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SELAMAT DATANG DI GEDUNG UTAMA “MERDEKA
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The Vintage Skeeter Davis record History(Piring Hitam antik Skeeter Davis )
Frame One :
The Vintage Les Paul Record Found In Indonesia
(Dr Iwan suwandy Collections)
Capitol record,The Les paul and Mary Ford. Time to Dream(1957)
side one : how deep the ocean(irving berlin) and sweet and lovely(arnheim-tobias lamers)
side two : my silent love(Donna swerse-Edward Heyman) and I surrender dear (Harry Border- Gordon Clifford)
please Indonesian collectors show their collections thanks (Dr Iwan S)
Frame Two :
The Les Paul and Mary Ford History
Les Paul in a live show at Iridium Jazz Club in New York City, 2008.
|Birth name||Lester William Polsfuss|
|Born||June 9, 1915(1915-06-09)
|Died||August 12, 2009(2009-08-12) (aged 94)
White Plains, New York,
|Genres||Jazz, Country, Blues|
|Occupations||Innovator, Inventor, Musician, Songwriter|
|Instruments||Guitar, Banjo, Harmonica|
|Gibson Les Paul|
Lester William Polsfuss (June 9, 1915 – August 13, 2009)—known as Les Paul—was an American jazz and country guitarist, songwriter and inventor. He was a pioneer in the development of the solid-body electric guitar which “made the sound of rock and roll possible”. He is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing (also known as sound on sound), delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention.
His innovative talents extended into his playing style, including licks, trills, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife Mary Ford in the 1950s, and they sold millions of records.
Among his many honours, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame. He is prominently named by the music museum on its website as an “architect” and a “key inductee” along with Sam Phillips and Alan Freed.
Paul was born Lester William Polsfuss outside Milwaukee, in Waukesha, Wisconsin, to George and Evelyn (1888–1989) (née Stutz) Polsfus. His family was of German ancestry and Paul’s mother was related to the founders of Milwaukee’s Valentin Blatz Brewing Company and the makers of the Stutz Bearcat automobile; his parents divorced when he was a child. The Prussian family name was first simplified by his mother to Polfuss before he took his stage name of Les Paul. He also used the nicknames Red Hot Red and Rhubarb Red.
While living in Wisconsin, he first became interested in music at age eight, when he began playing the harmonica. After an attempt at learning the banjo, he began to play the guitar. It was during this time that he invented a neck-worn harmonica holder, which allowed him to play the harmonica hands-free while accompanying himself on the guitar. Paul’s device is still manufactured using his basic design. By age thirteen, Paul was performing semi-professionally as a country-music singer, guitarist and harmonica player. At age seventeen, Paul played with Rube Tronson’s Texas Cowboys, and soon after he dropped out of high school to join Wolverton’s Radio Band in St. Louis, Missouri, on KMOX.
Paul migrated to Chicago in 1934, where he continued to perform on radio. His first two records were released in 1936. One was credited to “Rhubarb Red”, Paul’s hillbilly alter ego, and the other was as an accompanist for blues-artist Georgia White. It was during this time that he began playing jazz and adopted his stage name.
Paul’s jazz-guitar style was strongly influenced by the music of Django Reinhardt, whom he greatly admired. Following World War II, Paul sought out and befriended Reinhardt. After Reinhardt’s death in 1953, Paul furnished his headstone. One of Paul’s prize possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt’s widow.
Paul formed a trio in 1937 with singer/rhythm guitarist Jim Atkins (older half-brother of guitarist Chet Atkins) and bassist/percussionist Ernie “Darius” Newton. They left Chicago for New York in 1939, landing a featured spot with Fred Waring‘s Pennsylvanians radio show. Chet Atkins later wrote that his brother, home on a family visit, presented the younger Atkins with an expensive Gibson archtop guitar that had been given to Jim Atkins by Les Paul. Chet recalled that it was the first professional-quality instrument he ever owned.
Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, NY with a few designs of his own. Famously, he created several versions of “The Log”, which was nothing more than a length of common 4×4 lumber with a bridge, guitar neck and pickup attached. For the sake of appearance, he attached the body of an Epiphone hollow-body guitar, sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, and sustain, as the energy of the strings was not dissipated in generating sound through the guitar body. These instruments were constantly being improved and modified over the years, and Paul continued to use them in his recordings long after the development of his eponymous Gibson model.
While experimenting in his apartment in 1940, Paul nearly succumbed to electrocution. During two years of recuperation, he relocated to Hollywood, supporting himself by producing radio music and forming a new trio. He was drafted into the US Army shortly after the beginning of World War II, where he served in the Armed Forces Network, backing such artists as Bing Crosby, the Andrews Sisters, and performing in his own right.
As a last-minute replacement for Oscar Moore, Paul played with Nat King Cole and other artists in the inaugural Jazz at the Philharmonic concert in Los Angeles, California, on July 2, 1944. The recording, still available as Jazz at the Philharmonic- the first concert- shows Paul at the top of his game, both in his solid four to the bar comping in the style of Freddie Green and for the originality of his solo lines. Paul’s solo on ‘Blues’ is an astonishing tour de force and represents a memorable contest between himself and Nat ‘King’ Cole. Much later in his career, Paul declared that he had been the victor and that this had been conceded by Cole. His solo on Body and Soul is a fine demonstration both of his admiration for and emulation of the playing of Django Renhardt, as well as his development of some very original lines.
Also that year, Paul’s trio appeared on Bing Crosby‘s radio show. Crosby went on to sponsor Paul’s recording experiments. The two also recorded together several times, including a 1945 number-one hit, “It’s Been a Long, Long Time.” In addition to backing Crosby, The Andrews Sisters and other artists, Paul’s trio also recorded a few albums of their own on the Decca label in the late 1940s.
In January 1948, Paul shattered his right arm and elbow in a near-fatal automobile accident on an icy Route 66 just west of Drumright, Oklahoma. Mary Ford was driving the Buick convertible, which rolled several times down a creekbed; they were on their way back from Wisconsin to Los Angeles after performing at the opening of a restaurant owned by Paul’s father. Doctors at Oklahoma City’s Wesley Presbyterian Hospital told him that they could not rebuild his elbow so that he would regain movement; his arm would remain permanently in whatever position they placed it in. Their other option was amputation. Paul instructed surgeons, brought in from Los Angeles, to set his arm at an angle—just under 90 degrees—that would allow him to cradle and pick the guitar. It took him nearly a year and a half to recover.
The Gibson Les Paul, one of the world’s most popular electric guitars, was named after the man who invented it.
Paul’s innovative guitar, “The Log”, built after-hours in the Epiphone guitar factory in 1940, was one of the first solid-body electric guitars. Adolph Rickenbacker had marketed a solid-body guitar in the 1930s and Leo Fender also independently created his own in 1946. Although Paul approached the Gibson Guitar Corporation with his idea of a solid body electric guitar, they showed no interest until Fender began marketing its Esquire and Telecaster models.
The arrangement persisted until 1961, when declining sales prompted Gibson to change the design without Paul’s knowledge, creating a much thinner, lighter and more aggressive-looking instrument with two cutaway “horns” instead of one. Paul said he first saw the “new” Gibson Les Paul in a music-store window, and disliked it. Although his contract required him to pose with the guitar, he said it was not “his” instrument and asked Gibson to remove his name from the headstock. Others claimed that Paul ended his endorsement contract with Gibson during his divorce to avoid having his wife get his endorsement money. Gibson renamed the guitar “Gibson SG“, which stands for “Solid Guitar”, and it also became one of the company’s best sellers.
The original Gibson Les Paul-guitar design regained popularity when Eric Clapton began playing the instrument a few years later, although he also played an SG and an ES-335. Paul resumed his relationship with Gibson and endorsed the original Gibson Les Paul guitar from that point onwards. His personal Gibson Les Pauls were much modified by him—Paul always used his own self-wound pickups and customized methods of switching between pickups on his guitars. To this day, various models of Gibson Les Paul guitars are used all over the world by both novice and professional guitarists. A less-expensive version of the Gibson Les Paul guitar is also manufactured for Gibson’s lower-priced Epiphone brand.
