Pop Concert In Manhattan - D'Artega

 

Pop Concert In Manhattan

Pop Concert In Manhattan
D'Artega and His Orchestra
Mercury Records MG 20060
1960

From the back cover: D'Artega (who chooses to drop his given names, Alfonso Armando Antonio Fernandez) has spent his musical life repeating a question to himself. Every time he hears a great classical work, he says silently, "That is beautiful. How can I bring that beauty to more people?"This unselfish challenge which he constantly places before himself accounts for D'Artega's emergence as one of the world's outstanding popularizers of classical music and composers of popular music of the fullness and flourish of the classics.

D'Artega was born in Spain and came to the United States as a youngster. For years he studied orchestration and composition under Boris Levenson, who had been a pupil of Rimsky-Korsakoff. Early in the days of radio, D'Artega was attracted to this new magic medium which could bring music into the homes of everyone. But he knew that the techniques of classical music, while glorious to the ears of an initiate, would be strange to millions of Americans who had never had the opportunity to develop a taste for classics. So he committed his art to the development of a style which would combine the best of the familiar, popular music, with the most attractive qualities of his first love, the classics.

That he succeeded in striking this extraordinary balance is evidenced by the outstanding parade of successes which unfolded in his career. D'Artega soon was in demand by the already giant networks to display his unusual combination of easy listening pleasure with artistic distinction. He conducted on the Jell-O Program, Your Hit Parade, Ripley's Be lieve-It-Or-Not Show, and the Cavalcade of Music. He became the director of "Pop" concerts for the Buffalo Philharmonic Orchestra. Frequently he came to Carnegie Hall to conduct its famous Pop Concert Orchestra as a guest, until recently, when he was appointed its permanent conductor.

Never forgetting that the ears of most Americans were tuned to popular song, D'Artega composed for that medium, too, bringing to it his faultless taste and outstanding training. His song, "In The Blue Of The Evening", held a spot on the Hit Parade for 21 weeks. His works for symphony orchestra include "American Panorama", "Dream Concerto", "Niag ara" and the "Fire And Ice Ballet" of which parts 1 to 3 are heard on this Mercury Long Playing recording.

D'Artega portrayed the role of Peter Ilyich Tchai kovsky in the motion picture, "Carnegie Hall".

Featured in this generous concert of D'Artega and His Orchestra are his own "In The Blue Of The Evening", "Tally-Ho", "When Love Is New", "Dream- er's Serenade", "Concerto Pathetique", featuring the piano artistry of Rosa Linda, "Wedding Of The Violins", "Remembrance", "Tulips In Springtime", "Dagger Dance" and the three parts of "Fire And Ice Ballet".

In The Blue Of Evening

Tally-Ho
When Love Is New
Dreamer's Serenade
Concerto Pathetique
Wedding Of The Violins
Remembrance
Tulips In Springtime
Dragger Dance
Fire And Ice Ballet – Pt. 1
Fire And Ice Ballet – Pt. 2
Fire And Ice Ballet – Pt. 3

Music For Brass - Dimitri Mitropoulos & Gunther Schuller

 

Jazz Suite For Brass

The Jazz and Classical Music Society presents a program of
Music For Brass by Gunther Schuller, John Lewis, J. J. Johnson
Conducted by Dimitri Mitropoulos and Gunther Schuller
Soloists: Miles Davis, J. J. Johnson, Joe Wilder
Cover: Don Hunstein / Peter Adler
Columbia Records CL 941
1957

ORCHESTRA PERSONNELS

Symphony for Brass and Percussion: Trumpets (first section): John Ware (solo), Ted Weiss, Joseph Alessi. Trumpets (second section): Mel Broiles, Carmine Fornarotto, Isidore Blank, Horns: Joseph Singer (solo), Roy Alonge, Arthur Sussman, Gunther Schuller. Trombones: Gordon Pulis (solo), Gil Cohen, John Clark. Baritones: John Swallow (solo), Ronald Ricketts. Tuba: Bill Barber. Timpani & percussion: Dick Horowitz.

Other works: Bernie Glow, Arthur Statter, and Joe Wilder replaced Weiss, Alessi, and Blank in the trumpet section. Jim Buffington replaced Schuller in the horn section. Urbie Green and J. J. Johnson replaced Pulis and Cohen in the trombone section. Horowitz does not play on the Johnson composition. Milt Hinton (bass) and Osie Johnson (drums) are added on the Johnson and Lewis works. The Miles Davis solos are played on fluegelhorn, except for his first solo in the Lewis composition, which is played on trumpet.

From the back cover: By George Avakian and Gunther Schuller – The Jazz and Classical Music Society is an organization started in 1955 by John Lewis and Gunther Schuller (it was then called the Modern Jazz Society) to present authoritative and exemplary concert performances of rarely heard music. The emphasis was placed on contemporary music, including that written by composers in the jazz field who would not otherwise have an opportunity for their lessconventional work to be presented under concert conditions.

The Society gave a concert at Town Hall in New York in 1955 and planned a second one in 1956, which was cancelled when an unexpected conflict developed with a performance by the New York Philharmonic-Symphony of the key work of the Society's program, Gunther Schuller's Symphony for Brass and Percussion. Work had already begun in recording some of the music to have been presented at that concert; so it was completed nonetheless, and this album is the finished result.

