Marilyn Maye Step to the Rear RCA 1967

Marilyn Maye Step to the Rear RCA 1967 CAT# LSP 3897

Accidentally bought two copies of this LP, but to my surprise, I ended up with two different variants. One of which would appear to be an original 1967 black label RCA, the other, a later pressing on an orange RCA label. The later pressing would speak volumes to the Kansas City singers popularity, I mean, if they had to repress LPS, apparently there was once a substantial market for the singer.

The differences between these two are minimal, but as you can see in the photo, the original has a green backdrop while the other has a blueish color used in the backdrop. What's also odd is the label on the repress reads, "Make Mine Marilyn Maye" rather than the title, 'Step to the Rear.' The track listing and everything else is the same. Even the stampers in the dead wax read the same. Makes you wonder if perhaps RCA was initially going to repackage the LP as a budget title in a separate cover to capitalize on some television appearance or jump in popularity for the singer, but at the last second, just decided to use the same cover with a slight alteration.

It's not a bad album, in her show tunes style, she covers some hits of the day. "Ode to Billy Joe" is well, groovy. There's also this over-the-top, sultry, version of Bobby Hebb's "Sunny", which is kind of fun.

Step to the Rear

City Light Orchestra "Tain't What Cha Do City Light Records 1985

City Light Orchestra "Tain't What Cha Do City Light Records 1985 CAT# CL102

I thought I had discussed multiple City Light Orchestra releases by this point, but apparently, only just one (Light Orchestra). Looking at that release, appears they were using the moniker the Light Orchestra, but by this release, changed to City Light Records.

Like the prior, this is surprisingly good. I dig the vocalist, David Basse, who has a rough delivery. He's not a perfect singer, but his gimmick works. He's likely trying to channel some Louis Armstrong, but sometimes he has enough gravel in his voice to remind you of a cleaned up Tom Waits.

The album does suffer from some stylized production typical of the 1980's. When it goes that direction, it's loses it's appeal, becomes more about style than it does jazz. Oddly, the group traveled to Cerrillos, New Mexico to record the album, for a Kansas City based jazz group, but whatever floats their boat. Also, the cover would never give anyone the idea this is a jazz LP, cover makes you think terrible new-wave.

David Basse, still making the rounds, apparently

Stan Kenton Kenton with Voices Capitol 1957

Stan Kenton Kenton with Voices Capitol 1957 CAT #T810

I think this is my last Kenton record until someone just dumps them on my lap. Which, judging by the water stains on this LP, I think someone did just give me this...I hope I didn't buy it (although, the vinyl is pretty nice).

I've been through multiple Kenton releases and I'm at the point where I'm pretty sure I don't need to hear anymore. This sat on my 'To Be Listened To' shelf for months before I finally put it on. And, like all the Kenton LPs I've heard, it's about ten times better than I though it would be. He's just an artist that's really easy to listen to. Sure, he's square, but he excelled at taking sophisticated musical ideas and making them sound natural.

Kenton With Voices sounds a product of it's time in many places, you know, like grandma and grandpa music with a mix of some torch songs. Then, out of nowhere, there's these songs that just come out of left-field with space-age, bachelor pad sounds and exotica drum work. Those parts are worth listening in addition to the classier torch songs.

Softly

Various Artists Atlantic Jazz Kansas City Atlantic 1986

Various Artists Atlantic Jazz Kansas City Atlantic 1986 CAT# 81701-1

There are numerous KC Jazz comps out there all of which are good, but this one does a tremendous job showcasing Kansas City as a pioneering city in music. The back liner notes do a much better job than me, but it takes all the artists featured here and connects the dots. From Buster Smith showing up from Texas, Basie from Ohio, and McShann coming from Oklahoma, they all met and played together in Kansas City. They also crossed paths with Charlie Parker. And just as soon as they hit upon a Kansas City sound, they took it nationwide.

What you have hear is the Atlantic Records story of Kansas City. The swing that would transform jazz. The same artists who featured a young Charlie Parker before he revolutionized the genre. And the jump blues performed by Big Joe Turner that would eventually lead others to rock n' roll and be heard in soul records. It's not the complete story, but the selections here are all amazing and tell some of the best parts to it.

Jay McShann Jumpin' At the Woodside

Various Artists The Best of Twin Lakes '72 Vermillion Enterprises 1972

Various Artists The Best of Twin Lakes '72 Vermillion Enterprises 1972 CAT #VES-4004A

There's an intro to this record, a female voice over that advises how cool the Twin Lakes Night Club as it features artists such as Anybody's Guess, Sidra and the Performers, the Chadons, and the Music Tree, it leads you to believe that the Twin Lakes Night Club in Wichita, Kansas had more to offer, but, judging by this album, that was it. Those are the only four performers on the compilation.

