Requisites
Abbey Is Blue is the fourth album by jazz vocalist Abbey Lincoln featuring tracks recorded in the Spring and Fall of 1959 in New York City for the Riverside label. The album was produced by Bill Grauer and Orrin Keepnews, the latter also writing the liner notes The album was mastered by Jack Matthews and the cover photograph was taken by Lawrence N. Shustak. The design of the cover was created by Harris Lewine, Ken Braren and Paul Bacon.
Abbey Lincoln had mastered Billie Holiday’s skill at inhabiting the lyrics of a song and projecting its emotional content outward, and these songs, all of which deal with sorrow, are stark and harrowing accounts of loss and injustice.
Track Listing | 39:19- Afro Blue (Mongo Santamaría) – 3:20
- Lonely House (Langston Hughes, Kurt Weill) – 3:40
- Let Up (Abbey Lincoln) – 5:32
- Thursday’s Child (Elisse Boyd, Murray Grand) – 3:31
- Brother, Where Are You? (Oscar Brown) – 3:10
- Laugh, Clown, Laugh (Ted Fio Rito, Sam M. Lewis, Joe Young) – 5:24
- Come Sunday (Duke Ellington) – 5:13
- Softly, as in a Morning Sunrise (Oscar Hammerstein II, Sigmund Romberg) – 2:46
- Lost in the Stars (Maxwell Anderson, Kurt Weill) – 4:11
- Long as You’re Living” (Oscar Brown, Julian Priester, Tommy Turrentine) – 2:33
- Abbey Lincoln – vocals
- Kenny Dorham (tracks 2, 4 & 7-9), Tommy Turrentine (tracks 1, 3, 6 & 10) – trumpet
- Julian Priester – trombone (tracks 1, 3, 6 & 10)
- Stanley Turrentine – tenor saxophone (tracks 1, 3, 6 & 10)
- Les Spann – guitar (tracks 2, 4 & 7-9), flute (track 5)
- Wynton Kelly (tracks 2, 4, 5), Cedar Walton (tracks 3 & 6), Phil Wright (tracks 7-9) – piano
- Bobby Boswell (tracks 1, 3, 6 & 10), Sam Jones (tracks 2, 4, 5 & 7-9) – bass
- Philly Joe Jones (tracks: 2, 4, 5 & 7-9), Max Roach (tracks: 1, 3, 6 & 10) – drums
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Requisites
East Coast Jazz No. 4 is a 1955 album by flautist Herbie Mann recorded and released on the Bethlehem record label.. The photograph and cover design was created by Burt Goldblatt. This relatively short recording was only 25 minutes and 12 seconds long but was considered long playing for the time period.
Tracks:
1. Chicken Little
2. Cuban Love Song (Dorothy Fields, Jimmy McHugh Herbert Stothart)he 3. 3. Things We Did Last Summer (Sammy Cahn, Jule Styne)
4. Deep Night (Charles E. Henderson, Rudy Vallée)
5. Between the Devil and the Deep Blue Sea (Harold Arlen, Ted Koehler)
6. After Work
7. Moon Dreams (Chummy MacGregor, Johnny Mercer)
Personnel:
Herbie Mann – flute
Joe Puma (tracks 2, 4, 7), Benny Weeks (tracks 1, 3, 5, 6) – guitar
Keith Hodgson (tracks 1, 3, 5, 6), Whitey Mitchell (tracks 2, 4, 7) – bass
Lee Rockey (tracks 1, 3, 5, 6), Herb Wasserman (tracks 2, 4, 7) – drums
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Requisites
March 18, 1955 saw Lionel Hampton in a Paris, France studio recording the album Crazy Rhythm for the EmArcy record label. The swing/bop/hard bop session produced four songs with a total elapse time of forty minutes and fifty-four seconds.
Tracklist: A1 Crazy Rhythm 7:49 A2 Night And Day 11:31 B1 Red Ribbon 9:43 B2 A La French 11:51Personnel:
Baritone Saxophone – William Boucaya; Bass – Guy Pederson; Clarinet & Tenor Saxophone – Maurice Meunier; Drums – MacKac; French Horn – Dave Amram; Guitar – Sacha Distel; Piano – Rene Urtreger; Trumpet – Benny Bailey, Bernard Hullin, Nat Adderley; Vibraphone – Lionel Hampton
Notes:
Crazy Rhythm was composed by Irving Caesar/Roger Wolfe Kahn/Joseph Meyer, Night & Day is a Cole Porter composition, Red Ribbon and A La French were composed by Lionel Hampton.
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Hollywood On 52nd Street
Guess Who I Saw Today is a popular jazz song composed by Murray Grand with lyrics by Elisse Boyd. The song was originally composed for Leonard Sillman’s Broadway musical revue New Faces of 1952 in which it was sung by June Carroll.
The revue opened on Broadway at the Royale Theatre on May 16, 1952 and ran for 365 performances. It was produced by Leonard Sillman, directed by John Murray Anderson and John Beal with choreography by Richard Barstow. The sketches were written by Ronny Graham and Brooks. The songs were composed by, among others, Harnick, Graham, Murray Grand and Arthur Siegel.
The cast featured Graham, Kitt, Clary, Virginia Bosler, June Carroll, Virginia De Luce, Alice Ghostley, Patricia Hammerlee, Carol Lawrence, Paul Lynde and Bill Milliken. De Luce and Graham won the 1952 Theatre World Award. The revue marked Kitt’s Broadway debut, singing a sultry rendition of “Monotonous”, about how boring a life of luxury was.
Two years later, the name was abridged to New Faces and was adapted into a motion picture filmed in Cinemascope and Eastmancolor and was released by 20th Century Fox on March 6, 1954. It helped jumpstart the Hollywood careers of several young performers including Paul Lynde, Alice Ghostley, Eartha Kitt, Robert Clary, Carol Lawrence, Ronny Graham, performer/writer Mel Brooks (as Melvin Brooks), and lyricist Sheldon Harnick.
Hollywood On 52nd Street
Return to Paradise is a jazz standard that was written by Dimitri Tiomkin and Ned Washington for the movie of the same name. The film was set and principal photography was shot in Samoa and released by United Artists in 1953. It starred Gary Cooper, Barry Jones and Roberta Haynes and the screenplay by Charles Kaufman was based on the 1951 short story Mr. Morgan by James Michener in his short story collection Return to Paradise, his sequel to Tales of the South Pacific.
The Story
During the 1920s, itinerant American beachcomber Mr. Morgan (Cooper) is deposited on the island of Matareva in the South Pacific. Deciding to stay, he is confronted by Pastor Cobbett (Jones), who lost both his father and his wife as a young missionary on the island and rules the island as a Puritanical despot, using local bullies as wardens to enforce his rules. Morgan wins the support of the natives after defeating the wardens with the aid of an empty shotgun.
Morgan has an illegitimate child with an island girl who dies in childbirth. Leaving his daughter with her grandmother he leaves the island, only to return during World War II. Cobbett has changed, his daughter Turia is now grown and in love with a stranded Navy pilot and Morgan now has to face the inevitable possibility of a repeat of his indiscretion with his daughter. Forcing the split by making the pilot and his crew leave the island, Turia is upset but reconciles with her father who decides to stay on with her on the island.