The aims of the Society were, and are, of a nature de- signed to bring together musicians in both the "classical" and jazz fields. Gunther Schuller exemplifies this intention in this recording, in that he appears as a composer whose work is conducted by Dimitri Mitropoulos, a as a conductor of the works by the jazz musicians (whose compositions, however, are not jazz as such), and even as a performer in the Brass Ensemble.

The grave problem of preparing good performances of difficult music is only one of the reasons for forming the Society, but as musicians and composers both Lewis and Schuller felt that it was an extremely important one. For years they felt that the greatest obstacle to the appreciation of unfamiliar music is the number of poor performances. The cost of adequate rehearsals and the finding and assem- bling of capable, willing musicians (not to speak of the countless musical and stylistic problems involved) made first-rate performances of new music a great rarity. When they do occur, they are inevitably the result of considerable financial expense, selfless devotion to the music, an ability to resist the temptations of compromise, and needless to say the necessary musical qualifications of the interpreters. Therefore Lewis and Schuller decided that only a society of musicians (and their friends, whose support and contributions have been invaluable), devoted to such an ideal, could accomplish these goals under the present conditions of the concert field.

The Society's planning of its concerts to date has been. centered around various basic instrumentations. Thus in the first concert the emphasis was on woodwinds, supported by a harp and the Modern Jazz Quartet, a combination of instruments which resulted in a more or less subdued chamber music sound. In the second concert (which will now be given in the fall of 1957), the planning turned to a large brass ensemble, building the program around the Schuller Symphony. With this piece as the representative of contemporary "classical" music, two Gabrieli works to exemplify the earliest innovations in brass writing over 300 years ago, and with the jazz world represented by three of its most outstanding performer-composers, an unusually complete sampling of all aspects of brass writing and playing was programmed. All but the Gabrieli pieces can be heard on this recording.

Gunther Schuller's Symphony for Brass and Percussion was first performed (minus the last movement) in 1950, and presented in its entirety for the first time in the following year at an ISCM (International Society for Contemporary Music) concert, Leon Barzin conducting. It has also been used by Jose Limon as the foundation for one of his chore- ographies, "The Traitor."

In Gunther's own words, "The purpose in writing this work was primarily to write a symphony. Secondarily it provided me with an opportunity to make use of my experiences of sitting day in, day out in the midst of brass sections, and to show that the members of the brass family are not limited to the stereotypes of expression usually associated with them. Thus, there is more to the horn than its "heroic" or "noble" or "romantic" character, or to the trumpet than its usefulness in fanfares. Indeed these instruments are capable of the entire gamut of expression. Their full resources and the amazing advances made-especially in America-in the last 30-odd years have been left largely unexploited by most contemporary composers.

The concept of the symphony is of four contrasting movements, each representing one aspect of brass characteristics. Unity is maintained by a line of increasing inner intensity (not loudness) that reaches its peak in the last movement. The introductory first movement is followed by a scherzo with passages requiring great agility and technical dexterity. The third movement, scored almost entirely for six muted trumpets, brings about a further intensification of expression. The precipitous outburst at the beginning of the last movement introduces a kind of cadenza in which the first trumpet predominates. A timpani roll provides a bridge to the finale proper, which is a sort of Perpetuum mobile. Running through the entire movement are sixteenth note figures, passing from one instrument to another in an unending chain. Out of this chattering pattern emerges the climax of the movement, in which a chord consisting of all 12 notes of the chromatic scale is broken up in a sort of rhythmic atomization, each pitch being sounded on a different 16th of the measure."

As for a discussion of the other works, let's have Gunther, who conducted them, take over at this point. – G. A.

Just about the only common denominator among the three jazz scores is the instrumentation. In every other respect the three works are widely contrasting and represent three definite styles and personalities. Where J. J., the most eclectic (and the only brass-player) of the three, delights in extracting rich, full-bodied sonorities from the instruments, Giuffre in his score tends toward a leaner, more concentrated, almost completely contrapuntal concept of brass-writing; and John Lewis seems to me to stand somewhere between the two. Where J. J. uses the instruments with an intimate knowledge of their every subtle characteristic (and even with a certain degree of caution) which is directly attributable to his first-hand knowledge of brass instruments, Giuffre makes them more subservient to the musical material. Again John seems to combine the best of both concepts.

J. J. Johnson's Poem for Brass opens with a stately introduction, alternating the full brass with cymbal rolls which lead to the main body of the movement, an allegro. Mix- tures of muted and open brass predominate. Miles Davis soon enters, improvising over (and at times almost absorbed by) a constantly active background. J. J. then also solos, in his best unequivocal manner, using previously stated thematic material. A sudden slackening of the tempo leads to an interlude in which the four horns (led by Joe Singer) and the tuba indulge in some luscious parallel har- monies. The following section features Joe Wilder's sensuous trumpet in a balladlike strain.

