Rendezvous In Rome - The Melanchrino Strings

Volare

Rendezvous In Rome
The Melachrino Strings and Orchestra
Musical Travelogue
World Wide Series
Cover Photo: Giuliano R. Somerville
RCA Victor LPM-1955
1959

From Billboard - August 24, 1959: An appealing, restful and for those who know Rome, a nostalgic set. The Melachrino ork with heavy bank of strings featured, plays "Three Coins In The Fountain," "Volare," "Arrivederci," the lovelocks "Castel Saint Angelo" scene from "Tosca," plus less familiar selections, all strongly identified with Rome. A delightful mood album, handsomely recorded.

Rome The City
Volare (Nel blu dipinto di blue)
Scene from "Castel Sant' Angelo" (from "Tosca")
Tesoro Mio
Three Coins In The Fountain
View of the Vatican ("St. Peter's")

Colosseum

Autostrada ("Grand Prix")

Ragazza Romanza (Ladies of Rome)

Vista Roma
Italian Fantasy
Arrivederci Roma

Music Of George Gershwin - Andre Kostelanetz

Mine

Music Of George Gershwin
Andre Kostelanetz and His Orchestra
Cover Design: Weber / Monogram
Columbia Records CL 770
1955

Fascinatin' Rhythm
Mine
The Man I Love
Embraceable You
Soon
I Got Rhythm
Bess, Oh Where's My Bess
'S Wonderful
Maybe
Someone To Watch Over Me
Oh, Lady Be Good
Embraceable You
Strike Up The Band

Luiz Bonfa's Brazilian Guitar

Xango

Luiz Bonfa's Brazilian Guitar
Front Cover Color Photo by Otto Stupakoff
Bonfa Photo by Indalecio Wanderley
Capitol Records T10134

From the back cover: Down in Brazil, Luiz Bonfa is regarded as a super-musician. Musicians who hear only his records, and haven't seen him perform, charge him with "overdubbing" in the Les Paul manner to achieve the remarkable sounds for which he is so renowned.

But Bonfa uses no mechanical tricks. His incredible technique is enough. Probably no guitarist in the world has Bonfa's skill – speed – with the fingers. Segovia himself cannot match the fabulous Luiz for sheer technical virtuosity.

He started at 11, in Rio de Janeiro, where he was born October 17, 1922. At first Bonfa's father taught Luiz. But the boy's progress was rapid. Soon he was studying with Uruguay's great classical master, Isaias Savio.

Even Savio could take the young Luiz Bonfa no father. And so Luiz, still in his teens, took to touring the various states of Brazil with his instrument. From each of the provinces he learned something of the people. and their cultures.

Back in Rio, Bonfa's first records made an impact (not only in Brazil, but throughout South America) much as Les Paul did in 1950. But few listeners accepted the truth. "No man has technique so remarkable," they argued. But Bonfa convinced all who came to see him perform, in a series of spectacular personal appearances in Rio, that his amazing dexterity and musicianship are legitimate.

Bonfa is aware of the great North American guitarists. Georg Van Eps, Barney Kessel, Hal Farlow and John Smith, he says, are his favorites, judged solely by their records. Luiz also is partial to the orchestra of Nelson Riddle, Les Baxter and George Shearing. He is a fishing enthusiast and, eventually wants to live in California and perhaps teach young guitarists and make records.

This album was recorded in Rio in superb high fidelity, and Capitol is privileged to present the genius of Bonfa for the first time on records in North America.

