Ray McKinley and Eddie Sauter - the Majestic Recordings

Eddie Sauter and Ray McKinley

The great arranger Eddie Sauter made his name with Benny Goodman, but the many songs he arranged for Ray McKinley's excellent postwar band deserve to be remembered as well.

Previously I've posted McKinley's complete RCA Victor recordings, including a number of Sauter compositions. I've now remastered that set in ambient stereo.

Today we'll explore: 

• The sides that McKinley made for the small Majestic label just before joining Victor, specifically the 19 songs that Sauter arranged for the band, including many of his own works

• As a bonus, excerpts from a radio appearance from the same time period, with two additional Sauter arrangements

The Ray McKinley Band, 1946

I want to acknowledge my friend and frequent collaborator, the indefatigable Dave Federman, who first covered these recordings in his new Substack site, Dave's Desk, which I heartily recommend. Before Dave hipped me (as they said in the 40s) to these recordings, I had not heard them. What a revelation!

Let me quote here from Dave's essay on Sauter and McKinley: "His [McKinley's] recordings for the Majestic label in 1946-7 are, for me, pinnacles of progressive jazz - mainly because they feature Eddie Sauter arrangements. These are so surrealistic and free-form that they represent a parallel to the abstract expressionist art then being developed by the likes of Arshile Gorky and Hans Hoffman. The arrangements often seem goofy and Keatonesque, and are mindful of the playfulness of abstract art before it left the realms of form and representation entirely."

The Majestic Recordings

Here, we'll examine the McKinley-Sauter Majestics in chronological order, as is our usual practice. The set includes all the Sauter arrangements that I know about; there may be more.

Eddie arranged more than his own compositions for the band, and we start off with something far afield from Sauter's own works, Ivor Novello's end-of-war ballad, "We'll Gather Lilacs," in a strikingly good arrangement with a vocal by Ann Hathaway. (She is probably the same vocalist who later issued a well received LP on Motif.)

[Note (November 2024): I discovered that this is not true. There were two singing "Ann Hathaways" in the late 1940s. One was Ann Baker, who appears on this record, a former Louis Armstrong and Billy Eckstine vocalist who also recorded a single for Keynote. She is the artist on "We'll Gather Lilacs." The other "Ann Hathaway" was Betty Ann Solloway, who recorded a single for Avalon and an LP for Motif in the 1950s. I plan to feature both of them later on.]

"Ann Hathaway" (Ann Baker)

Next is one of the many novelties that featured McKinley's genial singing: "In the Land of the Buffalo Nickel," lyricist Bob Hilliard's wacky visit to the old West. This was at about the time that Hilliard was tasting success with "The Coffee Song."

Drummer Paul Kashishian, trumpeters Nick Travis, Chuck Genduso, Joe Ferrante and Curly Broyles

Our first Sauter composition is "Sand Storm," which begins in a bop vein, then settles into an eventful band instrumental with breaks for (possibly) trumpeter Chuck Genduso and clarinetist Peanuts Hucko.

Next, another McKinley specialty - his remake of Gene Raye's "Down the Road Apiece," which had been a hit for Ray, Gene and the Will Bradley Trio in 1940. When Ray sings, "The drummer man's a guy they call Eight Beat Mack," he of course is referring to himself. It's worth hearing, but in truth, Sauter's arrangement could have had more of a boogie-woogie feel.

Teddy Norman

Another ballad was Burke and Van Heusen's "That Little Dream Got Nowhere" from the comedy film Cross My Heart, where it was sung by Betty Hutton. Here it gets a smooth rendition by the talented Teddy Norman.

Next we have three consecutive Sauter compositions, starting with "Tumblebug," a somewhat surreal exercise that starts off in a bop vein, but has guitarist Mundell Lowe throwing in interjections throughout. This is the "abstract expressionism" that Dave mentioned above.

"Hangover Square" was the title of a creepy 1945 film, but Sauter's namesake composition is rather a band tour de force, with the title possibly referring to the musicians' drinking habits.

Trombonists Vern Friley, Irv Dinkin and Jim Harwood

Trombonist Vern Friley was credited on the label for his solo work on "Borderline," another Sauter composition.

Sauter produced a fairly standard but still accomplished big band arrangement for McKinley's "Jiminy Crickets." I'm not sure about the trumpeter, but the alto saxophonist is probably Ray Beller,

In case there is any doubt who leads the band ...

