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Specialty #8000 (10”)   

RLP 8001



Pat Northrop (vcl)  Tony Burrello (p)  


  1. New York, New York (Comden, Green, Bernstein)

   ~Manhattan (Rodgers and Hart) (3:24)

  1. 42nd Street (Dubin – Warren) (1:50)

  2. Love Letter to Manhattan (Harold Rome) (3:53)

  3. Penthouse Serenade (Jason – Barton) (3:02)

  4. Broadway Rhythm (Freed Brown) (1:36)


  1. I Happen to Like New York (Cole Porter) (1:34)

  2. Autumn in New York (Vernon Duke) (3:23)

  3. Lullaby of Broadway (Dubin – Warren) (1:53)

  4. There’s a Boat That’s Leavin’ Soon for New York (George and Ira Gershwin)

  New York, New York (reprise) (4:03)


   “New York, New York, it’s a heck of a town …”

   The way the lyrics put it in the song that opens this LP, and that’s about the size of it. 


   Not everyone falls, naturally enough.  But at the very least, no one is indifferent.  People who live here, or work here, or have escaped from here; people who once came on a visit, and people who’ve never set foot inside the city limits – all of them feel some emotion and(more often, perhaps, than they might admit) it turns out to be just plain love.

   It’s not easy to explain, this love affair between millions of people and this largest collection of concrete and humanity ever assembled.  It’s certainly no easier to understand than any other important love story – like why Romeo felt so strongly about Juliet, or why the guy in the next apartment loves his wife.  But it exists; there’s no doubt at all about that. 

   Part of the fascination of New York may be found in the statistics; we’re got however many million to habitants the last census says we have; we’re got biggest buildings and the most miles of subway.  And surely the number of shows produced on Broadway in any decade, or hot dogs eaten at Coney Island on any given Summer day, would stagger the imagination of whoever might care to add them up. 

   But most of the charm lies behind, below and all around the cold statistics.  Just ask the people who’re born here, and work and play here all their lives.  Or ask all the others who leave their home towns to look for fame and fortune in the Big City (and sometimes even find it).  A lot of New York is in the crowded neon brilliance of Times Square, in “the thrill of first-nighting.”  In the awesome, plunging geometrics of Rockefeller Center.  But it’s also true, as Larry Hart put it in Manhattan. “It’s lovely going through the Zoo.”  In the last analysis, as good an answer as any you’re likely to get is, in the words of Cole Porter (from the 1933 musical, “The New Yorkers”), simply; “I happen to like New York.”  Take it or leave it; if you really can’t tell without asking, you’ll probably never get to know.

   A great many have proclaimed their love for New York in a great many ways, but it’s an odds-on bet that, by and large, the composers and lyricists represented here have done the best job, in songs written for a variety of musicals.  Strangely enough, perhaps, it was three songs from movies scores of the 1930s – Broadway Rhythm, Lullaby of Broadway, 42nd Street – that best caught all the flamboyance of the midtown area in its hey0day.  And, among others, there’s Richard Rodgers and Lorenz Hart (who said it so well in one off their very first and very best tunes, written for the “Gaieties”); the team of Leonard Bernstein, Betty Comden and Adolph Green (represented here by a spritely and sardonic hit from their recent hit show about three sailors let loose “On the town”), and George and Ira Gershwin, who used the vision of “that high life in New York,” as Sportin’ life originally sang of it, as the clincher in a successful seduction in their “Porgy and Bess.” 

   Seductive is just what New York is to those who love it; seductive and beautiful, shines, tawdry, cold or tender – anything that you can make it, and in all its moods a fit subject for unashamed sentimentality. 


   I LOVE NEW YORK, then, is a collection of unabashed love songs t this city, taking advantage of the fact that some of Tin Pan Alley’s most talented citizens have created some of their most memorable efforts on the theme of their affection for “Manhattan, the Bronx and Staten Island, too,”


   Pat Northrop and Tony Burrello bring to these songs one overwhelming asset; they, too, happen to love New York.  Like most of us, they too, happen to love New York.  Like most of us, they might not admit it in so many words in casual conversation – but this album gives them the occasion to come right out with it.  And they make the most of the opportunity, since they also happen to have assets much more specialized than just loving New York; particularly the ability t interpret with rare skill and understanding the music of America’s foremost writers of songs. 


   PAR NORTHROP (who is sometimes, billed as “Patricia,” but prefers not to answer to that name) is a New Yorker of the transplanted variety.  Born in Los Angeles, she came to New York headed for the stage.  Unlike many, she reached it.  Starting out in the chorus of “South Pacific,” she graduated to one of the most celebrated leading roles in the musical theater, playing ‘Laurey’ in “Oklahoma” for two years with the national company and also in a New York revival.  She was the ingénue throughout the highly successful 1951-52 revival of “Pal Joey,” and was starred in “Carousel” during a full summer stock season. 


   TONY BURRELLO has crowded into a relatively brief career considerable success as pianist, composer, arranger, vocal coach and accompanist or some of the outstanding popular singers of the day.  He has played at The Blue Angel and the Stork Club.  Whatever tensions and inhibitions might have been built up by this pace are currently being released via his performances for his own label; Horrible Records (“If it’s a horrible record, it’s bound to be a hit.”).  He is of that other, seemingly rarer of New Yorker; the native-born home-grown kind. 



