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Lucky Strike Cigarettes Remember How Great Vols 1 & 2 Jazz Vinyl LP Records
Records Grade per Goldmine Standard: VG
2-LP Record Albums

An album of unforgettable hits

specially selected for Lucky Strike Cigarettes

by Columbia Record Productions

SIDE ONE

Count Basie—One O’Clock Jump (Count

Basie) Leo Feist, Inc.; ASCAP—3:03

Les Brown—Sentimental Journey (Green-

Brown-Homer) Edwin H. Morris. Inc.;

ASCAP—3:12

Andre Kostelanetz—Night and Day (Cole

Porter) Harms, Inc.; ASCAP—4:11

Mary Martin—My Heart Belongs to Daddy

(Cole Porter) Chappell and Co., Inc.;

ASCAP—2:05

Tommy Dorsey—I Dream of You

(Goetschius-Osser) Embassy Music

Corp.; BMI—2:44

Louis Armstrong—St. Louis Blues (W. C.

Handy) Handy Brothers Music Co., Inc.;

ASCAP—3:01

SIDE TWO

Dinah Shore—Buttons and Bows (Livings-

ton-Evans) Famous Music Corp.,

ASCAP—2:02

Duke Ellington—Mood Indigo (Ellington-

Mills-Bigard) American Academy of

Music, Inc.; ASCAP—2:43

Xavier Cugat—Brazil (A. Barroso) Peer

International; BMI—2:47

Cab Calloway—Blues in the Night (Mercer-

Arlen) Remick Music Corp.; ASCAP—

3:06

Eddy Duch in — Stardust (Hoagy

Carmichael) Mills Music; ASCAP—2:32

Harry James—Ciribiribin (Arr. James) Par-

amount Music Corp.; ASCAP—2:36

The recordings in this album span almost a quarter

century of popular music-making. Together they

constitute a “collector’s item’’—a permanent rec-

ord of these great artists at a significant, never-

to-be-repeated moment in their careers. Although

most of these recordings were originally issued

before the development of the LP, all have been

reprocessed with modern techniques to achieve

brilliance and clarity.

SIDE ONE

One O’CIock Jump was a high-powered vehicle for

many of the top swing bands. Actually, Count

Basie originated the tune back in the '30s as an

untitled “sign off” number. The title came into

being, the story goes, during a late-running radio

broadcast when an alarmed announcer looked at

the studio clock and said: “It’s oneo'clock. Jump!”

Les Brown's Band of Renown scored one of its

greatest successes in 1944. The tune was Senti-

mental Journey, and its nostalgic lyrics struck a

responsive note in a war-weary world. The vocalist

was that up-and-coming girl singer, Doris Day.

Not everybody jitterbugged, of course, and less

acrobatic music lovers have long delighted in the

elegantstyleof Andre Kostelanetz., Popular ballads

took on a new luster when framed in his opulent

orchestral settings. Such stunning Kostelanetz

arrangements as Night and Day did much to in-

augurate the current popularity of mood-music

albums.

Texas-born Mary Martin had been in New York

but two weeks when she landed her first role on

Broadway. Cast as a good-natured gold digger,

Miss Martin won instant stardom with My Heart

Belongs to Daddy, a strip-tease number set,oddly

enough, in a Siberian railway station. The orches-

tra in this 1938 recording is conducted by Eddy

Duchin.

In 1935, the famous Dorsey brothers—Tommy

and Jimmy—went their separate ways because of

a basic disagreement on style. Each formed an

aggregation that reflected a distinctive musical

approach. Twenty years and two notable careers

later, they got together again. The result: this

harmonious recording of I Dream of You—one of

the last records Tommy ever cut.

Nearly thirty-two years have passed since Louis

Armstrong recorded this version of St. Louis Blues.

Satch’s treatment is vivacious, exuberant and

most “unblueslike.” His golden horn and gravelly

voice seem to have changed not at all in the suc-

ceeding decades. Jazz fans will find a bonus in

J. C. Higginbotham's trombone solo.

SIDE TWO

Dinah Shore has enjoyed one of show business’s

widest-ranging careers. Miss Shore first won her

spurs on network radio, went on to featured movie

roles and is currently TV’s hostess par excellence.

