The Bermuda Triangle - Isao Tomita

 

The Harp Of The Ancient People With Songs Of Venus And Space Children

The Visionary Flight To The 1448 Nebular Group Of The Bootes

The Bermuda Triangle

A Musical Fantasy Of Science Fiction

Art Direction: J. J. Stelmach

Cover Illustration: Don Punchatz

RCA Records Red Seal ARL1-2885 STEREO

1979

From the inside (gatefold) cover: All of Tomita's albums are sonic encounters – composers' musical inventions transcribed into sound colors incapable of being generated by conventional instruments. Yes, Tomita imitates with his electronic devices, but with the infinity of resources at his command he can blend into the musical fabric glittering threads of such sounds of nature as humans whistling, the wind rustling, insects humming, waterfalls, rain-from the whisper of a dragonfly's wing to the violent sounds of worlds torn asunder. Projecting such sounds into the musical world of great composers brings our perception into closer touch with their imagery.

And now Tomita has created THE BERMUDA TRIANGLE. have no doubt that this is one of his greatest works.

Tomita weaves his own sonic inventions into excerpts of music by Prokofiev, Sibelius and John Williams to depict a science-fiction fantasy – a story at once plausible and imaginative, the details of which are largely elucidated in the mind when subjected to Tomita's sound. A storm rages in the ocean near Bermuda – the area of mysterious disappearances of many ships and aircraft, the dreaded Devil's Triangle. In the mist of the storm something approaches from the sky guided by an eerie signal from below the water. It is a craft from outer space – a UFO. The fantasy conjures up a giant pyramid built on the bottom of the sea by a super-civilized ancient people. They have contact with outer space and guide the UFO to the pyramid. The story unfolds through the moods of the music: Friendly encounter, exploration of the earth and sky, exchange of information, enjoyment of spatial cultures and finally revelation of the way to achieve a super dimension world. And we are left with sweet melody once more as the UFO departs into space-all of which we are drawn into and experience in our own fantasy, through the stimulus of sound.

Perhaps a new concept: Science Fiction in Sound. Through this can we overcome realistic daily life, our time and physical limitations and contact our fantasy-imagination? We can, and through that we can reach into limitless space, touch the super intellect, be any object or being and cast ourselves, all powerful, into the universe. – SAKYO KOMATSU Science-fiction author

For the past year I have struggled with a computer – a micro computer. I say "struggled" because a computer is beautifully precise, but I wanted to use it to produce musical results – in other words, as a musical instrument. How could this keyboard of only ten keys compare with that of a grand piano? But I came to realize that those ten keys could produce an almost limitless number of combinations, each of which is a signal that could determine a characteristic of sound: pitch, texture, attack time, duration, loudness. And the computer can be programmed to change any or all of these features with incredible speed.

The computer thus produces a sequence of signals that control the sound production of a synthesizer. It is something like millions of little hands rapidly changing all the synthesizer connections to produce a vast variety of sounds. My musical images must be coded by numbers to direct those hands to manipulate the synthesizer.

I build layers of sound by programming the computer. These are recorded one by one on separate tracks of a tape machine and finally all mixed together for the end result. I consider myself a sound animator, much the same as an animator of film cartoons.

I have used my computer in creating practically all the pieces contained in this album. It is made in Japan by Roland-Model MC-8 – and is perhaps the best in the world with regard to memory capacity and accuracy.

Although I cannot walk onto a stage and have the joy of struggling to perform my music before an audience. I struggle to select the right numbers on my computer to build a creative entity that displays my musical personality.

PYRAMID SOUND

This album is different from my others in that the master was recorded onto five tracks. Ideally, it should be heard through five speakers, four in the conventional rectangle and the fifth suspended above the center-thus a sonic pyramid. Although it is impossible to encode this onto a phonograph record, as much as possible of the five-channel effect has been incorporated into standard discs through the help of the engineering staff of Japan Victor.

A CODED MESSAGE

Each side of this record contains coded data in the form of certain sound effects. The message can be recovered if the electrical signal from the record is interfaced with the input of a micro computer programmed to the TARBEL System. – ISAO TOMITA

SIDE A

A SPACE SHIP LANDS EMITTING SILVERY LIGHT (2:22) Tomita: The Arrival of a UFO

ELECTROMAGNETIC WAVES DESCEND (1:29) Prokofiev: "Romeo and Juliet" Suite No. 2- Montagues and Capulets"

A WORLD OF DIFFERENT DIMENSIONS (2:04) Sibelius: Valse triste

THE GIANT PYRAMID AND ITS ANCIENT PEOPLE (6:36) Prokofiev: Scythian Suite-The Adoration of Veles and Ala*

VENUS IN A SPACE UNIFORM SHINING IN FLUORESCENT LIGHT (5:15)
Williams: Close Encounters of the Third Kind+

SPACE CHILDREN IN THE UNDERGROUND KINGDOM CALLED AGHARTA (5:46)
Prokofiev: Symphony No. 5: Second Movement- Allegro marcato*

THE EARTH-A HOLLOW VESSEL (4:38) Tomita: Dororo

SIDE B

THE SONG OF VENUS (3:52)
Prokofiev: Violin Concerto No. 1: First Movement- Andantino

DAWN OVER THE TRIANGLE AND MYSTERIOUS ELECTRIC WAVES (2:22)
Prokofiev: Symphony No. 6: First Movement-
Allegro moderato
Tomita: Computer Data Signals

THE DAZZLING CYLINDER THAT CRASHED IN TUNGUSKA, SIBERIA (7:28)
Prokofiev: Symphony No. 6: First Movement – Allegro moderato

THE HARP OF THE ANCIENT PEOPLE WITH SONGS OF VENUS AND SPACE CHILDREN (7:51)
Prokofiev: Violin Concerto No. 1: Third Movement- Moderato; Allegro moderato

THE VISIONARY FLIGHT TO THE 1448 NEBULAR GROUP OF THE BOOTES (3:53)
Tomita: Departure of the UFO
Prokofiev: Scythian Suite: The Adoration of Veles and Ala* 

Yamamoto: Vocoder

Voice Of Venus - Otto Cesana

 

Dreams

Voices Of Venus

Otto Cesana - His Chorus and Sextet

Columbia Records CL 971

1957

From the back cover: The voices of Venus are the voices of love, voices ever present in the dramatic and fascinating music of Otto Cesana. In his first collection, Ecstasy, Mr. Cesana presented a series of instrumental compositions using all the resources of a full concert orchestra to obtain the variety of emotional colorings and tonal sonorities required by his program. Here, however, he uses much smaller forces, obtaining much the same results in a very different way.