Batucada
Sambolero
Monique
Tenderly
Serenata
Xango
Mambolero
Cajita De Muscia
Over The Rainbow
Garoto
Cancao De Outono
Calles De Espana

The Magnificent Piano - Ted Auletta

The Odd Couple 

The Magnificent Piano

Featuring Ted Auletta

Design Records STEREO SDLP-298

The Lullaby Of Rosemary's Baby
The Odd Couple
Sixth Symphony
Andante Cantabile
Valse Triste
Theme From Romeo & Juliet
Clair De Lune
Romance
Swan Lake
Waltz Of The Flowers

Swing Is King - Ted Heath

Elks' Parade

Swing Is King
Ted Heath and His Music
Phase 4 Stereo
London SP 44104
1968

From Billboard - April 20, 1968: London's Phase 4 Stereo Entering The Swing Phase

London Records' Phase 4 Stereo line is swinging to the swing era with a new series of albums. The project will be kicked off with an album by Harry James re-creating his big band classics like "Two O'Clock Jump," "Chiribiribim," "I Cried For You" and "I Had The Craziest Dream," among others. The James album was produced in Tutti Camarata's Sunset Sound Studios in Hollywood.

Following the James project, Duke Ellington is set for sessions covering a selection of his top songs. The sessions are scheduled for the Sunset Sound Studios Monday through Wednesday (22-24).

Concept for the new series developed out of the favorable response accorded the recent Ted Heath Phase 4 LP, "Swing Is King," issued during the company's January national sales meeting, and incorporating such titles as "Woodchoppers' Ball," Opus 1," "In The Mood" and "One O'Clock Jump." Heath now has a second volume in the works.

London has planed a heavy point of sales merchandising campaign as well as a sustained promotional drive at the FM stereo radio audience.

Flying Home
Cherokee
Begin The Beguine
One O'Clock Jump
Song Of India
The Woodchoppers' Ball
Elks' Parade
In The Mood
Two O'Clock Jump
Contrasts
Take The "A" Train
Sing, Sing, Sing

Andre Previn Plays Fats Waller

Stealin' Apples

Andre Previn Plays Fats Waller
Produced by Dave Pell
Tops Music Enterprises, Corp.
TOPS L1593

From the back cover: Andre Previn has so many musical talents, his artistry is all-encompassing. Though celebrated as a piano performer of both jazz (modern style) and classical music, he is also a staff arranger-composer at MGM and is widely respected as one of the most promising young conductors in the classical field. According to Previn, himself, as reported in an April 1957 interview in Down Beat magazine, "You know what I really want to do, what my true, deep love is" Conducting. I'd rather conduct than play, than write – than eat, almost. It's rather difficult to explain, just a need, something I must do."

This was on the occasion of his tenth anniversary as a musical executive at MGM, after he had 26 pictures to his credit, the most recent being Silk Stockings. Aside from that, the indefatigable Mr. Previn, turns out songs (e.g., title song from MGM's Designing Woman); writes music for television; is a much sought after attraction in the country's leading jazz clubs. And... Andre Previn is only 27.

His music teacher father grounded him early in the classical masters, sent him to study at conservatories in Berlin and Paris before he was 10. After fleeing Hitler Germany in 1939, he continued study in the United States, first with his father, later with Joseph Achorn and Mario Castelnuovo-Tedecco. As a mater of fact, he is still one of the latter's students. Then, when he graduated from high school, MGM was quick to snap up this flowering young genius.

Supported by an excellent bassist and drummer in this swinging tribute to Fats Waller, Previn is wholly at ease with the songs of the master. With his own tune, Fatstuff, a medium tempted romper, he takes the intriguing, cheeky line for a ride that's always pleasant, delightful in places – yet remains swinging jazz. It's a lighthearted labor of love. Were he around, Fats Waller would surely nod beaming approval.

From Billboard - March 31, 1958 (review for Zenith L 1593): Andre Previn's piano interpretations of the late Fats Waller's music are performed with great imagination, verve and feeling. Included are "Ain't Misbehavin'," "Black And Blue," "Honey Suckle Rose" and a beautiful adaptation of "Stealin' Apples." The music is light, the beat strong all the way. Use of only rhythm accompaniment adds to the lure. Good sell indicated here.

