second World War. also do not overlook the dramatic possibilities The arrangements are intact and even some of of a number. The House of Brass refers to the the original musicians were gathered for this _ bright, brash ork settings created by Bob Prince. project. The songs include “All the Things You Tunes include “I’m Beginning to See the Light,” Are,” “My Heart Stood Still,” “Where Or When,” “Time On “Judaline,” “Black Coffee” and “Ain’t We Got My Hands” and “Symphony.” Superb Fun.” Desmond performances; high nostalgic interest here. “JAMES MICHENER’S FAVORITE MUSIC OF “THE WONDERFUL WORLD OF JONATHAN WINTERS” HAWAII”—The Oratorio Society of Honolulu; —Verve MG V-15009 the Marie Tarangi Trio—RCA Victor LPM 2150 The program (liner notes) lists 47 characters Tied in with the author’s best-selling new book, and 51 sounds created by Winters, spread over “Hawaii,” this album presents a collection of eight tracks. This ability to create a wealth of Island favorites performed admirably by native unique sounds has put Winters in a place of his Hawaiian musicians and singers. Packaging is own among comedians. His humor is sometimes beautiful: book-type with many full-color photos folksy, often satirical and always “hip,” but un- and Michener’s own liner notes. Selections in- like many of the new comedians he dotes on situ- clude these familiar favorites: “Hawaiian War ation comedy, setting up a particular scene Chant,” “Beyond the Reef,” “Aloha Oe,” “Sweet which he uses as a “sounding board.” Through Leilani” and three Tahitian numbers. For Ha- TV appearances (primarily Jack Paar) he has waiian music, this album stands out as excep- built up a large and loyal following, all of whom tional. will treasure his first disk efforts. “ON TOUR WITH THE NEW GLENN MILLER ORCHESTRA” — Directed by Ray McKinley “THE HITS OF THE TWENTIES”—Max By- RCA Victor LPM 1948 graves with Ted Heath and his Music— London PS 175 The new Miller ork is a more free-wheeling- A charming tongue-in-cheek reading of popu- crew, and swings more than the original Miller lar songs from the twenties. is ork ever did, thanks to Ray McKinley’s percep- Max Bygraves a joy in his re-creation of singing styles tive direction. Traces of the old sound are nat- of this era and Ted Heath has surrounded him in a urally retained, but a more modern approach is setting of musical corn. It’s delightful used, with more emphasis on soloists. Among the a session selections are “Perfidia,” “Polka Dots and Moon- that really hits the mark. Among the tunes are “Cecelia,” beams,” “Pennsylvania 6-5000” and “Take the A “Paddlin’ Madelin’ Home,” “Don’t Train.” Bring Lulu” and “Rose of Washington Square.” www.americanradiohistory.com.