In this program, for example, he employs human voices singing actual lyrics, as contrast to his instrumental group, and within the lyrics themselves (written, like the music, by Otto Cesana) rhythm, repetition and internal rhymes are used to express the kind of emotional power expressed by repetition in orchestral writing. The result is unusually interesting, and offers a program of compelling fascination. The selections, moreover, have been designed to present a sort of impressionistic story of unrequited love; there is no story line as such, except insofar as shifts in moods supply a narrative thread, but the basic feeling throughout moves progressively forward to its logical climax.

For his earlier program, Mr. Cesana offered an explanation of his music that is worth repeating here, to place these compositions in their proper setting. "From jazz," he wrote, "and by that I mean jazz as it is played by small groups, I derived sincere sentiment; in fact, it is this naive but deep and honest feeling that is the life-blood of all real jazz. To the great harmonists such as Debussy and Wagner I owe a great deal of my harmonic dexterity; from Beethoven comes my knowledge of thematic development and some sound principles of musical form; and to Rimsky-Korsakov, that meticulous master of orchestration, I owe my knowledge of the orchestra. Of course for over-all sincerity and emotional intensity, I offer a very low bow to that monument of integrity, Peter Ilyitch Tchaikovsky." From that statement can be seen the sources of Mr. Cesana's inspiration, and for his rare combination of deep respect and admiration for the classics, combined with his equally deep respect and admiration for jazz. A student of the piano, organ, music theory and composition, he also possesses a basic knowledge of all major musical instruments, and uses them in his writing in fresh and unfamiliar ways. He has worked as composer and arranger for Hollywood, and has also done considerable work for radio. In 1941, he conducted a jazz concert in Town Hall in New York, playing his own music; among his large-scale works are six symphonies, four overtures, numerous suites and concertos for various instru- ments, as well as a wide variety of shorter works. His interest in the technical side of music-its orchestration, its composition, its theory – may be traced in four books he has written, "Modern Harmony," "Dance Arranging," "Modern Counterpoint," and "Voicing the Modern Dance Orchestra."

In this program, Mr. Cesana, his chorus and sextet present twelve of his most recent works, all characteristic in their expressive, romantic qualities. Our Romance Is Over is a charming ballad exploiting the contrasting colors of voices and orchestra, as does the somewhat faster I Can't Run Away from You. The next selection, Where Are You Now? is slow and reflective, contrasting with Twenty Days, a de- lightful waltz with a touch of humor. These are followed by the wistful all My Todays Are Tomorrows, and the sweet sentiment of Dreams.

The second half of the program begins dramatically with the opening of As Long as Love Remembers, a lovely new ballad. You Haunt Me comes next, and proves equally affecting, as it leads into I Fear the Night, a lush, flowing melody with the atmosphere of a nocturne. You're So Wonderful appears in an easier, lighter guise, reflecting hope, and Roses at Springtime, too, brings its promise of romance. The program concludes with You've Got Me, a colorful melody set in beguine tempo as a bright finale to Mr. Cesana's group of inventive and original new songs. 

Our Romance Is Over

I Can't Run Away From You

Where Are You Now?

Twenty Days

All My Todays Are Tomorrows

Dreams

As Long As Love Remembers

You Haunt Me

I Fear The Night

You're So Wonderful

Roses At Springtime

You've Got Me

One Upon A Dinosaur - Jane Murphy

 

The Plant Eaters

Once Upon A Dinosaur

Created by Jane Lawliss Murphy

Musical Arrangements: Dennis Buck

Drum Arrangements: Chris Bankey

Vocals: Bing Bingham, Bobby Cavanaugh, Sherry Leidt

Cover Design: Denise Shatter

Recored at Master Sound Astoria, NY

Engineer: Ben Rizzi

Assistant Engineer: Jill Warren

Printed at Michael Graphics, Inc.

Production Coordinator: Amy Laufer, Elaine Rauff

Produced by James Kimble

Kimbo Educational KIM 9083

1987

From the back cover: ABOUT THE AUTHOR – JANE LAWLISS MURPHY has been writing and perform- ing music for children ever since she was a child. Jane earned a B.S. in Education at SUNY Plattsburgh and has many years of experience teaching the early elementary grades.

Jane's songs and music have captured the hearts of parents, educators and librarians nationwide. Adults and children who have seen her perform, invariably leave her programs humming her tunes and singing the lyrics they've quickly learned. This is Janes' second album containing a collection of songs designed specifically for children. The first release, Songs For You And Me (KIM 8085), has received exceptional praise from both parents and teachers alike.

Fossil Rock

We Want To Learn About Dinosaurs

The Stegosaurus

My Pet Tyrannosaurus 

The Plant Eaters

Big Bad Al

Dinosaur Dance

The Brachiosaurus' Song

The Reptile Rap

Once Upon A Dinosaur

Ankylosaurus and Paleocincus

The Meat Eaters

Where Have They Gone?

The Wild Bull - Morton Subotnick

 

The Wild Bull

The Wild Bull

A Composition for Electronic-Music Synthesizer by

Morton Subotnick

Coordinator: Teresa Sterne

Cover Art: Bob Pepper

Cover Design: Elaine Gongora

Art Director: William S. Harvey

Nonesuch STEREO H-71208

1968

From the back cover: The first side of this record was almost complete when I came across "The Wild Bull". I was very impressed by the poem and quickly began to feel an affinity between the poem and the composition I was working on ... in fact, the first three notes of the work seemed to me a kind of human/wild-bull moan... and later I added a human breathing sound to one of the notes.

There was never an attempt to "portray" the poem (I don't think music is about that), but at the same time it became harder and harder to disassociate myself from the pathos and restrained cry of personal loss which spoke to me from such a distant point in time. The state of mind which the poem evoked became intimately tangled with the state of mind my own composition was evoking in me. To title the work after the poem seemed natural and to offer the poem seems equally natural. – MORTON SUBOTNICK

The Wild Bull

The wild bull, who has lain down, lives no more,
  the wild bull, who has lain down, lives no more, 

Dumuzi, the wild bull, who has lain down, lives no more, 

  the wild bull, who has lain down, lives no more.

O you wild bull, how fast you sleep!
  How fast sleep ewe and lamb! 

O you wild bull, how fast you sleep! 

  How fast sleep goat and kid!

I will ask the hills and the valleys, 

I will ask the hills of the Bison:
"Where is the young man, my husband?"
  I will say,
"He whom I no longer serve food"
  I will say,
"He whom I no longer give to drink"
  I will say,
"And my lovely maids"
  I will say,
"And my lovely young men?"

"The Bison has taken thy husband away, 

  up into the mountains!"

"The Bison has taken thy young man away, 

  up into the mountains!"

"Bison of the mountains, with the mottled eyes! 

Bison of the mountains, with the crushing teeth! 