Ain't Misbehavin'
Stealin' Apples
I've Got A Feeling I'm Falling
Squeeze Me
Honeysuckle Rose
Oh, You Sweet Thing
That's Where The South Begins
Fatstuff
Black And Blue

Ebb Tide - Frank Chacksfield

Peter Gunn

James Bond Theme

Frank Chacksfield Plays
Ebb Tide and Other Million Sellers
A Bonus Pak Two Record Set
Promotional Copy
Producer: Tony D'Amato
Engineer: Arthur Lilley
Album Design: Trantor/Impac Associates
Cover Photographs: Rayment Kirby
Phase 4 Stereo London RSP 23
1970

From Billboard - November 20, 1970: "Ebb Tide," a worldwide hit for Frank Chacksfield, is, of course, the major sales impetus for this special package, but the LP is actually brimming over with beautiful tunes – "Zorba's Dance," "Hey Jude," Bali H'ai" and "Bridge Over Troubled Water." Beautiful music to assure hours of pleasant entertainment to the purchaser.

Ebb Tide
Up, Up And Away
Somewhere My Love
Zorba's Dance
Peter Gunn
Limelight
Mrs. Robinson
Alfie
Moonglow & Theme from Picnic
Ob-La-Di, Ob-La-Da
In The Still Of The Night
Hey Jude
Bali H'ai
A Man And A Women
Canadian Sunset
Night And Day
Come Together
Bridge Over Troubled Water
Red Sails In the Sunset
James Bond Theme

Morton Gould's Latin American Symphonette - Samuel Barber Overture

Conga

Morton Gould's Latin American Symphonette
Samuel Barber Overture to
"The School for Scandal", Op. 5
Adagio for Strings (from String Quartet, Op. 11)
Essay for Orchestra No. 1, Op. 12
Howard Hanson conducting the Eastman-Rochester Symphony Orchestra
American Music Festival Series Vol. III
Golden Lyre Series
Mercury MG40002
1953

From the back cover: Morton Gould (b. New York City, 1913) and Samuel Barber (b. West Chester, Pa., 1910) are two of the most brilliant figures on the creative musical scene of 20th century America; but in terms of their respective tonal languages they represent almost diametrically opposite points of view. For all his rigorously classical training and unerring craftsmanship, Gould is never too far afield from the milieu of modern-day Americana, be it folk tunes and rhythms, popular songs, jazz or the atmosphere of the musical theater. Yet it can be truly said that in his best works, such as the Spirituals for String Choir and Orchestra, Interplay for Piano and Orchestra, and the Latin-American Symphonette recorded here, Gould has achieved a true idealization of his musical materials in much the same way that the French of English keyboard suites of Bach constitute sequences of idealized dances. Indeed, Gould has achieved the near-impossible feat of avoiding vulgarization of his formal techniques while keeping his melodic substance free from the deadweight of academicism. His phenomenal command of symphonic and popular-style orchestration could readily lead to slick and empty stylizations; but in the above-mentioned scores Gould has successfully steered clear of this and has given us three marvelously vital and integrated musical creations.

Having been a virtuoso pianist almost from his childhood and with an enormous amount of experience in all phases of popular music and jazz as performer, conductor and arranger, it is not surprising that Gould's musical idiom should stress the bright coloration and complex rhythmic element that is so much a part of modern keyboard technique.

Samuel Barber, on the other hand, grew up in a milieu of song. His aunt was the celebrated Metropolitan Opera contralto, Louise Homer, whose husband Sidney was also a famous composer of songs. The years of study at Philadelphia's Curtis Institute of Music (where he became a charter pupil in 1924) saw Barber working with Mme. Vengerova at piano, Fritz Reiner in conducting and Rosario Scalero in composition. He himself also developed a fine baritone singing voice. Small wonder, then, that Samuel Barber's musical speech should be essentially lyrical and cosmopolitan, but touched with a very personal and powerful sense of the dramatic. Only in Barber's compositions after 1940 – notably in the Excursions for piano – do we find even a trace of the "Americanisms" that are so much part and parcel of Morton Gould's scores.

Together with Aaron Copland, Barber has been by far the most-played of American composers in the international symphonic repertoire. His School for Scandal Overture, Adagio for Strings, First Essay and First Symphony have become standard classics of the American orchestral literature.