Produced by Bill Grauer and Orrin Keepnews

Cover by Paul Bacon



125 LaSalle Street New York 27, New York




Henry Morgan in a Selection of His Best and Most Biting Satires and Monologues  

Henry Morgan (narrates)  


  1. Little Riding Hood Rouge (3:58)

  2. Twelve Bottles (1:37)

  3. Googie Morgan on Baseball (3:29) 

  4. The Russian Concert Commentator (2:49) 

  5. Advertising (2:38)


  1. The Truth About Cowboys (3:40) 

  2. Mr. Dooley on John D. Rockefeller (3:31) 

  3. Dr. Heinrich von Morgan on Child Care (2:47)

  4. The Invention of Time (3:36) 

  5. Hey, Bud (2:23)


A word about the artist:

Morgan is an Artist.


A few words about these examples of his Art:


  • 1.Little Riding Hood Rouge 

    • The story as told to the Artist (see above) by an Alsatian carver of netsuke on a rainy day in Juin (June). The dialect employed is that of the Fragonard section of Paris, a district inhabited by fleas, who, it is interesting to note, maintain a market there.


  • 2.Twelve Bottles 

    • A sad tale of the 1880’s.  This is an accurate piece of Americana.  I first heard it from a great-uncle of mine who had a lot of money. Well, enough to stay drunk, anyway.


  • 3.Googie Morgan on Baseball

    • This is anti-British, in a way, but it’s not normal to like absolutely everybody. There are individual Englishmen who are very likeable, but they stay home and let the British enjoy them. Not one word of the foregoing is true, but I like a bit of controversy now and then. 


  • 4.The Russian Concert Commentator

    • This is pro-Russian (see above).  It happens to be pro OLD Russia, but you wouldn’t remember them.  They were aristocrats.  They owned all the land, all the land, and all the people.  The people didn’t like that.  Now look what they’ve got.


  • 5.Advertising

    • There are many more things to be said than there was space for on this record and I hope in future to be able to devote an entire half hour to the subject of advertising.  An immense popular demand will do the trick.  Address your letters to “Advertising Council of America, Mason and Dixon Street, City.”  If you don’t like this material your dealer will be insane to refund your money. 


  • 6.The Truth About Cowboys

    • These remarks were made in the belief that no cowboy has a machine which will play LPs.  If any cowboy should happen to hear this stuff, I plead with him to remember that he and I are Americans and must stand together against a hostile world.  Anybody will tell you what a great kidder I am, too.


  • 7.Mr. Dooley on John D. Rockefeller

    • Finely Peter Dunne, the greatest of American humorists, is the author of this piece.  The material, about the original John S., is considerably better than reading, but the interpreting Artist (see above) is limited. 


  • 8.Dr. Heinrich von Morgan on Child Care

    • I originated this character about fifteen years ago.  Before my time, it was originated by several other fellows, too.  Recently I heard him originated by a fellow on TV.  Pretty good, too. 


  • 9.The Invention of Time

    • Originally this was a sketch with four or five actors in radio, I’ve made it into a monologue because, among other things, we needed something in this space.  Also, it might bring back memories to some old die-hards who remember radio before the war.  Any war. 


  • 10.Hey, Bud

    • Like many of the characters on this disc, this one is from an old radio monologue.  He was invented during the days of gasoline coupons.  This sneak could get you nylons, meat – anything that was in short supply.  I remember he got sugar by distilling Coca-Cola.




Produced by Bill Grauer and Orrin Keepnews

Cover design by Paul Bacon

Photograph by Robert Parent

Henry Morgan’s theme music by Jack Shaindlin



418 West 49th Street New York 19, N. Y.


RLP 8004

Geoffrey Holder’s STEEL DRUM TRIO  

Alfonso Marshall (guitar pan)  Rod Clavery (second pan)  Leonard Ryers (ping pong - #1-3)  Michael Alexander (ping pong - #4-8)  Geoffrey Holder (leader, incidental timba drumming, sticks, and whistling by Holder)  New York; April 21 and 26, 1954


  1. Tennessee Waltz (1:07) 

  2. Mike’s Mambo (2:18) 

  3. Sali, Sali Water (2:11) 

  4. Mambo Jambo (5:17) 


   Trinidad is regarded by many as the musical center of the Caribbean islands.  From Trinidad in about 1937 came the first “steel band” and from there also came Geoffrey Holder’s Steel Drum Trio, to make what may be the first major recoding of its kind ever done in an American studio, under the direction of skilled sound engineers. 

   In the music of the steel drums is found one of the most fascinating examples of a major development occurring in the musical forms of a contemporary cultural group.  Metal oil drums or barrels, common castaways on this oil-producing island, are cut to various sizes and tuned to give an incredibly wide range of percussive tones.  After some two centuries of successive outlawing and reappearance of diverse drum styles, this new phenomenon has, in a few years time, gained prestige and attention seldom accorded to a “native” music. 