We're back in McKinley specialty territory with his "Howdy Friends (E.T.O. Curtain Call)." (I have no idea what "E.T.O" stands for.) The label credits Ray four times - as the singer, composer, bandleader and via a second subtitle to the title - "Ray McKinley's Theme Song." It's a good piece that allows Ray to credit some of his notable band members. In this version he mentions Ray Beller, Mundell Lowe, Vern Friley, Peanuts Hucko and pianist Lou Stein. The lineup in the live version discussed below is different. 

Next, and moving into 1947 recordings, we have the Harold Arlen-Ted Koehler standard "I Got a Right to Sing the Blues," first recorded by the young Ethel Merman in 1932. Sauter provides space for some appropriate hot obbligatos and McKinley permits himself a few brief scat passages a la Louis Armstrong. The few instrumental choruses are much the most interesting part of this piece. Parenthetically, I'm an admirer of the composers, but this is not one of my favorite songs.

"Red Silk Stockings and Green Perfume" is another off-center adventure from lyricist Bob Hilliard, perfectly suited to the talents of McKinley and Sauter.

Guitarist Mundell Lowe, Ray McKinley, baritone sax Deane Kincaide, vocalist Teddy Norman

"Comin' Out" is a rocking instrumental from the band, featuring McKinley on drums. This, "Red Silk Stockings" and the next number, "The Chief," were apparently unissued on Majestic, but later came out on Savoy and Allegro Elite. The transfer of "Red Silk Stockings" is from a Hit pressing, the others from an Allegro 10-inch LP in my collection.

The following two numbers amount to Bob Hilliard's ventures into ethnic stereotypes - then taken as comic, today as questionable to say the least - "Pancho Maximilian Hernandez (The Best President We Ever Had)" and "Civilization (Bongo, Bongo, Bongo)." The latter song was a big hit. The McKinley version did well, but not as well as the Andrews Sisters/Danny Kaye disc.

The bandleader's contract with Majestic was running down but there was time for two more numbers before he and the band were off to Victor. First we have Sauter's "Mint Julep" (not the same song as the Clovers' "One Mint Julep" of several years later).

Finally, a pensive Lynn Warren sings "Over the Rainbow," dragging the beat out so much that the band seems to be getting impatient.

A Band Remote from 1946

Finally, we have several items from a June 25, 1946 radio remote from Frank Dailey's Meadowbrook, a well known club in New Jersey. This comes from a long-ago bootleg with fairly good sound.

Ray predictably starts out with "Howdy Friends," this time with a shout-out to Sauter. He then segues into a really fine performance of Sauter's "Hangover Square," a bit looser than the Majestic recording above.

Sauter then contributes a dynamic arrangement of "The Carioca," an impressive workout for the band. The set ends with another Sauter arrangement, this one of "Tuesday at 10."

These materials were remastered from items on Internet Archive and from my collection. Majestic's sound was not as polished as Victor's, but is still reasonably good.

Sauter of course went on to form the Sauter-Finegan Orchestra with Bill Finegan. The band's output has been covered on this blog fairly extensively. The most recent post is here; it will lead you to all the previous articles on the band that I've published.

LINK to Ray McKinley and Eddie Sauter - the Majestic Recordings

'Inside Sauter-Finegan' (and S-F Reups)

The Sauter-Finegan Orchestra, circa 1954. Eddie Sauter is at the microphone.
The singers may be Anita Darian and Andy Roberts.

Fourteen years ago I posted four Sauter-Finegan Orchestra LPs and stopped there, although I have several others. Today we have a much delayed restart of the series - along with newly remastered versions of the S-F albums that have appeared here before.

Way back when, I offered the first and second S-F albums, recorded in 1952-53; the fourth LP, from 1953-54; and the Rolf Liebermann Concerto for Jazz Band and Orchestra, from late 1954. More about them below, along with a link to a collection of non-LP recordings.

But first, the new item.

Inside Sauter-Finegan

Today's post centers on the third S-F LP, Inside Sauter-Finegan, recorded in 1954. We might as well start the discussion with the first thing you see - the spectacular Jim Flora cover above, with caricatures of Bill Finegan and Eddie Sauter, who appear to have ingested a few musical instruments for lunch.

The arrangers were actually sober looking fellows such as you might have encountered at a local church service. They just happened to be two of the finest musicians of the day, whose music indeed sounded more like the Flora cover than the Metronome cover below.

Eddie Sauter and Bill Finegan

Sauter and Finegan themselves provided extensive liner notes printed on three sides of the gatefold sleeve. For some reason known only to the producer, the notes on the pieces do not follow the order they appear on the LP. (Also, the type layout on the first page is all fouled up.) Enough griping; there is much good information here.