Osie Johnson's cymbal sets the pace in the third movement, subtitled Meter and Metal. Various brass combinations, sparked by Bernie Glow's driving trumpet, alternate with cymbal breaks. Soon the line of continuity is broken; short chordal outbursts remain, isolated, as if left hanging in silence. Suddenly the six trumpets in unison announce the theme of the following free fugue which forms the main body of the movement. The tuba starts the fugal ball rolling, and as various groups of instruments enter, the web of sound thickens, and the impending climax becomes inevitable. At this point J. J. has ingeniously combined five con trapuntal lines which sound perfectly, both horizontally and vertically; i.e. they make sense both as melodic lines and as harmonic progressions. Milt Hinton's wonderful bass gives this section a special lift. This idea having run its course, four final declamations based on material from the first two movements bring the work to an exciting close. The golden-toned high C that John Ware came up with at half past three in the morning to end the session seemed to me at the time like the final strikeout in a pitcher's no-hit game.

John Lewis's Three Little Feelings show a side of his musical personality not generally known to those who know him only from his work with the M.J.Q. The instrumentation gave him an opportunity to present a more forceful side of himself and to work with a wider dynamic range than the more intimate level of the quartet would seem to allow.

Without benefit of introduction three thematic motifs, drawn in solid unison lines, present themselves in quick succession. These three themes, cast in a minor key, emphasize a certain blue-note feeling, in this case through the use of the flatted fifth. As the themes pile up on top of each other one by one, an ominous note is introduced by a timpani and cymbal roll; but this is quickly dispersed by a relaxing trombone counter melody, played by J. J. Soon Miles enters, playing one of the three motives, a chromatic four-note pattern whose center of gravity is the flat fifth. Out of this eight-bar statement emerges his first improvisation, disarming in its simplicity and economy, but blending perfectly into the character of the piece. Osie Johnson's strong playing sparks the next section, a powerful, snapping outburst in the brass. Later against a background of richly voiced lower brass, Miles returns for a short solo, as if reminiscing, and the piece closes with an almost Brahmsian feeling of gravity.

The second movement, again featuring Miles, presents John in an even more nostalgic and poignant mood. An idyllic atmosphere pervades everything, especially in the middle section where John gently extends two measures in such a way as to give them an almost timeless feeling. The undulating movement in the trombones and baritones makes the chord seem suspended in time, while Miles is free to wander about unhampered, as it were. Also listen to the rich tone of Bill Barber's tuba as he underlines the entire piece, blending when necessary with Milt Hinton's bass.

The third movement returns to the minor key and tempo of the first section. A horn call, beautifully intoned by Jim Buffington, introduces the piece. Then a variant of the chromatic motive from the first movement makes its appearance, leading to J. J.'s finely conceived, perky forty-bar solo. A strong climax and a recapitulation of the horn call (this time played by all four horns) end the piece. In this movement John has made particularly excellent use of the timpani, without resorting to mere effects or bombastic noise.

These pieces are superb examples of John Lewis's creative talent. In a very simple, unspectacular way he combines the romantic and the classical in a judicious blending. His great melodic gift is very much in evidence. John has that rare ability to create a melody which is thoroughly conventional, immediately hummable, sounds as if one had heard it somewhere before, and yet is in fact absolutely original. Above all, this music has that unassailable quality of right- ness for which there is no substitute.

Giuffre's approach, as indicated above, is quite different. In his own words, "brass instruments in large numbers suggest to me ceremonies of perhaps a royal nature, a sense of excitement, as though something momentous were about to happen."

The stage is set by the timpani, playing a rhythm which, says Giuffre, "suggested Egypt to me, and when the brass enter I imagined the approach of a great Pharaoh and his court; hence the title."

The form of the work is quite original, developing out of the thematic material itself. Different sections feature different groups and material. Outstanding, for instance, is the magnificent six-part writing for trumpets alone (about half- way through the piece), where Bernie Glow's high C shines forth like a beacon in the dark. Another highly interesting moment is the bridge featuring a trio of trumpet, horn and timpani. The difficult high horn part is played with consummate ease by Joe Singer.

All the thematic material is finally gathered together for the final climactic section which ends in a blaze of sound, topped by Bernie Glow's high F. (At 3:00 A. M., towards the end of a lip-withering recording session, Bernie's infallible accuracy and power nearly lifted the roof off at Columbia's vaulted studios.) – G. S.

DIMITRI MITROPOULOS musical director of the New York Philharmonic-Symphony, needs no introduction, either as one of the world's greatest conductors or as a champion of contemporary music. His keen interest in the Schuller Symphony and his enthusiastic support of the aims of the Society persuaded him to participate in this unusual recording.

CUNTHER SCHULLER, first horn with the Metropolitan Opera Orchestra, is self-taught in composition. Among his public appearances, he has been heard as soloist in his own concerto with the Cincinnati Symphony, Eugene Goossens conducting. The present work developed from this appear- ance, having been written at the suggestion of Ernest Glover, director of the brass ensemble of the Cincinnati Conservatory, and conducted by him. Schuller has also performed frequently with jazz groups, including the now famous Miles Davis nine-piece recording group.

JOHN LEWIS, musical director of the Modern Jazz Quartet, is responsible for the commissioning of the Johnson and Giuffre works. His first major work was Toccata for Trumpei and Orchestra, introduced at a 1947 Carnegie Hall concert by Dizzy Gillespie, with whose band John first became known as a pianist and arranger.

J. J. JOHNSON has won more jazz polls as the outstanding trombonist of recent years than the New York Yankees have won pennants. He is also an exceptional arranger, most of whose work has been for small combinations. After many years as a featured member of both big bands and small groups, J. J. organized an extraordinary quintet with another fine trombonist, Kai Winding, and since 1956 has been leading his own unit. Poem for Brass is his first large-scale work.

