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Nice 'n' Easy - Spence/Keith/Bergman (3:13) , ASCAP
Polka Dots and Moonbeams - Burke/Van Heusen (4:06), ASCAP
You Stepped Out of a Dream - Kahn/Brown (2:15), ASCAP
I'll Buy You a Star - Schwartz/Fields (2:52), ASCAP
All of You - Feuer/Martin (2:06), ASCAP
Relax - Dennis (1:31), ASCAP
East of the Sun - Bowman (2:42), ASCAP
Where Do We Go From Here - Brent/Dennis (2:30), ASCAP
Mighty Lonesome Feelin' - Gallop/Kent (4:24), ASCAP
The Things We Did Last Summer - Cahn/Styne (4:22), ASCAP
Lulu's Back In Town - Warren/Dubin (2:07), ASCAP
That's All - Brandt/Haymes (3:20), ASCAP

  Mal Fitch, Piano
Banks Dimon, Drums
Claude Guinn, Bass

Mal Fitch


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So often the layman and some musicians as well, feel that a singer and instrumentalist must stay in one field of music. Either the artist is commercial, a jazz singer, symphonic or classical. We feel that many good musicians can have versatile conceptions in more than one field.

Mal Fitch, singer-pianist, is such a versatile musician. He was schooled from the age of six as a violinist. By thirteen he was studying trombone as well and in between sang under the astute tutelage of the great church choirmaster and organist, Edwin Arthur Kraft, of Cleveland Ohio’s Trinity Cathedral. At the ancient age of fifteen mal was lured to the “beat” of swing and dance music and began writing arrangements and playing piano with bands.

With his army band, he recorded for Armed Forces Radio Service and toured the east coast. After college, he turned to working as a single playing top clubs and hotels in Baltimore, Dayton, Cleveland, Detroit, and Dallas.

He has worked as conductor-accompanist to the Crew-Cuts and appeared with such acts as Mel Torme, The Four Lads, Patti Page, Marion McPartland, Lena Horne.

Following long runs at the Sheraton-Cadillac in Detroit and the Adolphus Hotel in Dallas, he joined the Crew-Cuts as Musical Director, Conductor, playing piano and arranging. He not only conducted on their recordings, but traveled with them on all engagements including a two month tour of England. On several engagements, including the Statler in Cleveland, he received glowing reports from the critics. This eventually led to his return to performer status as a single act.

During the period with the Crew-Cuts, he recorded a 12” LP which was released on the Emarcy label, and marked his debut as a recording vocalist. The excellent reception of the album by the public, as well as such experts as Leonard Feather, also influenced Mal to return to working as a single.

The return was climaxed by an award from Tony Zoppi of the Dallas Morning News declaring Mal Fitch “The most promising new act of 1956.”

This album displays a swinging beat and the intimate singing which leans toward the jazz feel. Strange as it may seem, Mal currently fronts one of the most popular “society” combos in the southwest, and is in demand for all of the top social events.

We urge you now to relax, listen… and be pleased.

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