In 1948, Capitol Records released a recording that had begun as an experiment in Paul’s garage, entitled “Lover (When You’re Near Me)”, which featured Paul playing eight different parts on electric guitar, some of them recorded at half-speed, hence “double-fast” when played back at normal speed for the master. (“Brazil”, similarly recorded, was the B-side.) This was the first time that Les Paul used multitracking in a recording (Paul had been shopping his multi-tracking technique, unsuccessfully, since the 30’s. Much to his dismay, Sidney Bechet used it in 1941 to play half a dozen instruments on “Sheik of Araby”). These recordings were made not with magnetic tape, but with acetate discs. Paul would record a track onto a disk, then record himself playing another part with the first. He built the multitrack recording with overlaid tracks, rather than parallel ones as he did later. By the time he had a result he was satisfied with, he had discarded some five hundred recording disks.
Paul even built his own disc-cutter assembly, based on automobile parts. He favored the flywheel from a Cadillac for its weight and flatness. Even in these early days, he used the acetate-disk setup to record parts at different speeds and with delay, resulting in his signature sound with echoes and birdsong-like guitar riffs. When he later began using magnetic tape, the major change was that he could take his recording rig on tour with him, even making episodes for his fifteen-minute radio show in his hotel room. He later worked with Ross Snyder in the design of the first eight-track recording deck (built for him by Ampex for his home studio.)
Electronics engineer Jack Mullin had been assigned to a U.S. Army Signal Corps unit stationed in France during World War II. On a mission in Germany near the end of the war, he acquired and later shipped home a German Magnetophon (tape recorder) and fifty reels of I.G. Farben plastic recording tape. Back in the U.S., Mullin rebuilt and developed the machine with the intention of selling it to the film industry, and held a series of demonstrations which quickly became the talk of the American audio industry.
Within a short time, Crosby had hired Mullin to record and produce his radio shows and master his studio recordings on tape, and he invested US$50,000 in a Northern California electronics firm, Ampex. With Crosby’s backing, Mullin and Ampex created the Ampex Model 200, the world’s first commercially produced reel-to-reel audio tape recorder. Crosby gave Les Paul the second Model 200 to be produced. Using this machine, Paul placed an additional playback head, located before the conventional erase/record/playback heads. This allowed Paul to play along with a previously recorded track, both of which were mixed together on to a new track. This was a mono tape recorder with just one track across the entire width of quarter-inch tape; thus, the recording was “destructive” in the sense that the original recording was permanently replaced with the new, mixed recording.
Paul’s re-invention of the Ampex 200 inspired Ampex to develop two-track and three-track recorders, which allowed him to record as many tracks on one tape without erasing previous takes. These machines were the backbone of professional recording, radio and television studios in the 1950s and early 1960s. In 1954, Paul continued to develop this technology by commissioning Ampex to build the first eight-track tape recorder, at his expense. His design became known as “Sel-Sync” (Selective Synchronization), in which specially modified electronics could either record or play back from the record head, which was not optimized for playback but was acceptable for the purposes of recording an “overdub” (OD) in sync with the original recording. This is the core technology behind multitrack recording.
Les Paul & Mary Ford
Paul met country-western singer Colleen Summers in 1945. They began working together in 1948, at which time she adopted the stage name Mary Ford. They were married in 1949. The couple’s hits included “How High the Moon“, “Bye Bye Blues“, “The World Is Waiting for the Sunrise“, and “Vaya con Dios“. These songs featured Ford harmonizing with herself.
Like Crosby, Paul and Ford used the now-ubiquitous recording technique known as close miking, where the microphone is less than 6 inches (15 cm) from the singer’s mouth. This produces a more-intimate, less-reverberant sound than is heard when a singer is 1 foot (30 cm) or more from the microphone. When implemented using a cardioid-patterned microphone, it emphasizes low-frequency sounds in the voice due to a cardioid microphone’s proximity effect and can give a more relaxed feel because the performer isn’t working so hard. The result is a singing style which diverged strongly from unamplified theater-style singing, as might be heard in musical comedies of the 1930s and 1940s.
