The Bilari/Crown/Bright Orange Big Band LPs

[Saul]

If someone can help me out with this, I would deeply appreciate it. I noticed that last November, there was some discussion here about those eight to ten LPs that were once known as the Bihari Brothers/Crown Records "Members/Compositions Of ..." series, that were later released on "Bright Orange Records." It was during the Bright Orange phase that I discovered them, now many years ago. Of course, the musicianly participation was duly noted on each album cover ... but no record dates or studio location. As a kid, I didn't know the names of most of these sidemen ...

But now, I have come to realize that these albums were recorded by a lot of the cream of the crop, and now many of them have passed on.

I also noticed on this forum the inclusion of some record dates for some of these sessions ... but as of right now, no other "logistical" information: The studio, the engineer, the producer, etc.

Can anyone fill in any of the logistical gaps [dates, location, personnel, etc.] about these sessions? Considering the quality of the musicianship, it wouldn't surprise me to find out the engineer was someone like Wally Heider or Bones Howe ... It is a shame these recordings are so poorly documented. The tracks make for excellent listening, and quite frankly -- again, considering the musicianship, these albums really should be as celebrated as the Billy May-produced series for Time-Life. IMHO.

Also, could someone definitely clarify where the master tapes are now? I know they wound up in the U.K. I think Ace had them for a while -- but it looks like the CDs are coming from a companies known as "Classic Fox Records" ... "The Orchard" ... and "Crownstar."

Anything anyone could do to clear up as much of this confusion as possible ... would be deeply appreciated.

Thanks!

[Chuck Nessa]

I suggest you email Ace. I think they will be helpful.

[Don Brown]

All of the Bright Orange LP releases are listed in Tom Lord's Jazz Discography under Maxwell Davis' name. The one-time rhythm 'n' blues tenorman produced all of the sessions for the Bihari brothers' Crown label and either transcribed the charts from the original recordings or wrote new arrangements based on those recordings.

[Saul]

All of the Bright Orange LP releases are listed in Tom Lord's Jazz Discography under Maxwell Davis' name. The one-time rhythm 'n' blues tenorman produced all of the sessions for the Bihari brothers' Crown label and either transcribed the charts from the original recordings or wrote new arrangements based on those recordings.

Thanks for this advisory. Are there any TL Jazz Discography paid subcribers out there who could possibly look up those eight to ten sets of information?

[Chuck Nessa]

Forgive the formatting.

Not from copyist Lord but from a real discographer, Bruyninckx:

Between 1958 and 1960, Maxwell Davis organized, arranged and in most of the cases also directed a seried of

recordings for the Crown label. These were tributes to some of the most famous big bands, both black and

white. Davis himself didn't participate as a musician to any of these LPs.

-Peter Gunn, music composed by Henry Mancini, conducted by Ted Nash, arranged & supervised by Maxwell

Davis- : Pete Candoli, Uan Rasey, Larry Sullivan, Joe Triscari (tp) Dick Nash, Dave Wells, Jim Priddy, Karl

DeKarske (tb) Art Maebe, Bill Hinshaw, Jim Decker, George Hyde (fhr) Ted Nash (as,fl) Ronnie Lang (bar)

Larry Bunker (vib) John T. Williams (p) Russ Freeman (p) Tony Rizzi (g) Rollie Bundock, Cliff Hills (b)

Alvin Stoller (d) Henry Mancini (comp) Maxwell Davis (arr,dir) Ted Nash (cond)

Los Angeles, Ca., 1958

Peter Gunn Crown CLP5101

Sorta blues -

The brothers go to mothers -

Dreamsville -

Soft sounds -

Fallout -

The floater -

Session at Pete's pad -

A profound gas -

Brief and breeze -

-Tribute to Stan Kenton- : Conte Candoli, Pete Candoli, Ollie Mitchell, Al Porcino, Conrad Gozzo (tp) Milt

Bernhart, Bob Fitzpatrick, John Halliburton, Frank Rosolino (tb) Mahlon Clark, Bud Shank (as) Bob Cooper,

Bill Holman (ts) Chuck Gentry (bar) Milt Raskin (p) Laurindo Almeida (g) Don Bagley (b) Mel Lewis (d) Chico

Guerrero (cga) Maxwell Davis (arr,dir)