Bison!  – He sleeps sweetly, he sleeps sweetly, 

He whom I no longer serve food sleeps sweetly, 

He whom I no longer give to drink sleeps sweetly, 

My lovely maids sleep sweetly,

My lovely young men sleep sweetly!"

"My young man who perished from me 

  (at the hands of) your men,

My young Ababa who perished from me 

  (at the hands of) your men,

Will never more calm me (with) his loving glance 

Will never more unfasten his lovely bright clasp 

  (at night)

On his couch you made the jackals lie down, 

In my husband's fold you made the raven dwell, 

His reed pipe-the wind plays it,

My husband's songs – the north wind sings them."

Sumerian, c. 1700 BC; translated by Thorkild Jacobsen. From Most Ancient Verse, selected and translated by Thorkild Jacobsen & John A. Wilson; published by The Oriental Institute of the University of Chicago (U. of Chicago Press).

Reprinted by permission of Professor Jacobsen and The Oriental Institute, whose kind cooperation is gratefully acknowledged.

Also from the back cover: Morton Subotnick was born April 14, 1933, in Los Angeles, California. He earned his undergraduate degree in English Literature from the University of Denver and his Master of Arts in Composition from Mills College, where he studied with Leon Kirchner and Darius Milhaud. While in California, Subotnick co-founded the Mills College Performing Group and the San Francisco Tape Music Center. At this same time he held posts as Assistant Professor of Music at Mills College and Musical Director of Ann Halprin's Dancers' Work- shop Company.

Since 1960, Morton Subotnick has been working with tape, and his present involvement with mixed media includes the theatrical. He was Musical Director of the Repertory Theater at New York's Lincoln Center during its first season, and since the Fall of 1966 has been involved with the Intermedia Program at the School of Arts at New York University. (The purpose of this program is to bring together artists who specialize in various media-film, theater, tape, etc.). Subotnick is also Director of Electronic Music at the Elec- tric Circus.

Prominent among his electronic-music works is Silver Apples of the Moon, composed in 1967 for Nonesuch Records on a commission from Nonesuch directed specifically to the LP record medium-the first in Nonesuch's con- tinuing commission series. Both Silver Apples and The Wild Bull (also a Nonesuch commission) were composed on the modular electronic music system originally built for Morton Subotnick by Donald Buchla at the San Francisco Tape Music Center.

The following are excerpts from press reactions to Silver Apples of the Moon on Nonesuch.

"... the piece is a beauty... Subotnick here transcends all the clichés." – High Fidelity

"... one of the finest electronic pieces in existence... the release is out of this world." – San Francisco Examiner & Chronicle

"... merits the attention and interest of everyone interested in the music of our time."– Hi Fi/Stereo Review

"... fascinating new full-length work... decidedly an important. young composer."  statement by a promising young composer. – American Record Guide

Winter Romance - Dean Martin

 

Canadian Sunset

Winter Romance

Dean Martin

Produced by Lee Gillette

Capitol (reissue) T 91285

1967

I've Got My Love To Keep Me Warm

June In January

Canadian Sunset

A Winter Romance

Let It Snow! Let It Snow! Let It Snow!

Baby, It's Cold Outside

The Things We Did Last Summer

It Won't Cool Off

Out In The Cold Again

Winter Wonderland 

Globe Trotting - Frank Chacksfield

 

Anywhere I Wanderson/ Hava Nagila

Globe Trotting

Frank Chacksfield and His Orchestra

Arranged by Roland Shaw

Produced by Tony D'Amato

Recording Engineer: Arthur Lilley

Phase 4 Stereo

London SP 44059

1965

Turkey In The Straw

Anywhere I Wander

Hava Nagila

La Vie En Rose

Under Moscow Skies

Take Be Back To Cairo

Hawaiian War Chant

Valencia

A Foggy Day

Liechtensteiner Polka

Carnival

When In Rome

Canadian Sunset

Fidencio Ayala y Los Satelites

 

Mi Carcachita

Fidencio Ayala y Los Satelites

Recorded at Audio Grabaciones, Monterrey, Mexico

Recorded by Jose Luis Delgado

Produced by F. Ayala y Martinez

Album Printing & Manufacturing: Riverside Albums - Houston, Texas

Freddie Records STEREO LP-1147

1979

From the back cover: FIDENCIO AYALA: Hombre joven sencillo y con un corazon noble a LA MUSICA NORTEÑA y que ya lo reconocen por todo el NORTE DE MEXICO como uno de los grupos predilectos. FIDENCIO AYALA ahora con su primer LP para la etiqueta de los exitos (FREDDIE) hacen su debut con este LP de larga duracion que le brindan a todo el publico amante de la musica DE ACCORDION Y BAJO SEXTO.

Las canciones de este LP estan de primera como lo es la cancion TE NOTO DIFERENTE y en la melodia MI CARCACHITA Ud. notara que es una cancion de recordar y sabemos que un LP de musica nortena no es musica nortena si le falta un CORRIDO y aqui le brindan LA BANDA INTERNACIONAL que es de un tema de traficantes de TEXAS y de MEXICO y COLOMBIA.

En este LP de FIDENCIO AYALA Y LOS SATELITES, FREDDIE MARTINEZ y RAMON AYALA hacen la INTRODUCION de este buen grupo y es por eso que estan APADRINANDO esta grabacion y les recomiendan este LP que ellos interpretan para todos sus AMIGOS, que conocen por medio de sus presentaciones y por todos sus discos que de alguna forma u otra conocen a FIDENCIO AYALA.

QUE DISFRUTEN LO MEJOR DE LA MUSICA NORTEÑA

From the back cover (translated): FIDENCIO AYALA: A simple young man with a noble heart for NORTEÑA MUSIC, he is already recognized throughout NORTHERN MEXICO as one of the favorite groups. 

FIDENCIO AYALA now makes his debut with his first LP for the label of hits (FREDDIE) with this full-length LP, offering it to all fans of ACCORDION AND BAJO SEXTO music.

The songs on this LP are top-notch, such as the song "TE NOTO DIFERENTE" (I NOTICE YOU DIFFERENT) and the melody "MI CARCACHITA" (I CARCACHITA). You will notice that it is a song to remember. We know that a Nortena music LP is not Nortena music if it lacks a corrido. Here they offer you THE INTERNATIONAL BAND, which is a song about drug dealers from Texas, Mexico, and Colombia. 

