Peters Township High School Stage Band 70

Dot Dash

Peters Township High School
Stage Band 70
David D. Pew - Director
EAR-10147

The International Pop Orchestra

Miserlou

The International Pop Orchestra
110 Men

Produced by Bernie Lowe

Engineer: Malcolm Addey

Studio: In London, England (96 feet long x 59 Feet Wide x 42 Feet High with entire floor area covered with musicians)

Cameo SC-2001

From the back cover: Although the world of popular music continues to be dominated by teenage tastes, it has been most gratifying during the past two years to witness the renaissance or rebirth of enchant- ing instrumental music.

For this, we owe great thanks to the inventive and imaginative orchestras, arrangers and musical directors behind the scenes who have conceived a "refreshing" new approach to instrumental music-a modern and spirited sound featuring new rhythms and new harmonies. It is the sound which has made such melodies as "Theme From A Summer Place," "Theme From Exodus," "Calcutta," "Theme From The Apart- ment" and a number of others so delightful for all age groups. It is "TODAY's" sound.

The exciting sound of today is what you will hear in this fabulous debut album of The International Pop Orchestra which Cameo Records is proud to introduce.

One of the most exotic orchestras ever assembled, The International Pop Orchestra includes the staggering total of 110 musicians-a full symphonic size orchestra which one seldom, if ever, hears performing popular music today. The orchestra includes an overwhelming string section of 58, men enhanced by the modern instruments which make "today's" big sound; ie bongos, mandolins, guitars, drums, a grand organ and timbales. Each member of the orchestra was hand picked for this special occasion. The orchestra was placed in the hands of some of today's most gifted arrangers and recorded under the finest conditions and with the finest equipment available today at the London Studios of EMI, (Electrical and Musical Industries), in England. The results are well worth the effort and great expense, for in this album we have a truly magnificent program of popular music as it should be played.

Each number breathes excitement. For example, in the "Exodus" selection, the fulness of the orchestra with its sumptuous strings, superbly captures the spiritual quality of this devine theme. To add the modern touch, a large mixed chorus is employed singing only the melody and functioning, in essence, as a group instrument to further enhance the dramatic sound the song deserves. The voices seem to bring out the soul of this heart rending yet beautiful melody.

In "Hymn To Love," better known to many as "If You Love Me, Really Love Me," the orchestra displays its versatility by presenting the number with a subtle ballad dance beat such as that used in the lovely "Theme From A Summer Place" hit.

There is an outstanding version of "The Habanera" from "Carmen" with excellent im- provisations on the familiar melody.

For an exciting Latin flair, The International Pops Orchestra drives through a rhythmic and absolutely exciting version of "Miserlou."

"Summer Day," the only new theme to be introduced on the album, (from the 3rd act of La Boheme) will surely be one of your favorites. It's a haunting refrain destined to be on the hit parade in the near future.

The orchestra offers a sampling of the light classics in "Rhapsody In Blue" and shows its power with the classic and fiery "Ritual Fire Dance."

The light and gay "Pepe" adds a novelty touch to the orchestra's well balanced program.

Other beautiful themes such as "La Strada," "Lisbon Antigua," "Melodie Perdu" and "Swed- ish Rhapsody" round out the varied and always exciting performance.

The International Pops Orchestra is a welcome addition to the world of popular music. If you enjoy listening to beautiful melodies played with a spirit, depth and fullness that only an orchestra comprising 110 men can offer, then this album is a must for your collection. – Al Cahn

Ritual Fire Dance
If You Love Me (Really Love Me)
Habanera
La Strade
Lisbon Antiqua
Exodus
Miserly
Summer Day
Melodie Purdue
Rhapsody In Blue
Pepe
Swedish Rhapsody

Dancing and Dreaming - The Jay Norman Quintet

Solamente

Dancing and Dreaming
The Jay Norman Quintet
Concert Disc CS-24
1959

Somebody Loves Me
Dont' Blame Me
The Breeze And I
The Way You Look Tonight
Solamente
Easy To Love
Time On My Hands
Green Eyes
Out Of Nowhere
It Had To Be You
How Deep Is The Ocean
Amor