Los Angeles, Ca., November 17, 1958

Artistry in rhythm Crown CLP5093, 5140, 128, 173,

Bright Orange 705, 725

Elegy Crown CLP5093, 128, Bright Orange

705

Estrella Crown CLP5093, 128, Bright Orange

705

Martha Crown CLP5093, 128, Bright Orange

705

Peanut vendor Crown CLP5093, 128, Bright Orange

705

Vido Musso (ts) added

Los Angeles, Ca., December 4, 1958

Come back to Sorrento Crown CLP5093, 5126, 128, 159,

Modern 7005, 805, Bright Orange 705,

722, Riviera STR003

Dark eyes Crown CLP5093, 128, Bright Orange

705

Intermission riff Crown CLP5093, 128, Bright Orange

721

-Toast to Jimmy and Tommy Dorsey- : John Best, Ray Linn, Mickey Mangano, George Seaburg, Zeke Zarchy (tp)

Dick Noel, Tommy Pederson, Jim Priddy, Paul Tanner (tb) Les Robinson, Wilbur Schwartz (as) Dave Harris,

Babe Russin (ts) Freddie Stulce (bar) Milt Raskin, Paul Smith (p) Dick Fisher, Tony Rizzi (g) Phil

Stephens, Rollie Bundock (b) Nick Fatool, Jack Sperling (d) Al Cava, Adele Francis, Jack Travis Singers

(vcl) Maxwell Davis (arr,dir)

Los Angeles, Ca., December 1958

Boogie woogie Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, 723, Veri

Sonics 103

Deep river Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714

Green eyes (ac,af vcl) Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, 724, Veri

Sonics 103

I'm gettin' sentimental over you Crown CLP5047, 104, Modern 7000,

7005, 800, 805, Bright Orange 711,

724, 725, Veri Sonics 103

Maria Elena (ac vcl) Crown CLP5047, 104, Modern 7000,

800, Bright Orange 711, Veri Sonics

103

On the sunny side of the street (jts vcl) Crown CLP5047, 104, Modern 7000,

800, Bright Orange 711, Veri Sonics

103

So rare (jts vcl) Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, Veri Sonics

103

Song of India Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, Veri Sonics

103

Swanee River Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, Veri Sonics

103

Swing low sweet chariot Crown CLP5047, 104, Modern 7000,

800, Veri Sonics 103

Tangerine (ac,af vcl) Crown CLP5047, 104, Modern 7000,

800, Bright Orange 714, Veri Sonics

103

Marie (ac vcl) Crown CLP5047, 104, Modern 7000,

800, Veri Sonics 103

-Tribute to Artie Shaw- : Ray Linn, Mickey Mangano, Zeke Zarchy (tp) George Arus, Joe Howard, Tommy

Pederson (tb) John Cave (fhr) Bob Keene (cl) Les Robinson, Morris Bercov (as) Bus Bassey, Babe Russin (ts)

Chuck Gentry (bar) Milt Raskin, Paul Smith (p) Al Hendrickson, Tony Rizzi (g) Phil Stephens (b) Nick Fatool

(d) Lou Raderman, Nathan Rose, Joe Stepansky, Sarah Kriedler, Abe Weiss, Alex Neiman, Noami Benditsky

(strings) Maxwell Davis (arr,dir)

Los Angeles, Ca., December 1958

Blues Crown CLP5102, 134, Modern 7005,

805, Bright Orange 708

Frenesi Crown CLP5102, 5126, 134, 159,

Bright Orange 708, 723

La paloma Crown CLP5102, 134, Bright Orange

708

Moonglow Crown CLP5102, 134, Bright Orange

708, 724

Nightmare Crown CLP5102, 134, Bright Orange

708, 724

Stardust Crown CLP5102, 124, 173, Bright

Orange 708, 722

Temptation Crown CLP5102, 134, Bright Orange

708

Zigeuner Crown CLP5102, 134, Bright Orange

708

-Charlie Barnet presents a tribute to Harry James or Presents a salute to Harry James- : Rob Turk (tp

solos-1) Shorty Sherock (tp solos-2) Ray Linn, Nick Buono, John Audino, Bob Rolfe, Ollie Mitchell (tp) Ray

Sims, Bob Edmondson, Hoyt Bohannon (tb) Ernie Tack (b-tb) Willie Smith, Herb Lorden (as) Sam Firmature (ts)

Bob Poland (ts,bar) Ernie Small, Jack Perciful (p) Dave Koonse (g) Marvin Shove (b) Jack Mills (d) Maxwell

Davis (arr,dir)

