The Girl From Ipanema
Tony Mottola
Arrangements by Lew Davis and Tony Mottola
Originated and Produced By Enoch Light
Associate Producers: Julie Klages and Robert Byrne
Recording Chief: Fred Christie
Mastering George Piros (Stereo) & John Johnson (Monaural)
Art Director" Charles E. Murphy
Command Records SMAS-90605
1965
From the inside cover: And it's the instrument that sets the pace for the dance that goes with that invitation whether it is the informality of a wild and hectic folk dance or the grace and formality of a tango, a waltz or the paso doble.
For all of this music, the guitar is the heart instrument, the pulse, the center, the source. It sets the mood and the tone. It tells the story.
To capture the full essence of this tradition, Tony Mottola has played all of this album on gut-string guitars, those classic instruments which have been largely displaced in recent years by the ubiquitous electric guitar.
The electric guitar has its reasons for exist- ence-and Tony does the bulk of his perform- ances on it, as a rule. It is a uniquely flexible instrument which, because of its amplification attachments, can cut through a huge ensemble and make its presence felt in almost any situation. Today's electric guitars, in the hands of such an expert as Tony Mottola, can even take on the character and sound of the classic, unamplified gut-string guitar with such realism that few people would know the difference.
However, one of those who would know is Tony Mottola. And when the music calls for the soft, sensuous warmth of the gut-string guitar, even the close approximation of this sound that he can get on an electric guitar does not satisfy his perfectionist demands. He wants a real gut-string sound – and so that is what you hear in these glowing performances.
You not only hear a real gut-string sound- you hear it reproduced with total reality by Command's world-famous engineering techniques.
To hear the true quality of a gut-string guitar is a rare and enlightening experience in these days when the electric guitar has proved to be such a completely versatile and useful instrument. So Tony Mottola has taken this occasion to give this fascinating instrument a full panoply of settings and moods.
On songs that call for a warm and intimate feeling, he frames his guitar in a simple framework, backed only by the rhythm guitar of Gene Bertoncinni, Dom Cortese on accordion, Bob Haggart on bass and Bob Rosengarden on drums.
Where excitement and glitter are called for and for rich contrasts of ensemble sounds and piquant accents, he has made significant addi- tions to this basic unit in order to create a formidable ensemble – two dashing trumpets played by Doc Severinsen and Mel Davis; an array of woodwinds under the control of those masters of virtuosity, Phil Bodner and Stanley Webb; a full team of guitars manned by Tommy Kay, Bucky Pizzarelli and either Allen Hanlon or Al Casamenti; Dick Hyman playing organ or piano; and an incomparable percussion section with Phil Kraus and Ed Shaughnessy joining forces with Bob Rosengarden.
From Billboard - November 13, 1965: Command Records will attempt to cash in on the selection of Tony Mottola's "Love Songs Mexico / S. A." album as the feature album of the week on the Jim Ameche Organization's syndicated radio show for the week of Nov. 29. The show reportedly reaches some 300 million listeners throughout the world.
Command has ordered several thousand extra streamers, dividers and easel backs to promote the album, and the label has rushed a single from the album to disk jockeys for air play.
Loren Becker, Command general manager said the Mottola album will probably be the label's best seller of 1965.
Theme From Black Orpheus
Guadalajara
Sabor
Mexican Hat Dance
The Girl From Ipanema
Mexica Medley
Besame Mucho
Brasilia
Maria Elena
Curacao
Piel Canela
La Bamba
For all of this music, the guitar is the heart instrument, the pulse, the center, the source. It sets the mood and the tone. It tells the story.
To capture the full essence of this tradition, Tony Mottola has played all of this album on gut-string guitars, those classic instruments which have been largely displaced in recent years by the ubiquitous electric guitar.
The electric guitar has its reasons for exist- ence-and Tony does the bulk of his perform- ances on it, as a rule. It is a uniquely flexible instrument which, because of its amplification attachments, can cut through a huge ensemble and make its presence felt in almost any situation. Today's electric guitars, in the hands of such an expert as Tony Mottola, can even take on the character and sound of the classic, unamplified gut-string guitar with such realism that few people would know the difference.
However, one of those who would know is Tony Mottola. And when the music calls for the soft, sensuous warmth of the gut-string guitar, even the close approximation of this sound that he can get on an electric guitar does not satisfy his perfectionist demands. He wants a real gut-string sound – and so that is what you hear in these glowing performances.
You not only hear a real gut-string sound- you hear it reproduced with total reality by Command's world-famous engineering techniques.
To hear the true quality of a gut-string guitar is a rare and enlightening experience in these days when the electric guitar has proved to be such a completely versatile and useful instrument. So Tony Mottola has taken this occasion to give this fascinating instrument a full panoply of settings and moods.
On songs that call for a warm and intimate feeling, he frames his guitar in a simple framework, backed only by the rhythm guitar of Gene Bertoncinni, Dom Cortese on accordion, Bob Haggart on bass and Bob Rosengarden on drums.
Where excitement and glitter are called for and for rich contrasts of ensemble sounds and piquant accents, he has made significant addi- tions to this basic unit in order to create a formidable ensemble – two dashing trumpets played by Doc Severinsen and Mel Davis; an array of woodwinds under the control of those masters of virtuosity, Phil Bodner and Stanley Webb; a full team of guitars manned by Tommy Kay, Bucky Pizzarelli and either Allen Hanlon or Al Casamenti; Dick Hyman playing organ or piano; and an incomparable percussion section with Phil Kraus and Ed Shaughnessy joining forces with Bob Rosengarden.
From Billboard - November 13, 1965: Command Records will attempt to cash in on the selection of Tony Mottola's "Love Songs Mexico / S. A." album as the feature album of the week on the Jim Ameche Organization's syndicated radio show for the week of Nov. 29. The show reportedly reaches some 300 million listeners throughout the world.
Command has ordered several thousand extra streamers, dividers and easel backs to promote the album, and the label has rushed a single from the album to disk jockeys for air play.
Loren Becker, Command general manager said the Mottola album will probably be the label's best seller of 1965.
Theme From Black Orpheus
Guadalajara
Sabor
Mexican Hat Dance
The Girl From Ipanema
Mexica Medley
Besame Mucho
Brasilia
Maria Elena
Curacao
Piel Canela
La Bamba
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