On this LP by FIDENCIO AYALA Y LOS SATELITES, FREDDIE MARTINEZ and RAMON AYALA introduce this fine group, and that's why they are sponsoring this recording and recommending this LP to all their friends, whom they know through their performances and all their albums, who in one way or another know 

FIDENCIO AYALA. ENJOY THE BEST OF NORTEÑA MUSIC

Te Noto Diferente

Mi Carcachita

Es Tarde

Cruzare La Frontera

Ilusion Bonita

La Banda Internacional

Pajarito Regresas

Cuando Mas Tranquila

Rosa Maria

Exercising Together - A Sensuous Program For Lovers

 

Sensations ("Endless Love")

Exercising Together

A Sensuous Program For Lovers and I Intimate Friends

Beautiful People Series

Written and Conceived by Jim Woods in Association with Pamela and Gene Cisneros

Executive Producer: Robert W. Schachner

Producer: Roslyn D. Kern

Cover Art Direction: Phil Scandarato

Cover Photo: Jerry Hinkle

Back Cover Photo: Peter Vat

Booklet Design Paul Beringer

Recording Engineer: Marilyn Ries

Narrated by Robert Jundelin, Kay Friedman

Recorded at Gemcom Studios, Davie, Florida

Mastered at Soundwave Studios, New York

Gateway Records GSLP-7621S

1982

Awareness ("Chariots Of Fire")

Breathing rhythm and focus on mind/body unity

Transition ("For Your Eyes Only")

Partner awareness and stretching 

Rhythmic Movement ("That Girl")

Continued stretching, body rhythms and pulsing to music

Centering ("Slow Hand")

Stomach, hip and thigh exercises

Rhythmic Aerobics ("Should I Do It")

The Pulse ("Get Down On It")

Synthesis ("Just The Two Of Us")

Partner stretching and cool down

Sensations ("Endless Love")

Partner awareness, massage and relaxation

Music For Voices, Instruments & Electronic Sounds - Kenneth Gaburo

 

Music For Voices, Instruments & Electronic Sounds

Music For Voices, Instruments & Electronic Sounds

Kenneth Gaburo - Conductor

Engineering: Carl Volkers

Cover Art: Bob Pepper

Cover Design: Elaine Gongora

Coordinator: Teresa Sterne

Art Director: William S. Harvey

Nonesuch H-71199 STEREO

SIDE ONE
Antiphony III (Pearl-white moments) (1962)
16 voices & electronics (16:24)

SIDE TWO
Exit Music 1: The Wasting of Lucrecetzia (1964)
concrète & electronic sounds (3:43)

Antiphony IV (Poised) (1967)
voice, piccolo, bass trombone, double-bass & electronics (9:24)

Exit Music II: Fat Millie's Lament (1965)
concrète & electronic sounds (4:34)

THE NEW MUSIC CHORAL ENSEMBLE

Group 1:
Barbara Dalheim, Shirley Panish, Douglas Pummill, Lawrence Weller

Group 2:
Janet Pummill, Miriam Barndt, Brian Winter, Philip Larson

Group 3:
Rosalind Powell, Marcia Swengel, William Brooks, David Barron

Group 4:
Jean Geil, Bonnie Barnett, Albert Hughes, Richard Hanson

Members of THE UNIVERSITY OF ILLINOIS CONTEMPORARY CHAMBER PLAYERS Thomas Howell, piccolo; James Fulkerson, bass trombone; Thomas Fredrickson, double-bass; Barbara Dalheim, voice (left speaker system in Antiphony IV)

KENNETH GABURO
conductor

Antiphony III was commissioned in 1960 by the Fromm Music Foundation. It was composed during 1962-3 at the Yale and University of Illinois Electronic Music Studios, and was premiered on February 21, 1967, at the University of Chicago. 

Antiphony IV was commissioned by the University of Illinois Contemporary Chamber Players in 1966, and was premiered at Smith College, January 23, 1968.

The poems for Antiphony III and IV are by Virginia Hommel, This album marks the recording debut of the New Music Choral Ensemble and members of the University of Illinois Contemporary Chamber Players. The primary concern of both groups is performing excellence with regard to New Music. The New Music Choral Ensemble was formed by Kenneth Gaburo in 1965. Its repertoire, which to date includes over 40 works, ranging from improvisation to total control, is reflective of the diversity of contemporary compositional thought. 

Kenneth Gaburo (b. 1926, Raritan, New Jersey) studied at the Eastman School of Music (B.M., M.M., composition); Conservatorio di Santa Cecelia, Rome; Princeton Seminar in Advanced Musical Studies, and received a D.M.A. in composition from the University of Illinois. He has held a Fulbright Grant, a UNESCO creative fellowship, commissions from the Fromm and Koussevitzky Music Foundations, and most recently has been the recipient of a Guggenheim Fellowship, the Thorne award, and holds membership in the Institute for Advanced Studies, University of Illinois. From 1956 to 1968, Mr. Gaburo was Professor of Composition at the University of Illinois and is currently Professor of Music, University of California (San Diego).

From the back cover: Antiphony III grew out of an idea to compose a concerto for voices. To this end, research begun in 1959 in the physio-acoustic domain of vocal transmission-which I can now term compositional linguistics - proved invaluable. The poem, with regard to its formal design, semantic and phonetic content, morphology and articulatory potential (governed on one level by concerns for intelligibility), to a large extent determined the structure of the composition.

  Pearl-white moments these
  Set between two specks from the salt of time, 

  To be again, 'twere fantasy,
  To not have been....
  Alone and still
  Being, chill nor fierce,
  'Til once, a soul-felt breath imbued its life,
  Depths of pitch to light of light.
  Moments stolen from the jaws of time,
  Even all the whiteness of blue-washed pearl,
  A fault?
  Or chance, with brilliance divined.
  To know, one longs for surety
  Of future light or loss,
  Happily denied,
  My white-drenched soul finds hushed beauty in love unnamed, 

  And freedom from salty chains.

On a fundamental level Antiphony III is a physical interplay between live performers and two speaker systems (tape). In performance, 16 soloists are divided into 4 groups, with one soprano, alto, tenor, and bass in each. The groups are spatially separated from each other and from the speakers. Antiphonal aspects develop between and among the performers within each group, between and among groups, between the speakers, and between and among the groups and speakers.

On another level Antiphony III is an auditory interplay between tape and live bands. The tape band may be divided into 3 broad compositional classes: (1) quasi-duplication of live sounds, (2) electro-mechanical transforms of these beyond the capabilities of live performers, and (3) movement into complementary acoustic regions of synthesized electronic sound. Incidentally, I term the union of these classes elec- tronics, as distinct from tape content which is pure concrete-mixing or electronic sound synthesis. The live band encompasses a broad spectrum from normal singing to vocal transmission having electronically associated characteristics. The total tape-live interplay, therefore, is the result of discrete mixtures of sound, all having the properties of the voice as a common point of departure.

Furthermore, Antiphony III is a poetic interplay between the voice as a self-contained entity, and the voice as a carrier of endless human expression, as the chief antagonist against the laboratory view of the machine, as the word (still stronger than the sword), and as the transmitter of poetic energy.