JIMMY GIUFFRE is the only one of the composers in this album to have studied composition extensively; he is, of course, much better known to the jazz public as a saxophonist and especially as a clarinetist. He is one of the musicians associated with the development of a rather unique style of modern jazz on the West Coast, and his new trio is considered to be the brightest and most individual new group to have emerged from this school.

Mardi Gras Parade Music From New Orleans

 

Mardi Gras Parade Music From New Orleans

Mardi Gras Parade Music From New Orleans
Southland Records LP-207

From the back cover: HEY: MARDI GRAS' Everybody In The Civilized World Hopes, Some Day, To See With His Own Eyes, Hear With His Own Ears, The Incredible Splendor And Joy Of Mardi Gras. The Big Day Is Shrove Tuesday, Immediately Preceding Ash Wednesday, And Climaxes A Gigantic, Two-Months Carnival, Studded With Parades, Masked Balls And Marked By The Most Unrestrained Gaiety To Be Witnessed Any Where On Earth. On Hundred And Seventy Foot Wide Canal Street In New Orleans Becomes A Milling Sea Of Humanity When Thousands Of Citizens And Visitors Pay Homage To The King Of The Mardi Gras.

The Parade Of Rex, A Gorgeous Spectacle, Starts At 10:30 A. M. On Shrove Tuesday. It Is Followed By Scores Of Truckloads Of Maskers. Interspersed With The Huge Crowd Are Thousands Of Maskers, In Fancy Or Funny Costumes, On Foot. Only A Born And Bred Orleanian Can Have At His Finger- tips All The Customs And Protocol Of The Season. He Understands The Relative Importance Of Rex, King Of Carnival And Lord Of Misrule, Momus, Comus, Proteus And All The Other Monarchs And Deities Of The Mammoth Festival. But Hundreds Of Thousands Of Annual Visitors Leap Into The Spirit Of Carnival, Regardless Of What Their Intentions Were When They Came. You'll See Them Masked And Cavorting On St. Charles, Canal Street, And In The French Quarter Having The Time Of Their Lives. Native Maskers Greet Each Other With The Shout, "Hey, Mardi Gras!" Every Masker Is A Mardi Gras, Of Course, Along With The Floats, The Mad Capers, The Dancing, There Is Parade Music, Band After Band Passes Playing "High Society" "Bourbon Street" Parade And All The Great Carnival Parade Tunes Such As You Will Hear On This Great Album.

The Very Large Negro Population Of New Orleans For Decade Upon Decade, Has Made Much Of Its Own Celebration, Climaxed On Mardi Gras By The Fabulous Parade Of King Zulu. The King And His Cohorts Proceed Down South Rampart, Dispensing Fried Fish, Coconuts And Assorted Trinkets To The Gleeful Throngs. The Great New Orleans Jazz Music That Accompanies These Processions Has Achieved Its Own Separate Renown In Every Corner Of The Globe.

Besides Those You'll Want To Send To Your Friends, You'll Certainly Want To Add This Mag- nificient Mardi Gras Souvenir To Your Own Record Collection. You'll Find It Recorded With Excellent Fidelity Under Ideal Acoustical Conditions For The Tunes. The Performances Are As Good As You'll Ever Hear In New Orleans, Which In Other Words Mean The Best In The World.

So, Hey, Mardi Gras' Have A Wonderful Time, These Parade Tunes Will Always Bring You Back To New Orleans On Fat Tuesday, And You'll Again Be Part Of The Greatest Free Show On Earth, The New Orleans Mardi Gras. – DESSIE LEE

SIDE ONE

BAND ONE: MARDI GRAS PARADE; EMILE CHRISTIAN AND HIS NEW ORLEANS JAZZ BAND. Mike Lala (Trumpet), Harry Shields (Clarinet), Bob Havens (Trombone), Emile Christian (Trombone), Armand Hug (Piano), Joe Carparo (Banjo), Monk Hazel (Drums)

BAND TWO: BOURBON STREET PARADE; SANTO PECORA AND HIS NEW ORLEANS RHYTHM KINGS. Santo Pecora (Trombone), Lester Bouchon (Clarinet), Thomas Jefferson (Trumpet), Phil Darois (String Bass), Roy Zimmerman (Piano), Johnny Edwards (Drums)

BAND THREE: MARCH OF THE BOB CATS; PETE FOUNTAIN AND HIS NEW ORLEANS BAND. Eddie Miller (Tenor Sax), Pete Fountain (Clarinet), Al Hirt. (Trumpet), Stan Wrightsman (Piano), Morty Corb (Bass), Ray Bauduc (Drums), Abe Lincoln (Trombone)

BAND FOUR: NEW ORLEANS PARADE - George Girard (Trumpet), Joe Rotis (Trombone), Harry Shields (Clarinet), Paul Edwards (Drums), Bob Discon (Piano), Emile Christian (String Bass).

BAND FIVE-BASIN STREET BLUES: THOMAS JEF- FERSON'S CREOLE JAZZ BAND: Thomas Jefferson (Trumpet), Paul Barbarin (Drums), Lester Santiago (Piano), Sam Dutrey (Clarinet), Frog Joseph (Trombone), Jerry Adams (String Bass).