From Billboard - March 14, 1953: Tho the disk features Gould's ultra-melodic modern suite, Barber's works get half the playing time and deserve at least half the attention. For many, the disk will be valued only as an excellent interpretation of Barber's compositions. Gould's work is of quite recent vintage, having been premiered about 13 years ago under Fritz Mahler's baton. The "symphonette" is actually stylized versions of the rhumba, tango, guaracha and conga. Barber's works are delightful listening and particularly well played by the Eastman-Rochester Symphony Orchestra, atoned by Howard Hanson. Cover, as expected from the diskery, is striking and an added sales feature.

Vocal Velvet - Henry Jerome

Tenderly

Vocal Velvet
Henry Jerome
His Chorus and Orchestra
Produced by Henry Jerome
Arrangements by Dick Jacobs
Chief Engineer: Charles Lauda, Jr.
Mixing Engineer: Lawrence McIntyre
Decca Stereo DL 74440
1963

Where Or When
I Left My Heart In San Francisco
Mack The Knife
Once In Awhile
Taking A Chance On Love
For All We Know
They Didn't Believe Me
Tenderly
Arrivederci Roma
I Understand
Walkin' My Baby Back Home
Auf Wiedersehen Sweetheart

Westward Ho! - Roland Shaw

Streets Of Laredo

Westward Ho!
Roland Shaw and His Orchestra
Phase 4 Stereo
Produced for records by Tony D'Amato
Recording Engineers: Arthur Lilley and Arthur Bannister
London SP 44045
1964

Riders In The Sky
The Yellow Rose Of Texas
High Noon
The Big Country
Streets Of Laredo
Don't Fence Me In
Wagon Wheels
She'll Be Comin' Round The Mountain
Red River Valley
The Magnificent Seven
I'm An Old Cowhand
Tumblin' Tumbleweeds

Current Hits - Volume Sixteen

What'd I Say

Curren Hits
Volume Sixteen
Producer: Bill Beasley
Assistant Producer: Ted Jarrett
Recorder & Compatible Mastering: Columbia Recording Studio, Nashville, Tennessee
Cover Design: McPherson Studio, Nashville, Tennessee
Hit Records HLP 416

Cotton Candy
Chapel Of Love
Every Little Bit Hurts
Love Me With All Your Heart
A World Without Love
Walk On By
Diane
I Don't Want To Be Hurt
People
Be Anything (But Be Mine)
Tell My Why
What'd I Say

Love Songs South Of The Border - Poco Logo Guitars

Noche De Rondo

Love Songs South Of The Border
Poco Loco Guitars Plus Brass
Power Apple Honey Series
STEREO DS 400

Adios Marquita Linda
Estrellita
La Paloma
Noche De Rondo
Cielito Lindo
Amor
Besame Mucho
Sabor Ami
Magic Is The Moonlight
Maria Elena

Wildcat - Pete King

You've Come Home

A Great New Musical
Wildcat
The Pete King
Chorale & Orchestra
Lyrics by Carolyn Leigh
Music by Cy Coleman
Featuring Jack Jones and Beth Adlam
Kapp Records KS-3223
1961

Hey! Look Me Over
Corduroy Road
You've Come Home
Give A Little Whistle (And I'll Be There)
Dancing On My Tippy, Tippy Toes
Oil
Tall Hope
What Takes My Fancy
One Day We Dance
El Sombrero
Ain't It Sad
Wildcat

Les Baxter's Broadway '61

You're Far Away From Home - Angelina

Les Baxter's
Broadway '61
Sparkling Instrumental Hits From Camelot, The Unsinkable Molly Brown, Willcat and Tenderloin
Produced by Dave Dexter, Jr.
Capitol Records ST1480
1961

From Billboard - January 9, 1961: Top tunes from the big musicals of the 1961 season are featured in this new album by Les Baxter and his ork. Songs are from "Camelot," The Unsinkable Molly Brown," "Wildcat" and "Tenderloin," They are all played by the Baxter crew, dressed up in bright danceable arrangements, and the whole album adds up to mighty enjoyable listening.
Camelot