But if the poetry of III may be seen as a most subtle, "unnamed " expression of real love possessing the quiet beauty of a pearl, but poten- tially corruptible by metaphoric salt, then The Wasting of Lucrecetzia must be seen as its most grotesque opposite. Although the phenomenon is widespread, I cannot subscribe to the assumption of equivalence between shades and actor, between grass-acid and poet-philosopher, between available synthesizers and composer, and therefore, I am as revulsed by the existence of the poisonous rape mentality – which makes tame by comparison the corrupt deeds of Sextus Tarquinius (THAT son-of-a Superbus) and Lucretia Borgia-as I am by the testimony of pseudo-cyberneticists who validate this mentality with their sweeping scientific (sic) generalizations about the equivalence of things.

It's all so simple if you lay it on a scrap-pile and label it social reality on the rock(s). Lamentably, that rock is not peter-neither is mine. But I am drawn into that heap to at once characterize the waster and to waste him without discrimination and in his own language, allowing myself the smallest pleasure (I think also a distinction) of knowing that I have used my own scraps-in my own bag-then OUT! But art is not so simple as all that. Because I go for complexity. ThereIV:

   Poised above the sea as if to drop
   Tense.

       heavy, hot

  Waits
  Gaining strength

  And pours forth in soaring chill illusion!

Assign a voice to the left speaker system (LC). Transcribe the poem phonetically. Structure phonemes (i.e., phonetic class-variability). Consider transient phonemes (e.g., not [ POI], but [PA OI), the first sounds of Poised). Generate via a single live voice one and only one instance of each phonemic class. Structure these according to their continuant, non-continuant properties. Apply Jespersen's resonance chart. Associate these classes with parameters of pitch, intensity, duration, timbre. Structure silence. Retain normal (natural) voice identity for each first ordered instance of a phoneme class. Consider time-point distributions of same. Set up a vector for the invariant phonemes (e.g., consider each ordered instance of a recurrent phoneme to be a transform of its predecessor). Determine the set of electro-mechanical operations required to yield these transforms such that the n transform limit for each class is fixed by intelligibility-retention within that class. Give special weight to unique phonemes (those which appear only once such as [3] of "illusion"). Structure phonemes as separate entities. Unite phonemes. Structure words as separate entities. Unite words. From these operations, plot linear density flow from least to most (culminate at "soaring"). Establish the sense of the voice as orchestra. Structure nuance. Use the totality of LC characteristics to determine the set of RC characteristics (electronic sound), and, in performance, stage-left live instrumental characteristics. Structure macro-expression between LC-RC (e.g., what class of electronic signals intersect and complement the acoustics of the voice, of the instruments, of the poem?). "Illusion" must be a coda. Consider weighted parametric simultaneities between channels to be a function of poetic accent (e.g., LC-RC intersect on "heavy"). Consider non-adjacent relationships between channels (e.g.. the double-bass tremolo against the word "if", and the choir of basses- [r]tn LC at "soaring"). Use non-random processes. Structure duets. Consider precise interaction in performance between instrumentalists and tape. Is a conductor necessary? Use microphones. Consider criteria for the proper perception of the work.

If one makes the proper term substitutions, the foregoing parallels techniques and thoughts used in Antiphony III. Nevertheless, the works are different. Primary in this regard is the larger conceptual level of the function and meaning of antiphony. Both Antiphonies involve a mental interplay between you and me. In III, my concern was to achieve an acoustic mass-density-weight distribution-such that the output appears to be sourceless. Within this mass there exists the normal order of the poem (imbedded, as is its counterpart, the pearl). You should eventually be able to extract this order, and the process of extraction creates its own antiphony. In IV, contrarily, a complex of non-mass signals are given-non-density weight opposition-such that the output is clearly A-B stereophony. You are bombarded with isolated phonemes, words, word-chains, and sound utterances. You are required to assemble these by way of a mental juggling activity (hence antiphony) until the necessary links to form a linear version of the poem obtain. Once the process of extraction or assemblage is complete, a final antiphonal level is possible:

Antiphony is the state of fluctuation between the total music and the poem as poem, particularly with regard to the sound and meaning of each. It is trivial to assert that music and poem can never be placed in a one-to-one correspondence-the one is neither a representation nor a paraphrase of the other – however, there does exist a state of poetic transference between the two (an antiphony which cannot be resolved, but since I am in between them, I delight in trying and lament at the impossibility of resolution). The very nature of Pearl-white moments and of Poised reflects this dichotomy in its own way, for the poet has meticulously structured this element. The words are at once specific and general, channeled and unchanneled (e.g., the "pearl" is "love" but "unnamed"; and "poised" – is it orgasmos or merely anti-peripteros?) – and I further delight in that controlled freedom to select and choose my own meaning without destroying or obfuscating poetic meaning – but all of that is too vague, I suppose, for Millie, for she is not only very real, but a realist. Besides, she has her own lament, which gives rise to this poem in her behalf:

  Fat Millie (must)
  Squash her tuh (what?)
  Every time she sits
  ––––––––– think.

00,ee,oo,ee,ooo,eeeeeeeeeesquaack! 

tuh tuhtuhtuh tuh     tuh      tuhwhack!

(unfortunately this form proved insufficient since it didn't do Millie's reality justice. The recorded version hopefully represents a slight improvement. Someday I may also carve her. In any case I must gratefully acknowledge Morgan Powell's permission for the quoted segment from his gorgeous jazz composition, Odomtn, and at the same time ask his indulgence for the fact that the quote happens to coincide com- positionally with Millie's most painful moment. With such a problem she has no business sitting [in] on the affairs of serious people)

00,cc,00,ee,000,eeeeeeeeeesquaack! (softly, millie)

– KENNETH GABURO

Beverly Kenney Sings For Playboys

 

What Is There To Say

Beverly Kenney

Sings For Playboys

With Ellis Larkins at the Piano, Joe Benjamin, Bass

Decca Records DL 8743

1958

From the back cover: The adjective that suggests itself, above all others, as descriptive of Beverly Kenney's singing, is honest. There are no tricks to Beverly's style. She "does" nothing to the numbers she sings except the one thing that will endear her to the songwriters whose work she chooses to offer, and that is the presentation of a straight, earthy, brass-tacks rendition.

It is perhaps remarkable that, considering her adherence to melody lines, Beverly is still unmistakably commercial and a vocalist of the jazz school. Other very good singers (Patti Page, Dinah Shore, Margaret Whiting) also sing the melody, are also not square, and yet somehow do not qualify for admission to the jazz ranks. One is at something of a loss to put into words the certain ephemeral quality which distinguishes the work of the Beverly Kenney's from that of their more commercial contemporaries. Part of it is a two-in-the-morning feeling in the voice, a faintly Lee Wileyish breathiness and intimacy that bespeaks a relaxation and (would that there were another word) hipness.

