Kathleen Loves Music

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The Dan Danger Show Soundtracks

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Tom and Jerry & Tex Avery Too!: Volume 1, The 1950s

Music composed and conducted by Scott Bradley Album produced by Lucas Kendall & Daniel Goldmark

TCM Turner Classic Movies Music  Distributed by Film Score Monthly  Manufactured by Rhino Entertainment Company

Tom and Jerry & Tex Avery Too! [liner notes] by Fred Seibert

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Album Produced by Lukas Kendall and Daniel Goldmark 

Production Executive for Turner Entertainment Co.: George Feltenstein 

Music Score Remix by Michael McDonald, Private Island Trax, Hollywood, California 

Digital Mastering by Doug Schwartz, Mulholland Music, North Hollywood, California  

Orchestrations by Scott Bradley 

Scott Bradley compositions published by EMI Robbins Catalog, Inc. (ASCAP). 

CD Art Direction by Joe Sikoryak, designWELL, Berkeley, California 

Production Assistance Jeff Eldridge 

Still photographs and other poster images courtesy of Turner Entertainment Co.,  A Warner Bros. Entertainment Company. 

Additional images courtesy Mike Barrier, Bob Burns, and Photofest. 

Special Thanks: Keith Zajic, Mark Pinkus, Dave Kapp, Noni Ellison, Rebecca Bodmer, Nick Corsello, Richard Steele, Bill Rush, Leonard Maltin, Mike Barrier, Keith Scott, Jerry Beck, Mark Kausler, Ned Comstock of the USC Cinema-Television Library, Craig Spaulding, Jonathan K. Kaplan, Alexander Kaplan and Tim Curran. 

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Note: If the copyright holders to these vintage cartoon soundtracks make them readily available we'll happily guide fans towards the releases and remove these files.

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Hank Jones > 'Bop Redux

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Hank Jones > Groovin' High

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Oblivion Records for sale. Well, the music at least.

Oblivion would like to get some money in the hands of the artists we recorded, and given that the releases have been out of print for several decades that's been impossible.

For several years, Travis Pomposello and I have made available for free download the entire Oblivion Records catalog. Five LPs and a single, plus dozens of bonus tracks. But, I know there are a lot of fans that aren't comfortable with free, figuring the quality must be sub-standard (not in our case), or that it's just too much work. Besides, free doesn't generate any income for the artists.

So we've figured out a way to generate income without getting into "the record business" again which is way too much work for too little return, for everyone. And more importantly, from this point on, Oblivion will be giving 100% of the earnings to the original artists or their estates.

Now the complete Oblivion Records* is available digitally at your favorite location. Amazon, iTunes, eMusic, and most of the other download stores have all the releases. As do MOG, Spotify, Rhapsody, or any subscription service of your choosing.** 

Enjoy! 

-Fred Seibert

..... *Excepting Honest Tom Pomposello. We don't have access to the original master tapes, so you'll have to make do with the free, high quality transfers we've made from a clean vinyl LP.

** If you'd like to find out what we've learned about this beta year in the digital music biz, just click here.

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Gunter Hampel, Jeanne Lee, Perry Robinson > Spirits

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As I was routing around our blogs I noticed we’d had a few substantial mentions of early cartoon composer Sammy Timberg by Dave Kirwan and Anne D. Bernstein. It’s pretty hard to find his family’s excellent 2004 CD recreations from his original arrangements for songs from Fleischer Studios’ Betty Boop, Superman, Popeye and others. So, I’m posting {lower resolution than perfect} files of the CD until it becomes readily available again. Like a lot of you, I love cartoon music from back in the day, so enjoy. –Fred

….. Pat Timberg presents Boop-Oop-A-Dooin’ The Songs of Sammy Timberg

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The complete CD booklet: Boop-Oop-A-Dooin': The Songs of Sammy Timberg

….. Copyrights and masters of these out of print recordings are by their respective owners. If this recording is re-released, or the copyright holders object, I’ll delete the posts.