Lounge records from the 70's can be pretty entertaining, but this ins't offering anything that really jumps out. Occasionally the lounge bands cover a psych track that goes crazy or is just amazing in it's amateurishness. Or, you get a huge drum break that kids like to sample. This LP doesn't have either of those things.

It's still "groovy" to hit on the feel of 1972, like swinging bachelor type stuff. A vibe probably better suited for 1969, but things take a while to get to Wichita, KS. Sidra and the Performers are mildly psychedelic. The band Anybody's Guess does things rather lo-fi and is fairly groovy on their tracks, putting their version of Mel Tillis' "Ruby" on a mixtape or CD wouldn't be out of the question. The rest is mostly miss, nothing unbearable mind you, but no real standouts...The Chadons actually border on awful.

Chris Connor Witchcraft Atlantic 1959

Chris Connor Witchcraft Atlantic 1959 CAT# SD-8032

Kansas City born jazz singer Chris Connor had a pretty impressive career that's largely forgotten. There's still a click of female jazz vocalist enthusiasts (all of whom would be familiar with Connor), but names like June Christy and Julie London tend to be the only ones you still see in print.

This album placed Connor with arranger Richard Wess who surrounded her with a big band and some string arrangements. It's a decent pairing that allowed her to retain her smokey torch style while embracing pop elements that aren't as obvious in her prior work.

Also, let's be honest, the cover is incredible. The font, the early Atlnatic logo and the colors throughout the picture of the eye. It's top-notch and yet another reason things like old LPs are infinitely cooler than CDs.

When Sunny Gets Blue

Marilyn Maye The Lamp Is Low RCA Victor 1966

Marilyn Maye The Lamp Is Low RCA Victor 1966 CAT# LSP-3626

This was the second LP released by Kansas City vocalist Marilyn Maye in 1966. It attempted to drench her in ballads and to that extent, it doesn't work too well. Her voice is a too big for torch songs and ballads. Maye was better suited for uptempo tunes and theater.

What I love about the copy I found is the fact that it shows how proud people were of the Kansas Citian. I picked it up at a thrift store and whoever had it before kept it like a trophy; it's minty. And not because the prior owner couldn't get down with the tunes, but because Marilyn Maye signed the LP. Maye's autograph is personalized on the backside and reads the following:

"Love to you, Marion. Enjoyed spending the afternoon with you. Thank you for all your help and bless you for enjoying my kinda music. Happiness and all that's marvelous - Marilyn Maye."

I don't know who Marion was, but he or she certainly cherished this LP and whatever relationship they had with Maye. Marion even cut out a magazine review for the LP and taped it to the inner sleeve. What's sad is as much as Marion cherised the LP, years later, it was sadly discarded at a thrift store...I'm just happy I found it.

The Lamp is Low

Marilyn Maye Marilyn...the Most Holly Record Co. 1961

Marilyn Maye Marilyn...the Most Holly Record Co. 1961 CAT# H04

This LP appears to be a demo album for both Marilyn Maye and songwirter, Carl Bolte Jr. It would appear Maye was using Bolte's talent to showcase her own and move onto a major label, while Bolte was using Maye's skills as a performer to help him get into the bigs as a songwriter and a producer.

Of course, that's an assumption. For Maye, if that was the goal, it worked. She went onto a very successful career as a singer, recording a number of albums, appearing in movies and in theater, and making a record number of appearances on Johnny Carson.

Mr. Bolte, not as much, but he remained a succesful musician local to Kansas City. Holly Record Co. featured a number of other releases featuring his originals, running form rock n' roll, to children's music, to jazz. He wrote a Kansas City Royals fight song in 1968, one year prior to the Royals inaugural season. He also, as an alumnus, wrote a Mizzou fight song. So, to that extent, Carl Bolte Jr. was able to carve out an impressive musical career within Kansas City and the surrounding areas.

And, maybe he was just looking to make a buck on his own Holly Record Co. Or perhaps, he saw a super-talented young Kansas City singer in Marilyn Maye and just wanted to move her along to the next stage of her career. However, if that were the case, you'd think there'd be some jazz standards thrown into the mix, not a complete album of originals because NO ONE was doing that in 1961. Whether it was his goal to move to Hollywood on the success of this album or not, it's extremely impressive he was able to craft 10 original pieces for Maye and find backing to release it on his own label.