Her greatest success as a recording star came in

1948, with the million-selling hit. Buttonsand Bows.

Duke Ellington’s orchestra spans more than

thirty years and warrants a chapter in jazz history

all its own. Immune to passing crazes of the music

business, the Duke has nonetheless achieved wide

popular acclaim with his own compositions, among

them Mood Indigo. This version dates from 1940

and features sleek-voiced Ivie Anderson, trum-

peter “Cootie’’ Williams and Ben Webster on tenor.

Although the tango had enjoyed a considerable

vogue in the days of silent films, it wasn’t until the

advent of Xavier Cugat that Latin-American dance

steps really came into their own. The Spanish-born

violinist and one-time newspaper caricaturist set

America’s hips a-wiggle to the sinuous rhythms of

rhumbas, congas, and such sambas as Brazil.

One of the most colorful figures of the era was

that Hi-De-Ho man, Cab Calloway. Cab made re-

cording magic with his “scat-singing" renditions

of offbeat songs. Frequently overlooked is the fact

that Cab's band housed many of the jazz world's

greatest talents. Present on this 1941 recording

of Blues in the Night, for example, are Jonah

Jones, Dizzy Gillespie, Milt Hinton, Cozy Cole and

Chu Berry.

Many pianists imitated Eddy Duchin, but none

ever captured that special blend of sophistication

and romance that was his alone. In an age of big-

band swing and dance-floor calisthenics, Duchin’s

fame presented a novel contrast. This debonair

rendition of Stardust was recorded in 1939, at the

height of his career.

Ciribiribin was the theme song of the 1939

Harry James band. It was also his first hit record,

selling over a million copies. James reveals his cir-

cus upbringing in the brilliant trumpet flourishes,

reminiscent of cornet solos in concert bands.

COLUMBIA RECORD PRODUCTIONS®

a custom service of Columbia Records

‘Remember how great...? volume2

SIDE ONE

Jo Stafford—Jambalaya (Hank Williams)

Acuff-Rose Pub., Inc.; BMI —2:54

Percy Faith—Song from Moulin Rouge (Eng-

vick-Auric) Gower Music, Inc.; BMI—3:17

The Chordettes—Mr. Sandman (Pat Ballard)

Ed. H. Morris & Co., Inc.; ASCAP-2:22

Andy Williams —Hawaiian Wedding Song

(King-Hoffman-Manning) Pickwick Music

Corp.; ASCAP—2:25

Gogi Grant —Wayward Wind (Lebowsky-

Newman) Warman Music, Inc.; BMI —

2:55

Frankie Laine —Mule Train (Lange-Glick-

man-Heath) Walt Disney Music Co., Inc.;

ASCAP-2:32

SIDE TWO

Guy Mitchell—The Roving Kind (Cavanaugh-

Stanton) Hollis Music, Inc.; BMI —2:47

Rosemary Clooney—Come On-a My House

(Bagdasarian-Saroyan) Duchess Music

Corp.: BMI—1:59

Tony Bennett —Because of You (A. Ham-

merstein-Wilkinson) Gower Music, Inc.;

BMI —2:58

The Champs—Tequila (C. Rio) Jat Music,

Inc.; BMI —2:10

Patti Page—Tennessee Waltz (King-Stewart)

Acuff-Rose Pub., Inc.; BMI —3:00

Cab Calloway—Jumpin’ Jive (Calloway-

Palmer-Froeba) E. B. Marks Music Corp.;

BMI—2:46

In music, as in bank accounts, 1,000,000 is the

magic number. And though record hits may come

and go, the million-selling disc is a landmark in the

life of even the most successful artist. It's known

as the “gold record’’—and has a glamour all its

own.

This album features one dozen such “gold rec-

ords’’—and it is a permanent memory of these great

artists at a never-to-be-forgotten moment in their

careers.