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Richard Davis > Harvest

Richard Davis Harvest Muse Records  MR 5115

Produced by Frederick Seibert Co-produced & arranged by Bill Lee

…… ‘Producing’ the jazz I was involved with was mostly a misnomer, it was actually ‘recording supervision.’ I mean, what was an a rock’n'roll playing, 26 year old kid from the suburbs going to tell a master musician to do? Play faster? Better? The records weren’t always what I would’ve wanted, but they reflected the vision of the artist. That was my job.

….. SIDE A Forest Flower

This Masquerade

Half Pass 

Three Flowers

SIDE B Windflower

Passion Flower

A Third Away

Take the A Train

Forest Flower (reprise)

…… Richard Davis: bass Bill Lee: bass Marvin Hannibal Peterson: trumpet Ted Dunbar: guitar Consuela Moore: piano Freddie Waits: drums James Spaulding: alto saxophone, flute

Recorded at CI Recording 110 West 57th Street New York City May 3 & 16, 1977

Engineer: Elvin Campbell Cover photo: Pat Davis Cover design: Ron Warwell

….. Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

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Eric Kloss > Now

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Joe Chambers/Larry Young > Double Expsoure

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Eric Kloss & Barry Miles > Together

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Linc Chamberland > A Place Within

Linc Chamberland A Place Within Muse Records  5064

Produced by Fred Seibert ….. A guitarist’s guitarist, a musician’s musician, Linc Chamberland was a well kept secret, cherished by those who knew the secret (like Felix Cavaliere, who recruited him for the jazzy era Rascals). This LP was the first of his two solo jazz dates, both for Muse, and was one of my first professional recordings. –Fred Seibert

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[Click on the track names for LP transfers to MP3]

Linc Chamberland: electric guitar Dave Liebman: tenor saxophone +, soprano saxophone ++ Lyn Christie: bass Bob Leonard: drums ….. Recorded June 16 & 17, 1976 Dimensional Sound, NYC Engineer: Skip Juried Art Direction/Design/Photography: Al Wilson

Dave Liebman Courtesy of A&M/Horizon Records

…… Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts. 

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Willis Jackson > The Gator Horn

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David S. Ware > Birth of a Being

David S. Ware Birth of a Being hat HUT Records

Recorded April 14 & 15, 1977 C.I. Recording, 110 West 57th Street, New York, NY 10019  Engineer: Fred Seibert LP Released 1979

This recording is available in an expanded 2CD/DL edition from Aum Fidelity as of November 6, 2015.

David S. Ware: tenor sax, composer Gene Y. Ashton [aka Cooper-Moore]: piano Marc D. Edwards: drums

…… As of November 6, 2015, this recording is available from Aum Fidelity in an expanded 2CD/DL edition. 

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Willis Jackson > In The Alley

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Junior Cook > Good Cookin’

Junior Cook Good Cookin’ Muse Records MR 5159

Produced by Fred Seibert 

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I had very little to do with this album other than making sure the band arrived and recorded the requisite amount of material. Junior had no idea who I was, and truth be told, I didn’t really know much about him or his music either. 

But it was an eventful date for me nonetheless. Muse Records’ honcho Joe Fields booked the date at the world famous Rudy Van Gelder Studios which had been closed for a while due to a family illness. I was in awe and peppered the quiet Rudy with questions until he couldn’t take it anymore. He proceeded to put me in my place by reminding me he’d worked with the greatest producers in history (”Yes Mr. Gelder, I know Mr. Van Gelder.”) and that I should pay more attention to the musicians in the studio than his recording equipment. 

Rudy gave me my first lesson in producing, which started me on the road to a professional career. For which I’m forever grateful. 

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Junior Cook /tenor saxophone Walter Booker /bass Al Dailey /piano Slide Hampton /trombone Bill Hardman /trumpet, flugelhorn Mario Rivera /baritone saxophone Leroy Williams /drums Arrangements: Slide Hampton

Produced by Fred Seibert Recording Engineer: Rudy Van Gelder Recorded at Van Gelder Recording Studios, Englewood Cliffs NJ, on June 17th, 1979 Cover Design: Mark Larson Cover Photo: Carol Friedman

Muse Records MR 5159

….. Liner Notes

This album dramatizes the importance of giving more attention to virile, genuinely creative musicians who have paid their dues many times over and are regarded highly by their peers.  Casting Junior Cook with leadership credits and rights at this late date is emblematic of the conspicuous lack of opportunity for proper recognition, especially in this era of overnight “stardom” and excessive recording…  and of the void Muse is helping to fill.

