LP-649

Various Artists - Remember the Oldies

Released 1959

Recording and Session Information

5262 8333 Clifton Chenier The Big Wheel
5274 8482 Jody Williams Lucky Lou
5313 9361 The Three Souls Night Theme
5300 8773 Paul Gayten Windy
LP 649 9570 The Three Souls Night Scene
5277 8458 Paul Gayten Nervous Boogie
5335 9346 Eddie Mc Duff Car Trouble
5291 8560 The Kendall Sisters Yea, Yea
5259 8251 Clarence "Frogman" Henry Ain't Got No Home
5290 3002 The Monotones Book Of Love
5281 8549 The Silva-Tones Chi-Wa-Wa
5327 9222 Rod Bernard This Should Go On Forever

Track Listing

The Big Wheel	Clifton Chenier	c 1957
Lucky Lou	Jody Williams	c 1957
Night Theme	Scott	c 1958
Windy	T. Hark	c 1958
Night Scene	W. Scott	c 1958
Nervous Boogie	P. Gaysen	c 1957
Car Trouble	McDuff, Couch	c 1959
Yea, Yea	Baker, Malejkar	c 1958
Ain't Got No Home	Clarence Henry	c 1956
Book Of Love	Davis, Malone, Patrick	c 1957
Chi-Wa-Wa	M. Rothe	c 1959
This Should Go On Forever	Rod Bernard	c 1959

Liner Notes

Some people say that most of the American popular music of the last few years showed no lasting power — that the hit recordings of the late Fifties were just flashes in the pan and wouldn't go on to become "standards."

Don't you believe it!

The top songs of any day always continue on in the memories of those who lived and laughed and fell in love while those songs were mirroring the pace of their living.

It is because the music of the moment implants itself so firmly in the memories and daydreams of those who enjoy it the most that this album resulted. So many people have asked us to make these great all-time hits available in handsome, permanent form, and in true high fidelity, we decided to do so.

The first side of Remember The Oldies is an assemblage of some truly great instrumentals beginning with Clifton Chenier's The Big Wheel. Then comes the talking guitar of Jody Williams on the haunting Lucky Lou. The Three Souls set a midnight mood on Night Theme, a performance marked by great blues piano.

Then it's the well-known group of Paul Gayten as they play the infectious Windy in great dance tempo. The Three Souls return to play an indigo-hued blues waltz before Paul Gayten wraps it all up with the fiery Nervous Boogie.

The vocalists take over on Side Two as Eddie McDuff amusingly tells about his Car Trouble. The Kendall Sisters follow with the swinging Yea, Yea as they willingly lose a musical argument to a group of young men.

One of the big hits of any year comes next — Clarence Henry's great version of Ain't Got No Home, in which he uses his voice in different ranges with remarkable result.

From the Monotones comes another smash hit — Book of Love, then it's the Silla-Tones with Chi-Wa-Wa, a moving ballad.

To bring Remember The Oldies to a close is the pensive voice of Rod Bernard singing his biggest hit, This Should Go On Forever. And that statement is pretty apropos of the way a lot of people feel about these great recordings of the last few years — they will go on forever.

LP-648

James Moody

Released 1959

Recording and Session Information

James Moody - James Moody and His Orchestra
Johnny Coles, trumpet; Tom McIntosh, trombone; James Moody, alto, tenor sax, flute; Musa Kaleem, baritone saxophone; Gene Kee, piano; John Latham, bass; Clarence Johnston, drums

9668 Out Of Nowhere
9669 Darben the Redd Fox
9670 Little Girl Blue
9671 Daahoud
9672 With Malice Towards None
9673 Cookie
9674 R.B.Q.
9675 Yesterdays

Track Listing

Darben The Redd Foxx	James Moody	August 1959
Little Girl Blue	Rodgers & Hart	August 1959
Out Of Nowhere	Heyman, Green	August 1959
Daahoud	Clifford Brown	August 1959
Yesterdays	Kern, Harbach	August 1959
Cookie	Gene Kee	August 1959
With Malice Toward None	Frank McIntosh	August 1959
R.B.Q.	Gene Kee	August 1959

Liner Notes

James Moody's last album, Last Train From Overbrook, was his first recorded step back from a darkness that had engulfed the career of a distinguished jazz musician. It was made in September of 1958, following his half-year tenure at Overbrook, a New Jersey institution at which a sick and alcoholic Moody regained physical and mental health.

This album is the second step back. It was recorded almost exactly one year later, a year during which Moody had reorganized his seven-piece group and had painfully scuffled for bookings that would support it. And it was a year in which Moody established for himself a basis on which he can once more become one of the best-known names among jazz saxophonists and flutists.

It took iust a few hours to record the sides in this album. The band had just finished a weeklong engagement at the Regal theater in Chicago and was, as a result, rested and in good playing shape.

I think it is the most successful album in Moody's career. His tone retains all the soft prettiness that made him easily recognizable, but his attack and phrasing are now marked by a surety and confidence that was seldom noticeable to this degree. Moody's intonation is true, and his ideas are expressed logically and calmly. He is, in short, a jazzman who should be listened to.

During the recording session, Moody once again had a bottle as his companion — a quart of root beer. At the date's end, as he was packing his tenor saxophone, he reached into the Case and pulled out a pint bottle of cheap wine. It was sealed tight, and on the label he had scratched, "Washington, 1958."

"I always carry it with me," he said. "Just to remind me."

About The Music

Darben The Redd Foxx is done in honor of Redd Foxx, a very funny comic and storyteller. It's a blues march type of thing, with Moody's flute leading the way.

A pensive and sensitively-done Little Girl Blue follows, with Moody again playing flute.

Out Of Nowhere, arranged by Moody's trombonist, Tom McIntosh, stretches out to give solo voices to the other bandsmen. Trumpeter Johnny Coles enters first, followed by pianist Gene Kee, McIntosh, then Moody on tenor.

Daahoud, written by the late Clifford Brown, features, in order, McIntosh, the booting baritone sax of Musa (Moose) Kalliem. Coles, then Moody on alto.

Moody's flute is back again to kick off the second side with a moving solo on Yesterdays

Cookie, composed by pianist Kee, spots Coles, Moody on tenor, and Kalliem.

With Malice Toward None, composed and arranged by McIntosh, is a lovely melody and is treated with great care and tenderness by Moody playing flute.

R,B.Q., a walking blues that is started off by bassist John Lathen, winds up the album on a down home note, With eweryone getting a solo shot.

Jack Tracy

LP-647

Will Green

Unissued