Los Angeles, Ca., December 1958

Two o'clock jump (1) Crown CLP5114, 146, Modern 7005,

805, Bright Orange 710, 720,

Baccarola (G)77835

Just lucky (1) Crown CLP5114, 146, Modern 7005,

Bright Orange 710

Palladium party (1) Crown CLP5114, 146, Bright Orange

710

Ultra (1) Crown CLP5114, 146, Bright Orange

710

Bangtail (1) Crown CLP5114, 146, Bright Orange

710

Here's one (1) Crown CLP5114, 146, Bright Orange

710

Ciribiribin (1) Crown CLP5114, 146, Bright Orange

710, 725, Riviera STR003

One on the house (2) Crown CLP5127, 160, Bright Orange

715

Flatbush Flanagan (2) Crown CLP5127, 160, Bright Orange

715

Music makers (2) Crown CLP5127, 160, Bright Orange

715

Back beat boogie Crown CLP5127, 160, Bright Orange

715, 723

Blues for sale (2) Crown CLP5127, 160, Bright Orange

715

7 unknown strings added to previous pers., same location and dates

You made me love you (1) Crown CLP5114, 5140, 146, 173,

Modern 7005, 805, Bright Orange

710, 722

Cherry (1) Crown CLP5114, 146, Bright Orange

710, 724

Trumpet blues (1) Crown CLP5114, 146, Bright Orange

710, 720

Sleepy lagoon (2) Crown CLP5127, 160, Bright Orange

715

Easter parade (2) Crown CLP5127, 160, Bright Orange

715

The mole (2) Crown CLP5127, 160, Bright Orange

715

Note : The above sessions were held on three different dates in December and Crown CLP5114 = Eros

(E)ERL/ERLS50014.

-Tribute to Benny Goodman- : Don Fagerquist, Irv Goodman, Mickey Mangano, Zeke Zarchy (tp) Hoyt Bohannon,

Murray McEachern, Tommy Pederson (tb) Mahlon Clark (cl) Les Robinson, Heinie Beau (as) Dave Harris, Babe

Russin (ts) Jess Stacy (p) Allan Reuss (g) Sid Weiss (b) Nick Fatool (d) Maxwell Davis (arr,dir)

Los Angeles, Ca., December 1958

Bugle call rag Crown CLP5090, 5140, 121, 173,

Bright Orange 704, 721, Baccarola

(G)77835

East side, west side Crown CLP5090, 5527, 121, Modern

7001, 801

Jersey bounce Crown CLP5097, 129, Modern 7001,

801, Bright Orange 718

King Porter stomp Crown CLP5090, 121, Bright Orange

704, 720

Sing sing sing Crown CLP5090, 5527, 5126, 121, 159,

Modern 7001, 801, Bright Orange 704,

720

Stomping at the Savoy Bright Orange 718

Frank Beach (tp) Jimmy Rowles (p) Al Hendrickson (g) Curtis Counce (b) Ralph Collier (d) replace

Fagerquist, Stacy, Reuss, Weiss and Fatool, rest same

Los Angeles, Ca., December 1958

Down south camp meeting Crown CLP5097, 129, Modern 7001,

801, Bright Orange 718, 723

Carry me back Crown CLP5097, 129, Bright Orange

718

My wild Irish rose Crown CLP5097, 129, Bright Orange

718

One o'clock jump Crown CLP5097, 129, Bright Orange

718

Loch Lomond Crown CLP5090, 5527, Modern 7001,

801

Jumpin' at the Woodside Crown CLP5090, 121, Bright Orange

718, Baccarola (G)77835

Note : Baccarola issued as by Ray McKenzie Orchestra. Crown CLP5097 = Eros (E)ERL/ERLS50008.

Frank Beach, Irv Goodman, Conrad Gozzo, Zeke Zarchy (tp) Don Fagerquist (tp-1) only, Milt Bernhart, Bob

Pring, Tommy Pederson (tb) Mahlon Clark (cl) Les Robinson, Heinie Beau (as) Dave Harris, Vido Musso (ts)

Jimmy Rowles (p) Allan Reuss (g) Sid Weiss (b) Nick Fatool (d) Maxwell Davis (arr,dir)

