Potent Percussion
Don Catelli and The All Stars
Album Designer and Production Director: Sam Suliman
Printing: Queens Lithographing
Plating and Stampers: Audio Matrix
Stereo Mastering: Joyce Avery - Avcolabs
Monaural Mastering: Art Chryst - Bell Sound
Pressing Plant: Diskmakers
Product Co-Ordinator: Charles Goldberg
Directional Sound DM 5010
A Product of Premier Album
Directional Sound DM 5010
A Product of Premier Album
1961
From the inside (gatefold) cover: SIDE ONE – A1. Cole Porter's I LOVE PARIS is from the captivating CAN-CAN of 1953 which depicted Parisian life in the time of Toulouse-Lautrec. The song itself, says Porter, was inspired by scenic designer Jo Mielziner's brilliantly evocative sky line of the city on stage. In this version, bongos and tambourines ignite the percussion until the tartly nostalgic accordion sings out the melody. Note the pungent harmonic voicings and the sprays of color from the vibraphone, scratcher, bongos, accordion, and clarinet. The piece ends as the clarinet soars over all.
A2. MANHATTAN, one of the most renowned of Rodgers and Hart standards, is from the first edition of THE GARRICK GAIETIES in 1925. Theatre historian Stanley Green calls this "an almost wistfully bucolic tune," and its winsomeness is enhanced by the Latin flavor that pervades this album. The soft opening cymbals rise in volume and lead to a mellow muted trumpet, vibrant bass, crisp bongo drums, piano, silvery vibraphone and clarinet, a provocative contrast between bongos and bells, and the final spiraling tonal spread through woodwind, percussion, guitar and vibraphone.
A3. SO IN LOVE was written by Cole Porter for the 1948 KISS ME KATE. The tenderness of the blend of piano, vibes, guitar and cymbals is made even more piquant by the rattling bongos and the sizzling maracas. The vibes ring out the melody over the boiling percussion section, succeeded by a soft tenor saxophone and a firm píano over rebellious bongos and timbales. As a hypnotic romantic mood is set, the saxophone returns over tambourines and bongos, vibes join with guitar, and there is a sinuous, Bolero-like ending.
A4. Tolchard Evans' LADY OF SPAIN has been a ballroom classic for many years, conjuring up the dark beauty and elusive gaiety of the Spanish temper. Here, after provocative tympani, the trumpet lead converses with guitar over a penetrating rhythm section, stating the theme in precise rhythmic patterns. An agile piano darts over timbales and the tenor saxophone adds depth of timbre. The swirling finale finds trumpet and tenor over the animated percussion.
A5. OLD CAPE COD, a tribute to one of Massachusetts' most attractive summer resorts, was a major hit for Patti Page three years ago. Appropri- ately it was written by three Bostonians-Claire Rothrock, Milton Yakus, and Allan Jeffrey. Note the hushed, inviting introduction with subtle sounds from the temple blocks, snare drums, and piano. A clarinet in low register over guitar deepens the mood and is followed by a marimba spiced with bongos. A steel guitar asserts the melodic line until prome- nading trumpet, clarinet and accordion arrive. The roles shift as guitar joins with accordion over the insistent percussion until the opening is heard in reprise.
A6. I'VE GOT YOU UNDER MY SKIN was written by Cole Porter for the 1936 MGM musical, BORN TO DANCE, which starred Eleanor Powell and James Stewart. This infectious treatment opens imaginatively by pinpointing bass, drums and tympani. Clarinet and vibes provide a lyrical interlude which is sustained by the piano. The hard, dry bongos complement the warm guitar. Piano and guitar play a duet, and the clarinet then resumes the melodic line with guitar as the track fades.
SIDE TWO – B1. Cole Porter's IN THE STILL OF THE NIGHT was part of his remarkably appealing score for the 1937 MGM picture, ROSALIE, with Nelson Eddy, Eleanor Powell, and Ray Bolger. Again, the cymbal pro- vides a provacative introduction. With the rhythm section in full force, a rhapsodic steel guitar is heard with organ in the background, and suddenly a stinging muted trumpet leaps in complemented by guitar and a rustling rhythm section. A full-toned tenor saxophone takes over the theme with biting cross-accents by bongos and guitar. A surge of organ with bongo underpinning leads into sweeping guitar, muted trumpet and piano. The guitar is set in relief, backed by delicate organ and bongos, until trumpet and tenor softly return, followed by guitar until the song fades gently away.
B2. ALWAYS TRUE TO YOU IN MY FASHION is another Cole Porter achievement from KISS ME KATE. The title, incidentally, comes from line in an Ernest Dowson poem. This exuberant arrangement be- gins with a crisply swinging rhythm section, intensified by clicking temple blocks. French horns carry the melody with accordion and guitar as the undertow. The piano solos over the energetic rhythm section, spurred on by the bongos, and the French horns come back. A burst of tambourines and drums precede a driving tenor saxophone; and then come the vibes, piano, and the percussive conclusion.