Juinor Cook has been cookin’ with his hot tenor for over twenty years.  During his long tenure with Horace Silver’s quintet between May 1958 and March 1964, Cook has assuredly demonstrated his sordid ability to communicate an inspired immediacy in his playing; he had already become an eloquent spokesman for hard bop tenor.  At the threshold of the 1980s, Cook’s maturation has long passed the percolating, simmering stage and into the boiling phase as a challenging jazz tenor saxophonist.

The late Blue Mitchell and Cook formed a consistently tight, sympatico twosome of horns for the pace-setting Silver band.  ”Although Blue gained more attention from the jazz community, Junior was every bit the tenor player that Blue was on trumpet,” said Silver.  ”They were an incredible pair.  Junior has an unusual ability to anticipate, to feed on other players’ ideas and to egg others on.”  After they left the band, Cook and Mitchell continued together for 5 years.  Then in the ’70s Cook was engaged in a variety of activities — a few years with Freddie Hubbard, teaching at Berklee College and stints with Elvis Jones, George Coleman among others, plus co-leading bands with Louis Hayes (Timeless-Muse T1 307  ”Ichi Ban”) and more recently with Bill Hardman.  As Horace Silver observed, “Junior’s ableness to sustain himself as a producer working musician for such a long time speaks much in terms of his strengths and credits.”

Bill Hardman has most notably been an intermittent member of Art Blake’s Jazz Messengers for more than twenty years, beginning in 1956, contributing to his melodic, incandescent vitality to the band.  His spirited trumpet has also been heard with the likes of Lou Donaldson, Horace Silver, and Charles Mingus.  Going back to the fifties as a contemporary of Cook’s, they share the celebration of hard swing and classic jazz.  For a couple of years they have been leading a band together with Walter Davis or Mickey Tucker, Chin Suzuki and Leroy Williams — the drummer on this album.

The arranger-trombonist in the front line of horns is Slide Hampton, another alumnus of the Jazz Messengers, an edition in the mid-sixties which sparkled with Hardman, Hampton, Billy Harper on tenor and the rhythm team of McCoy Tyner, Junie Booth and Blakey.  Hampton reminisced: “It was very intense — very heavy company to be in…  Hardman and the rest of the cats ran me ragged.”  After a decade in Europe, Hampton’s return to the U.S. has been met with consuming activity — clinics, concerts, and such special recording projects such as arranging the music for Dexter Gordon and the album at hand.  He was commissioned to do some charts for Woody Herman’s Monterey Jazz Festival concert last year, plus some music for the Tokyo Union Band’s U.S. debut in the upcoming 1980 MJF.  ”Spending optimum time studying and acquiring knowledge about orchestration must come from the individual first,” Slide explained, “so I’m enjoying more and benefiting more by developing my own ability as a soloist than I did before.  Now I play mostly with my quartet or quintet.”

Pianist Albert Dailey and drummer Leroy Williams both play in World of Trombones — Slide Hampton’s nine-trombone band.  Dailey is one of the most talented, consistently refreshing pianists around.  His magnificent 1972 album The Day After The Dawn is a durable gem which illustrates how his playing is affected by his impressive skills in composing and arranging.  ”I’ve always liked Albert’s feeling and conceptual approach.  He’s a very personal player who has his own style,” says Cook.  Dailey’s working dossier is rich and extensive — Gordon, Blakely, Herman, Rollins, Mingus, Getz, etc.  Predictaby he performs with finely-wrought excellence on this album; his voicing and comping are particularly noteworthy.

The bass of Walter Booker is another familiar sound.  Historically, his most prominent tenure was via his seven year alliance with Cannonball Adderly and a long hitch with Sarah Vaughan.  And Leroy Williams’ crisp, tasty swing has been closely associated with pianist Barry Harris for over a decade besides his work with the likes of Booker Ervin, Rollins, Getz, Monk, James Moody, and Yusef Lateef.

