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ALL THIS AND CHA CHA Too DON SWAN AND HIS ORCHESTRA

In the dreamy tropic isles of the Caribbean, where Spaniards planted their culture over four centuries ago, live some of the “dancingest” people on earth. Los ninos dance almost before they can walk... Los abuelos — the grandparents — dance after they can no longer walk. Even religious processionals and the solemn moments of life take on a terpsichorean expression quite as definitely as the happy hours of fresta.

Some of the natives dance in a heelless slipper called chancleta. The flapping of these slippers in the three quick steps of the break make a cha cha cha sound. This is one explanation of the origin of the name.

Regardless of origins, cha cha cha appears destined to remain a long time. A Los Angeles cha cha cha club mushroomed to a membership of five hundred over night. Night club proprietors and dancing teachers report an enthusiastic interest in the “tripple mambo” — as some describe the cha cha cha.

As fine as was Don Swan’s first Liberty album (“Mucho Cha Cha Cha”) it is eclipsed by “All This and Cha Cha Too.” Classic pop standards have been dressed with a clave beat that is fresh and warm. “Stardust” was the most difficult to transform into a Latino but Don neatly turns the trick. Even “Million Dollar Baby” makes the grade with a lyric in Spanish.

Through sheer coincidence Don assembled the original trumpet section of Woody’s First Herd: los senores Can-

SIDE ONE

1. AINT SHE SWEET (Yellen-Ager) ¢ Advanced Music, Inc. ¢ ASCAP..

THIRD MAN THEME (Lord-Karas) ¢ Chappell & Co., Inc. © ASCAP

| FOUND A MILLION DOLLAR BABY (Rose-Warren-Dixon) © Remick Music Corp. «© ASCAP

2

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4. AIN’T WE GOT FUN (Whiting-Kahn-Eagan) ¢ Remick Music Corp. « ASCAP

5 | CAN’T BELIEVE THAT YOU’RE IN LOVE WITH ME (McHugh-Gaskill) ¢ Mills Music, Inc. ¢ ASCAP

6. IF | COULD DREAM (Don Swan) ¢ Rolomar Music « ASCAP

doli, Porcino, Lewis and lead trumpet man, Conrad Gozzo. Add to this happy fact the artistry of the most formidable Latin rhythm section in business with el jefe Chico Guerrero on timbal and Modesto Duran on conga

. add the talented trombone of Dick Nash, the sensi- tive piano of Al Escobar and George Hernandez, the harp which Don utilizes so effectively, lead sax man Skeets Hereford’s section with Buddy Collette, Jerry Kasper and Augie Alcaraz—who also plays the most impressive Latin-American flute in this hemisphere — (an instrument which Don’s modern cha cha arrangements have raised to new importance) . .. Add all these bright musicai facts together and you have an album that above all else is danceable.

And a saludo to the Liberty sound engineers who have captured that music with a realism that will thrill every hi-fi fan! So roll back the rug, put the needle in the groove, and let’s dance! ;Viva la fiesta! ;Viva cha cha cha!

Una Palabra about Don Swan

From the standpoint of national ancestry, Don Swan is about as Latin-American as a wienerschnitzel. He was born in Wisconsin of German stock. But despite his lack of Spanish blood, his feeling for Latin music is as authen- tic as that of the best native aficionado or compositor (fan or composer).

LRP 3068

LIBERTY

In the late thirties Don was a jazz arranger. It was dur- ing this period that he wrote his famous “Dream A Little Dream Of Me” which has graced the Hit Parade on three widely separated occasions.

In 1940 — after intensive study — he decided to spe- cialize in Latin-American music and started arranging for Xavier Cugat and his singers Miguelito Valdez and Lina Romay. Don’s arrangement of “Tico Tico,” which was recorded by Cugie in 1940, still stands as one of the Maestro’s all-time best sellers. Perez Prado and Desi Arnaz have also profited by Don Swan’s arrangements.

Don has fronted his own bands since 1943. He now spends a few months each year in Miami or Havana in order to keep his finger on the ever-changing pulse-beat of los ritmos latinos. He is under long-term contract to Liberty Records.

—Vance Graham

Vance Graham began radio announcing over twenty years ago at KOA, Denver. In 1943 he became producer of “One Man’s Family” and Bing Crosby’s “Music Hall” on NBC in Hollywood. Since 1947 he has produced and announced one of the most popular Latin-American record shows on the west coast — “Bolero Time” — currently heard Sunday mornings on KDAY, Santa Monica. Vance is the only Anglo-American member of the Board of Direc- tors of the Mexican Chamber of Commerce of Los Angeles. For his promulgation of better inter-American understanding he has been awarded numerous citations and titles, including “Mr. Pan America” of 1955 and “Mr. Goodwill Ambassador” of 1956. Each summer he organizes a study tour to Mexico for adults who desire to improve their knowledge of the language and culture of the country.

SIDE TWO

2:35 1. MINKA 3:08 (Jay Milton) ¢ Republic Music Corp. ¢ BMI

2:47 | 2. DREAM A LITTLE DREAM 2:30 (Swan-Andre-Kahn) © Words and Music Corp. «© ASCAP

2:48 3. BUTTERFLY 2:29 2:32 (September) ¢ Aberbach, Inc, ¢ BMI

4. STARDUST : 3:40 (Charmichael-Parrish) ¢ Mills Music, Inc. ¢ ASCAP

9:55 5. WHERE’S THE MELODY 2:53 (Gutierrez) ¢ Alameda Music Co. * ASCAP

2:13 6. LAURA 3:00 (Mercer-Raksin) * Robbins Music Corp. «© ASCAP

ABOUT SPECTRA-SONIC-SOUND ...LIBERTY’S SPECTRA-SONIC-SOUND is a process which incorporates the use of an advance design of the famed Telefunken microphone in conjunction with Altec Lansing power amplifiers and Ampex Recorders. This combination, plus special microphoning and studio acoustics, has been utilized to reproduce a brilliant sound. Correct balance between vocal and instrumental groups gives all LIBERTY recordings outstanding clarity and presence for maximum high fidelity listening enjoyment. For best results, use the RIAA equalization

Producer: Simon Jackson * Cover Photography: Garrett-Howard ® Engineers: Ted Keep and Jack Robson curve. Frequency response is from 40 cps. to 15,000 eps.

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