SIDE TWO

BAND ONE: KING ZULU PARADE; JOHNNY WIGGS AND HIS NEW ORLEANS KINGS. Johnny Wiggs (Cornet), Raymond Burke (Clarinet), Emile Christian (Trom- bone), Jeff Riddick (Piano), Edmond Souchon (Banjo), Paul Barbarin (Drums), Sherwood Mangiapane (Tuba)

BAND TWO: HIGH SOCIETY; SHARKEY AND HIS KINGS OF DIXIELAND. Sharkey Bonano (Trumpet), Harry Shields (Clarinet), Bob Havens (Trombone), Armand Hug (Piano), Joe Capraro (Banjo), Monk Hazel (Drums), Chink Martin (Bass)

BAND THREE: WHILE WE DANCE AT THE MARDI GRAS; AL HIRT AND HIS JAZZ BAND. Al Hirt (Trum- pet), Harry Shields (Clarinet), Bob Havens (Trombone), Joe Capraro (Guitar), Paul Edwards (Drums), Roy Zimmerman (Piano), Phil Darois (String Bass)

BAND FOUR: BUZZARD'S PARADE; SHARKEY AND HIS KINGS OF DIXIELAND. Sharkey Bonano (Trum- pet), Harry Shields (Clarinet), Bob Havens (Trombone), Armand Hug (Piano), Joe Capraro (Banjo), Emile Chris- tian (Trombone), Monk Hazel (Drums)

BAND FIVE-IF I EVER CEASE TO LOVE: JOHNNY WIGGS AND HIS NEW ORLEANS KINGS: Johnny Wiggs (Cornet), Raymond Burke (Clarinet), Jeff Riddick (Piano), Emile Christian (Trombone), Edmond Souchon (Banjo), Paul Barbarin (Drums), Sherwood Mangiapane (Tuba)

Chinese Music Moonlight

 

Moonlight

Chinese Music
Moonlight
Recorded by K. K. Wong of Life Records, LTD.
21st Century Record Co. STEREO TFLP 201

Made in Hong Kong

Ng Tai Kong - Er-Hu and Kao-Hu
Moya Rea - Piano
Dr. S. M. Bard - Leader
Yu Lin - Conductor

Moonlight
Fantasia
Waltz
Singing Birds
Autumn Moon
Dance Of The Yao People

Det Danske Harmonika Ensemble

 

Donna Diana Ouverture

Det Danske Harmonika Ensemble
Jeanette Dyremose
Sonet SLP-1586
1980

From the back cover: THE DANISH ACCORDION ENSEMBLE was founded in 1977 by the internationally known accordion teacher JEANETTE DYREMOSE.

All the members of the ensemble are students of Jeanette Dyremose, and all have successfully taken part in international solo and ensemble competitions, some of which have been sponsored by The World Accordion Society C.I.A. I.M.C./UNESCO and the famous Klingenthaler Competition.

In 1979, for example, Annette Løffler won 1st. prize in both Vienna and Klingenthal, at the time she was only 13 years old. In 1980 she won 1st. prize in The Berlingskes Music Competition, held in Copenhagen, and the same year performed with great success at the I.S.M.E. (International Society For Music Education) congress held in Warsaw.

The Danish Accordion Ensemble has taken part in many international music festivals and competitions. In Rotterdam 1977, the ensemble won 1st. prize and the Dutch Cultural Ministry's gold medal for their performance in ensemble playing, artistic class.

Since then, Jeanette Dyremose and her ensemble have toured extensively with great success giving concerts in Denmark, Holland, West Germany, East Germany, Poland, Norway and Sweden.

Donna Diana Ouverture
Bach Goes To Town
Espana Cani

Champagne Galop
Florentiner March
Russian & Ljudmilla
Koncert Suite For Harmonkia
Sabeldans
Fra Balletten Gayaneh

Arthur Fiedler Plays The Beatles

 

Fool On The Hill

Arthur Fiedler and the Boston Pops
Plays The Beatles
Produced by Peter Dellheim
Recording Engineer: Bernard Keville
Cover Painting: Michael Gross
RCA Records Red Seal Stereo LSC-3117
1969

From the back cover: Musically, Arthur Fiedler likes to be "where it's at." In the winter of 1963 Liverpool was the place, and Mr. Fiedler was there. He was conducting concerts with the Royal Philharmonic, and intrigued by the overnight popularity of the "Mersey sound," he spent some time in hearing and absorbing the local groups. As a musician, he was both amazed and pleased that this music was achieving the significant goal of bringing youngsters together, causing them to participate and enjoy.

When he returned to Boston, Mr. Fiedler decided to adopt the "Mersey sound" for his orchestra. He started at the top: a symphonic arrangement of I Want to Hold Your Hand, the fantastically successful hit by Liverpool's most distinguished alumni: The Beatles. This became one of the most popular Boston Pops encores, and their subsequent recording itself invaded the best-seller lists.

Five years have passed, and aside from the fact that almost every male wears his hair just a little longer, it is generally accepted that the Beatles (the "writing" Beatles: John Lennon and Paul McCartney) compose terrific tunes.