Radio and television programs
Paul had hosted a fifteen-minute radio program, The Les Paul Show, on NBC radio in 1950, featuring his trio (himself, Ford and rhythm player Eddie Stapleton) and his electronics, recorded from their home and with gentle humor between Paul and Ford bridging musical selections, some of which had already been successful on records, some of which anticipated the couple’s recordings, and many of which presented re-interpretations of such jazz and pop selections as “In the Mood“, “Little Rock Getaway”, “Brazil” and “Tiger Rag“. Over ten of these shows survive among old-time radio collectors today.
The show also appeared on television a few years later with the same format, but excluding the trio and retitled The Les Paul & Mary Ford Show (also known as Les Paul & Mary Ford at Home) with “Vaya Con Dios” as a theme song. Sponsored by Warner Lambert’s Listerine mouthwash, it was widely syndicated during 1954–1955, and was only five minutes (one or two songs) long on film, therefore used as a brief interlude or fill-in in programming schedules. Since Paul created the entire show himself, including audio and video, he maintained the original recordings and was in the process of restoring them to current quality standards up until his death.
During his radio shows, Paul introduced the fictional “Les Paulverizer” device, which multiplies anything fed into it, like a guitar sound or a voice. Paul has stated that the idea was to explain to the audience how his single guitar could be multiplied to become a group of guitars. The device even became the subject of comedy, with Ford multiplying herself and her vacuum cleaner with it so she could finish the housework faster.
In 1965, Paul went into semi-retirement, although he did return to the studio occasionally. He and Ford had divorced in December 1962, as she could no longer cope with the traveling lifestyle their act required of them. Paul’s most-recognizable recordings from then through the mid-1970s were an album for London Records/Phase 4 Stereo, Les Paul Now (1968), on which he updated some of his earlier hits; and, backed by some of Nashville‘s celebrated studio musicians, a meld of jazz and country improvisation with fellow guitar virtuoso Chet Atkins, Chester and Lester (1976), for RCA Victor.
By the late 1980s, Paul had returned to active live performance. In 2006, at age 90, he won two Grammys at the 48th Annual Grammy Awards for his album Les Paul & Friends: American Made World Played. He also performed every Monday night, accompanied by a trio which included guitarist Lou Pallo, bassist Paul Nowinksi (and later, Nicki Parrott) and pianist John Colianni, originally at Fat Tuesdays, and later at the Iridium Jazz Club on Broadway in the Times Square area of New York City.
Composer Richard Stein (1909–1992) sued Paul for plagiarism, charging that Paul’s “Johnny (Is the Boy for Me)” was taken from Stein’s 1937 song “Sanie cu zurgălăi” (Romanian for “Sledge with Bells”). A 2000 cover version of “Johnny” by Belgian musical group Vaya Con Dios that credited Paul prompted another action by the Romanian Musical Performing and Mechanical Rights Society.
For many years Les Paul would sometimes surprise radio hosts Steve King and Johnnie Putman with a call to the “Life After Dark Show” on WGN (AM) in Chicago. These calls would take place in the wee hours of Tuesday Morning following his show at the Iridium Jazz Club. Steve and Johnnie continue to honor Les on Tuesday Mornings at 2:35 AM with their segment “A Little More Les” drawing from around 30 hours of recorded conversations with Les.
On August 12, 2009, Paul died of complications from pneumonia at White Plains Hospital in White Plains, New York. His family and friends were by his side Paul is survived by his four children and his companion Arlene Palmer. His attorney told the media Paul had been “in and out of the hospital” because of illness.
Upon learning of his death many artists and musicians paid tribute by publicly expressing their sorrow. After learning of Paul’s death, former Guns N’ Roses and current Velvet Revolver guitarist Slash called him “vibrant and full of positive energy.” U2 guitarist The Edge said, “His legacy as a musician and inventor will live on and his influence on rock and roll will never be forgotten.” 
On August 21, 2009, he was buried near Milwaukee in Waukesha, Wisconsin at Prairie Home Cemetery which indicated that his plot would be in an area where visitors can easily view it. Like his funeral in New York on August 19, the burial was private, but earlier in the day a public memorial viewing of the closed casket was held in Milwaukee at Discovery World with 1,500 attendees who were offered free admission to the Les Paul House of Sound exhibit for the day.
