15 July 2020

Let's Go Cat Dancing with Harry Geller

This Harry Geller LP is titled, For Cat Dancers Only, which begs the question, "What is cat dancing?"

Well, actually, I'm not sure. I was around when this record came out (1954), but I have no recollection of anyone using the term. (Then again, I was five at the time.)

The cover seems to want to align "cat dancer" with "cat burglar" by putting masks on the gyrating couple. Nor are the liner notes terribly informative. They tell us that the music will make you want to dance and the whole experience will turn you into "the coolest of cats." Apparently this makes you a "cat dancer."
Harry Geller's
disembodied head

The 10-inch album contains eight numbers, all from Geller's pen (he even takes credit for "Stagger Lee") and presumably in his arrangements. This riff-based music is actually highly appealing, being a particularly well played example of the big-band R&B that goes back at least as far as the Lionel Hampton band and its 1942 recording of "Flying Home." Closer to the date of Geller's recording, it is somewhat like the records of Freddie Mitchell and Todd Rhodes, who have appeared here in years past. The Geller band does have a more aggressive rhythm section, which is somewhat akin to the rock 'n' roll to come.

For Cat Dancers Only includes two accomplished vocals by a gravelly voiced singer who is unidentified, as are the fine instrumental soloists.

In 1954, Geller (1913-2008) had already been a big-band trumpet player (Goodman, Tommy Dorsey), an arranger for bands and many vocalists, including Frankie Laine, and an A&R executive for Mercury and RCA Victor. He later worked extensively in television as a composer and conductor.

For Cat Dancers Only isn't seen that often in the record racks, but its successor, New York, New York, is fairly common. UPDATE: fellow blogger Ernie has contributed his transfer of the New York, New York LP - link in the comments.

You also may come across The Eddy Duchin Story LP, which he conducted, and Play, Gypsy, Play, which came to us from the "Fiery Mandolins of Harry Geller."

Patti Clayton and Bob Carroll
As a bonus, I've added a Geller single to the download. It dates from 1950, during his time at Mercury. One side is "Golden Sails on a Sea of Blue" with a smooth vocal by Bob Carroll. There is more information about Carroll on my other blog, where he was featured several years ago.

The other side of the single contains a peculiar quasi-folk song called "The Monkey Coachman," with vocal by the excellent Patti Clayton, who was doing radio work at the time. The songwriter was Michael Brown, whose best known work involved Lizzie Borden taking an ax and giving her mother forty whacks.

I was inveigled into transferring this record by reader and contributor Eric, who requested it some time ago, perhaps in an effort to learn cat dancing. I am happy to oblige, belatedly.

26 comments:

  1. Link (Apple lossless):

    https://mega.nz/file/jZ0D1JbC#bkmrhVnpvkYtRi5SyccaOHgL7uyj3W7V-wMx6vPEnyQ

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  2. FANTASTIC, thanks much!!

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  3. Now we are hearing from the source!

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  4. Dance music? Sign me up! Thanks, Buster.

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  5. Hello StealthMan - You are welcome!

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  6. I found this on a film score site. Here are some remembrances by Geller's son. I am listening to this great album and I am delighted by the band and the charts. It is better than I remember.


    Posted: Apr 20, 2009 - 1:29 PM
    By: stephen geller (Member)

    I'm Harry's son, and was present at a great many recording sessions he did at Mercury and RCA, where he was A&R man on the West Coast. His NEW YORK album - original compositions - for RCA is a knockout, as are some of the cuts from MUSIC FOR CAT DANCERS, a jazz album also from RCA. His tv scores - particularly the later ones - are immensely bizarre, spectacularly played, and always a great pleasure...especially since a good deal of the time they only deal with the action superficially, but he does his own thing, with great musicians like Bob Cooper, Abe Most, Erno Neufeld, Mike Melvoin, etc...The studio composers are the great unsung heroes, and knew more about their craft than the studio heads or producers or directors for whom the composers worked. Imagine doing a film score in ten days, and recording it in two! (Just think how good the concertmaster must be!). Or doing a weekly tv score in two days.

    I remember dragging dad to a Bob Florence gig at Alfonse's. He didn't want to go at all, which I thought was odd - not because he disliked Florence's work. He respected his arrangements a great deal. Rather, he'd been with big bands since the 30's, and had had it. Anyway, he came, and all the musicians - Herbie Harper, Coop, etc., were stunned, and treated him like a God.

    Simply, he was a musician's musician, who had survived enough shit for two towns the size of Vienna.

    I loved the man. He taught me more than anyone else.

    I've many favorite moments. One of the nicest was watching my daughter and he seeing an old Rogers&Astaire musical, on which dad had played, and in which he'd added 32 bars of music for the great couple to dance to -- on roller-skates.

    Then I showed him "Sundays in the Park with George." When it was over, he said, "That's where I live, you know..."

    I could go on.

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  7. Going on a bit...He loved Debussy and Ravel. Those were his masters. And, of course, Gershwin. When dad left the Goodman band in '36, he went to RKO, played horn, and got to do some extra arranging for Gershwin's SHALL WE DANCE. Note in the "Let's Call the Whole Thing Off" number, where Fred and Ginger do a dance on roller-skates, the music suddenly sounds like a big band, particularly a Goodman arrangement. Fred needed 32 more bars of music, which dad arranged on the spot - with the Gershwins as well as Astaire looking on! Dad had to be 25 then.

