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Les Paul

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Les Paul 1947 Lover / Brazil (Capitol 15037)

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ITEM# SR-CA15037
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Les Paul


Lover / Brazil

Released: 1947
Label: Capitol
Catalog: 15037 [78 RPM]
Genre: Pop / Swing
T R A C K L I S T:
01 Lover
02 Brazil
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Les Paul: Galloping Guitars (1951)

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Ratings: C=VG+; LP=VG

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Les Paul


Galloping Guitars

Released: 1951
Label: Decca
Catalog: DL 5376 [10" Lp]
Genre: Pop / Swing / Country
NOTE: Recorded 1944-1947
T R A C K L I S T:
01 Blue Skies
02 Dark Eyes
03 Steel Guitar Rag
04 Guitar Boogie
05 Begin The Beguine
06 Dream Dust
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Les Paul - Les Paul Now! [London Phase 4 SP 44101] (1968)

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Les Paul


Les Paul Now!

Released: 1968
Label: London Phase 4
Catalog: SP 44101
Genre: Jazz, Pop

T R A C K L I S T:
01 How High The Moon
02 Bye Bye Blues
03 The System
04 Whispering
05 I Really Don't Want To Know
06 Tennessee Waltz
07 Lover
08 Little Rock Getaway
09 Sleep
10 Caravan
11 Los Angeles
12 Lady Of Spain
13 Golden Earrings
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Les Paul And Mary Ford - Their All-Time Greatest Hits (Murray Hill SLCR-8130) (1980)

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Les Paul And Mary Ford


Their All-Time Greatest Hits

Released: 1980
Label: Murray Hill
Catalog: SLCR-8130
Genre: Light Jazz / Easy Listening
NOTE: Manufactured by Capitol Records
T R A C K L I S T:
01 The World Is Waiting For The Sunrise
02 Just One More Chance
03 Little Rock Getaway
04 I'm Confessin'
05 I'm A Fool To Care
06 Tennessee Waltz
07 Tiger Rag
08 Whither Thou Goest
09 Josephine
10 My Baby's Comin' Home
11 How High The Moon
12 In The Good Old Summertime
13 Moritat (Theme From "Laughing Eyes")
14 I Really Don't Want To Know
15 Hummingbird
16 Vaya Con Dios
17 Lover
18 Walkin' & Whistlin' Blues
19 I'm Sitting On Top Of The World
20 South
21 Mocking Bird Hill
22 Meet Mister Callaghan
23 Bye Bye Blues
24 Cinco Robles
25 Goofus
26 Whispering
27 Smoke Rings
28 Carioca
29 Amukiriki
30 Jazz Me Blues
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Les Paul Biography

by Richard S. Ginell []

Les Paul had such a staggeringly huge influence over the way American popular music sounds today that many tend to overlook his significant impact upon the jazz world. Before his attention was diverted toward recording multi-layered hits for the pop market, he made his name as a brilliant jazz guitarist whose exposure on coast-to-coast radio programs guaranteed a wide audience of susceptible young musicians. Heavily influenced by Django Reinhardt at first, Paul eventually developed an astonishingly fluid, hard-swinging style of his own, one that featured extremely rapid runs, fluttered and repeated single notes, and chunking rhythm support, mixing in country & western licks and humorous crowd-pleasing effects. No doubt his brassy style gave critics a bad time, but the gregarious, garrulous Paul didn't much care; he was bent on showing his audiences a good time.

Though he couldn't read music, Paul had a magnificent ear and innate sense of structure, conceiving complete arrangements entirely in his head before he set them down track by track on disc or tape. Even on his many pop hits for Capitol in the late '40s and early '50s, one can always hear a jazz sensibility at work in the rapid lead solo lines and bluesy bent notes -- and no one could close a record as suavely as Les. And of course, his early use of the electric guitar and pioneering experiments with multi-track recording, solid-body guitar design, and electronic effects devices have filtered down to countless jazz musicians. Among the jazzers who acknowledge his influence are George Benson, Al DiMeola, Stanley Jordan (whose neck-talan_parsonsing sound is very reminiscent of Paul's records), Pat Martino, and Bucky Pizzarelli.