From the first pulsating moments of the album’s opening tune, “J.C.,” attention is swayed to the attractive voicing and expansive sound coming from a relatively small  band.  Hampton’s melodic/harmonic approach and coherence in arranging creates a sound beyond the mere four horn ensemble — an ability recalling the nuances and spirit of Tadd Dameron’s harmonic acuity language.  At times it’s reminiscent of James Moody’s band of the fifties.  Cook’s aim was to have Hampton achieve the open harmony of “a small band sounding like a big band.”

“J.C.” was first inspired through a fortuitous circumstance — “I was sleeping and awoke to hear a great sound on the radio — it was Blue Mitchell and Slide playing one of Slide’s tunes based on Coltrane’s ‘Lazy Bird,’” Cook recalled.  The tune was “Trane Changes,” one of three tunes Hampton has now written on the same chords as “Lazy Bird;” Cook had invited Hampton “to do one for me, too!”

Cook lets loose rhapsodically on the old Tommy Dorsey theme song “I’m Getting Sentimental Over You,” and gets off a brisk set of glowing extemporizations with rippling fluency.  Joe Fields reported his impressions from the performance in the recording studio ecstatically: “Junior was blowing up a storm. He was buoyant and magnificent… the piece had no arrangement, but it stuck out like a sore thumb!”

“Play Together Again” offers composer Hampton and Cook a crack up front at the lectern to express themselves.  Hampton’s responsive, shapely statement shows his aforementioned great pleasure in soloing and Cook’s muscular bursts are satisfying.  Dailey’s private imprint adds even more of an invitation to revisit.

The tuneful 24-bar blues with a waltz theme, “Waltz For Junior” spotlights Cook’s mature, firm tone outfitted with power which doesn’t tread into areas of excess.  Hampton and Booker grab a share of the limelight too.

The welcome resurrection of Dizzy Gillespie’s “I Waited For You,” a magnificent tune, has an inexplicably lean recorded history.  ”It’s such a beautiful ballad and hasn’t been done for a long time,” Cook said.  ”I requested Slide to arrange it for me.”  Cook’s ripely plump, expressive tenor solo has a singing clarity of line and he discriminatingly plays only meaningful notes.  Like Bill Hardman, he doesn’t throw away anything…every note having weight in its place.

“Mood” is another appealing emergence from Slide’s inventiveness.  It winds up the album with solos capturing the scents, colors and harmony of feeling in the group.  By the way, the anchor man in the horns is Marlo Rivera who fills out the bottom contours of the ensemble.  I first heard his sonorous baritone at Sweet Basil’s in NYC playing with Cook, Frank Strozier and George Coleman in the octet led by Coleman last winter.  The rhythm section unfolds its tasteful resourcefulness again within the discipline of Hampton’s components.  Cohesion and variety in harmony, melody, and rhythm discloses the unity and daring of the penetrating trio.

Slide Hampton’s words make a fitting addendum on Junior Cook: “The last few times I have played with Junior — I feel he has started to become a giant!  The level of creative energy coming from him was not necessarily frightening…but man, it was really a great experience.  In fact, when we played at the Village Gate, he was approaching the energy comparable to Trane and Sonny!”

Junior Cook and friends have done a lot of good cookin’…rare but well done.

–Herb Wong

….. Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.

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Jaki Byard > Family Man

The CD reissue from 2000

Family Man by Fred Seibert, on Flickr">

Family Man by Fred Seibert, on Flickr"> Family Man">  The original cover from 1978

Jaki Byard Family Man Produced by Frederick Seibert

Jaki Byard: piano, tenor saxophone, alto saxophone Major Holley: bass, tuba, Fender bass Warren Smith: drums, tympani, vibraphone J.R. Mitchell: drums ….. Jaki Byard was one of my great heroes and inspirations when I started listening to jazz in earnest in the early 70s. Wildly and expertly eclectic described best him since he recorded in styles directly linked to stride, swing, bop and the avant-garde, all with authenticity and enthusiasm. When Muse Records' owner Joe Fields asked me to suggest a suitable recording project Jaki immediately came to mind. Never was I happier to be a jazz producer.

–Fred Seibert ….. Muse Records MR 5173 Jaki Byard Family Man

Produced by Frederick Seibert Engineered by Chuck Irwin & Elvin Campbell, CI Recording (110 W57th Street, NYC) April 28 & May 1, 1978

Muse Records Discography

….. Liner notes by Fred Bouchard:

Jaki Byard - pianist, composer, family man. Family man? Yes, indeed.