Ralph And Buddy Bonds At The Twin Organs

Stormy Weather

Ralph And Buddy Bonds At The Twin Organs
Vocalion VL3627

Blue Moments (Without You Dear)

Stars Fell On Alabama

Moonglow

Blue (And Broken Hearted)

Over The Waves

Stormy Weather

Star Dust

You're Not The Kind

Tormented

I Don't Stand A Ghost Of A Chance With You

Spanish Candy

The Dream Of Olwen

It's Monkey Time - The Dials

Sneakin' Around

It's Monkey Time
The Dials

Artist & Repertorie: Bob Shad

Original Recording Engineer: Mort Thompson

Mastering: Hal Diepold

Liner Notes: Pete Spargo

Production Coordinator: Harry Ringler

Album Coordinator: Arpena Spargo

Typography: The Composing Room, Inc.

Album Design: Moskof-Morrison, Inc.

Printing and Fabrication: Globe Albums, Inc.
Time Records 52100

1964

From the back cover: The greatest new dance craze to capture the public's imagination is the Monkey Dance or Monkey Music. The dancers are allowed a great deal of freedom as they move about to exciting riffs and back beats. The Dials, a great new group out of Nashville, generate a new kind of excitement as they tear through 12 great songs with the authentic feel.

Monkey Shout

Monkey Time

Monkey Dance

Out On A Limb

Columbus Stockade Blues

Sneakin' Around

Monkey Walk

Monkey Guitar

Down Home

Monkey Mouse

Climbin' The Keys

Shorten' Bread

I'm In The Mood For Love

I'm In The Mood For Love

I'm in the Mood for Love
Frank Washburn And His Orchestra

Cover Model: Jayne Mansfield
Promenade Records 2052

Synthetic Plastics Co., Newark, N.J.

1957

I'm In The Mood For Love

Stardust

These Foolish Things

Deep In My Heart

One Alone

I'll See You Again

Tenderly

Softly As In A Morning Sunrise

Body And Soul

I Only Have Eyes For You

When I Grow Too Old To Dream

Lover Come Back To Me

Kim Choo Ja Comeback Concert Program

Kim Choo Ja Comeback Concert Program

Kim Choo Ja Comeback Concert Program*

Universal Record Co., Seoul Korea

KLS-49

1972

It's Snowing

Yesterday, Today And Tomorrow

Whispers Of Love

It's Rumored

Old Miss

You Are Far Away

Before It's Too Late

Sergeant Kim Returns From Vietnam

First Love Tears

Naomi In The Dream

It's A lie

Walking In The Rain

The Leaves Of The Tree Fell

*google" translation of cover text

To Sir, With Love

To Sir, With Love

To Sir, With Love and Other Favorites
Romantic Moods
Diplomat DS 2428

To Sir, With Love
Happy Anniversary
Me Diran El Zacilon
A Very Special Love
Life Is Just A Song
You Are My Only Love
Teacher, Teacher
Find Me A Bluebird
It's Not For Me To Say
Home And Peace

New Music For Organ

Last Rites

New Music For Organ
William Bolcom Black Host
William Albright Organbook II
William Albright, Organ with Sidney Hodkinson, Percussion
Electronic tape realized at The University of Michigan Electronic Music Studio

Engineering: Henry J. Root

Mastering: Robert C. Ludwig (Sterling Sound, Inc.)

Coordinator: Teresa Sterne

Art Direction: Robert L. Heimall

Cover Art: Jack Martin

Cover Design: Paula Bisacca
Nonesuch Records Commission
H-71260 (Stereo)
1971

One copy I found was autographed on the back jacket by Albright (see above) and contained a few reprinted articles from March 1972 issue of The A.G.O.-R.C.C.O. Magazine. The article featuring Albright is posted below.

