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Friday, March 15, 2013

The Exotic Sounds Of Bali

Legong
The Exotic Sounds Of Bali
Balinese Music Performed By
Gamelan Gong Sekar Anjar And
Gender Wajang Quartet
Under The Direction Of Dr. Mantle Hood
Columbia Odyssey 32 16 0366
1963

Along with early electronic music, which drives some folks nuts, I also enjoy driving them nuts with a good Balinese tune now and then. I personally become hypnotized by the flowing rhythmic quality of the assembled tones. If I remember correctly, I was first introduced to and fascinated by Gamelan as I heard snatches of the influence on a King Crimson LP many years ago.

This LP features outstanding engineering that captures the richness of the performances to the point that you can sense the vibration of the "gongs", through your speakers.

From the back cover: Legong is music played at the opening of a legong performance, perhaps the most highly developed dance form in Bali. The performers are three small girls who, after several years of rigid training, are finally considered ready for public appearance. For a brief two or three years they continue their appearances, perfecting their technique and learning new choreographies. Their physical appearance to the audience is one of preadolescent grace, and they are retired with the approach of puberty.


Thursday, March 14, 2013

Cha Cha Cha - Tito Rivera

Taboo (Stereo)
Cha Cha Cha
Tito Rivera And His Cuban Orchestra
Featuring Yo Yo Gonzales and Jose Morales
Golden Tone
C14042

Donde Estabas Tu
Noche De Ronda
Oyelo
Taboo
In Old New York Cha Cha
La Virgen De La Macarena
La Cucaracha Cha Cha
Adios

Last Tango In Paris

Last Tango In Paris
Last Tango In Paris
Riccardo, His Saxophone and Orchestra
Pickwick SPC-3341

Budget effort featuring four tracks worth of "Riccardo" bookending what sounds like 101 Strings stuff. None of the tracks are as light pop cool as the title track, the sample above. But I'll take the cheesecake cover for a the discount bin price of $1!

Last Tango In Paris
The Summer Of '42
I Wish You Love
Once Upon A Summertime
Watch What Happens
Jeanne's Theme
A Man And A Women
Meditation

The Mello Sound - Don Elliot And His Choir

 

Blue Waltz

The Mello Sound
Don Elliott with His Choir
Cover Photo: Lila from Rapho-Guillumette
Mood Jazz In Hi-Fi
Decca Records DL 9208
1958

From the back cover: The quiet and melodic, "a sound of beautiful simplicity", is what Don Elliott wanted in this album.

Elliott, the man of many instruments and interests, the utility man of jazz, has found a large share of satisfaction in extending outward in various directions.

"To stop trying new things is to stop growing," says Don. "I've been doing many things in recent months, trying new mediums of expression as well as variations on the old. This album is just such a variation.

"Doing a mood album with voices is something I felt I had to do. Why? Jud Conlon, the great vocal arranger, is an idol of mine. Listening to his work created an interest, stimulated a desire to try my had at vocal writing. But, there had to be something of my own inserted.

"I come from jazz. That would be at the difference. To combine the jazz feel created by horns and rhythm with compatible, enhancing writing for voices was my aim – that 'late evening' jazz mood, without saccharine."

Trying new things is nothing new for the multi-faceted Elliott. Beginning as a pianist in his hometown of Somerville, New Jersey, he soon switched to the accordion.

"That's the instrument I recommend most to beginners who want to learn about basic chords. It's all there for you, and in simple push button form" – said Don in an interview with George Simon in Metronome, a few years back.

Our quick change artist moved over to baritone horn in order to become a member of the school band. The mellophone came into his life when he joined the school symphony.

In an Air Force band, he blew trumpet. A little later, Don received a set of vibes in exchange for an extra trumpet, and proceeded to make friends with the instrument.

George Simon points out in his article that Don "junked the whole things (playing trumpet and vibes) and became a singer, singing mostly falsetto in the very successful group called Hi-Lo Jack and the Dame. That lasted almost two years, after which he went into the Copa, backing Lena Horne as an instrumentalist, when went over as a staff musician on New York's WMCA."

It was with the George Shearing Quintet that Elliott became a 'name'. George continually spotlighted his men, giving them ample opportunity to display what they could do. And, there were the records.