Since Arthur Fiedler is wedded to the idea that everybody likes a good tune (whether it be Bach, Beethoven, Brahms or Beatles) he has enlarged his Beatles repertoire in recent years and picked some of their best creationsTM for this album. Since these are instrumental arrangements made especially for the 95-man Boston Pops Orchestra, care had to be taken to choose melodies that could live without the lyrics (arranger Richard Hayman has introduced some amusing musical references to such other Boston Pops concert regulars as Tchaikovsky and Richard Strauss). Judging by the audience reaction in Boston's venerable Symphony Hall, there should be at least one of these albums in every home! It is Mr. Fiedler's modest goal to introduce youngsters to the splendors of the symphony orchestra and the rest of us to the creative tunefulness of today's young composers.

As a matter of interest we should add that these recordings are all brand-new. The pres- ent version of I Want to Hold Your Hand was taped on June 20, 1969 (Mr. Fiedler decided that the tempo of his 1964 recording was not quite as bright as it should be). While we re- corded and issued a "live" concert performance of And I Love Her and A Hard Day's Night some years ago, we concluded that new recordings made under the same ideal studio conditions as the rest of the album would give a better result. For those interested in all the Boston Pops-Beatles recordings, we refer you to UP UP AND AWAY (LSC-3041), which includes two of the prettiest Beatles ballads: Michelle and Yesterday.

Finally, there are two recent Pops encores which have had such rousing success in con- cert that Arthur Fiedler thought you would enjoy them too: Consider Yourself (from the Academy Award-winning "Oliver!") and what we can only call the definitive symphonic version of Those Were the Days. – Peter Dellheim

Arrangements by Richard Hayman, except as noted

Eleanor Rigby
And I Love Her (Arranger - Jack Mason)
Ob-la-di, Ob-la-da
Hey Jude
With A Little Help From My Friends
Yellow Submarine
I Want To Hold Your Hand
Penny Lane
A Hard Day's Night (Arranged by Jack Mason)
The Fool On The Hill
Bart - Consider Yourself (from "Oliver!")

Raskin - Those Were The Days

The Magnificent Voice Of Arthur Lee Simpkins

 

The Magnificent Voice Of Arthur Lee Simpkins

The Magnificent Voice Of Arthur Lee Simpkins
Miranda Hi-Fi Records
ALBUM 1917 Miranda Records, Lexington, Kentucky

From the back cover: A REVIEW: For a long time, I have heard the name Arthur Lee Simpkins. These hearings concerned a wonderful singer. Several times I have wondered that I had never heard him sing, and asked several impresarios why he had never been in our town. When Lou Walters told me that he booked Simpkins I looked forward to hearing him sing. Friday night was the long-awaited night. I realize perfectly well that it is hardly fair to an artist to go to his show without an open mind, for I was expecting great things.

We were unhappy when we were advised that Simpkins was under the care of his physician, and might not make the performance. But he arrived. We watched the excellent Latin Quarter show with some restlessness, for we wanted to hear Simpkins. And then, he walked on stage. We immediately fell a victim of his charm, for here is a modest and a humble man. For those of you who may not know, he is colored. He grew up in Augusta, Ga., where the townsfolks, recognizing his great talents, got him a scholarship to the Juilliard School of Music.

Ladies and gentlemen, without fear of contradiction, I have never heard a singer that is more talented, or who has a finer voice than has Arthur Lee Simpkins.

I don't know how many of my readers remember the great John McCormack, the Irish tenor. I was putty in his hands. He had the ability to weave a spell over me. As a youngster, I followed him around to hear him sing, like a stage door Johnnie. When he was in theaters, I would sit through show after show.

I have now found another singer who has also been blessed by Almighty God, whose vocal chords have received the magic touch of the magic wand of Him who dishes out talent. And what a wonderful choice it was when the blessed was this modest man, probably the best ambassador for the colored race I have yet met.

To attempt to describe his voice is like trying to tell you of the tones of a perfectly matched set of bells. Words can't do it. You have to hear Arthur Lee Simpkins to get even a vague idea of what I am trying to tell you.

Simpkins has all the range and tone quality that was possessed by the late John McCormack, but he has much more volume. I sat there and didn't believe my own ears. I looked around me at the customers and I saw beautiful young women with their mouths open in amazement, and near disbelief. I watched staid and calloused ringsiders applaud, when for years they had made a specialty of sitting on their hands. I heard enthusiastic ovation after enthusiastic ovation given him at the conclusion of each number he sang, of the kind and quality which is seldom heard in a night club. – Paul M. Bruun "Over Miami"

Diane
I Wonder, I Wonder
Marie
This Is The Real Thing
Them There Eyes
Down By The Riverside
I Long For You
Aurora 
My Fate
Restless
For Old Times Sake
I Resolve

Krontjong Music From Indonesia

 

Djiko untuang

Krontjong Music From Indonesia
Song And Sound The World Around
Philips 831 229 PY stereo
1973

From the back cover:  The word "krontjong" has three different meanings that are, however, connected with each other. Firstly it is the name of a typically Indonesian stringed instrument that resembles the Hawaiian ukelele.

This instrument gave its name to a kind of music that again is typically Indonesian, the "krontjong music," which has been known in Indonesia since the 15th century.

Every song composed for interpretation in this style is also called a "krontjong."

Krontjong music developed from Western musical elements but native musical sources like "gamelan music" also exercised their influence on its origin. (Listen to Philips 831 209 PY - "Gamelan music from Java."