Los Angeles, Ca., December 1958

And the angels sing Crown CLP5002, 123, Modern 7001,

801, Bright Orange 704, 724

Christopher Columbus Crown CLP5092, 123, Modern 7001,

801, Bright Orange 704, Baccarola

(G)77835

Let's dance Crown CLP5092, 123, Modern 7001,

801, Bright Orange 704, 722, 725

Careless love Crown CLP5092, 5527, 123, Modern

7001, 801

Down hill special Crown CLP5092, 5527, 123, Modern

7001

Bring back my Bonnie Crown CLP5092, 5527, 123

Don't be that way (1) - , - , - , Modern

7001, Bright Orange 704

When the saints go marching in Crown CLP5092, 123, Modern 7001,

801, Bright Orange 704

Sugar foot stomp (1) Crown CLP5097, 129, Modern 7001,

801, Bright Orange 704, Baccarola

(G)77835

Frankie and Johnny Crown CLP5097, 129, Bright Orange

718

Goodbye Bright Orange 718, 725

Note : Crown CLP5097 = Eros (E)ERL/ERLS50008.

Mahlon Clark (cl) Jimmy Rowles (vib) Curtis Counce (b) Ralph Collier (d) only

Los Angeles, Ca., December 1958

Hand me down my walking cane Crown CLP5097, 129

School days CLP5090, 5527, 121

In the shade of the old apple tree - , - , -

I love you truly CLP5092, 123

Lonesome road - , -

Cuddle up a little closer CLP5097, 129

-Tribute to Charlie Barnet- : Don Fagerquist, Bob Clark, Maurice Harris, Ray Linn, Al Porcino, Zeke Zarchy

(tp) Dick Noel, Milt Bernhart, Murray McEachern, Dick Nash, Tommy Pederson, Dick Taylor (tb) Skeets Herfurt

(as,sop) Bob Jung, Ted Lee (as) Fred Fallensby, Plas Johnson (ts) Bob Dawes (bar) Claude Williamson (p)

Allan Reuss (g) Phil Stephens (b) Dick Shanahan or Jack Sperling (d) Bunny Briggs (vcl) Maxwell Davis

(arr,dir)

Los Angeles, Ca., December 23-24, 1958

Cherokee Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, 721,

Golden Hour (E)GH868

Pompton turnpike Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, 722,

Golden Hour (E)GH868

Skyliner Crown CLP5094, 5531, 5140, 131, 173,

Modern 7002, 7005, 802, 805, Bright

Orange 706, 723, Golden Hour (E)

GH868

Redskin rhumba Crown CLP5094, 5531, 5126, 131, 159,

Modern 7002, 802, Bright Orange 706,

723, 725, Golden Hour (E)GH868,

Riviera STR003

Charleston alley Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, Golden

Hour (E)GH868

East side, west side (bb vcl) Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706

Lonely street Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, Golden

Hour (E)GH868

Really? (Bob City) Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, Golden

Hour (E)GH868

Claude reigns Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, Golden

Hour (E)GH868

Charlie's other aunt Crown CLP5094, 5531, 131, Modern

7002, 802, Bright Orange 706, Golden

Hour (E)GH868

Note : Crown CLP5094 = Eros (E)ERL/ERLS50012 = Veri Sonics VS102.

-Tribute to Woody Herman- : Danny Stiles, Bernie Glow, Hal Posey, Al Forte, Willie Thomas, Al Stewart (tp)

Frank Rehak, Billy Byers, Wayne Andre, Charlie Henry (tb) John LaPorta (cl,as) Al Cohn, Joe Romano, Don

Lanphere (ts) Marty Flax (bar) Eddie Costa (vib) Bill Potts (p) Jack Six (b) Jim Campbell (d) Maxwell Davis

(arr,dir)

New York, 1958/59

Northwest passage Crown CLP5103, Bright Orange 707,

721

Wild root Crown CLP5103, Bright Orange 707,

721

Blue flame Crown CLP5103, Bright Orange 707,

721, 725

Four brothers Crown CLP5103, Bright Orange 707

Blowin' up a storm - , -

Woodchopper's ball - , - ,

721

Apple honey Crown CLP5103, Bright Orange 707,

721, 723

Goosey gander Crown CLP5103, Bright Orange 707

Bijou - , -

Note : Crown CLP5103 = Crown CLP5533 = Eros (E)ERL/ERLS50009 = Baccarola (G)80111. This last issue as

by Ray McKenzie's Orchestra.

-Tribute to Woody Herman- : same or similar pers.

New York, 1958/59

Montmartre bus ride Crown CLP5180

Aruba - , Modern 7004, 804

Darn that dream -

Crown royal -

I can't get started -

The grind -

Off shore -

Single 0 -

After glow - , - , -

Hermosa Beach -

Note : Crown CLP5180 = Crown CST113 = CST205 = Bright Orange 717 = Eros (E)ERL/ERLS50027 = Ember

(E)FA2033.