After a year with Shearing (1950-51), there was some band hopping; Terry Gibbs, Teddy Wilson, Benny Goodman and Buddy Rich all had Elliott on the payroll for short periods. Most often, Don could be found at the Down Beat Club – an important jazz club in the early 'fifties – giving vent to his ambidextrous tendencies, moving from one instrument to another with elan. It was obvious to interested onlookers that the only recourse for this musician of many parts was a group of his own. Only in that milieu could he fully exploit his talents.

Late in 1953, the move was made. With a showcase and home base, to boot, Elliott found himself, and has continued to grow outward.

Staying around New York – The Composer and Birdland, his main watering spots – Elliott has been able to reach into fields that interest him. 

Television, radio and the field of radio-TV commercials have been explored. In addition, he has continued to arrange and write –  six of the vocal arrangements in this set are his; three of the tunes, Elliott originals. Currently, the formation and rehearsal of a 'hip' vocal group is taking up a portion of his time.

"Though jazz is home to me, and 'blowing' remains an important part of my life, these various other activities lend variety to my life.  Variety prevents boredom, and the possibility of becoming too one-sided.

"My tastes in music reflect my attitude... For instance, on trumpet, Harry James and Charlie Spivak appeal to me, but so do Miles Davis and Bobby Hackett... (Ed. note – of one listens closely to Don in this set, his trumpet work bears out the width of his taste affiliations).

"The emphasis in this collection is placed on the mellophone sound; sometimes alone, other times voiced with clarinet or tenor. The sound of the instrument, the depth and character of its timbers, lend well to 'moody' playing.

"The playing by al concerned is fairly straight. Melodic values are emphasized. In the solo and ensemble portions, we tied for color and warmth. There's real warmth when melody is played as it should be.

"Most of the players on the album have worked with me before. Paul Motion, Ernie Furtado and Bill Evans have been in my group, and are the most flexible. Barry is so lyrical, and contributes both on supportive and solo levels.

"Hal McKusick plays all the reeds so well, and is especially persuasive during his solo stints on bass clarinet. And, let's not forget harpist Jan Putnam; she's one of the few harpists that works well in  the jazz environment.

"Billy Byers, just back in New York after an extended stay in Paris, did three of the vocal arrangements – Blue Waltz, Summer Scene and When The Sun Come Out (Ed. note – As previously noted, Elliott did the other six).

"In order to initiate change of pace, we recorded three tunes with just the small group, – Play Fiddle Play, I Don't Want To Walk Without You and Paper Moon – leaning more to a 'blowing' groove, but still remaining within the concept and framework of the album."

This is music soft to the senses, rich to the ear; an agreeable succession of sounds projected vocally and instrumentally. The orientation is jazz, the musicians from that clime; the voices lending symmetry, creating a cushion of sound for the instrumental soloists... This is mood jazz in the quiet sense of the word... – Burt Korall

From Billboard - April 21, 1958: This set can appeal in both pop and jazz markets. The six-voice choir has a warm, attractive sound on the pretty standards. Elliott is featured on mellophone, vibes and trumpet. The over all mood of the album is relaxed. The arrangements are by Elliott and Billy Meyers. This can move.

A Million Dreams Ago
It's Only A Paper Moon
Dinah
Blue Waltz
Poinciana (Song Of The Tree)
Play Fiddle Play
Summer Scene
Tired Of Me
I Don't Want To Walk Without You
When The Sun Comes Out
The Story Of A Starry Night
A Waltz

Wednesday, March 13, 2013

What's New? - Teo Marceo And Bob Prince

Sounds Of May
Avakianas Brasileiras
What's New?
New Jazz From Teo Macero And Bob Prince
Columbia CL 842
1956

This LP is split album between Macero and Prince. The intriguing cover art drew me to this album. Sometimes I get lucky when I buy on impulse. This was one of those times when I score something obscure and awesome.

This recording is an avant grade jazz journey through, what strikes me, as a gritty 50s black and white movie crime drama. The record is cool, dramatic, swinging, and just when you get comfortable, unpredictable. The two approaches (sides) compliment each other.