It's a cool album, Bolte's songs are sharp and center around his keyboards and lyrics he penned. They can seem a bit hokey with a lot of call and response between the vocals and the music, but overall, they swing and the campy attitude of the tunes fit Marilyn Maye perfectly. At this point, it's a bit a collector's item. There's a surprisingly large female jazz-vocal collectors scene, primarily in Japan, that will pay a premium for hyper-obscure albums that are quality. A regional debut album from a fairly well-known singer like Marilyn Maye is a no-brainer for those types.

Marilyn...the Most More of the LP

Ida McBeth Now, Here It Is Me Muzik Unknown Year

Ida did her best to make this a one of kind item,
but Glenda is a bitch and gave this to Goodwill.

Ida McBeth Now, Here It Is Me Muzik Unknown Year CAT #St-10042

This album, based on cover and back sleeve photos, came out in the mid-80s. Looking at a lot of big hair and Miami Vice fashion on the backside. The music is drenched in slick 80's production as well, but, it's surprisingly in touch with KC jazz roots.

Rather than be corny and cliche, the covered songs are rework themselves into a classic jump blues style with a few torch numbers to showcase Ida's softer side. Her voice is strong and can fill a room with ease. The blues numbers are the albums strong point as their nod to history is surprising as based on the cover, you'd expect some sort of slick, 80's female pop-soul LP.

The production is credited to Ida McBeth. She exposed herself to the music scene at an early age moving to Los Angeles and singing in clubs. Apparently there's a 70's album she recorded, but there's no indication on her website that it was ever released. Either way, competent performances from all players and Ida's voice makes it a worthwhile listen. Nothing mind blowing, but strong for a local release. Today, she can still be found recording and performing locally.

Performing recently on the Plaza

Count Basie & Ella Fitzgerald Ella and Basie! Verve 1963

Count Basie & Ella Fitzgerald Ella and Basie! Verve 1963 CAT# ST 90028

Obviously, the title alone should tell most people this is worthwhile. Outside of a couple of tracks prior to this release, this was the first time Ella Fitzgerald recorded with Count Basie. They would continue working together from time to time afterwards. Considering this was released in 1963, it's a bit surprising that the two hadn't done more work together, you would have thought they'd met up at the peak of their careers, not it's twilight.  Which is kind of illustrated in the cover, it looks like two old folks having a chat at their retirement home.

That said, still and enjoyable album. Basie and Fitzgerald were both capable of doing their best work at this time, it was only their scene that was fading, not their talents. Like other Norman Granz supervised albums of the era, Granz tapped a young Quincy Jones to arrange. His arrangements are pretty tight and don't allow Basie to explore much. The focus of the album was clearly to showcase Ella. It's an easy album to listen to with a number of highlights.

On the Sunny Side of the Street

Marilyn Maye The Second of Maye Live From the Living Room RCA/Victor 1966

Marilyn Maye The Second of Maye Live From the Living Room RCA/Victor 1966 CAT# LSP 3546

The back cover to this LP reads; "You don't need a big orchestra behind you-When you're Marilyn Maye." To extent, it's right, she does have a booming voice. This a live LP (I'm sure with tons of overdub) recorded with a quintet fronted by Sammy Tucker.

It's a cool record, her voice is way out front and seems "live" enough.  It's also very 1966.  Not space-age, bachelor-pad 1966.  It's what you'd expect from female jazz vocal of the era.  Very cocktail hour, almost lounge, but still holding onto jazz just enough to not go pop.

Also, if you're wondering, it's her second album for RCA/Victor.  But, you probably figured that out from the clever title.

Stan Kenton Artistry in Rhythm Capitol 1947

Stan Kenton Artistry in Rhythm Capitol 1947 CAT #H167

There's a bunch of Kenton comps that go by this title and there's even an album previously discussed, New Concepts of Artistry in Rhythm.  It's all because this is widely considered his signature album during his big band period.

It's an enjoyable collection of music.  If someone just threw it on and listened to it today, I'm not sure they'd call it jazz.  It sounds much more like a soundtrack score.  The stuff Kenton was doing wasn't really for dancing, he was trying to advance the art form and usually comes off pretty pompous in liner notes.

The best moments and the ones I think people can grab onto easier now-a-days are the tracks featuring a cool-toned June Christy, "Willow Weep For Me" and "Ain't No Misery in Me."

Ain't No Misery in Me