SIDE ONE

Jo Stafford has sung blues and ballads, hip bop

tunes and hillbilly tunes. Jo first won kudos during

the swing era, when she was featured vocalist with

one of America’s great dance bands. But her great-

est success came when she left the bandstand to

strike out on her own. Dubbed “America’s most ver-

satile singer,’’ Jo proved just that with this 1952

novelty recording of Jambalaya.

An album of unforgettable hits—

each one a “million-seller”

Toronto-born Percy Faith made his debut as a

concert pianist of great gifts. But an accident to his

hands, when Percy was still in his teens, forced him

to abandon the keyboard. Faith then turned his tal-

ents to composing, arranging and conducting. His

musical trademarks have always been a rich string

sound and flawless good taste. And both these quali-

ties are very much in evidence in this 1953 record-

ing of Song from Moulin Rouge.

The Chordettes began their career in a grand

American tradition—they were a barbershop quartet.

It wasn’t until 1954 that the foursome turned to Tin

Pan Alley. They won their “golden spurs" with their

second pop recording: the softly swinging Mr. Sand-

man.

When Andy Williams wraps his vocal cords

around a melody, only good things can happen.

Here's one boy from Iowa who just doesn't know

what corn is. Andy started his career as part of a

team, but he set out on his own in 1952. Six years

later, he recorded his best-remembered hit. Hawai-

ian Wedding Song.

Gogi Grant’s catapult to fame was one of the most

dazzling in pop-music annals. In early spring of

1956, she was virtually unknown. By late spring,

Gogi was well on her way to the top of the show-biz

heap. The record rocket that sent her soaring was

Wayward Wind. An immediate hit, the song figured in

the best-selling charts right on through the end of

the year.

Frankie Laine grew up in Chicago in the days when

jazz was king. He served his apprenticeship with

some of its greatest names. Though Frankie has al-

ways numbered jazz connoisseurs among his ad-

mirers, he really hit the jackpot with music fans

at large in the late AO's. Among the hits that sent

Frankie to the pop-music stratosphere was his hard-

swinging rendition of Mule Train.

SIDE TWO

Guy Mitchell struggled for years to develop an un-

usual style. He took a turn at cowboy ballads, dance-

band warbling and night-club material. But nothing

happened. Then Guy decided to sing “just the way

I feel’’—no gimmicks. And success followed, thanks

to such wild-fire recordings as The Roving Kind.

Come On-a My House is one of those rare ditties

that became a smash hit overnight. In 1951 it swept

the country and carried Rosemary Clooney right

along with it. (The bright, bouncy lyrics, by the way,

were by none other than novelist William Saroyan.)

Rosie has been singing professionally since she was

in her teens, and to date her warm, winsome voice

has sold more than 25,000,000 records.

New York-born Tony Bennett came up the hard

way—through talent contests, church operettas and

neighborhood night clubs. Today his engagement

book is a veritable Who’s Who of the poshest spots

in the country. And it is because of such records as

Because of You, Tony’s smash hit of 1950.

One of the most successful groups to hit the

Rock-and-Roll field is the five boys who style them-

selves “The Champs.” The Champs came into be-

ing during a late-at-night record session in 1957.

They had been hired individually to accompany a

featured singer, but the recording exec in charge

was so impressed by the way they clicked as a combo

that he wanted them to be the stars of the next ses-

sion. And stars they were —for that “next session"

launched the million-selling Tequila.

Like Rosemary Clooney and Jo Stafford, Patti Page

came up through the dance-band circuit. And, again

like them, she reaped her biggest rewards when she

set out on her own. Patti’s shining hour came in

1951, when she hurriedly dug up a six-year-old tune

to put on the flip side of a Christmas disc. As some-

times happens, the “sure-fire" tune fizzled, but the

“long shot" came in. The long shot was, of course,

Tennessee Waltz.

Cab Calloway has been in the public eye (and ear)

for more than thirty years. Serious students of hard

swing still tap their toes at just the thought of Cab’s

star-studded band of the Thirties and Forties. But

you needn't be a jazz buff to dig Cab's Hi-De-Ho

“scat singing." All it takes is a funny bone. And Cab

tickled more than one million funny bones with his

delightful Jumpin’ Jive.

COLUMBIA RECORD PRODUCTIONS**

a custom service of Columbia Records