    Dad was named by an offensive prick before the equally offensive HUAC, and ducked the subpoena by going to Paris.
    We remained there (I was eleven at the time) until the mid-fifties. Came back, and from that moment on, dad became totally apolitical. He was an A&R guy for RCA for several years, then went to Capitol, then toured with the Ames Bros., then did music for the Ernie Ford shows for several years, and then wrote all those tv shows for Fox.

    What I never understood was why he didn't do more films. He scored LOVE HAPPY at Fox for the Marx Bros, and did an amazing job.

    His work was solid, brilliantly crafted, and always surprising. As an arranger, I think he wrote for strings better than anybody else. (He was a child prodigy in Canada, before moving to the US, where he fell in love with the horn and put aside the violin. But he knew that instrument, and loved that section.) Erno Neufeld was his concertmaster at all his recording and tv sessions - proof that he pushed the instrument very far. He did a score for "Hawaii Five-O" that out-Bartok'd Bartok.

    He was at Fox for a helluva long time. Abe Most, the great jazz flautist,wanted to try to do some arranging, so dad gave him a section of a piece for a show, laid it out for him, and asked him to fill it in. So Abe did it, and Mr. Newman was pissed off about it and fired dad on the spot.

    Dad was in his late sixties at the time. At that point, he put down his pencil and turned his back on the music industry. He began to sculpt, and actually got a show in Dallas.

    But it was a bad way to leave the business - bitter.

    Music is too good for that.

    Sometimes I think it's too good for most people.

    And for the other posts: we're not related to Uri Geller. Dad's name was Sitkovetski,and when his parents came from Canada to the US, the Customs guy couldn't spell very well.

    What else is new?

    Steve Geller

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    1. Eric - Thanks so much for this information. Very helpful in filling out the background.

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  8. Hepcat - 1940s early 50s. Cool jazzy.

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  9. Wow! Now you're talking! Never seen or heard this before, but I really dig his New York, New York album. (And I will argue with you about how common it is...) Thanks for finding and sharing this one. Reminds me a little of this Ray Conniff effort, featuring The Cool Cat.

    https://www.discogs.com/Ray-Conniff-And-His-Orchestra-And-Chorus-Dance-The-Bop/master/536237

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    1. Ernie - You right about the New York, New York LP, but it is seen more often than this item.

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    2. I haven't seen my NY, NY LP in years, with the gatefold that opens from the middle, but I also have a 7" version that opens up into three panels. It shorts you a track though. :( Looking for my old rip now, but not having any luck.

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    3. If you go on Youtube you can find hundreds of clips of cats dancing.
      I would like to hear the NY album but I don't want to inveigle, so I'll just patiently wait.

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    4. But are those cats wearing masks?

      I think I have that New York LP, but I have to check.

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  10. At this time in history they should.

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  11. If anyone is after it, here's a copy of my old rip of the New York, New York LP.

    https://mega.nz/file/YUljwAxC#OVYCzBvUadvVTyMGw7ckCCQvWs90I_zm6uyCx-HjGMU

    It's from many years ago, so the bitrate is low, but there are scans. To make it up to you, I've included newer rips of the 3x7" 45 RPM version, but that release omitted one of the songs and I never scanned any images in. But at least you can hear it. Excellent stuff.

    And thanks again to Buster for this cat-tastic 10" that I've never seen before!

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  12. https://mega.nz/file/2opEEAYS#ueF9TPsFR0l6ePeegc0V9ygFcGvu1o7QArcnswO0nmk

    Suddenly, this showed up. It's apropos.

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  13. I have my own copy of this LP (actually bought online a decade or so ago purely because the cover and song titles intrigued me), but a bit about "cat dancing".

    "Cat music" was a now forgotten, short-lived term used in 1954–55 for what became known immediately thereafter as rock 'n' roll. Or maybe we could say that it is to rock 'n' roll what those quaint 1940s terms like "sepia" and "ebony" were to rhythm and blues (which term established itself in 1949).

    Looking at digital newspapers and magazines, "cat music" seems to have been popular for a very short while, from the late spring of 1954 to the following winter. It was used in 28 different articles in Billboard magazine, for instance, from May '54 to February '55, and then disappeared overnight. After that there are just single mentions, e.g. a humorous photo caption in the 10 March 1955 Pittsburgh Post-Gazette described basketball player Jim Cerasi as "maybe [...] just practicing up on some of that 'Cat' dancing so popular with the younger set", and the following summer a syndicated piece by Percy Faith (perhaps tellingly) still referred to "cat music", now explicitly as a synonym for "rock 'n' roll".

    Another reflection of both the term and its brief popularity during this time window of less than two years was Atlantic's subsidiary label Cat, nowadays best remembered for The Chords' original version of "Sh-Boom", ran from April 1954 to October 1955. Its logo shows two cat dancers, a male and a female, with the male wearing a zoot suit and a Lester Young-style pork-pie hat. Crazy, man, craxy!

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    1. Boursin - Thanks so much. That's very helpful and interesting! Now that you mention it, I think I have that Sh-Boom 78; anyway, something on Cat records.

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    2. Boursin- thanks for the knowledge, it is expoobident.

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  14. Cats are cool. Dancing cats are even more cool.

    Thanks Buster, for swingin' dance music for the Hep Cats.

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