B3. SMALL WORLD ISN'T IT is from Jule Styne's score to the large- scale hit musical, GYPSY, starring Ethel Merman. It begins softly but complellingly with rhythm section, bongos, and a Chinese bell tree. Guitar and vibes blend and are broken by an explosive drum break. "They return with interjections from the piano. The vibes turn to the piano for melodic support and the piece ends with the rhythm section subtly reasserting itself.
B4. THE GLOW WORM by Paul Lincke has proved one of the most enduring of all show standards. It comes from the 1907 musical, THE GIRL BEHIND THE COUNTER, starring Lew Fields, and presented at the Herald Square Theatre. When Miss May Maudain sang the tune dur- ing the run of the play, she was forced by insistent applause into dozens of encores of THE GLOW WORM every night. Here a piercing trumpet lead sets the disciplined rhythmic pattern with a succession of color combinations provided by timbales, the scratcher, guitar, assertive organ, trumpet again, a buoyant combination of bongos and timbales, and a final meeting of trumpet and organ.
B5. BALLIN THE JACK by Chris Smith has been a jazz standard for Dixieland bands for many years. This is an uncommonly lilting version, introduced by staccato drums with the trumpet taking over the melodic line, turning it over to a supple clarinet as the irrepressible rhythm section continues its driving punctuations. Note the sizzling, muted trumpet interlude, the full-ranged confrontation of bongos, bass drums, and snares; and then the melodic verve of clarinet and trumpet before the pulsating end as the piano sets a shuffle rhythm in the background. B6.. MY HEART BELONGS TO DADDY made a star of Mary Martin in her Broadway debut in 1938 in Cole Porter's LEAVE IT TO ME! It was to this song that the lissome Miss Martin did her celebrated strip. Cymbals open this arrangement with drums leading to a swinging trum- pet accompanied by darting piano and cohesive rhythm section. The colors change with the fusion of clarinet and guitar. A series of solos- trumpet, guitar and incisive clarinet-precede the last ensemble as the trumpet leads the orchestra into a riffing finale.
Guitarist Don Catelli's all-stars include himself, Art Spence, and Phil Ross on rhythm and electric guitars and banjo; Lew Cantor, Tony Maxwell, and Freddie Calabrese playing organ, piano, accordion, and vibes; a reed section of Roger Tully, Jesse Nishihata, and Dennis Miller; and Charlie Knectel and Preston Ford in the brass section. Handling the challenging variety of percussion are Joe Landau, Ross Gregory, Frank Wade, and Frank Powis. Their formidable equipment includes bongos, snare drum, maracas, marimba, scratcher, tambourine, two sets of tym- pani, chromatic temple blocks, finger cymbals, bells, conga drum, a Chinese bell tree, and regular drums.
This is indeed POTENT PERCUSSION, – NAT HENTOFF
A2. MANHATTAN, one of the most renowned of Rodgers and Hart standards, is from the first edition of THE GARRICK GAIETIES in 1925. Theatre historian Stanley Green calls this "an almost wistfully bucolic tune," and its winsomeness is enhanced by the Latin flavor that pervades this album. The soft opening cymbals rise in volume and lead to a mellow muted trumpet, vibrant bass, crisp bongo drums, piano, silvery vibraphone and clarinet, a provocative contrast between bongos and bells, and the final spiraling tonal spread through woodwind, percussion, guitar and vibraphone.
A3. SO IN LOVE was written by Cole Porter for the 1948 KISS ME KATE. The tenderness of the blend of piano, vibes, guitar and cymbals is made even more piquant by the rattling bongos and the sizzling maracas. The vibes ring out the melody over the boiling percussion section, succeeded by a soft tenor saxophone and a firm píano over rebellious bongos and timbales. As a hypnotic romantic mood is set, the saxophone returns over tambourines and bongos, vibes join with guitar, and there is a sinuous, Bolero-like ending.
A4. Tolchard Evans' LADY OF SPAIN has been a ballroom classic for many years, conjuring up the dark beauty and elusive gaiety of the Spanish temper. Here, after provocative tympani, the trumpet lead converses with guitar over a penetrating rhythm section, stating the theme in precise rhythmic patterns. An agile piano darts over timbales and the tenor saxophone adds depth of timbre. The swirling finale finds trumpet and tenor over the animated percussion.
A5. OLD CAPE COD, a tribute to one of Massachusetts' most attractive summer resorts, was a major hit for Patti Page three years ago. Appropri- ately it was written by three Bostonians-Claire Rothrock, Milton Yakus, and Allan Jeffrey. Note the hushed, inviting introduction with subtle sounds from the temple blocks, snare drums, and piano. A clarinet in low register over guitar deepens the mood and is followed by a marimba spiced with bongos. A steel guitar asserts the melodic line until prome- nading trumpet, clarinet and accordion arrive. The roles shift as guitar joins with accordion over the insistent percussion until the opening is heard in reprise.