-Tribute to Glenn Miller- : Clyde Hurley, John Best, Ollie Mitchell (tp) Paul Tanner, Jim Priddy (tb)

Willie Schwartz (cl,as) Jewell Grant (as) Don Lodice, Fred Fallensby (ts) Floyd Turnham (bar) Stan

Wrightsman (p) Dick Fisher (g) Rollie Bundock (b) Jack Sperling (d) Maxwell Davis (arr,dir)

Los Angeles, Ca., 1959

Anvil chorus Crown CLP5050, Modern 2021, Bright

Orange 703

Kalamazoo Crown CLP5050, Bright Orange 703

Song of the Volga boatmen - , - ,

Modern 2021

Sunrise serenade Crown CLP5050, Modern 2021, Bright

Orange 703, 722

Londonderry air Crown CLP5050, Modern 2021, Bright

Orange 703

Chattanooga choo choo Crown CLP5050, Modern 2021, Bright

Orange 703, 723

Under the double eagle Crown CLP5050, Modern 2021, Bright

Orange 703

Moonlight cocktail Crown CLP5050, Bright Orange 703

Serenade in blue - , -

Anitra's dance - , -

In the mood CLP5123, Modern 2021, Bright

Orange 713

Little brown jug Crown CLP5123, Modern 2021, Bright

Orange 713

String of pearls Crown CLP5123, Modern 2021, Bright

Orange 713, 724

American patrol Crown CLP5123, Modern 2021, Bright

Orange 713

Lover's serenade Crown CLP5123, Bright Orange 713

Moonlight serenade - , Modern 2021, Bright

Orange 713, 724

Tuxedo junction Crown CLP5123, Bright Orange 713

Pensylvannia 6-5000 - , -

Gypsy dance - , -

Swingin' at the Ritz - , -

-Salute to Tommy Dorsey- : Conte Candoli, Ray Triscari, Zeke Zarchy (tp) Jimmy Henderson, Dick Noel, Tommy

Pederson (tb) Skeets Herfurt (cl,as) Jewell Grant (as) Don Lodice, Babe Russin (ts) Dave Pell, Chuck Gentry

(bar) Milt Raskin (p) Allan Reuss (g) Max Bennett (b) Jackie Mills (d) B.B. King, Rickie Page (vcl) Maxwell

Davis (arr,dir)

Los Angeles, Ca., January 1959

Dry bones Crown CLP5176, 201, Bright Orange

711

Not so quiet please Crown CLP5176, 201, Bright Orange

711

Opus no. one Crown CLP5176, 201, Bright Orange

711

Well git it Crown CLP5176, 201, Bright Orange

711

Yes, indeed (bbk,rp vcl) Crown CLP5176, 201, Bright Orange

711

Everytime I feel the spirit Crown CLP5176, 201, Modern 7000,

800, Bright Orange 714

Hawaiian war chant Crown CLP5176, 201, Modern 7000,

800, Bright Orange 711

I'll never smile again Crown CLP5176, 201, Modern 7000,

800, Bright Orange 711, 722

Someone's knocking at my door Crown CLP5176, 201, Modern 7000,

800, Bright Orange 711

Wade in the water Crown CLP5176, 201, Modern 7000,

800, Bright Orange 714

-Music by Lionel Hampton and others- : John Anderson, Billy Brooks, Conrad Gozzo, Ollie Mitchell, Al

Porcino (tp) John Erwing, Dick Noel, Lester Robertson, Dave Wells (tb) Jewell Grant, Jack Kelso (as) Plas

Johnson, Bill Green, Bumps Meyers (ts) Bill Woodman (bar) Larry Bunker (vib) Gerald Wiggins, William

McDaniel (p) Irving Ashby (g) Curtis Counce, Red Callender (b) William Eperson, Earl Palmer (d) Maxwell

Davis (arr,dir)

Los Angeles, Ca., January 29 & February 22, 1959

Airmail special Crown CLP5107, Bright Orange 720

Cool train -

Flying home - , -

Hamp's boogie (woogie) - , 721

Midnight sun - , 5126, 150

Note : Entire session also on Crown CST139 and Bright Orange 716. Crown CLP5107 = RCA PJL1-8130 = Eros

(E)ERL/ERLS50011 = Sonopress/Saturn (F)66017.

