Lionel Hampton “Silver Vibes”

For some reason, I never put this record on, most likely because the cover makes you think it’s not all that much. I mean, a photograph of what I assume is a vibraphone, closeup, from the top—and you know, it may as well be a boardwalk. Or some shit stacked in a warehouse. The vibraphone is one of the coolest looking instruments—but not from the top. I mean, it could be stairs, or a fence. If it was out of context, you’d have no idea what it was at all. Terrible cover. Come on Columbia records! You know how they say “you can’t judge a book by its cover?” That goes for everything, metaphorically or not, and certainly vinyl records. Do I, Mister Smart Guy, have a better suggestion? I certainly do: Lionel Hampton playing the vibes. Lionel Hampton with the musicians on this record. Lionel Hampton partying. Lionel Hampton getting tea. Lionel Hampton and Lionel Ritchie getting tea. Lionel Hampton playing with Lionel Trains. Lionel Hampton in The Hamptons. Lionel Hampton eating breakfast. Lionel Hampton sitting across the desk from some jackass at Columbia Records pleading to have a better album cover. In short, any photograph of Lionel Hampton at all would be better than this cover.

Of course, I am familiar with Lionel Hampton, and as soon as I put this on, I knew it was a mistake to not have worn this record out. Incidentally, me and this record, we’re like the same age. But if I was half this fresh, I’d be getting slapped so much I’d need a weekly dentist appointment. Can’t afford it. Anyway, the liner notes are good and almost make up for the cover. I’ll type a bit: Jangling nerves? Here’s music with a wonderful, silvery tone, varied by the darker colors of trombones. This is smooth, easy-going music, that swings, nevertheless. It goes on. I love the description of the trombones having a “dark color”—it makes total sense when you think about it, and it really does sound lovely on this record, the trombone heavy arrangements with vibes over the top. It’s cool, kind of earthy, and simultaneously breezy and melancholy. Some standards I know, some I don’t, but it doesn’t matter, this is just the perfect record for a Friday night (which it is) to unwind (which I’m doing) while mixing a cocktail from your well-stocked bachelor bar (not exactly doing that; having coffee), waiting for your date to arrive (waiting being the top-heavy part of that sentiment). After this, maybe I’ll put on one of those thrift-store, easy-listening, budget classics: Music for Waiting.

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Sarah Vaughan “The Lonely Hours”

I didn’t know I had this 1964 Sarah Vaughan record, and it’s a good one—I should be putting it on regularly. Twelve bluesy, dramatic songs, arranged by Benny Carter, roughly on the theme of lost love. Sarah Vaughan doesn’t hold back. It’s a nice copy, too, on Roulette records, with that lovely two-tone target checkerboard label. The cover looks like it’s part of an actual painting (no one painted square paintings) that has more deep blue color than any record I own. It’s what looks like a NYC row-house apartment, big steps going up to a darkened front door. The only light is from the bay window, in which a woman, wearing a neglige, I think, is standing, looking out (presumably, in this context, for an absent lover). She may or may not be smoking—a cigarette, that is—one might say she’s “smoking,” as in hot. I don’t talk that way, personally, but I do think it’s odd that she’s white, while Sarah Vaughan, who’s record this is, after all, is black. You’d think they could have found an image that more closely reflected the artist at hand. I wonder if there was a discussion at the label about it. Maybe that’s not so weird, there are sometimes women on the cover of Sinatra records, it’s not always him. White women, of course. No, it’s fucked up.

Quite unrelated, I noticed that there is a Wikipedia page for, besides Sarah Vaughan, a Sara Vaughn—which just struck me as funny because her name is like the more famous singer, but without the “h” in Sarah, and without the second “a” in Vaughan. Sara Vaughn—a middle-distance runner of sufficient success to get a Wikipedia page. She’s 32 years old, five foot one (like the Iggy Pop song), and her race seems to the the 1500 meters—which was close, in distance, to my best race (the mile—but we hadn’t gone metric, yet). Oh, that’s interesting—her best mile time is 4:27—that’s exactly my best mile time! I make nothing of this coincidence—I just take every opportunity to brag about that personal best, since it was not bad for a high school kid in the 1970s. “I’ll Never Be the Same”—is a standout on this record—it’s a familiar song, no doubt I’ve heard Sinatra do it—same with “If I Had You.” “You’re Driving Me Crazy” is another familiar one—I think I know the Kay Starr version—but that song (written by Walter Donaldson) goes back to 1930, the year my dad was born, and was recorded by well over a hundred artists. It makes you wonder if that was even an expression before this song—and if so, where’d it come from? Anyway, I could go on and on—I love all these songs. “(In My) Solitude” and “These Foolish Things (Remind Me of You)” are standouts. It’s a real mood record—I’ll have to keep it in mind for the next time I break up with someone… if ever… again… A notion so distant… I’m sure there’s a song about that.