A6. I'VE GOT YOU UNDER MY SKIN was written by Cole Porter for the 1936 MGM musical, BORN TO DANCE, which starred Eleanor Powell and James Stewart. This infectious treatment opens imaginatively by pinpointing bass, drums and tympani. Clarinet and vibes provide a lyrical interlude which is sustained by the piano. The hard, dry bongos complement the warm guitar. Piano and guitar play a duet, and the clarinet then resumes the melodic line with guitar as the track fades.
SIDE TWO – B1. Cole Porter's IN THE STILL OF THE NIGHT was part of his remarkably appealing score for the 1937 MGM picture, ROSALIE, with Nelson Eddy, Eleanor Powell, and Ray Bolger. Again, the cymbal pro- vides a provacative introduction. With the rhythm section in full force, a rhapsodic steel guitar is heard with organ in the background, and suddenly a stinging muted trumpet leaps in complemented by guitar and a rustling rhythm section. A full-toned tenor saxophone takes over the theme with biting cross-accents by bongos and guitar. A surge of organ with bongo underpinning leads into sweeping guitar, muted trumpet and piano. The guitar is set in relief, backed by delicate organ and bongos, until trumpet and tenor softly return, followed by guitar until the song fades gently away.
B2. ALWAYS TRUE TO YOU IN MY FASHION is another Cole Porter achievement from KISS ME KATE. The title, incidentally, comes from line in an Ernest Dowson poem. This exuberant arrangement be- gins with a crisply swinging rhythm section, intensified by clicking temple blocks. French horns carry the melody with accordion and guitar as the undertow. The piano solos over the energetic rhythm section, spurred on by the bongos, and the French horns come back. A burst of tambourines and drums precede a driving tenor saxophone; and then come the vibes, piano, and the percussive conclusion.
B3. SMALL WORLD ISN'T IT is from Jule Styne's score to the large- scale hit musical, GYPSY, starring Ethel Merman. It begins softly but complellingly with rhythm section, bongos, and a Chinese bell tree. Guitar and vibes blend and are broken by an explosive drum break. "They return with interjections from the piano. The vibes turn to the piano for melodic support and the piece ends with the rhythm section subtly reasserting itself.
B4. THE GLOW WORM by Paul Lincke has proved one of the most enduring of all show standards. It comes from the 1907 musical, THE GIRL BEHIND THE COUNTER, starring Lew Fields, and presented at the Herald Square Theatre. When Miss May Maudain sang the tune dur- ing the run of the play, she was forced by insistent applause into dozens of encores of THE GLOW WORM every night. Here a piercing trumpet lead sets the disciplined rhythmic pattern with a succession of color combinations provided by timbales, the scratcher, guitar, assertive organ, trumpet again, a buoyant combination of bongos and timbales, and a final meeting of trumpet and organ.
B5. BALLIN THE JACK by Chris Smith has been a jazz standard for Dixieland bands for many years. This is an uncommonly lilting version, introduced by staccato drums with the trumpet taking over the melodic line, turning it over to a supple clarinet as the irrepressible rhythm section continues its driving punctuations. Note the sizzling, muted trumpet interlude, the full-ranged confrontation of bongos, bass drums, and snares; and then the melodic verve of clarinet and trumpet before the pulsating end as the piano sets a shuffle rhythm in the background. B6.. MY HEART BELONGS TO DADDY made a star of Mary Martin in her Broadway debut in 1938 in Cole Porter's LEAVE IT TO ME! It was to this song that the lissome Miss Martin did her celebrated strip. Cymbals open this arrangement with drums leading to a swinging trum- pet accompanied by darting piano and cohesive rhythm section. The colors change with the fusion of clarinet and guitar. A series of solos- trumpet, guitar and incisive clarinet-precede the last ensemble as the trumpet leads the orchestra into a riffing finale.
Guitarist Don Catelli's all-stars include himself, Art Spence, and Phil Ross on rhythm and electric guitars and banjo; Lew Cantor, Tony Maxwell, and Freddie Calabrese playing organ, piano, accordion, and vibes; a reed section of Roger Tully, Jesse Nishihata, and Dennis Miller; and Charlie Knectel and Preston Ford in the brass section. Handling the challenging variety of percussion are Joe Landau, Ross Gregory, Frank Wade, and Frank Powis. Their formidable equipment includes bongos, snare drum, maracas, marimba, scratcher, tambourine, two sets of tym- pani, chromatic temple blocks, finger cymbals, bells, conga drum, a Chinese bell tree, and regular drums.
This is indeed POTENT PERCUSSION, – NAT HENTOFF
I Love Paris
Manhattan
So In Love
Lady Of Spain
Old Cape Cod
I've Got You Under My Skin
In The Still Of The Night
Always True To You
Small World Isn't It
Glow Worm
Balling The Jack
My Heart Belongs To Daddy
Manhattan
So In Love
Lady Of Spain
Old Cape Cod
I've Got You Under My Skin
In The Still Of The Night
Always True To You
Small World Isn't It
Glow Worm
Balling The Jack
My Heart Belongs To Daddy
I have this record and love it
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