Paul's interest in music began when he took up the harmonica at age eight, inspired by a Waukesha ditch digger. Paul's only formal training consisted of a few unsuccessful piano lessons as a child -- and although he later took up the piano again professionally, exposure to a few Art Tatum records put an end to that. After a fling with the banjo, Paul took up the guitar under the influences of Nick Lucas, Eddie Lang, and regional players like Pie Plant Pete and Sunny Joe Wolverton, who gave Les the stage name Rhubarb Red. At 17, Les played with Rube Tronson's Cowboys and then dropped out of high school to join Wolverton's radio band in St. Louis on KMOX. By 1934, he was in Chicago, and before long, he took on a dual radio persona, doing a hillbilly act as Rhubarb Red and playing jazz as Les Paul, often with an imitation Django Reinhardt quartet. His first records in 1936 were issued on the Montgomery Ward label as Rhubarb Red and on Decca bacarole_king blues shouter Georgia White on acoustic guitar. Dissatisfied with the electric guitars circulating in the mid-'30s, Paul, assisted by tech-minded friends, began experimenting with designs of his own.

By 1937, Paul had formed a trio, and the following year, he moved to New York and landed a featured spot with Fred Waring's Pennsylvanians, which gave him nationwide exposure through their broadcasts. That job ended in 1941 shortly after he was nearly electrocuted in an accident during a jam session in his Queens basement. After a long recovery period and more radio jobs, Paul moved to Hollywood in 1943, where he formed a new trio that made several V-Discs and transcriptions for MacGregor (some available on Laserlight). As a last-minute sublood_sweat_tearsitute for Oscar Moore, Paul played in the inaugural Jazz at the Philharmonic concert in Los Angeles on July 2, 1944; his witty chase sequence with Nat Cole on "Blues" and fleet work elsewhere (now on Verve's Jazz at the Philharmonic: The First Concert) are the most indelible reminders of his prowess as a jazzman. Later that year, Paul hooked up with Bing Crosby, who featured the Trio on his radio show, sponsored Les' recording experiments, and recorded six sides with him, including a 1945 number one hit, "It's Been a Long, Long Time." On his own, Paul also made several records with his Trio for Decca from 1944 to 1947, including jazz, country, and Hawaiian sides, and backed singers like Dick Haymes, Helen Forrest, and the Andrews Sisters.

Meanwhile, in 1947, after experimenting in his garage studio and discarding some 500 test discs, Paul came up with a kooky version of "Lover" for eight electric guitars, all played by himself with dizzying multi-speed effects. He talked Capitol Records into releasing this futuristic disc, which became a hit the following year. Alas, a bad automobile accident in Oklahoma in January 1948 put Les out of action again for a year and a half; as an alternative to amputation, his right arm had to be set at a permanent right angle suitable for guitar playing. After his recovery, he teamed up with his soon-to-be second wife, a young country singer/guitarist named Colleen Summers whom he renamed Mary Ford, and reeled off a long string of spectacular multi-layered pop discs for Capitol, making smash hits out of jazz standards like "How High the Moon" and "Tiger Rag." The hits ran out suddenly in 1955, and not even a Mitch Miller-promoted stint at Columbia from 1958 to 1963 could get the streak going again. After a bitter divorce from Ford in 1964, a gig in Tokyo the following year, and an LP of mostly remakes for London in 1967, Paul went into semi-retirement from music.

Aside from a pair of wonderfully relaxed country/jazz albums with Chet Atkins for RCA in 1976 and 1978 and a blazing duet with DiMeola on "Spanish Eyes" from the latter's 1980 Splendido Hotel CD, Paul was long absent from the record scene (some rumored sessions for Epic in the '90s have not materialized). However, a 1991 four-CD retrospective, The Legend & the Legacy, contained an entire disc of 34 unreleased tracks, including a breathtaking electrified tribute to the Benny Goodman Sextet, "Cookin'." More significantly, Paul began a regular series of Monday night alan_parsonsearances at New York's Fat Tuesday's club in 1984 (from 1996, Les held court at the Iridium club across from Lincoln Center), attended by visiting celebrities and fans for whom he became an icon in the '80s.

In 2005 American Made World Played by Les Paul & Friends was issued. Unlike most albums featuring "famous" friends, this contained some exceptional music. The list of contributors was impressive: Keith Richards, Buddy Guy, Eric Clapton, Richie Sambora, Jeff Beck, and even a sampled Sam Cooke. One of the highlights was a duet with Steve Miller (who Les Paul had babysat for in 1950) on "Fly Like an Eagle." Although arthritis slowed Paul's playing down in his later years, he continued to perform, with his repertoire largely unchanged from the '30s and '40s, practically up to his death due to complications from pneumonia in 2009 at age 94. At any given gig, one could still learn a lot from the Wizard of Waukesha. A remarkably gifted and farsighted guitarist, Paul's contribution to popular music must inevitably center upon his pioneering work on multi-tracarole_king and his creation of the solid-body guitar. It would be sad, however, if his efforts in these directions wholly concealed his considerable abilities as a performer.
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