Another factor undeniably is a sure and delicate sense of beat, and yet here again one is puzzled at explaining the difference between the method of accenting rhythm associated with an Ella Fitzgerald and that associated with, say, Teresa Brewer. Whatever that difference is, it marks Beverly as of the Fitzgerald genre. Like Ella she has a quality, too, of youthfulness. (Ella will still have it at sixty; it has nothing to do with age.) Beverly sounds girlish and tender and sensitive and yet just a little wordly-wise. (She may not be wordly-wise at all, and it doesn't matter; the potential would still seem to be there, as an accident of physical nature, in her sound.)

The girlish feeling is enhanced, too, by the manner of her attack which is, in general, accurate and almost vibratto-less. Occasionally, on the very last note of a line, Beverly will break off the note just a little earlier than your conditioning had led you to expect, and somehow instead of sounding like a fault, the running-out-of- breath contributes to the little-girl-standing-on-tiptoes quality. You can hear it happen particularly on "A LOVER LIKE YOU."

Of course you have to comment that no small part of the comfortable groove of this session has been scooped out by the sure hands of Ellis Larkins whose big, fat, soft, pretty, lush piano accompaniment seems to have been created almost specifically for voices like Beverly's.

One more point remains to be made about Beverly Kenney's singing and that is that it is intelligent. There are so many singers who don't seem to understand what the lyricist had in mind that it's a pleasure to hear a girl who gives an equal shake to the words and music. There are not only pleasant sounds going on in Beverly's head while she sings, there are also perceptive evaluations of the lyric, and the fact is evident to the listener who notices that when she sings he is interested in verbalized ideas as well as the melody's thread.

A word to Playboys: I would not recommend this album as Music to Make The Romantic Approach By. You're apt to get more interested in Beverly than the girl you're trying to impress. – Steve Allen

Do It Again

A Woman's Intuition

You're My Boy

Mama, Do I Gotta?

What Is There To Say

A Lover Like You

A Summer Romance

Life Can Be Beautiful

It's Magic

A – You're Adorable (The Alphabet Song)

Try A Little Tenderness

It's A Most Unusual Day

New Sounds At The Roosevelt - Larry Elgart

 

Blue Thursday

New Sounds At The Roosevelt

Larry Elgart and His Orchestra

Ballroom At Home

Photo: Carl Fischer

Recorded in New York City, January and April, 1959

Recording Engineer: Ernest Oelrich and Bob Simpson

RCA Victor LSP-2045

From the back cover: The sounds enclosed by this album jacket are as distinguished as the Aston-Martin shown on its cover.

As the album title indicates, these are NEW SOUNDS AT THE ROOSEVELT. The fresh big band sounds are those of the Larry Elgart crew. The Roosevelt, of course, is the prominent New York hotel.

The facts of the invasion of the Roosevelt by the Elgart band are a revelation in themselves. For thirty years the Guy Lombardo band maintained residence at the hotel, playing sweetly to faithful audiences. The first band to replace Lombardo's was Larry Elgart's. And the average age of the audience dropped substantially, as young dance band fans flocked to hear the Elgart sound.

It is a polished, disciplined, jazz-oriented sound. The band's library isn't overpopulated with aged stock arrangements retained from the Prohibition era. Instead, Larry Elgart has compiled an array of modern, appealing arrangements, representing the efforts of some of America's best composer-arrangers.

For this album, for example, the well-known jazz tenor saxophonist Al Cohn contributed four originals: April, Blue Thursday, Cool-Aid and Let My People Swing. Trombonist Wayne Andre, formerly with Kai Winding's septet, delineated the Walkin' path, a route familiar to jazz soloists. Roger Middleton arranged the happy sound of Mountain Greenery. A member of the Elgart band's reed section, tenor saxophonist John Murtaugh, contributed several arrangements, too, including Yearning and Lagonda.

For balance, such reliable standards as Sleepy Time Gal, Wabash Blues, I Cried for You, Honeysuckle Rose, If Love Is Good to Me and Mountain Greenery were judiciously included.

The band's sound is as tasteful as its book, thanks to Elgart's mature direction. The 37-year-old saxophonist (he's featured on alto and soprano here) does not believe in relying on gimmicks. While other bandleaders futilely search for devices to lure dancing audiences, Elgart lures them effortlessly, simply by emphasizing good taste.

This is a band with broad potential appeal. It is a band for dancers; its rhythmic pulse is firm and its melodic expression is constant. It's a band, too, for jazz-oriented listeners. The arrangements are subtly provocative; the performances are crackingly precise without being mechanical. There's plenty of jazz flavor present. For just one ex- ample, dig the Miles Davis-ish atmosphere on Walkin'.

There aren't the sounds of the Count Basie band, because Larry isn't competing with Basie. They are among the most aware sounds in the dance band business today, however. They are the product of Larry's acutely perceptive nature, his ability to anticipate the desires of a dancing audience seeking modern sounds.

And he's a bandleader in the best sense of that term.

His band has an identity of its own. As both leader and soloist, he fronts the band effectively, too. Although many bands are led by figureheads, personable leaders without considerable musical ability, the members of the Elgart band respect, and are inspired by, Larry's proficiency on several reed instruments. He's best known as an alto soloist, but his efforts on soprano here indicate that he's one of the few musicians who can perform in non-strident fashion on that instrument. Finally, he's well qualified to select first-rate instru- mentalists to serve in the band.

The results of such efforts, aims and artistry are obvious.

The band doesn't manhandle ballads. It doesn't emasculate bluesy strolls. It doesn't manufacture excitement through technical facility alone; a collective spirit makes each performance memorable.

It's encouraging to learn that in this stereo age there is at least one band able to resist the temptation to create sound effects instead of music. The wide range of the Elgart book is tailor-made for the potential of stereo sound, without any distortion or tricks required. What emerges when the best in high fidelity reproduction technique is applied to the sound of the Elgart band is a thoroughly musical, genuinely moving experience.

If this swinging sound could dent the Lombardo empire at the Roosevelt, it's certain to prove as successful in penetrating other challenges, major or minor, wherever it is heard.

The new sounds at the Roosevelt could grow old at that respected location. But Larry Elgart won't permit it. He'll see to it that they remain new next year, too.