The title Inside Sauter-Finegan is designed to denote that the LP displays the individual talents of the musicians. Let me spotlight the soloists first; then I'll run down the rest of the numbers.

Nick Travis

The excellent trumpet player Nick Travis is featured on the Ralph Freed-Burton Lane perennial "How About You?", of Garland-Rooney fame, here called "How About Choo" for some reason. Travis is accompanied by a small ensemble selected from the band.

Bobby Nichols

Another trumpeter, Bobby Nichols, is heard in Bill Finegan's nocturne, "New York ... 4 A.M." The bandleaders commented, "Bobby has bushy red hair and looks like what most people think a trumpeter should look like." I dunno, he doesn't look a thing like Louis Armstrong or Dizzy Gillespie. Maybe Red Rodney.

Sonny Russo

Arthur Johnston and Johnny Burke didn't write "Pennies from Heaven" for Sonny Russo (it was for Bing in the film of the same name), but the trombonist does his best to make it his own on this recording, particularly in the spectacular cadenza.

Joe Venuto

Joe Venuto was the xylophone (I believe) soloist in "When Two Trees Fall in Love," which Sauter wrote for him. The bandleaders tagged Joe as a young man with "unlimited potential." He became a long-time studio percussionist. (There's a nice tribute to him here.)

Andy Roberts

Andy Roberts is the vocalist in Willard Robison's second-greatest hit, "Old Folks," written with Dedette Lee Hill. Roberts had excellent diction and a lovely voice, but may have been a touch too urbane for Robison's small-town ethos.

Also on this excellent LP are:

• Sousa's "The Thunderer," called "The 'Thundisbreak'" here, which adapted surprisingly well to the Sauter-Finegan manner.

• Bill Finegan called his "Finegan's Wake" a "mock wake." He writes, "This piece frowns - but if you look (or listen) closely you will see the twinkling eye beneath the frown." His words rearrange the features of the face, but you get the idea.

• "Four Horsemen" is a feature for Bobby Nichols, Nick Travis and lead trumpet Al Maiorca, along with Harvey Estrin on clarinet.

• The other vocalist on the record is Sally Sweetland, whom we recently featured here. Included in that post was "Autumn Leaves" from this LP, but I somehow missed her skillful vocalese contribution to "10,000 B.C.," which as Sauter himself notes, is at base stereotypical "Chinese" music.

• Finally, "September's Sorrow" is Sauter's attempt to "capture the forlorn quality of pleasure irretrievably lost."

LINK to Inside Sauter-Finegan

Reup - New Directions in Music

My original post combined the 10-inch version of the album with the four songs that were later added to make a 12-inch version.

The article includes a brief early history of the band. I wrote, "Although the popularity of the band didn't last, it did start off life with a promising record called 'Doodletown Fifers,' an arrangement of a Civil War tune that became the band's theme. This LP contains that song along with other pieces that are among Sauter-Finegan's best-remembered numbers - 'Moonlight on the Ganges,' 'April in Paris,' a fine arrangement of 'Azure-Te,' and their version of the Troika from Prokofiev's Lieutenant Kije Suite, called 'Midnight Sleighride' here."

A newly remastered version of the LP in ambient stereo can be found via the original post here.

Reup - The Sound of the Sauter-Finegan Orchestra

The band's second album was apparently slated to be another 10-incher, but was expanded to the 12-inch format late in the process by adding the bandleaders' "Extended Play Suite," which had appeared on an EP. To complete my post, old friend Ernie contributed the "Extended Play Suite, Vol. II," which did not appear on the album. 

From the original 2010 post: "The Sound of S-F, intended to appeal to the nascent hi-fi cult, was not designed to be a cohesive record. It offers up a potpourri of vocals, attempts to recreate the 'Doodletown Fifers' success, and even a rhythm and blues cover."

Notable are the three vocals by the great Joe Mooney, including the semi-hit "Nina Never Knew."

This LP also is newly redone in ambient stereo. The original post (and link) are here.

Reup - Concert Jazz

The Concert Jazz LP contains features for Joe Venuto, Nick Travis, Sally Sweetland and Andy Roberts (an elaborate take on "John Henry" that displays his acting ability). Also, Finegan riffs on Gershwin's Concerto in F. Vocalist Anita Darian is featured in the lengthy "Pictures from Sauter-Finegan Land," which has a narration by Roberts. It's a period piece that starts off "Busy, busy, busy highways," goes into generic bustling-city music, and proceeds from there to Vermont and other places.