When the Indonesians became familiar with Western musical instruments, they looked for those that came nearest in sound to the classic instruments used with gamelan music.

This resulted in the choice of these substitutes:

The violin for the "Rebab," a classic two-string instrument, for the melody.

The flute for the "Suling," made of bamboo and different in scale from the modern flute, also for the melody.

The guitar for the "Sitar," a classical touched-instrument. The guitar is twanged in a special way and produces a "fill-in" throughout the whole song.

The krontjong itself for the "Kenong," a classic percussion instru- ment made of copper, that produces the beat.

The banjo or mandolin for the "Ritjik," another percussion instrument, to produce the counter-beat.

The cello for the "Kendang," a drum played on both ends, or the "Rebana," a one-sided drum covered with an animal skin, most probably of Arabian origin. The cello is not played with a bow but is plucked in a special way, producing syncopations while keeping up a steady rhythm.

The bass for the "Gong."

Making use of these instruments and, the Western barmonic system, the Indonesians created the Krontjong style, primarily for entertainment.

The Krontjong music is very dear to them as it very often reflects their mood, be it the cheerful or the sentimental side. It has become the musical language of all the inhabitants of this beauti- ful archipelago.

The programme starts with KRONTJONG MORITSKO, a tradi- tional song which has only a melody: it is up to the singer to improvise on the text.

NINA BOBO is a lullaby. The mother, usually carrying her baby in a "slendang" (shawl) on her back, sings it as she rocks the child very gently. The song is taught to little girls who want to rock their dolls to sleep, and later they, in turn, pass it on to their daughters.

STAMBUL DJAMPANG is a traditional song in which the verses are chosen according to the mood of the singer.

BULAN PURNAMA (full moon) is a song depicting a tropical night when the moon is in her full glory. Two people promise each other to be together for ever.

KRONTJONG MAWAR SEKUNTUM means "Pretty rosebud" and the melody gives the singer wide scope for personal verses to express love for another.

RUDJAK ULEG is the name of an Indonesian fruit salad. The song, full of humour, tells how tasty it is.

DJIKO UNTUANG, which opens Side 2, is a popular West Sumatran song in which the singer tells how she feels when she is lucky enough to be in love.

NASIB TAMBANGAN, which comes from Central Kalimantan, tells of the fate of a ferry-boatman who dearly loved his work of taking people across the river.

RONDA MALAM is about a night-watch organised by the inhabitants of a certain city quarter. By patrolling periodically criss-cross through the area, striking bamboo sticks rhythmically. the watchmen let the resting people know that all is well.

KRONTJONG AIR LAUT. Entitled "Ocean water," this is an instrumental piece, open to improvisation.

BENGAWAN SOLO is a song about the river Solo in Central Java which has always been an important means of communica- tion for the merchants. It passes many towns before it reaches the ocean.

KRONTJONG PENAWAR DUKA is another instrumental piece, designed this time to cheer up the depressed.

Bluegrass Music - Jack Lynch

 

Little Birdie

Bluegrass Music
Jack Lynch & The Miami Valley Boys
Jalyn Records - Dayton, Ohio
JJLP 121

From the back cover: Jack Lynch, was born September 13th, 1930, on a farm near Richmond, Ky. He has been interested in Bluegrass Music as long as he can remember. Jack has been active in several phases of show business. He has been an actor, promoter, disc jockey, recording artist and now is owner and president of Jalyn Records and Jaclyn Music. He sings lead and bass, however he doesn't specialize in vocalizing. He plays guitar, banjo, fiddle and bass.This album was recorded on several different sessions, using musicians and singers, that have played with Jack for the last several years. These artists include; Frank Wakefield, Roy Lee, Fred Spencer, Daniel Boone Centers, Bernard Gumm, Wilburn Hall and Lonnie Bolin.

It is my pleasure to recommend this fine album to you. – Ralph Stanley

Wildwood Flower
Little Birdie
Man Of Constant Sorrow

Shady Grove

All The Love I Had Is Gone
Hook And Line
Will You Miss Me
Whoa Mule Whoa
Tears On My Pillow
Cripple Creek
Cowboy Jack
Home Sweet Home

Tonight Only! - Dave Brubeck & Carmen McRae

 

Weep No More

Tonight Only!

The Dave Brubeck Quartet

Guest Star: Carmen McRae

Cover Photo: Columbia Record Studios - Henry Parker

Columbia Records CL 1609

Weep No More, Briar Bush, Paradiddle Joe and Strange Meadowlark were recorded in New York City on September 9, 1960. Melanctha and Tristesse were recorded December 14, and Talkin' and Walkin', Late Lament and Tonight Only on December 15

From the back cover: Tonight Only! brings together TheDave Brubeck Quartet and Carmen McRae, performing eight compositions by Dave and two members of his Quartet, saxophonist Paul Desmond and bass player Eugene Wright, an one fine jazz standard. The collaboration points up the remarkable lyric qualities of the Brubeck group, along with Carmen's uncommon talent for revealing the meaning of a song.

Dave and Carmen worked closely on the choice of the selections. Says Dave of this artistically stimulating project, "One afternoon Carmen came to our house and obligingly ran through half a dozen songs we had picked out for her to sing. I looked at my wife in amazement. We had never dreamed our songs could sound so good. Carmen has an instinctive, intuitive understanding of a lyric. She can generate an emotional impact seldom found in a popular song."