-Compositions of Count Basie and others- : John Anderson, Snooky Young, Joe Newman, Pete Candoli (tp) Henry

Coker, Dick Nash, Tommy Pederson (tb) Marshall Royal, Jewell Grant (as) Frank Foster, Frank Wess (ts)

Charlie Fowlkes (bar) Milt Raskin (p) Herman Mitchell (g) Ed Jones (b) Sonny Payne (d) B.B. King (vcl)

Maxwell Davis (arr,dir)

Los Angeles, Ca., March 24, 1959

Basie boogie Crown CLP5111, 5126, 143, 159,

Bright Orange 702

Everyday I have the blues (bbk vcl) Crown CLP5111, 143, Bright Orange

702

Every tub Crown CLP5111, 143, Bright Orange

702

John's idea Crown CLP5111, 143, Bright Orange

702

Jumpin' at the Woodside Crown CLP5111, 143, Bright Orange

702, 721

Lester leaps in Crown CLP5111, 143, Bright Orange

702, 723

One o'clock jump Crown CLP5111, 143, Bright Orange

702, 720

Red Bank boogie Crown CLP5111, 5140, 143, 173,

Bright Orange 702, 721

April in Paris Crown CST143

Note : Crown CST143 = Eros (E)ERL/ERLS50015.

-Compositions of Duke Ellington- : Conte Candoli, Ray Linn, Al Porcino, Jake Porter (tp) Juan Tizol (v-tb)

Lloyd Elliott, Jimmy Henderson, Dick Noel, Tommy Pederson (tb) Mahlon Clark, Jewell Grant (cl,as) Bumps

Meyers, Ben Webster (ts) Bill Hood (bar) Jimmy Rowles (p) Al Hendrickson (g) Red Callender, Curtis Counce

(b) Mel Lewis, Jackie Mills (d) B.B. King (vcl) Maxwell Davis (arr,dir)

Los Angeles, Ca., January 12-14, 1960

Cottontail Crown CLP5153, 183, Bright Orange

709, 721

Don't get around much anymore (bbk vcl) Crown CLP5153, 183, Bright Orange

709

East side, west side Crown CLP5153, 183, Bright Orange

709

Jask the bear Crown CLP5153, 183, Bright Orange

709, 723

Jeep's blues Crown CLP5153, 183, Bright Orange

709

Main stem Crown CLP5153, 183, Bright Orange

709

Mood indigo Crown CLP5153, 183, Bright Orange

709, 721

Solitude Crown CLP5153, 183, Modern 7005,

805, Bright Orange 709, 724

Sophisticated lady Crown CLP5153, 183, Bright Orange

709, 722

Take the "A" train Crown CLP5153, 183, Bright Orange

709, 725

-Predominant percussion- : Percussion All Stars: Conte Candoli, Pete Candoli, Ray Linn (tp) Frank Rosolino,

Harry Betts, Dick Nash (tb) Buddy Collette (as,fl,pic,cl) Jewell Grant (cl,b-cl,bar) Med Flory, Richie

Kamuca, Bill Perkins (ts,cl) Larry Bunker, Gene Estes, Frank Flynn (vib,xyl,various perc) Pete Jolly (p)

Barney Kessel, Bill Pittman, Al Viola (g) Red Callender, Curtis Counce (b) Mel Lewis, Irving Cottler (d)

Milt Holland, Johnny Cyr (bgo,cga,glockenspiel,tymp) Maxwell Davis (arr,dir)

Los Angeles, Ca., 1960

El choclo Crown CLP5193

Percussion in paradise -

Dark eyes -

Aloha oe -

Percussion for tympanis -

La cumparsita -

Hawaiian war chant -

Song of India -

Adios muchachas -

Londonderry air -

[JSngry]

Bunny Briggs?

[chewy-chew-chew-bean-benitez]

i dont understand how Bruneicnux was able to uncover all that recording session info in the 1st place of the mysterious crown......i have no idea how he was able to uncover even that basic info.

all i know is that all answers must be contained in the crown bldg. i MUST visit it someday in LA

[Stereojack]

It is a shame these recordings are so poorly documented. The tracks make for excellent listening, and quite frankly -- again, considering the musicianship, these albums really should be as celebrated as the Billy May-produced series for Time-Life. IMHO.

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better.

The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

[jazztrain]

Accoridng to some information on the web, Sound Enterprises was in Hollywood, California and was owned by Leo de Gar Kulka.