He knows he's in command of a very big band. – HUGH M. HEFNER (Editor and Publisher, Playboy Magazine)

Let My People Swing

Yearning (Just For You)

You Should Have Told Me

I Cried For You

Honeysuckle Rose

If Love Is Good To Me

Mountain Greenery

Cool-Aid

Sleepy Time Gal

Lagonda

April

Wabash Blues

Blue Thursday

Walkin'

Born To Be Blue - Beverly Kenney

 

It's A Blue World

Born To Be Blue

Beverly Kenney

Miss Kenney's gown designed by Ceil Chapman

Decca Records DL 8850

From the back cover: Beverly Kenney came into music after music had come to her. Not in one blinding flash, but by degrees, she became convinced that she had to sing. However, getting beyond inclination, no matter how intense, is perhaps most important, and upon graduation from high school, Miss K. took her first faltering step in the direction of the music business.

That first job was hardly startling or glamorous, and in fact, has its humorous overtones. Playing a role known for its anonymity and forced good cheer, our budding chanteuse sang birthday greetings to little girls and big men, alike, over the phone for Western Union.

A short time passed and Beverly followed the warm weather to Florida, hoping for something a little better for her career among the palms, hotels and clubs along amusement strip, better known as Miami Beach. At a party she attended shortly after arriving in town, an agent listened, liked what he heard, and arranged a booking for her at the Black Magic Room, a boite of intimacy and a flavor particular to Miami.

Attaining a degree of success, Beverly worked in Florida until fate smiled and she received an invitation to join the Dorsey Bros. Orchestra. The invitation was accepted with enthusiasm, but the affiliation was not meant to be lasting.

"Tommy and Jimmy liked me," Beverly told me, "but they thought I was too much of a stylist for the band. After a few months on the road, I left, and returned to New York."

Sometimes loss can be turned into gain, and one finds when one is not seeking anything in particular. In the case of Beverly Kenney, this pertains.

"When I got back to New York," she explained, "I started working with jazz groups... (ed. note – Shearing, Don Elliott and Kai Winding)... It felt good. I found it easy to relate to jazz. And jazz can be a wonderful teacher if you keep your ears open."

Listen she did, and mostly to the influential Stan Getz, whose sound, even flowing time and linear manner integrated into solo statements that have had far-reaching effect, and in truth, were partially instrumental in ushering in the "cool era" in modern jazz in the late Forties.

When questioned about Getz, Beverly said: "I began listening to Stan when I first became conscious of jazz about six years ago. His sound and phrasing, the way he tells a story in his solos feel right to me."

In her vibrato-free sound and concept of time and phrase, Beverly substantiates her affinity for jazz, particularly of the modern persuasion. And like any jazz practitioner of worth, she tries to combine the storyline and the musical contours of a song into a sum of meaningfulness.

"What I have always wanted in my work is the completeness and balance that is Billie Holiday," she replied when asked about the ultimate in singing. "Billie is an experience; she feels, translates, puts it on the line, and you never forget what she has said."

Obviously, Beverly is aware of the necessity for an artist to personalize experience, to communicate, but more than that, she impressed me with her own need to do so. "If a singer does not leave something of herself/himself behind after a performance; if an audience doesn't feel as if something has happened, the singer is failing somewhere along the line. One must always work for communication."

In line with her desire to illuminate material, Beverly expressed, with reticence, the hope that time would bring finality to her work and the recognition that all artists long for. One grows from the other in an inevitable pattern, and if the potential is there, time usually takes eare of the rest. Since coming to the attention of the public through her, first records and a number of appearances in and around New York – circa 1955-24 year old Beverly Kenney has found the reception for her work of the generally warm variety. Critics Nat Hentoff and Barry Ulanov and DJ Al Collins have, all in their own way, given her encouragement. These and other men in the field have spoken of the singer's great potential.

Sensitivity, a captivating sound that is youthful yet hints at experience, and the basic honesty of her singing, recommend her. Too, there is the drive to be complete, to speak "the truth" in her singing, whatever her medium, pop or jazz, and this, in the final analysis, is more important than anything else. With such singleness of purpose, it is unlikely that she will be denied.

In this, Beverly Kenney's second Decca showcase, the selection of songs more than reflects her musicianly tastes. All of them stand up both in the melodic and lyric areas. I am especially partial to Go Away, My Love, written by Jay Livingston and Ray Evans. Beverly says that Beyond The Next Hill is her favorite. "I have always wanted to do the tune," she commented. "It says something, and does it beautifully."

Miss K. is accompanied, or to be more precise, cushioned by orchestras conducted and arranged for by Hal Mooney and Charlie Albertine. The unit under Mooney's direction spots Charlie Shavers, trumpet; or Stan Webb, woodwinds; strings and rhythm. Albertine's orchestra is composed of four trombones, strings and rhythm.

When questioned about the backgrounds, Beverly quickly responded: "I found it most comfortable working with Hal and Charlie. Both are talented and knowing; their accompaniment was helpful, never overbearing. I was out there free, singing these romantic/ blue tunes the way I wanted to.)

A special nod to Ellis Larkins at the piano who appears on all selections. – Burt Korall

Side One

1. BORN TO BE BLUE
With Orchestra Directed By Charlie Albertine

2. ISN'T IT A PITY

With Orchestra Directed By Hal Mooney

3. FOR ALL WE KNOW

With Orchestra Directed By Charlie Albertine

4. IT ONLY HAPPENS WHEN I DANCE WITH YOU 

With Orchestra Directed By Charlie Albertine

5. AGAIN
With Orchestra Directed By Hal Mooney

6. I WALK A LITTLE FASTER 

With Orchestra Directed By Charlie Albertine


Side Two

1. GO AWAY, MY LOVE!
With Orchestra Directed By Hal Mooney

2. BEYOND THE NEXT HILL
With Orchestra Directed By Hal Mooney

3. IT'S A BLUE WORLD
With Orchestra Directed By Charlie Albertine

4. VANITY
With Orchestra Directed By Hal Mooney

5. SOMEWHERE ALONG THE WAY
With Orchestra Directed By Charlie Albertine

6. WHERE CAN I GO WITHOUT YOU
With Orchestra Directed By Hal Mooney

Like Yesterday - Beverly Kenney

 

A Sunday Kind Of Love

Like Yesterday 

Beverly Kenney

Decca Records DL 8948

Personnel on: Any Old Time, And The Angels Sing, More Than You Know, The Dipsy Doodle

Jerome Richardson - Woodwings

Ed Shaughnessy - Drums 

Bill Pemberton - Bass

Chuck Wayne - Guitar

Stan Free - Piano and Trumpet (Free appears on trumpet during And The Angels Sing only)

Personnel on: What A Difference A Day Made, Happiness Is A Thing Called Joe, Tampico, Sentimental Journey

Johnny Rae - Vibes and Percussion ("a flautist")