From the cover: At some point in its rich history, the organ was dubbed the "king of instruments." The title is indeed justified: the organ is the most complex, grandiose, and varicolored single musical instrument created by man. Unfortunately, its treatment by composers during the last two centuries has been far from royal. Whether because of perversities in its design, its religious associations in a secular age, or changing esthetic demands by a concert-going public, the organ has had relatively few works of consequence written for it since the death of Johann Sebastian Bach.

Add to this the insular attitude of many organists, and it is not difficult to understand how the organ literature of the last two centuries has tended to parallel mainstreams of music but seldom enter them. After all, the organist does spend a great deal of time in activities associated with the church; his contact with other instrumentalists is slight because of a paucity of mixed ensemble material; furthermore, he has the great solo literature of the Baroque era. Why should he worry about a continuing and vital music for his instrument, and why expend the effort necessary to encourage it?

Composers have been all too likely to agree. Faced with the overwhelming color possibilities of the organ, its special playing techniques (pedals, for example) and peculiar mode of sound production (Stravinsky com- plained that the beast never breathed), the composer has too often opted for more familiar territory. Even if he finally chose to pursue the possibilities of one particular organ, he might risk the complete alteration of his intent when the piece was played on another.

Happily, the situation seems to be changing. Organists, on the one hand, are exploring new music at a faster rate; even specialists in recent repertoire, comparable to those on most other instruments, have appeared. Younger composers, on the other hand, are following the example of Messiaen-possibly the one noteworthy creator of organ music in the first half of the 20th century-in "radicalizing" the approach to organ writing. Composers. are now finding the enormous potential in timbre more an attraction than a burden: the organ, in its building of complex sounds from simple ones, might even be con- sidered the first synthesizer. Moreover, the extra-musical religious associations of the organ are now as fascinating to a new generation as they may have been irrelevant or repulsive to a previous.

Both works on this record draw heavily on religious con- notations, and neither one could be anything but organ music. Symptomatic of the current trend, both grow idiomatically and associatively from the substance of the instrument. William Bolcom's Black Host, although perhaps best realized on a large modern organ, is so essentially organ-oriented that it could be (and has been) performed successfully on an organ of strict classical design, with little detriment to its character. Even the inclusion of tape and percussion sounds acts as an extension of the organ medium in this piece.

The title of the Bolcom work, written in the summer of 1967, takes its cue from the black mass envisioned by St. Sécaire (as mentioned in Frazer's encyclopedia of the occult, The Golden Bough). St. Sécaire is supposed to have said black mass in the crypt of his church in order to purify that institution of its own sin. By desecrating the Body and Blood, he meant to deny the church its most sacred pleasure until it began to mend. By contrast, the black mass J. K. Huysmans describes in his novel Là-Bas appears to be nothing more than an orgy with slight religious intent. Both ceremonies, however, often employ as part of their heretical paraphernalia a triangular black paten (thus "black host").

Nevertheless, the work is not a tone-poem on the tribula- tions of St. Sécaire. Nor is it an exigesis on moral dualism, a dark ray of non-hope, or an uplifting sermon on the virtues of Calvinism (as it has been variously called). Even though Black Host flagrantly juxtaposes several recognizable styles within its time-span and is unified by the ghost of an old hymn-tune found in the Genevan Psalter, neither is it program music. It is an emotionally based piece, and if it is about anything, it would be fear. The score is even inscribed with the rueful words of Lord Russell: "In the daily lives of most men and women, fear plays a greater part than hope: they are more filled with the thought of possessions that others may take from them, than of the joy that they might create in their own lives and in the lives with which they come in contact.

"It is not so that life should be lived."

The religious aspects of Organbook II are more oblique than Black Host. The generic title Organbook is an adaptation of the popular French Baroque term "livre d'orgue" and, like the centuries-old model, is a collec- tion of several pieces, each of which explores a single idea or sonority. The titles of the individual movements of Organbook II were also inspired by the liturgical function of the original French pieces. But in contrast to the wholesome piety of my Organbook 1 ("Benedic tion," "Recessional"), the current work, akin to Black Host, is warped in the direction of the darker, more sinister aspects of religion-nocturnal rituals, the devil, mortality.