Awards and honors
Paul was initiated into the Gamma Delta chapter of the Tau Kappa Epsilon fraternity at the University of Miami in 1952. He has earned the Presidential award from the Tau Kappa Epsilon fraternity.[dead link]
In 1988, Paul was inducted into the Rock and Roll Hall of Fame by Jeff Beck, who said, “I’ve copied more licks from Les Paul than I’d like to admit.” In 1991, the Mix Foundation established an annual award in his name; the Les Paul Award which honors “individuals or institutions that have set the highest standards of excellence in the creative application of audio technology”. In 2005, he was inducted into the National Inventors Hall of Fame for his development of the solid-body electric guitar. In 2006, Paul was inducted into the National Association of Broadcasters Hall of Fame. He was named an honorary member of the Audio Engineering Society. In 2007, he was awarded the National Medal of Arts.
A one-hour biographical documentary film The Wizard of Waukesha was shown at the Los Angeles International Film Exposition (FILMEX) March 4–21, 1980, and later on PBS television. A biographical, feature-length documentary titled Chasing Sound: Les Paul at 90 made its world première on May 9, 2007, at the Downer Theater in Milwaukee, Wisconsin. Paul appeared at the event and spoke briefly to the enthusiastic crowd. The film is distributed by Koch Entertainment and was broadcast on PBS on July 11, 2007, as part of its American Masters series and was broadcast on October 17, 2008, on BBC Four as part of its Guitar Night. The première coincided with the final part of a three-part documentary by the BBC broadcast on BBC ONE The Story of the Guitar.
In June 2008, an exhibit showcasing his legacy and featuring items from his personal collection opened at Discovery World in Milwaukee. The exhibit was facilitated by a group of local musicians under the name Partnership for the Arts and Creative Excellence (PACE). Paul played a concert in Milwaukee to coincide with the opening of the exhibit.
Paul’s hometown of Waukesha is planning a permanent exhibit to be called “The Les Paul experience.”
In July 2005, a 90th-birthday tribute concert was held at Carnegie Hall in New York City. After performances by Steve Miller, Peter Frampton, Jose Feliciano and a number of other contemporary guitarists and vocalists, Paul was presented with a commemorative guitar from the Gibson Guitar Corporation.
On November 15, 2008, he received the American Music Masters award through the Rock and Roll Hall of Fame at a tribute concert at the State Theater in Cleveland, Ohio. Among the many guest performers were Duane Eddy, Eric Carmen, Lonnie Mack, Jennifer Batten, Jeff “Skunk” Baxter, Dennis Coffey, James Burton, Billy Gibbons, Lenny Kaye, Steve Lukather, Barbara Lynn, Katy Moffatt, Alannah Myles, Richie Sambora, The Ventures and Slash.
In February 2009, only months prior to his death, Les Paul sat down with Scott Vollweiler of Broken Records Magazine, in which would be one of Les Paul’s final interviews. His candid answers were direct and emotional. Broken Records Magazine had planned to run that cover feature the following month but due to delays was held until the summer. 3 days before the release, Les Paul died. The issue would be his final cover feature of his storied career.
In August, 2009, Paul was named one of the ten best electric guitar players of all-time by Time magazine.
Paul married Virginia Webb in 1938. They had two children, Gene (Lester Jr.), born in 1941 and named after actor-songwriter Gene Lockhart, and Russell (Rusty), born 1944, before divorcing in 1949. Later that year, Paul and Mary Ford (born Iris Colleen Summers) were married. They adopted a girl, Colleen, in 1958 and their son Robert (Bobby) was born the following year. They had also lost a child, who was born prematurely and died only four days old. Les Paul and Mary Ford divorced in 1963.