Ed Shaughnessy - Drums

Bill Pemberton - Bass

Chuck Wayne - Guitar

Stan Free - Piano

Personnel on: Undecided, A Sunday Kind Of Love, Somebody Else Is Taking My Place, I Had The Craziest Dream

Eddie Bert - Trombone

Al Klink - Tenor Sax (a trumpeter")

Ed Shaughnessy - Drums

Bill Pemberton - Bass

Chuck Wayne - Guitar

Stan Free - Piano

From the back cover: Yesterday – The yesterday of swing, the big bands and instrumental soloists and vocalists so much a part of that interval, remain an unusually vivid memory for many of us. Perhaps time has done its work, and all seems a little more glamorous than it actually was. But even for those who were in on only a portion of it, the years between the crash-through of the Benny Goodman band in 1935 and the last gasp of the big bands in the latter years of the Forties had their unforgettable moments. The jitterbugs that danced in the aisles of the Paramount Theatre to the surging pulse of the Goodman gang; the fans who traveled up to the Savoy Ballroom in Harlem to "dig" the swingin' Chick Webb band and its vocal star Ella Fitzgerald; and those struck by the orchestra led by "That Sentimental Gentleman of Swing," Tommy Dorsey; they remember.

The devoted "Sighing Slaves of Sinatra," who stood in line, regardless of weather or parental objection, for a look at their idol; the fellows and gals who "cut" school to hear Harry James' horn speak of Sleepy Lagoon and Flatbush Flanagan, or Helen Forrest sing her love songs as the band undulated behind her; and those who followed the temperamental Artie Shaw, his progressive orchestras and policies; they remember.

Aficionados who spent evenings and early mornings listening to the "Rockin' Chair Lady," Mildred Bailey, usually in the company of husband Red Norvo and other great jazz stars, in 52nd Street Clubs; others who stomped and hollered to the Barnet band in its many editions; the faithful who applauded the crisp, rolling, often explosive sounds of the Kenton, Herman and Brown crews and their appealing thrushes; and later, the couples who swayed to the danceable, expressive Thornhill band that featured vocalist Fran Warren; they, too, remember.

For the young, it was all part of growing up; for others, a little older, a time that was free if not easy; for all, a period looked back upon with warmth. The music and those that made it ... the key to a flood of memories.

Beverly Kenney was three years old when Benny Goodman became the "King of Swing." She was six-in 1938 – when Billie Holiday, her biggest vocal influence, recorded Any Old Time with Artie Shaw; and only a teen-ager as the era came to a close in the late Forties. Though not really part of this time, she is a result of what happened during those years.

Roots...for Beverly

When Lester Young stepped out of the Count Basie reed section to solo on those many memorable nights two decades ago, it is unlikely that he had any idea his manner of expressing himself would become the foundation for a whole generation of instrumentalists and a number of singers to build upon. Pres merely raised his horn and "told his story," with little thought to its effect.

Billie Holiday admired the man she named "The President," and used him on many of her greatest record dates "because he played music I like." Lester and his "Lady Day" were close. As she further shaped her vocal style, it became obvious that Pres' presence on the scene had been noted.

Indebted to Billie Holiday, Beverly Kenney has said: "Billie was the ultimate; she put it out on the line every time she sang. I can never forget her."

But all her roads lead to Pres.

Stan Getz, one of the enigmatic tenorman's most devoted disciples in the Forties, who went on to develop an extension of the master's style, has been, by Miss Kenney's admission, the most significant force in shaping her vocal expression. "When I first began singing," she told me, "Stan's sound and phrasing charmed me. I felt his way on the tenor should be mine as a singer." Beverly's vibrato-free sound and concept of time and phrase only further underscore where she comes from, stylistically.

Yesterday... Today

Like the gal singers recalled by the songs in this program, Beverly Kenney has been a band singer. Unlike these singers, she found recognition after leaving band singing-with the Dorsey Bros. A girl who enjoys relaxed musical circumstances, small band accompaniment has proven generally more appropriate to her needs. "I believe working with a small band allows a singer to be more flexible; there's more freedom to move around, to improvise on material," she quietly explained.

Beverly had her wish on these sessions. The accompanying units were small and composed of sympathetic players; the writing for them, by ex-Chris Connor accompanist/arranger Stan Free, flowing and relatively uncomplicated.

"This being a memory-type album that reaches back to the days of swing for material," said Free, "I wrote for the flavor of the time, adding a touch or two or three of my own. We felt that by merely suggesting the era when the songs were popular would be more honest and realistic than trying to recreate the time and 'the' performance itself.

"I tried to give Bev a cushion of sound to lean on while making the charts as 'conversational' as possible," he continued. "I designed the arrangements to compliment my artist, and to keep things relaxed. The instrumental soloists spoke in short bursts, reflecting 'the now' of what they felt within each tune. However, there was some reminiscing done in the blowing-on my 'fills' and background noodling-but we generally avoided playing 'old' for effect."

Beverly fills out the picture: "The songs in this program mean a lot to me; they're mementos of the days when my ears first opened to music, mementos of the nights, a tiny radio tucked under my pillow, I listened to singers and bands on late evening 'remotes.' Realizing I was following up great performances on each of these songs, I took the only course open to me. I sang each song as I felt it at the time. That's all any singer can 'honestly' do." – BURT KORALL, Co-Editor, THE JAZZ WORD (Ballantine)

Side One 

UNDECIDED
Made famous by ELLA FITZGERALD with Chick Webb. and his orch.

SENTIMENTAL JOURNEY
Made famous by DORIS DAY with Les Brown and his orch. 

I HAD THE CRAZIEST DREAM
Made famous by HELEN FORREST with Harry James and his orch.

AND THE ANGELS SING
Made famous by MARTHA TILTON with Benny Goodman and his orch.

MORE THAN YOU KNOW
Made famous by MILDRED BAILEY with such Jazzmen as Artie Shaw, Ziggy Elman, Teddy Wilson and Cozy Cole. 

THE DIPSY DOODLE
Made famous by EDYTHE WRIGHT with Tommy Dorsey and his orch.
Later became the theme for the band headed by Larry Clinton who wrote and arranged it for Dorsey.


Side Two

WHAT A DIFFERENCE A DAY MADE
Made famous by KAY STARR with Charlie Barnet and his orch.

SOMEBODY ELSE IS TAKING MY PLACE
Made famous by PEGGY LEE with Benny Goodman and his orch.

A SUNDAY KIND OF LOVE
Made famous by FRAN WARREN with Claude Thornhill and his orch.

ANY OLD TIME
Made famous by BILLIE HOLIDAY with Artie Shaw and his orch.

HAPPINESS IS A THING CALLED JOE
Made famous by FRANCES WAYNE with Woody Herman and his orch.

TAMPICO
Made famous by JUNE CHRISTY with Stan Kenton and his orch.