"Night Procession" primarily employs the softest sounds of the organ. Flutes, strings, and celestes color the expo- sition of slowly changing four to five-note chords that form the basis of the movement. The core of the piece, in fact, is a long harmonic sequence characterized by constant mutations of timbre; the effect is obtained by rapidly shifting keyboard changes and continual opera- tion of the swell shades. Interpolated in this overall texture by way of contrast are several series of fleeting, vaporous roulades that seldom cover a span larger than an octave.

"Toccata Satanique" is a matinee performance by the devil at the console. With its constant devil's – trill – tremolo and joyful demonry, the movement may well be an attempt to exorcise those fiendish virtuoso toccatas of Mulet, Widor, et al., that seem to haunt all organists. In the same way that the ostinatos of some of these display pieces are used, the tremolo acts as a point of tangency between motion and stasis. In several instances, the quickly alternating pitches turn into fast-moving figura- tions; at other places, they become motionless chords. "Last Rites" adds the dimension of tape to the texture. Electronic sound caps the ferocity of the previous move- ment while retaining a basic similarity to organ timbre. The tape is largely drawn from purely electronic sources, although there is some manipulation of recorded organ material. In contrast to the other movements, the struc- ture is fairly simple: large, uncomplicated blocks of sound juxtaposed and overlaid. The principal material is a descending cluster glissando. – WILLIAM ALBRIGHT

––––

William Albright (born in Gary, Indiana) has performed in Europe and Canada as well as throughout the U.S.A., and has premiered many new works for organ. He has also concertized widely as a pianist, specializing in new music and in classic and recent ragtime. As a composer, Albright has produced works for almost every medium, several of which involve electronic, visual, and theatrical elements.

He has been the recipient of numerous commissions and awards, among them the Queen Marie-José Prize (1968) for Organbook 1, Symphonic Composition Award of Niagara University (1969), Koussevitzky Composition Prize at Tanglewood (1964 and 1966), a Fulbright Fellow- ship (1968), and three BMI Student Composer Awards and he was honored by the American Academy of Arts and Letters in 1970. His teachers have included Ross Lee Finney, Leslie Bassett, Olivier Messiaen, Max Deutsch, and George Rochberg in composition; Marilyn Mason in organ-to whom Organbook II is dedicated. A music faculty member of the University of Michigan since 1970, Mr. Albright is also Associate Director of the University's Electronic Music Studio, and he has been active in Michigan's Contemporary Directions Ensemble as both performer and administrator.

Other works for organ by William Albright-Juba (1965), Pneuma (1966), and Organbook I (1967)-are available on a new CRI album, and he is also heard as pianist on the Advance and CRI labels. A piano rag written in collaboration with William Bolcom, Brass Knuckles, appears on Nonesuch H-71257. Organbook II was composed to a Nonesuch Records commission.

––––

Born in Seattle, William Bolcom entered the University of Washington School of Music at age 11, where he studied composition with John Verrall and George McKay, piano with Berthe Poncy Jacobson. In 1958, he began study with Darius Milhaud, first at Mills College, California, and later at the Paris Conservatoire; he has a Doctor of Musical Arts degree from Stanford University. Bolcom's interests range from theater to concert music to his own brand of pop. In 1963, his opera for actors, Dynamite Tonite (written with Arnold Weinstein), was premiered in New York at the Actors Studio Theater, winning an American Academy of Arts and Letters award. Other prizes include two Guggenheim Fellowships, a Rockefeller grant, a William and Noma Copley award, and the Kurt Weill Foundation Award. He has taught music at the University of Washington and at Queens College, New York, and has been Composer in Residence at the Yale Drama School and the NYU Theater Arts Program.

Among his many compositions are Sessions I-IV for chamber ensembles (Session IV has been released on the Philips label); 12 Etudes for Piano (performed by the composer on Advance Records); numerous rags (two of which are included in Nonesuch's album Heliotrope Bouquet: Piano Rags 1900-1970, H-71257, also performed by Mr. Bolcom); and several works written for the Aeolian Chamber Players, the most recent being Whisper Moon (1971). Black Host is dedicated to William Albright.