It is a shame these recordings are so poorly documented. The tracks make for excellent listening, and quite frankly -- again, considering the musicianship, these albums really should be as celebrated as the Billy May-produced series for Time-Life. IMHO.

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better.

The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

[JSngry]

i dont understand how Bruneicnux was able to uncover all that recording session info in the 1st place of the mysterious crown......

At one point they were released (don't remember if on Crown or not) with personnel listed on the front of the cover.

[Saul]

It is a shame these recordings are so poorly documented. The tracks make for excellent listening, and quite frankly -- again, considering the musicianship, these albums really should be as celebrated as the Billy May-produced series for Time-Life. IMHO.

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better.

The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

Thank you all for the commentary and the information. I agree ... in many ways, the Crown series is superior and deserves its own slice of the spotlight. Please keep this line-of-thought going; perhaps we all might eventually find out the studio and the engineer that produced these excellent recordings, now some fifty years ago! As I said before, my exposure to these Crown recordings began with the "Bright Orange" phase, whenever that was. All the albums I had featured each and every musician's name on the session, but little more. I am hoping we can eventually fill in those missing gaps.

A lot of good music was recorded half a century ago, "budget label" notwithstanding.

[Stereojack]

Accordng to some information on the web, Sound Enterprises was in Hollywood, California and was owned by Leo de Gar Kulka.

Leo De Gar Kulka was later the owner/engineer of Golden State Recorders, a highly regarded and renowned Los Angeles recording studio, known primarily for a lot of 1960's rock recordings. I guess Sound Enterprises was an earlier facility he ran.

[chewy-chew-chew-bean-benitez]

ALL ANSWERS, CONTAINTED WITHIN:

[Big Beat Steve]

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better.

The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

I agree all the way. I never understood how any real jazz fan and record collector could ever shell out any money for those Time-Life series. Note-for-note carbon copies of the original records probably made just because some hi-fi geek managed to convince the casual mom and dad record club subscriber of those 50/60s that the sound of the originals was oooh so bad and hi-fi was all the rage and the way to go.

How could those records ever pretend to be the real thing anyway to collectors ...?

As for the Maxwell Davis series, they are indeed much more original. The Bright Orange covers really make them look like budget cash-ins and it's taken me some time to warm up to this series but eventually I've learned to appreciate them on their own.

As for the high-end pressings, I have the Charlie Barnet album from this series on Crown CST 131 (with full "Stereo" and "Technical Data" liner notes on the back) and red vinyl (black Crown label). Now would this be the first pressing or a somewhat later budget pressing? I cannot see any "Recorded at Sound Enterprises" mention.

[Saul]

ALL ANSWERS, CONTAINTED WITHIN:

[Picture of 5810 Normandie Avenue]

What a ... lovely ... "building."

[Stereojack]

As for the high-end pressings, I have the Charlie Barnet album from this series on Crown CST 131 (with full "Stereo" and "Technical Data" liner notes on the back) and red vinyl (black Crown label). Now would this be the first pressing or a somewhat later budget pressing? I cannot see any "Recorded at Sound Enterprises" mention.

I believe you have a first pressing. My copy of the Count Basie album (CST 143) says "Recorded at Sound Enterprises, Hollywood, Calif" directly underneath the song titles on back. I imagine these went through many re-pressings, so there are bound to be variations.

[Teasing the Korean]

I agree all the way. I never understood how any real jazz fan and record collector could ever shell out any money for those Time-Life series. Note-for-note carbon copies of the original records probably made just because some hi-fi geek managed to convince the casual mom and dad record club subscriber of those 50/60s that the sound of the originals was oooh so bad and hi-fi was all the rage and the way to go.

How could those records ever pretend to be the real thing anyway to collectors ...?

Were the solos recreated, or just the arrangements? Assuming the latter, I think there is place in jazz for presenting newly recorded classic arrangements. They are not a replacement for the real deal, but certainly present an alternate way of experiencing the music, especially if the originals were lo-fi. IMHO.

Now, if they were playing transcribed solos, that's another story.

[Saul]

Frankly, I consider the Crown series to be superior to the Time-Life series. Time-Life are note-for-note recreations of big band classics, with little room for creativity. The Crown series are loosely based on the originals, with arrangements that vary from similar to radically different, and with many great soloists - not only many members of the original bands, but guest appearances by top soloists, and even a couple of vocals by BB King! In a number of instances, arrangements are expanded to allow more solo space. While these may not please the nostalgia audience, the music stands on its own much better.

