V.S.O.P. #111 MODE 130 LAURIE ALLYN: PARADISE
w/Marty Paich (leader, piano, celeste); AI Viola (guitar); Red Mitchell (bass); Met Lewis (drums & percussion); Don Fagerquist (trumpets); Pete Candoli (trumpets); Frank Beach (trumpets); Ed Leddy (trumpets); Lee Katzma (trumpets); Pete Carpenter (trombones); Herbier Harper (trombones); George Roberts (trombones); Vince DeRosa (French horn); Felix Slatkin (violins); George Berres (violins); Joe Chassman (violins); Paul Shure (violins); Irma Neumann (violins); Marvin Limonick (violins); Alex Neimad (viola); Alvin Dinkin (viola); Eleanor Slatkin (cello); Stella Castellucci (harp).
V.S.O.P. RECORDS is pleased to announce the release of V.S.O.P. #111 CD Mode 130 Laurie Allyn: Paradise. The last recording made for Mode Records was this October, 1957 three session set featuring singer Laurie Allyn. Laurie Allyn was performing in Chicago when Red Clyde “discovered” her. She had started singing professionally with Tommy Wolf and Fran Landesman, living and performing at the Crystal Palace in St. Louis. Red Clyde brought her out to Hollywood for two weeks and they made this recording which, due to Mode’s financial woes, was never released. This final Mode recording (though not the last Mode to be released on CD) is a fitting tribute to the end of a worthy undertaking. For this occasion, Marty and Red spared no expense. The twelve selections on this album all feature Marty Paich arrangements. Four were recorded on the first session, which employed an all brass group, plus rhythm section. The remaining eight selections were recorded with a string section, augmented by French horn, guitar, harp, Don Fagerquist’s trumpet, and the rhythm section. This recording is a showcase for Don Fagerquist’s outstanding trumpet work. He solos on almost every selection. Felix Slatkin also displays his virtuosity on violin, on a few of the string numbers. In keeping with the instrumentation and Marty Paich and Red Clyde’s sense of Laurie’s style and temperament, the program offers more ballads than up-tempo selections. Laurie Allyn provides a fascinating recollection of her career as a singer and this session in the liner notes. Of special note is Bones Howe’s contribution to both the recording and the final CD. Bones was brought back in to master and sequence this release so that it would be as close to the original Mode recordings as possible. In addition, he also provided the title. Of course, this CD provides another excellent example of great early stereo sound engineering by Bones Howe.
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