–––

Sydney Hodkinson (b. 1934, Winnipeg, Canada) is a member of the faculty at the University of Michigan and conductor of its Contemporary Directions Ensemble. He has studied composition with Bernard Rogers and Ross Lee Finney, and has received awards from the American Academy of Arts and Letters, Danforth Foun- dation, and the Canada Council. Hodkinson is currently on leave from his Michigan post, as composer-in-resi- dence for Minneapolis-St. Paul, under the Ford Founda- tion-sponsored program of the Contemporary Music Project.

Side One:

William Bolcom (b. 1938)
Black Host (1967)
for organ, percussion & tape
Sydney Hodkinson, percussion

Side Two:

William Albright (b. 1944)
Organbook II (1971)
1. Night Procession
2. Toccata Satanique
3. Last Rites (with tape)

Animus II - Jacob Druckman

Amimus III

Jacob Druckman
Animus III

Coordinator: Teresa Sterne

Cover Art: Gene Szafran

Cover Design: Richard J. Nebiolo

Art Direction: Robert L. Heimall
A Nonesuch Records commission
Nonesuch H-71253
1971

From the cover: This recording embraces three titles, two works, but one central concern. The works are involved with the actual presence of the performer theatrically as well as musically, limiting their focus to a particular area of human affections as well as a limited body of musical materials. Each work presumes that the theatrical and musical elements are inseparable; that the ideal performance of the music already embodies the performance of the drama. The music focuses reflexively on musicians and virtuosity.

The two sides of the record present the two polar possibilities of combinations of live and pre- recorded sound. On Side One they are inextricably combined. The sound sources of the tape are mainly concrete: the voice and clarinet playing of soloist Arthur Bloom in various degrees of transformation. During the performance of Animus III the clarinetist has at his disposal a microphone connected to a feedback device, which allows him to transform his playing so that he can move in and out of the electronic sounds. In this way the tape and the live player can approach each other, even crossing to opposite sides of the real/electronic gamut.

On Side Two, the electronic and the live are juxtaposed but completely separate. The tape sounds are made entirely of electronic sources (one tiny exception – the voice of bassist Alvin Brehm for less than one second), and the instrumental Valentine is completely without electronics.

The genesis of Animus III began with my asking Arthur Bloom to record some clarinet sounds as sources from which I could build the tape part of the work. The recording session was late at night. We worked efficiently and informally as we are good friends and colleagues of many years standing. The tape of that session contained not only the brilliant clarinet sounds of this extraordinary musician, but also the vocal sounds of the session – the laughter, the banter, the irritation, the fatigue, the impatience. Over all this fluttered the ephemeral virtuosity – untouched, uncommitted, disassociated from the human dynamic. As I worked with the tape in the following months, I found myself more and more fascinated with the recorded sounds of the irrational dynamic. These sounds began to shape the image of the work as strongly as the instrumental material from which, I believe, they are eventually inseparable.

The completed work assumes a surreal, aloof arch-virtuosity which follows its whimsy through many states leading to an eventual decay into a mindless hysteria.

Synapse (n., the junction point of two neurons, across which a nerve impulse passes), aside from the exception mentioned above, is totally synthesized on voltage-controlled analog machinery. It assumes the stance of Valentine. It functions as avant-propos, paraphrase, setting for Valentine.

Valentine begins with the same driven intensity with which Animus III ends. The work is one of the most difficult ever written for the contrabass and demands that the player attack the instrument with bow, tympany stick, both hands alternating percussive tapping on the body of the instrument with pizzicato harmonics, while the voice sustains tones, sings counterpoints, and punctuates accents. All of this necessitates the player's assaulting the instrument with an almost deSade-like concentration (hence the title). Valentine moves in the opposite direction from Animus III  – from intensity to euphoria. – JACOB DRUCKMAN

From the back cover: Jacob Druckman has produced a substantial list of works, several with electronic elements, a number of which have been recorded on Nonesuch, CRI, and Turnabout. He has also written for theater, films, and dance, and his music has been employed by the Joffrey City Center Ballet for the past several seasons. The works heard in this album, composed to a Nonesuch Records commission, have been adapted by choreographer Gerald Arpino for his ballets Solarwind (Animus III) and Valentine.