You'll note that there is another Jim Flora cover on this album.

For some reason I wrote very little about Concert Jazz when I first offered it, so there's no sense sending you back to the original 2015 post. You can find the newly remastered version of the LP via the link below.

LINK to Concert Jazz

Reup - Liebermann - Concerto for Jazz Band and Orchestra

In late 1954, Sauter-Finegan got together with the formidable Fritz Reiner and the Chicago Symphony for a recording of Rolf Liebermann's Concerto for Jazz Band and Orchestra. I posted the results as long ago as 2010, but have now reworked the sound in ambient stereo. 

Actually both the concerto and its disk mate, Richard Strauss' Don Juan, were recorded in stereo but not released as such until later. Back in 2010, a reader provided a link to the stereo tape version of the Liebermann (which still works), and I've now re-recorded the Don Juan from its first stereo release on LP, dating from 1968.

More information and the link can be found via the original post here.

Sauter-Finegan Obscurities

Earlier this year I collected nine non-LP selections from the Sauter-Finegan band for my other blog under the name "Sauter-Finegan Obscurities."

The selections are "Pale Moon" (with vocalese by Florence Fogelson), "Coco Bongo," "'O' (Oh!)," "Of Thee I Sing," "Joey's Theme," "Science Fiction," "Honey Babe," "Don't Be Angry" and "I Am a Camera."

Details on these pieces and the link can be found in the original post.

The LPs are all from my collection; the singles were cleaned up from Internet Archive.

Ray McKinley on RCA Victor, 1947-50

While drummer-singer-bandleader Ray McKinley had a long career, the 1940s were his heyday.  Today we'll look at his longest-lasting band via a selection of 32 recordings he made for RCA Victor from 1947-50.

McKinley (1910-85) became a band musician in his middle teens, joining the Dorsey Brothers at 24. Will Bradley brought him on board in 1939 as a featured artist, labeling his recordings of the time as the "Will Bradley Orchestra Featuring Ray McKinley." Their big hit was "Beat Me Daddy, Eight to the Bar" with a vocal by McKinley, who wrote the piece with Don Raye and Hughie Prince.

McKinley went out on his own in 1942, making records for Hit and Capitol before joining old friend Glenn Miller's Army Air Force Band. After Miller's disappearance in 1944, McKinley co-led the band with arranger Jerry Gray.

McKinley re-started his civilian band in 1946. The group first made records for the small Majestic company, then switched to RCA Victor in 1947.

Saxophonists Deane Kincaide, Billy Ainsworth, Ray Beller, Peanuts Hucko, Pete Terry circa 1947

It was quite a talented ensemble, including at various times Nick Travis, Vern Friley, Ray Beller, Chuck Genduso, Buddy Morrow and Mundell Lowe, among others. Among those handling the charts for McKinley during this period were Deane Kincaide and Eddie Sauter, two notable names among big band arrangers.

One Band, Two Styles LP

About the only collection that RCA reissued from this period was a 1955 LP called One Band, Two Styles, which came out on the budget Camden label. Neither of the two "styles" on the record were entirely characteristic of the McKinley band, worthy though they may be on their own.

Ray McKinley, Eddie Sauter, Deane Kincaide

The first "style" was represented by six compositions by Eddie Sauter recorded at the end of 1947. These surely were earmarked for an album, but it was one that RCA never issued. Only "Idiot's Delight" - one of the more abstruse compositions in the set - was pressed on 78. The rest remained in the vaults until the Camden LP.

Sauter, who made his name with Red Norvo and Benny Goodman, went on to form the Sauter-Finegan Band with Bill Finegan, That band has appeared on this blog a number of times.

 

The second "style" on the Camden LP encompassed a reissue of the 1950 set Ray McKinley Plays Rodgers and Hart for Dancing. This was one of 15 albums that RCA issued simultaneously in an attempt to hypo the band business, which had hit the post-war doldrums. RCA's promotional campaign was called "Here Come the Dance Bands Again," even though the release encompassed everyone from Spade Cooley to Miguelito Valdes. The record company labelled the records as being "Designed for Dancing" - certainly a contrast to the Sauter compositions, which for many listeners might have been designed for head-scratching.

There are two vocals among the Rodgers and Hart songs, one by McKinley, the other by the excellent Dale Nunnally. The Sauter materials are entirely instrumental.