The original pressings of this series were packaged like audiophile recordings, with a lot of space on the back touting the stereo process, and the records are on red vinyl. I don't know if these were sold at budget prices originally, but within a couple of years they ended up in the cheap Crown series with the noisy pressings. If you can find clean copies of the originals, they sound great! I've even seen reel-to-reel tapes of some of the early Crowns, so clearly they were going after the growing audiophile market originally. They also say "Recorded at Sound Enterprises". Has anybody ever heard of this studio?

I agree all the way. I never understood how any real jazz fan and record collector could ever shell out any money for those Time-Life series. Note-for-note carbon copies of the original records probably made just because some hi-fi geek managed to convince the casual mom and dad record club subscriber of those 50/60s that the sound of the originals was oooh so bad and hi-fi was all the rage and the way to go.

How could those records ever pretend to be the real thing anyway to collectors ...?

As for the Maxwell Davis series, they are indeed much more original. The Bright Orange covers really make them look like budget cash-ins and it's taken me some time to warm up to this series but eventually I've learned to appreciate them on their own.

As for the high-end pressings, I have the Charlie Barnet album from this series on Crown CST 131 (with full "Stereo" and "Technical Data" liner notes on the back) and red vinyl (black Crown label). Now would this be the first pressing or a somewhat later budget pressing? I cannot see any "Recorded at Sound Enterprises" mention.

Did some checking on the Leo De Gar Kulka / Sound Enterprises connection. His nephew David wrote me back ... and according to David, Leo's Hollywood studio was "International Sound" -- located @ Sunset & Western. He also said that Leo did some engineering at Gold Star. To his knowledge, Leo didn't have anything to do with these Crown big band recordings.

Okay ... it appears that we have some agreement here on the musical merit of these sessions. I'm not going to take anything away from the efforts of Billy May for Time-Life, but Maxwell Davis -- and these excellent, respected sidemen -- really did put a lot of especially great performances on tape. And now, they have made it on to CD.

The only two men who could answer the question of where & when they were recorded are Joe Bihari, who is still alive -- and B.B. King, who could at least answer the question concerning the Basie and Ellington albums. I do not know how to get in touch with either one of them. And would King even want to talk about it?

Seriously,we know the titles of the tunes, and the musicians. All we need to complete the history of the discography are the dates, the location, and personnel.

Hmm.

[Stereojack]

I agree all the way. I never understood how any real jazz fan and record collector could ever shell out any money for those Time-Life series. Note-for-note carbon copies of the original records probably made just because some hi-fi geek managed to convince the casual mom and dad record club subscriber of those 50/60s that the sound of the originals was oooh so bad and hi-fi was all the rage and the way to go.

How could those records ever pretend to be the real thing anyway to collectors ...?

Were the solos recreated, or just the arrangements? Assuming the latter, I think there is place in jazz for presenting newly recorded classic arrangements. They are not a replacement for the real deal, but certainly present an alternate way of experiencing the music, especially if the originals were lo-fi. IMHO.

Now, if they were playing transcribed solos, that's another story.

Solos were recreated, note-for-note. No variations. The only selling point was the sound.

[Teasing the Korean]

Solos were recreated, note-for-note. No variations. The only selling point was the sound.

Oh, that explains it.

[Niko]

The only two men who could answer the question of where & when they were recorded are Joe Bihari, who is still alive -- and B.B. King, who could at least answer the question concerning the Basie and Ellington albums. I do not know how to get in touch with either one of them. And would King even want to talk about it?

if i were you i would google one of the sidemen after the other, some of them might still be around, have webpages (and email), and have been waiting for your inquiry more eagerly than bb king... al porcino got a webpage, to start with, but it doesn't look like he's maintaining it himself...

[Big Beat Steve]

Seems like a search for this series in the sales and clearout bins still is worth the effort everywhere.

Went to a massive vinyl clearout in a local secondhand record shop today; little jazz there among the thousands of LPs disposed of but among what I found (plenty enough) I dug out very clean copies of the Bright Orange (716) pressing of the LIONEL HAMPTON LP as well as the CROWN pressing of the STAN KENTON release (CLP 5093, grey deep groove label, record in NM condition), each of them at 2.50 euros. Not bad ...

Am looking forward to digging the Maxwell Davis treatment of the Stan and Hamp originals ... (Larry Bunker doing The Hamp's part sure is something else ...)

Edited November 20, 2009 by Big Beat Steve