Bob Terri “Judy, featuring Bob Terri”

I bought this record because of the cover, which is a gigantic, a little bit cartoonish, color portrait of a woman—her face taking up most of the cover—it kind of reminds me of one of the Mad Magazine artist renditions. I don’t know who this is, but I’m guessing, “Judy.” It’s all a bit confusing, I guess because Judy, Bob, and Terri are all first names, so it kind of sounds like a movie: Bob, Terri, and Judy. (There are a lot of movie titles that are two names, but are there any that are three? There must be, but I can’t think of any offhand.) There are liner notes on back that tell us who is Bob Terri, but it reads kind of like a very dry CV—so I didn’t take much from skimming it. There is no date (Internet tells me it’s 1966), and the songs are mostly standards, but with one song (“Judy”) by Terri. Because of the garish cover, and that the singer is a guy named “Bob”—and because of my association of Judy Garland with drag queens, I guess I was sort of hoping this would be a kind of campy, crazy, drag queen record. Though I don’t even know what that would sound like. As it is, it’s a lot of straight, quiet renditions, pretty much piano and voice (with some accompaniment). I guess you could imagine walking into a little, dimly lit piano bar, and it’s just him there playing.

It’s still a little hard to listen to “Blue Velvet” and not think of the movie, Blue Velvet. I don’t want to think about the bar where Dorothy Vallens sang—I’m still trying to imagine a small, dark, perpetually smoky place… pretty much empty. No picture of this Bob Terri, so even if I imagined him, I’d probably be wrong. I guess he wrote the song “Judy” so I’m paying especially close attention to that. It’s a good song. It’s got an intro, then it’s a loving portrait of this Judy. I’m guessing it’s about a real person. I wonder what Judy thought about this song? Well, I certainly hope she was into it, or else she’d be a little creeped out. “Shadow of Your Smile”—that’s a good song, and this is a nice, pretty intense version. I had a fairly negative reaction to this record the first time I heard it, I’m not sure why, but now I’m really liking it. I can listen to this record. And it’s kind of interesting that I can’t really find anything about Bob Terri on the Internet. It was worth buying for the crazy cover, but it’s a nice listening record, it’s really growing on me. And it’s on Terri’s own label—it might be extremely valuable. I feel like I solved one mystery: what this record sounds like—but so many more mysteries have opened up, like: who is Bob Terri, and where is he now?

Stan Getz “Reflections”

This is a 1964 Stan Getz record, with “arrangements by Claus Ogerman/Lalo Schifrin” on Verve Records—11 short songs (I wish they were all longer!)—all really nice—what would be a great make-out record, except you have to get up too often to turn it over—but that’s one of the drawbacks of records, in general, for making out. I don’t know why this made me think about making out—I was not thinking of that; I suppose it’s because there is certain evocative appeal of these songs, and these arrangements, and this playing; that tenor sax is so out front at times it’s almost obscene. Or maybe it’s the songs with the choral arrangements, that sound like a movie (some of it is, such as Charade)—from a pre-rock’n’roll corner of the Sixties—a montage with beautiful people driving in a sports car with the top down, Cary Grant with a sick tan, or maybe Tony Curtis acting semi-inappropriate.

The cover has Stan Getz (I assume; he looks like that one character actor, you know, Jimmy Stewart’s cop friend in Rear Window) lying on a hillside in a seersucker jacket, smoking a cigarette, with an expression of either cool or defeat. It looks to me like the art department blacked out the area directly behind him so he wouldn’t just blend in with the grass, but it ends up looking more like we’re seeing a cutaway of him entombed in a fairly spacious grave. If you were to interpret it that way, you might interpret his expression as “not giving a shit.” You could even imagine this cover as one of those early anti-smoking ads, except he doesn’t look miserable enough, even for a man buried alive. Seeing how the album is titled “Reflections,” I’d have to say he’s… reflecting.

There are some serious liner notes on the back (three columns) by Jack Maher—I’d like to read it all, but maybe tomorrow after coffee. Okay, it’s now the next day. Have any of you reached the point in your life where coffee really does nothing as far as keeping you awake? I mean, it works in that it makes me feel normal, but say, to keep awake while reading three columns of text on the back of an album… no. Isn’t it great that someone would think it was cool to put three columns of text on the back of this album? I’d love to read it all, discuss it intelligently, but I don’t really feel like doing any kind of research right now. I know Lalo Schifrin from film scores, but I don’t know much else. I don’t know the Bossa Nova from a Chevy Nova, and I think the Samba is a pocket of dough, deep-fried and filled with something delicious. I read somewhere that everyone was all pissed off at Getz for “selling out” with this record—and I kind of love that idea, in its quaint sincerity—kind of like the folk people getting mad a Dylan for “going electric.” It’s a good reminder for anyone, in any time period, to step back and realize that even if you could look into the future, you have no idea just how bad things can and will get.