Born in Philadelphia in 1928, Mr. Druckman has degrees from The Juilliard School of Music; he also studied in Paris at the École normale de musique and at Tanglewood with Aaron Copland. He has been the recipient of numerous grants and awards, among them Guggenheim Grants in 1957 and 1968, the Society for the Publication of American Music publication award in 1967, Fulbright Grant in 1954, and he was honored by the American Academy of Arts and Letters and the National Institute of Arts and Letters in 1969. He has been commissioned by the Koussevitzky Foundation in the Library of Congress, the Groupe de recherches musicales (Radiodiffusion-Television française), LADO for the Juilliard Quartet, the Walter M. Naumburg Founda- tion, and others.

The composer now resides in New York where he has been teaching at Juilliard since 1957, and he has been associated with the Columbia-Princeton Electronic Music Center since 1967.

Virtuoso clarinetist and conductor Arthur Bloom has performed with every major musical ensemble and orchestra in New York. As clarinetist he has, since 1954, given premiere performances of 112 works – many of them composed for him. His affiliations with the Contemporary Chamber Ensemble, the Lark and Dorian Quintets (he was a founder of the latter two ensembles), and with all the important new-music performance groups in New York City throughout the 1960s, have enabled him to participate in the creation of an extraordinary amount of challenging and important new music.

Mr. Bloom holds degrees from the Juilliard School of Music in New York, where he studied with Augustin Duques (clarinet) and Jean Morel (conducting). His activities as a conductor encom- pass 37 programs of orchestral repertoire, and Mr.Bloom has conducted the premieres of 87 compo- sitions, including that of Gustav Mahler's Tenth Symphony as realized by Joseph Wheeler (1965).

Alvin Brehm, whose remarkable virtuosity as a contrabass player has contributed to the creation of a number of new works for the instrument, is a composer in his own right. Mr. Brehm studied with Wallingford Riegger and at the Juilliard School of Music, is Artist-in-Residence at the State University of New York at Stonybrook, and is a faculty member of the Manhattan School of Music. As instru- mentalist, Alvin Brehm has appeared with the Budapest and Lenox String Quartets, the New York Woodwind Quintet, and with Alexander Schneider at the White House in Washington.

As soloist in contemporary-music series, Mr. Brehm is active in college and community concerts. His compositions have been performed in Europe and the Far East on U.S. State Department tours as well as throughout the U.S.A., and several of his works have been recorded on Golden Crest, Trilogy, and Nonesuch Records.

Side One (15:39)

Animus III for clarinet & tape

Arthur Bloom, Clarinet

Side Two (18:21)

synapse VALENTINE for electronic tape & Contrabass

Alvin Brehm, contrabass

Electronic tape realized at the Columbia-Princeton Electronic Music Center

Let's Dance The Cha Cha Cha

Cha-Cha Charinete

Circumstancia

Let's Dance The Cha Cha Cha
Seeco Records SCLP 9054

1955

From the bilingual back cover: Contained herein are authentic CHA-CHA-CHA rhythm selections as performed by artist who have basically the "Native Feel" for such music, such as Machito and His Afro-Cuban Orchestra; the melodic and sensuous voice of Vicentico Valdes; the number one musical group of Cuba, The Sonora Matancera; Bobby Capo, sometimes called the 'Songbird of the Tropic'; the beautiful blend of harmony and tempo of the Trio Avileno; Frank Souffront, the new voice with a beat; and to round out this all star cast, the peppery and exciting Trio Alegria.

Cha-Cha-Chainete
Yo Quiero Tranquilidad
Por Que Te Empenas En Decir
Me Lo Dijo Adela
El Jamaiquino
Joseito
Rico Vacilon
El Tunel
Oyeme Mama
Aprende Cha-Cha-Cha
Este Cha-Cha-Cha
Circumstancia