Whatever paradoxes and inconsistencies may surround Byard’s career, his roles as husband

block chords and willing tremolos that Byard strikes might make some want to count his fingers.

“Mood Indigo/Chelsea Bridge”: “Dedicate this one,” asks Jaki, “to the Fellows who gave me the Duke Ellington Fellowship award at Yale in 1977. For this album I felt like doing a cross-section of my own tunes, but I wanted to include this medley as a tribute to Duke and his alter ego, Billy Strayhorn. Ellington was one of my greatest inspirations, socially and harmonically. He’d ignore mistakes band members made, and make people feel generally very comfortable in his presence. He was also steeped in the knowledge of impressionistic music.” Jaki’s blood affinity for Duke comes out with this deft, lush pairing, played with great feeling. Ellington himself was aware of it; he called in Jaki to cover piano during his final illness.

“L.H. Gatewalk Rag”: Major Holley unbags his tuba for this lighthearted rag that runs on different speeds and colors. Jaki gives programmatic background: “I wrote this in 1975 for the Springfield Symphony at the request of their conductor, Robert Gutter. They were doing some movie themes, and they planned a surprise for the audience halfway through the concert. The orchestra went into a stride, see, and they showed a short of Laurel and Hardy playing clarinet and French Horn. They asked me for some ragtime, but instead of taking an old one, I composed a new one, orchestration and all.” The cackles halfway herald the arrivals of the villains for the rent!

“Ballad for Louise”: This thoughtful study is one of many compositions Byard has dedicated to his wife, Louise (Romano) of Everett, Massachusetts. Warren Smith plays the melody tenderly on vibes, with Byard’s oblique obbligato on huffy tenor, then goes it solo and closes with a slick glissando. The mood created is a very different one, for example, than the jolly, extroverted one that Byard’s New England Conservatory student band, The Apollo Stompers, achieves on another piece to Louise, “One Note To My Wife.” This ode to prayerlike gratitude is footnoted by Jaki: “Any interracial marriage is hard for society to accept, but ours was and has been accepted by our families for thirty years. To me this is one of the greatest acts of God.”

“Prelude #16″ (Time Machine): Byard rarely dabbles with electronics, but here he laces his alto sax with metallic echo, which he plays in unison with piano while Holley boys high harmonics. The effect is eerie and drifting; “It’s a time machine,” explains Jaki, “that goes way back beyond the life of our families, back to all our family, Adam and Eve.”

“Gaeta”: Gorgeous swags of arpeggios pass by in a stately 3/8 as Byard celebrates the splendor of the impressionistic era surrounding Louise’s Italian family. Gaeta is her mother’s maiden name.

“Garr”: A stately, modal 6/8, still impressionistic but with some bluesy fair and a good deal of vigor draws for us Byard’s own mother, herself a pianist, neé Garr. J.R. Mitchell, a drummer whom Byard knew in Boston, until recently a teaching colleague for Jaki’s at Northeastern just down the block on Huntington Ave from NEC and now filling the drum chair of the New York Branch of the Apollo Stompers, provides tasty-cross rhythms.

Here we skip Jaki’s generations and that of his three children, Denise, Diane and Jerald.

“Emil”: Pounding tympani and slashing cymbal introduce Emil as a compelling soul.

FB: Is he wild and wooly?

JB: Damn right!

FB: He carries on a conversation readily, asks a lot of questions

JB: yeah, he’s learning piano at present, and he talks a lot.

Pounding latinesque block chords and octave runs well and fade.

“John Arthur”: A funky, whimsical kid. Good-natured stride. Monkey-see, monkey-do. “We call him Tagalong,” says Jaki. “He’s the youngest, and he tries to keep up with everyone.” As regards kids faced with this kind of music, Byard avers, “They love it. They’re exposed to the contemporary stuff and they’re in tune with those lyrics, but rhythmically, this is where they’re at. This is what they’ll listen to longer than anything else.”

….. Copyrights and masters owned by their respective owners. I’m posting many of my out-of-print record productions from the 1970s. If any of them are re-released, or the copyright owners object, I’ll delete the posts.