Dale Nunnally

1947-50 Singles

As noted, neither side of the Two Sides LP was characteristic of the McKinley band of the period - at least of its recorded repertoire. To give you a better idea of how the band sounded on record and presumably in its live appearances, I've put together 20 songs derived from RCA Victor singles of the period.

The first thing you may notice is that while only two of the 12 songs on the LP have vocals, 17 of the 20 singles do. Most of the vocal chores are handled by McKinley himself, who often abandoned the drum kit to step out in front of the ensemble. He was an engaging entertainer - I've linked before to a band short from 1946 in which he sings "Hoodle Addle" and introduces the band, including Beller, Friley and Lowe. The "Hoodle Addle" arrangement was by a decidedly more relaxed Eddie Sauter, who even throws in a few "hey baba-re-bop" licks into the mix.

McKinley was always more of a performer than a crooner. He has very little range and doesn't change his approach much from song to song.

Jean Friley

Heard on two vocals are Marcy Lutes, who a decade later made a well-regarded LP for Decca, then essentially disappeared from the scene. She was succeeded by Jean Friley, who is good but gets little chance to shine. The final vocalist was the previously mentioned Dale Nunnally.

Most of the arrangements are unattributed, although Kincaide does get two label credits, being billed as Deane "Look, Ma, No Zither" Kincaide on "The 3rd Man Theme." Much of the repertoire consists of the usual pop songs from the time - "Put 'Em in a Box," "Sunflower," "Little Jack Frost Get Lost" and so on. "The Irish Washerwoman" makes an appearance as "Boogie Woogie Washerwoman."

The sound on all 32 sides is quite good. The One Band, Two Sides LP was drawn from my collection. I remastered the 78s from lossless needle drops found on Internet archive. The download includes label scans, more photos, etc.

McKinley folded his band in 1950, then became a part-time bandleader until the Glenn Miller revival took hold following the release of The Glenn Miller Story in 1954. In 1956 Miller's widow asked him to organize a new band under Miller’s name using the original library and style. McKinley led that band for a decade, making quite a few LPs for RCA Victor.

Note (August 2024): these recordings have been remastered in ambient stereo.

LINK

More from Sauter-Finegan, Florence Henderson and Bruno Walter

More today from the Satuter-Finegan Orchestra, Florence Henderson and Bruno Walter (not together, I should add). These are quick follow-ups to some of the posts that have appeared here in recent months. I'd like to say you have been clamoring for them, but that wouldn't be true, so I'll just say that I hope some of you enjoy them!

A few words about each (you can tell I am tired of writing about these particular artists):

Sauter-Finegan Orchestra - Concert Jazz. This is the troupe's fourth LP (I have the third but can't find it), and it follows a familiar path, with some compositions by the individual maestros, some vocals, including an odd version of John Henry, and interesting arrangements. Great sound, a Jim Flora cover and a scan of the second cover, depicting Sauter and Finegan on stage. Recorded in 1954-55.

Florence Henderson - The Best from Fiorello! and The Sound of Music. My first post by the future Mrs. Brady was surprisingly well received by people who didn't know she sang, or who knew she sang but had never heard her do so. Like that initial LP, this album has potted versions of two Broadway hits of the time (1960) - Fiorello! and The Sound of Music. Henderson once again sounds like Mary Martin, which is especially appropriate in the latter score. The Sid Bass arrangements are loungy, which isn't to my taste in this repertoire.

Bruno Walter/Philadelphia Orchestra - Beethoven Symphony No. 6. Another installment from Walter's Beethoven cycle of the 1940s. Here he takes a break from the New Yorkers, and travels to Philadelphia and the Academy of Music for January 1946 sessions. This to my ear is a less successful performance and recording than the efforts with the PSONY, but enjoyable enough. Below, a Columbia ad from 1946 touting this new release among others. The transfer is from an early LP.

The Second Sauter-Finegan LP - and Bonus EP

My first foray into Sauter-Finegan territory was a resounding success with you, so I have quickly put together this post of the band's second album, from 1953, plus a bonus EP.

The Sound of the Sauter-Finegan Orchestra came out as a 12-inch LP that was possibly intended to be a 10-inch LP when first conceived. The artwork on the cover is for a 10-inch LP - perhaps a clue that RCA had plans to issue this in the smaller format.

 Here's what may have happened. After the 10-inch LP was assembled, RCA decided to switch formats by adding two songs that had originally come out on an EP. The 7-inch EP (Extended Play) format was new, and to mark the occasion, the record company had asked Sauter and Finegan to compose an "Extended Play Suite". This consisted of the suitably titled originals "Child's Play" (from Finegan) and "Horseplay" (from Sauter).