As in the Brubeck Quartet's album with Jimmy Rushing (CL 1553/CS 8385), collaboration with another superb musician produces an especially exciting program.

The first selection, Melanctha, is a blues from an opera-in-progress by Dave and Liz Blake, based on the story "Melanctha," from Gertrude Stein's book, "Three Lives." The song opens with the cries of Negro workmen calling "Melanctha! Melanctha! Melanctha!" Dave plays the verse and then the song moves into a 12-bar blues with different chord progressions.

Dave wrote Weep No More in 1945, and played and sang the song for his fellow Gls while in Europe. The tune made its first recorded appearance in the Columbia album "Brubeck Plays Brubeck" (CL 878). At Carmen's request, Dave hunted up his old sheet music and lyrics for this program.

'Talkin' and Walkin', as the name implies, makes its communication as it walks along, featuring a bass solo by composer-Quartet member Eugene Wright.

Briar Bush is a little folk sermon, with quotations from "Proverbs." The melody first appeared as the title piece in the Quartet's album, "Southern Scene" (CL 1439/CS 8253"). Lyrics were subsequently provided by Dave and his wife Lola. Carmen's remarkable performance brings this tribute from the composer: "Carmen has added even to my own understanding of the music."

Paradiddle Joe is a dialogue between Carmen and drummer Joe Morello, a driving new version of a jazz classic. This number was included at my suggestion.

Paul Desmond's composition Late Lament reflects his own sensitive lyricism. Brubeck's haunting Tristesse is the same mood, a melancholy ballad in Dave's most reflective style.

Strange Meadowlark, based on the notes of the meadowlark call, was originally an instrumental in the Quartet's lively experiments-in-rhythm album, "Time Out" (CL 1397/CS 8192*). Lyrics, by Mrs. Brubeck, explain the plight of a poor meadowlark who had to sing the blues after her mate flew south.

Dave wrote Tonight Only in collaboration with O. (for Original) Basil Johns. Dave's original Number One fan, Johns has been a devoted listener since 1946, when Dave was playing in San Francisco clubs. Original Basil Johns used to sit as close to the keyboard as possible, reacting to Dave's playing with a bewildering mixture of grunts, groans and laughs. They became fast friends. Basil, using his own tape ma- chine, was the first to record Dave. He has been present at many subsequent Brubeck recording sessions, by Dave's request, for his contagious enthusiasm helps to ease studio tension. This number is dedicated to Basil's wife. – Teo Macero

Dave Brubeck's remarkable influence on contemporary jazz is reflected in the enthusiasm his appearances arouse throughout the world. With his Quartet, Dave has appeared every- where from Carnegie Hall (with the New York Philharmonic and Leonard Bernstein in Howard Brubeck's Dia- logue for Jazz Combo and Symphony Orchestra heard on Columbia record CL 1466/CS 8257) to open-air platforms in the Middle East, and always to overflow audiences.

A consistent poll winner, both as pianist and as leader of the Quartet, Dave is also a prolific composer. He has written many of the Quartet's most popular numbers and has demon- strated his classical studies in a ballet, a string quartet, two piano works and numerous songs. As a spokesman for contemporary music Dave is as forceful a writer as he is at the keyboard.

Dave was born in Concord, California in 1920, the youngest of three sons. His mother was one of the leading piano teachers in the San Francisco area. Her three sons have distinguished themselves in the field of music, Henry, in musical education; Howard, as a composer, conductor and teacher; Dave, as a jazz pianist and composer.

Dave entered The College of the Pacific in 1938 to become a veterinarian. The Science Building and the Music Conservatory, however were closely situated on the campus; soon Brubeck was spending free hours in jam sessions with other students, or playing piano in Stockton night clubs. With the encouragement of J. Russell Bodley, a composition student of Nadia Boulanger, Dave decided to make music his career. Following graduation from The College of the Pacific in 1942 he began private lessons with the renowned French composer Darius Milhaud.

Army service interrupted his lessons. For two years Dave played with the Army Ground Forces Radio Band at Camp Haan near Riverside, California.

Dave was sent to the European theater as an infantryman. When a Red Cross entertainment unit sent out an S.O.S. for a piano player, Brubeck volunteered. This was the first step toward organizing, writing and arranging for the Wolf Pack Band, which played for thousands of soldiers on their way to and from the front lines. In 1946 he returned to Oakland to resume composition studies with Darius Milhaud at Mills College and to study piano with Fred Saatman of San Francisco. At Mills he organized an experimental jazz group known as "The 8."

It was at a concert of "The 8" that Jimmy Lyons, KNBC disc jockey, first heard Brubeck. After the concert Lyons rushed to NBC program director Paul Speegle to make known his discovery of a new jazz stylist. NBC pianist Marie Choppin beat Lyons to Speegle's office by a few minutes to announce her discovery of a new composer. Both discoveries were Dave Brubeck.

Today, thanks to his extensive Columbia record catalog, worldwide tours in 1958, appearances at concerts, jazz festivals, and clubs, Brubeck has an international following. *Stereo

Melanchtha
Weep No More
Talkin' and Walkin'
Briar Bush
Paradiddle Joe
Late Lament
Strange Meadowlark
Tristesse
Tonight Only