From the back cover: Sounds Of May is an experiment on my part to see what could be done with combining many Palestrina-like vocal lines, overtones of the piano, jazz ensembles (both small and large), changing the speed of the original tape (regular to half-speed, and then combining the half-speed copy with the original track), and finally overdubbing a single alto saxophone line to most of the composition.

Also from the back cover: Avakianas Brasileiras is a free composition, written in two parts connected by a dissonant harmonic and melodic foundation of minor seconds. The shorter first section, written for trumpets and clarinet and bass clarinet solos, in linear and somber in contrast to the choppy rhythmic second section.

Teo Macero - Side One

Neally
Adventure
Heart On My Sleeve
24+ 18+
T.C.'s Groove
Sounds Of May

Bob Prince - Side Two

Fanfare And Fantasy
Germination
Stutters
Ground Base
Avakianas Brasileriras

Tuesday, March 12, 2013

Mood For 12 - Paul Weston

My Funny Valentine
Mood For 12
Hi-Fi From Hollywood
Paul Weston And His Orchestra
Columbia Records CL 693
1954

Nice smooth mood music set with a hint of swing. Album featuring solos by the musicians listed on the cover.

From the back cover: As you will notice the selection of music gives a line-up of real "American" tunes... most of them associated with the Hoagy Carmichael-midwestern school of music. The main difference between this mood music and the type currently being recorded is that these sides also feature improvisation by a soloist...

It's The Talk Of The Town
I'm Comin' Virginia
Memories Of You
Nice Work If You Can Get It
My Funny Valentine (Guitar solo by Barney Kessel)
Emaline
Skylark
Judy
Louisiana
Georgia On My Mind
Between The Devil And The Deep Blue Sea
Confessin'

Jet Flight To Beirut - Ron Goodwin

Avenue Des Francais
Jet Flight To Beirut
Arranged and Conducted By Ron Goodwin
Capitol International Series SP-10560

Traditional sound with light space age touches.

Journey To Damascus
Grotto Of Jeita
Arak And Tabouli
Bassita!
April Is Coming
Bashtiki Boom
Avenue Des Francais
Plain Of Bekaa
Farewell
Sunrise Over The Cedars
Sweetie Pie
Baal'Bek

Monday, March 11, 2013

Mah-Na Mah-Na

Before I Sleep
Mah-Na Mah-Na
GRT 20003
1970

Crazy obscure album that kicks off with Mah-Na Mah-Na "As Heard On Sesame Street".

This is more than a "kids" album... This is sort of a "kazoo" lounge album.

Mah-Na Mah-Na
Santa Claus Is Coming To Town
Before I Sleep
Whispering
Melody Man
Mississippi Mud
The Thought Of Loving You
Peg O' My Heart
Corky

Another Shade Of Lana - Lana Cantrell

She's Leaving Home
Another Shade Of Lana
Lana Cantrell
Arranged and Conducted by Chuck Sagle
RCA Victor
LSP-3862 (mono) 1967

Here's an obscure album that features a rich blend of showtune/lounge/pop vocals built on unique arrangements by Chuck Sagle.

From Billboard - October 7, 1967: Lana Cantrell, RCA Victor singer, returned to the U.S. Wednesday (27) from her native Australia, where she completed engagements at the Chequers in Sydney and the New 20s in Melbourne. On tap for her here is a heavy schedule of night club engagements and TV commitments during the next few months. First of these is a appearance on Ed Sullivan's CBS-TV show Sunday (8), with a second appearance scheduled for Nov. 12.

Upcoming night club engagements include the Cork Club, Houston, Oct. 14-27; the Cocoanut Grove, Los Angles, Nov. 14 - Dec. 2, and New York's Copacabana, Dec. 7 - 20. In addition, negotiations for Miss Cantrell to open at Fairmont Hotel, San Francisco, May 9, 1968, have just been wrapped up.

Miss Cantrell's second Victor album, "Another Shade Of Lana," is being released this month.


Yes, Sir, That's My Baby
Love Is Stronger Far Than We
I'll Build A Stairway To Paradise
When You Wish Upon A Star
She's Leaving You
The Shadows Of Our Love
On The Good Ship Lollipop
You Can't Go Home Again
Walk Away
Two For The Road
The House Of The Rising Sun