   The peoples of Trinidad, British West Indies, a rich mixture of African, French, Spanish, Portuguese, Chinese, and Hindu descent, enjoy an exceedingly varied musical circles.  Much of the so-called Latin American music and dances, as well as Calypso, have come to the United States via the West Indies, where they were synthesized and nurtured from old African and European traditions.  These are but a small sample of the many Caribbean musical modes, and most of the current music of the area has scarcely, if at all, been presented to North American audiences. 

   As indicated, steel drums are relatively an innovation.  The story of their development, as furnished in large part by Geoffrey Holder, goes something like this: 

Drum music was part of the tradition brought over by slaves, imported from the west coast of Africa early in the 18th century to work on the sugar and cocoa plantations.  In 1797, Trinidad became a British colony and slavery was abolished in 1834.  With the growing post-emancipation acceptance of Christianity, all forms of traditional religious and social ceremonies gradually came to be frowned upon, except among the poorer classes.  By 1850, the government was taking steps to suppress some of the bolder celebrations and drum beating, motivated in part by a fear of possible Negro revolts – for the ceremonies and drumming served to unify and intensify the group spirit of the people. 

   By 1884, drum, beating was effectively stamped out through strong police measures.  But the desire to make music in their own way survived and substitute was devised in which bamboo sticks, tubes and poles were struck together or on the ground.  The new sound was called tamboo-bamboo (bamboo drums), from a corruption of the French tambour (drum).  Tamboo-bamboo bands grew into highly skilled groups and competition among them advanced to a point where their instruments were employed as sometimes lethal weapons.  The authorities again found reason to attempt to suppress drumming. 

   Then, in 1937, at Carnival time, when music-making is at its peak, there appeared in the streets of Port-of-Spain a group calling itself “The Alexander Ragtime Band.”  They played only metal “instruments” (brake drums, dust bin covers, wheel rims, steel rods), creating a high-pitched crescendo which wavered in intensity only with the diminishing physical stamina or the whims of the players.  The new instruments were durable and easily obtained, but what is of more importance is that in spite of the novelty, the rhythm of the popular Carnival dances was preserved.

   It was not long before steel drum making developed into a kind of folk technology.  Today, the artisan drum-makers of Trinidad turn out several varieties of steel drums, formed from the tops of oil drums, cut off at appropriate depths and hammered and tuned under heat.  The most versatile of steel drums – the pin-pong – may produce twenty-eight different notes according to the surface position struck, and is tuned fairly accurately in half steps.  In order of descending range, other members of the steel drum family are the alto or second pan, guitar pan, quarto, tune-boom, boom, and bass-kettle.  Recordings of primitive African xylophone and drum music suggest a relationship between the instrumental styles of a long lost homeland and these artistically salvaged throw-aways of industrial civilization. 

   True to tradition, the colorfully costumed steel bands were soon separated into feuding groups.  People grown resentful and bitter from poor economic and social conditions rallied about their favored bands and hesitating to fight the well-protected upper classes, fought among themselves.  Again the authorities considered suppressing drumming, but were put off by committees formed by admirers of the bands and the bandsmen themselves.  By 1949, the steel bands were accepted, and sometimes even supported as important parts of community life, and as skilled professionals. 

While the original steel bands were drawn from the lower classes, today they are found among every racial, economic and cultural level, not only in Trinidad, but in many other Caribbean islands as well. 

   Geoffrey Holder leads a celebrated and versatile troupe of Trinidadian dancers and singers which includes the steel drummers featured here.  They have appeared at dance festivals, in concert, on television, and on Broadway in the Truman Capote-Harold Arlen musical, “House of Flowers.”  (Holder and the troupe can be heard in a group of authentic Caribbean songs on Riverside RLP-4004: GEOFFREY HOLDER and his Trinidad Hummingbirds.)  Holder has achieved recognition primarily as a dancer, but also as choreographer, singer, composer, painter and photographer.  His well-designed but seemingly causal timba drumming, stick rhythms and whistling, as on the exciting rhumba, Arima Tonight, are illustrative of the way I which steel drum music may incorporate additional patterns.  No less intriguing are the brief, passing suggestions of ragtime in Mike’s Mambo, one of the trio’s several original numbers, and the entirely unique, intense treatment of Perez Prado’s Mombo Jambo. 

   In part whimsy and in part representative of typical steel band practice is the inclusion of Tennessee Waltz. It is a most interesting lesson in musicology to note the altered meter and tonality with which another musical culture may interpret a standard part of our own. 

   The interest of Holder and his troupe in the music presented here and on Riverside RLP 4004 is one compounded of pleasure in interpreting familiar rhythms, melodies and words; pride in these examples of their native culture; and the conviction that this music can effectively and compellingly present the sound of the Caribbean to audiences throughout the world. 


A High Fidelity Recording


Produced by Bill Grauer and Orrin Keepnews

Notes by Robert L. Thompson

Cover by Gene Gogerty


418 West 49th Street New York 19, N. Y.


  1. Dragon Walk (1:36) 

  2. Cocoanuts (1:47) 

  3. Arima Tonight (1:44) 

  4. La Bouet (2:33) 

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