Paul resided for many years in Mahwah, New Jersey.
|1945||“It’s Been a Long Long Time”(with Bing Crosby)||1|
|1946||“Rumors Are Flying”(with Andrews Sisters)||4|
|“What Is This Thing Called Love?”||11|
|“Little Rock Getaway”||18|
|1951||“Jazz Me Blues”||23|
|“Mockin’ Bird Hill”(gold record)||2||7|
|“How High the Moon”(gold record)||1||2|
|“I Wish I Had Never Seen Sunshine”||18|
|“The World Is Waiting For the Sunrise”(gold record)||2|
|“Just One More Chance”||5|
|“In the Good Old Summertime”||15|
|“Meet Mr. Callahan”||5|
|“Take Me In Your Arms and Hold Me”||15|
|“Lady of Spain”||8|
|“My Baby’s Comin’ Home”||7|
|1953||“Bye Bye Blues”||5|
|“I’m Sittin’ On Top of the World”||10|
|“Vaya Con Dios”(gold record)||1||7|
|“Don’cha Hear Them Bells”||13|
|1954||“I Really Don’t Want To Know”||11|
|“I’m a Fool To Care”||6|
|“Wither Thou Goest”||10|
|1958||“Put a Ring On My Finger”||32|
|“It’s Been a Long Long Time”||105|
Mary Ford, also known as Iris Colleen Summers (July 7, 1924, El Monte, California – September 30, 1977, Arcadia, California), was an American vocalist and guitarist, comprising half of the husband-and-wife musical team Les Paul and Mary Ford. Between 1950 and 1954, the couple had 16 top-ten hits. In 1951 alone they sold six million records.
Born Iris Colleen Summers, Ford came from a musical family. Her father was a Nazarene minister. Her parents left Missouri, traveling cross-country while singing gospel music and preaching at revival meetings across America. They eventually settled in Southern California, where they were heard over Pasadena’s first Christian radio station. Her sisters and brothers were all musicians; Esther, Carol, Eva, Fletcher, jazz organist Bruce and film composer Bob Summers.
In the early 1940s Ford found work as a country music performer with Gene Autry and Jimmy Wakely. She appeared with Wakely in the PRC film I’m from Arkansas (1944) as a member of the Sunshine Girls trio. In 1945, Autry introduced her to guitarist Les Paul, and the two teamed in 1946. For billing purposes, Paul selected “Mary Ford” from a telephone directory so her name would be almost as short as his. With Paul she became one of the early practitioners of multi-tracking. Patti Page and Jane Turzy were other 1950s vocalists who used multi-tracking.
Radio and television
After their marriage on December 29, 1949, the couple appeared together on their NBC radio program, The Les Paul Show (1949–50), and they had a series of hit records for Capitol Records in the early 1950s, including “Tiger Rag“, “Vaya con Dios” (11 weeks at #1), “How High the Moon” (nine weeks at #1), “Bye Bye Blues” and “The World Is Waiting for the Sunrise“. These songs featured Mary harmonizing with herself, giving the vocals a very novel sound. Paul and Ford also used the now-ubiquitous recording technique known as close miking, where the microphone is less than six inches from the singer’s mouth. This produces a more intimate, less reverberant sound than when the singer is a foot or more from the microphone. It also emphasizes low-frequency sounds in the voice. The result was a singing style that diverged strongly from earlier styles, such as vocals in musical comedies of the 1930s and 1940s.
In 1952, their innovative sound was satirized by Stan Freberg in his recording of “The World Is Waiting for the Sunrise” (Capitol, F 2279).
In 1953, the couple began their television series, The Les Paul and Mary Ford at Home Show. In 1955, they gave a concert at Carnegie Hall, and the following year they performed for President Dwight Eisenhower at the White House. In 1961, they appeared on NBC’s Five Star Jubilee.
They faded from the charts in the late 1950s, and in 1962, Ford and Paul had a bitter divorce, ending their professional association. Living in Monrovia, California, she married an old friend from high school, Donald Hatfield, and she occasionally performed with her sisters and brother. Bassist Red Wootten, who married Mary’s sister Eva Summers, wrote his memories of playing at the Crescendo in Los Angeles with Mary, her sister Carol and her brother, Bob Summers:
- My brother, Buddy Wootten, also a bassist, called me from Atlanta to tell me he had just finished working the Fox Theater with Les Paul and Mary Ford. Mary also told me this later. This was while I was holding forth with Woody Herman Orchestra. So, later when I had married her sister (Eva), we worked with her other sister and Bob Summers (her brother) on guitar (sounds like Les Paul too) and Mary’s other sister Carol. The gig was the Crescendo club right in the middle of Sunset Strip. A very hip joint!