Not that this change makes any difference. The Sound of S-F, intended to appeal to the nascent hi-fi cult, was not designed to be a cohesive record. It offers up a potpourri of vocals, attempts to recreate the "Doodletown Fifers" success, and even a rhythm and blues cover.

The vocals include three by the great Joe Mooney, including the semi-hit "Nina Never Knew," the excellent "Love Is a Simple Thing," derived from New Faces of 1952, and "Time to Dream." Former big-band warbler Anita Boyer does a good job with the awful "Now That I'm in Love," a travesty of Rossini that was a hit for Patti Page. "The Honey Jump" is a cover of Oscar McLollie's number one R&B single, with a typically disastrous band vocal and a kazoo out-chorus.

Also on the LP are the joint S-F compositions "Tweedledee and Tweedledum" and "Yankee Doodletown."

My great friend Ernie has contributed a very significant bonus - Sauter-Finegan's "Extended Play Suite - Volume II," which only came out on EP, in 1954. It contains "Dream Play" (Finegan) and "Holiday" (Sauter). This is complete with scans. Thanks, Ern!

1956 cover - Bill Finegan at the keyboard

I've completed the package with scans of the second issue LP cover, from 1956 (above). Instead of the hi-fi illustration, we have a portrait of the maestros, looking like insurance agents who had wandered on stage. The back cover has a selection of miniature color covers framing the liner notes - one of my favorite motifs from this era. Interestingly, RCA chose to advertise classical records to the Sauter-Finegan buyer. No Elvis records here, although Mario Lanza does sneak in.

The Sound of S-F was a labeled as being "Specially Recommended for High Fidelity Fans" on the original cover, and the sonics are indeed excellent.

Note (August 2024): this has now been remastered in ambient stereo, and sounds even better.

LINK

Sauter-Finegan's First LP

My recent repost of the Rolf Liebermann Concerto for Jazz Band and Symphony Orchestra led to a request for more music by the band that played on that record, the Sauter-Finegan Orchestra.

So here is the first LP by that hyphenated ensemble, in its original 10-inch format (cover above), with the bonus of the four songs added on in 1956 to make the 12-inch album (cover below).

The group was named for Eddie Sauter and Bill Finegan, two leading arrangers of the big band era. Sauter worked for many of the top ensembles, starting with Red Norvo and most notably for Benny Goodman. Finegan was on Glenn Miller's staff, and then wrote for Tommy Dorsey.

The two came together in 1952, aiming to program only original compositions. They were, however, talked out of that idea by their management, who were concerned that the results would not be palatable to a broad public. And finding an audience did turn out to be a problem for the pair - the band only stayed together for five years. Their music was not danceable for the most part and was not hip enough to appeal to Kentonites. Despite the association with contemporary classical music implied by the Liebermann piece - and the promise of "New Directions in Music" on the LP cover - this was not a high-brow group, nor did it include much jazz improvisation.

First Billboard ad, 1952

What it was, was an outgrowth of the big swing bands led by two skillful arrangers who produced delightful light music. It was mainly influential with other arrangers who scored television shows, produced pop instrumentals or backed singers. (A good example can be found in the work Sid Bass did on the Florence Henderson record I posted recently.)

Although the popularity of the band didn't last, it did start off life with a promising record called "Doodletown Fifers," an arrangement of a Civil War tune that became the band's theme. This LP contains that song along with other pieces that are among Sauter-Finegan's best-remembered numbers - "Moonlight on the Ganges," "April in Paris," a fine arrangement of "Azure-Te," and their version of the Troika from Prokofiev's Lieutenant Kije Suite, called "Midnight Sleighride" here.

The bandleaders appeared on the Camel Caravan radio show in 1953

For me, the highlight of the four songs added on to the 12-inch version of the LP was Joe Mooney's vocal on his own "It's Mutual." Not a great song, but Mooney does a persuasive Billie Holiday impression that makes it enjoyable. He and the band were to go on to have a semi-hit with the great "Nina Never Knew." (This cut is on their second album, which also will appear here.) Less successful are the vocals by Florence Fogelson and Andy Roberts, who toured with the band.

In making this transfer, I worked from the 10-inch LP because it seemed to have less added reverb than the later record. I appended the four songs that were added to the 12-incher. The sound is good, with some slight noise on a few of the 10-inch cuts. The download includes a good thesis on Sauter by Alex Chilowicz that contains a useful discography.

Note (August 2024): This material has now been remastered in ambient stereo. The sound is excellent.

LINK