Buddy Cole - Swing Fever (1960)

2017-10-01T13:16:40Z

Buddy Cole - Swing Fever (1960)


A1 Pagan Love Song
A2 Brazil
A3 The Hour Of Parting
A4 The Peanut Vendor
A5 Solftly, As In The Morning Sunrise
A6 Old Devil Moon
B1 Heat Wave
B2 La Rosita
B3 Frenesi
B4 The Moon Was Yellow
B5 Poinciana
B6 Crazy Rhythm

Organ [Hammond] – Buddy Cole
Bass – Red Callender
Bongos – Jack Costanzo
Guitar – Vince Terry
Percussion – Al Stoller, Lou Singer, Milt Holland

It seems like the last thing needed at a Nat King Cole recording session would be another pianist named Cole; there's a "carrying coals to Newcastle" groaner in there somewhere to be sure. But that is just what happened in Cole's late career when the smooth balladeer began concentrating on his vocals and session men were brought in to ripple the keyboards. One of these latter players was none other than Buddy Cole. The two men were not actually related, but that didn't stop many writers from assuming that they were brothers. Even worse, the big man Nat often got the credit for what were actually Buddy's piano solos, not robbing Peter to pay Paul but robbing Cole to play Cole.

Buddy Cole's actual grand moment of clear public visibility was playing piano onscreen in A Star is Born, as in the original version with Judy Garland. Born Edwin LeMar Cole, he was basically more of a behind the scenes artist, attaining an excellent reputation in recording studios as both a player and conductor, providing innovative touches in his use of instruments such as celeste, harpsichord and organ on sessions. Eventually he acquired the deluxe pipe organ originally used in the Hollywood United Artists theatre and built it into his home studio and created albums of instrumental music which have become cherished items in the weird collections of space age pop fanatics.

Cole was raised right in the heart of show business in Hollywood and began working as a theatre organist in the early '30s. In the latter part of that decade he gigged with the dance bands of Frankie Trumbauer and Alvino Rey, among others. He then worked his way into the studios and had a particularly busy schedule creating settings for popular vocal music and jazz singers of the day, including Louis Armstrong, Rosemary Clooney and Tex Ritter. His keyboard stool was a perch from which he was able to contribute to many aspects of popular culture in the '50s. Cole composed the theme for the game show Truth or Consequences and was thus heard noodling during the show for more than a decade.

Examples of Cole's playing and band leadership on recordings include a pair of Bing Crosby's greatest singles, "In a Little Spanish Town" and "Old Man River". Film composer Henry Mancini was one of the first to dig Cole's work on organ, making use of him on the theme for the hit television show Mr. Lucky. Unfortunately, Mancini and Cole then got into a feud about just who had invented the organ sound heard, resulting in Cole refusing to play on the soundtrack album for the show. Around this time Cole began recording a series of sides that are perceived as his masterworks, presenting the organ in various settings including solo and big band. These albums came out on Columbia,, Warner Brothers and finally the more specialized Alshire and Doric labels. Cole was married to Yvonne King, member of the King Sisters pop vocal quartet. His former boss Rey married sister Louise King. The pianist should not be confused with the gay comic of the same name. ---Eugene Chadbourne, allmusic.com

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Buddy Cole – Powerhouse! (1959)

2017-11-12T13:15:04Z

Buddy Cole – Powerhouse! (1959)


01 The Lady Is A Tramp
02 I Let A Song Go Out Of My Heart
03 What Is There To Say
04 Ridin' High
05 Georgia On My Mind
06 Just You, Just Me
07 I'm Begining To See The Light
08 Will You Still Be Mine
09 Fulfillment
10 Don't Get Around Much Anymore
11 Powerhouse
12 Accent On Youth

"A powerhouse," wrote a sixth-grader who had visited one the dav before, "is a big place where everything is going around and around and making lots of power .so the whole town will get lit up."

That isn't a bad description of this Buddy Cole album. The record¬ing studio was a pretty big place. Buddy and his two cohorts were going in all directions with hands, feet, and musical notes. And if the pulsating power they generated doesn't light up the town, then nothing will. Buddy's powerhouse approach to the electric organ has been heard before. But in this session something else has been added. "We wore a little braver," says Buddy, trying to pinpoint this subtle jc nr ,sais quoi. "We kind of didn't give a damn."

Though Buddy's self-evaluation may never-crack Bartlett's "Quo¬tations" as one of the significant statements of our times, it does do a job of explaining the vitality that sparks this album. Buddy's status as a swinging musician has long ago been established and often recounted. So history can be skipped. What's more important is that Buddy has added to his other accomplishment.* by developing a large and striking talent at the keyboard of the electric organ. Leaving cocktail-bar capers far behind. Buddy spreads out those swinging fingers into chordal patterns that begin to sound like sections in a big jazz band. Up-tempo or down, pretty or bold, it all comes out hip and happy, unmistakably Buddy Cole. Buddy's playing reflects taste as well as talent, and the same can be said for his selection of tunes. As a theme song, he resurrects Raymond Scott's Poiverhouse. then lets the current start flowing through a batch of favorites. Duke Ellington heads the list of com¬posers with three tunes to his credit: 1 Let n Sung Go Out of My Heart. Don't Get Around Much Any Mure, and I'm Beginning to See the Light.

Then come songs by such talents as Hoagy Carmichael, Matt Dennis, Cole Porter, Vernon Duke, Richard Rodgers, and others. An original by Buddy. Fulfillment, rounds out the dozen. With Buddy generating his particular brand of jazz, they turn out to be a power¬house dozen, indeed. As the little boy said, "The whole tow will get lit up." ---Editorial note

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Jazz

Buddy Cole - Swing Fever (1960)

Buddy Cole – Powerhouse! (1959)