- Mary used a drummer added to Bob, Mary and myself on electric bass. We did almost all the Les Paul-Mary Ford recordings but with more heavy end on the bass. Les having used guitar on his bass tracks with Mary earlier. On all their recordings (as good as they were), I always missed that deep dark sound… Mary (bless her heart) recorded a few of my compositions (never released), but she did an excellent job as always. Mary divorced Les Paul and later married her old school friend from Monrovia, California, namely Don Hatfield, who owned a large construction company in California. He is still with us, and I see him occasionally. Doing great, but he misses Mary.
- Bob Summers, my brother-in-law, has come into his own over the years too. Bob and I worked a lot on MGM records with the Mike Curb scene, early 1960s. He also was chief arranger for the Mike Curb Congregation, and they recorded some of my material, great too! Also Bob and I worked at Capitol Records for Ken Nelson and Cliffie Stone, passed recently. Too many country artists to even name nearly all of them: Hank Thompson, Wynn Stewart, Rose Maddox and others. Roy Lanham did one of his better albums at the Sound House, Merced, in El Monte (my old stamping grounds) and Mary Ford’s home place, 9840 Kale Street. Bruce Summers is still with us, a piano man whom I played with a few times; a real swinger too.
In Downey, California, Mary’s sister Esther Williams played the organ in The Village Restaurant. Esther’s daughter, Esther Colleen “Suzee” Williams, recalled one amusing incident at the restaurant in the years after Mary Ford and Les Paul had split up:
- There was one singer that came in to sing with my mom. His name was Lou Monica. Well, Mary asked him to learn the song “Donkey Serenade.” It’s not an easy song to sing. However, Mr. Monica agreed, and after a couple of weeks he said he was ready. As he began to sing, the doors of the club opened wide, and in came Mary, dressed in black with a black gaucho hat, on top of a donkey! Mr. Monica never skipped a beat.
Mary Ford died of complications from diabetes in Arcadia, California at the age of 53. She is buried at Forest Lawn-Covina Hills in Covina, California. Although her year of birth has been variously reported (1924, 1925, 1928), the year 1924 is engraved on her tombstone.
Along with interviews, performance footage of the couple is featured in the musical documentary Chasing Sound: Les Paul at 90, directed by John Paulson (Johnny Mathis Live, An Evening with Chita Rivera). Distributed by Koch Entertainment, Chasing Sound premiered May 9, 2007 at the Downer Theater in Milwaukee, Wisconsin, followed by the television premiere July 11, 2007 on PBS as part of its American Masters series.
- “Vaya con Dios“
- “Tennessee Waltz“
- “Mockin’ Bird Hill“
- “How High the Moon“
- “The World Is Waiting for the Sunrise“
- “My Baby’s Coming Home”
- “Lady of Spain“
- “Bye Bye Blues“
- “I’m Sitting on Top of the World“
- Hawaiian Paradise
- The Hit Makers!
- The New Sound
- Les Paul’s New Sound with Mary Ford, Vol. 2 – Capitol Records SM-286 (originally released 1951), A Capitol Monophonic Re-issue
- A01 In The Good Old Summer Time [2:06]
- A02 I’m Confessin’ (That I Love You)[2:45]
- A03 Three Little Words [1:53]
- A04 The Lonesome Road [2:50]
- A05 Carioca [2:20]
- B01 I Can’t Give You Anything But Love [1:54]
- B02 Just One More Chance [1:50]
- B03 Don’Cha Hear Them Bells [1:55]
- B04 The Moon Of Manakoora [2:45]
- B05 Chicken Reel [2:05]
- Bye Bye Blues!
- Les and Mary
- Time to Dream
- Lover’s Luau
- Warm and Wonderful
- Bouquet of Roses
- Swingin’ South
- Fabulous Les Paul & Mary Ford
the end @ copy right dr Iwan Suwandy 2011