Guenevere
Follow Me
Camelot
The Simple Joys Of Maidenhood
I Loved You Once In Silence
Follow Me
If Ever I Would Leave You

Wildcat

El Sombrero
You're Far Away From Home
Angelina

The Unsinkable Molly Brown

I Ain't Done Yet
Dolce Far Niente

Tenderloin

I Wonder What It's Like
Tommy, Tommy
Artificial Flowers
Lovely Laurie

Spring Into Spring - Quartette Tres Bien

Accidentally On Percy

Spring Into Spring
Quartette Tres Bien
Exciting Piano And Rhythm
Decca DL 4617
1965

Personnel:

Piano: Jeter Thompson
Bass: Richard Simmons
Drums: Albert St. James
Bongos and Drums: Percy James

From the back cover: The Quartette Tres Bien has met these demands in a personal fashion and with an unusual instrumentation. Most piano groups today consist of piano, bass and drums, but the Quartette is unique in its balance, in its additional second percussionist, Percy James, whose explosive battery of congas and bongos give the music such as arresting and piquant flavor.

Afro-American percussion instruments are often used to add color and exoticism to performances that do not require them, but in the case of the Quartette Tres Bein they are incorporated with discerning taste, so that theirs is an integrated rather than a subsidiary role. The "action" is, moreover, very much dependent upon the dramatic part Percy James unexpectedly assumes from time to time. The element of surprise is never long absent and pianist Jeter Thompson, who constantly evidences humor and intelligence, seldom seemingly prepares the listener for the startling entries of the percussionist. The other half of the Quartette – Richard Simmons (bass) and Albert St. James (drums) – furnishes an assured, mobile foundation which is vital to a group that always works as a team.

The Night Is Young And You're So Beautiful
It Might As Well Be Spring
We, Remember Jamie
Joey, Joey, Joey
There Is No Greater Love
Lover Man (Oh, Where Can You Be?)
Spring Can Really Hang You Up The Most
Accidentally On Percy

Concerto Electro - Dick Hyman

Movement III

Concerto Electro
The Dick Hyman Piano Concerto
For Baldwin Electro Piano
Rock-Jazz-Rhythm and Symphony Orchestra
Composed and Performed by Dick Hyman
Orchestra Conducted by Nick Perito
Produced by Dick Hyman and Dick Weissman
Engineer: Frank Kulaga
Cover and Liner Design: Bill Anderson & Henry Epstein
Recorded at National Recording Studios
Electronic Pop Music
Command - ABC Records 951-S STEREO
Command / Probe Records
A Division of ABC Records, Inc.
Mfg. by Grand Awards Records Co., Inc.
1970

Dick Hyman dedicates his Concerto to his wife, Julia, with love.

Movement I
Movement II
Movement III
Alternate Cadenza A
Alternate Cadenza B

Jazz Under The Dome - Freddy Merkle

Proto Cool

Jazz Under The Dome
The Freddy Merkle Group
Arranged and Conducted by Bill Potts
Produced and Directed by Bob Rolontz
Vik LX-1114
A Product of RCA Victor
Recorded May 10, 1957, in RCA Victor Studio No. 3, New York City.

Personel:

Trombone: Earl Swope & Rob Swope
Tenor Sax: Al Seibert & Ted Efantis
Baritone Sax: Joe Davie
Tumpet: John Payne, Joe Bovello & Hal Posery
Bass: John Beal
Drums: Freddy Merkle
Piano: Bill Potts

From the back cover: For a town where most jazz musicians work day-gigs to eat, Washington, D.C., raises a lot of awfully good musicians, Earl Swope was about the first one to make it nationally playing modern jazz; and before – well – there was Duke Ellington, of course, but there have been hundreds less famous. Drummer-leader Freddy Merkle, who caused the LP to happen, gives the impression of a man unwilling to resign himself to neglect. Under thinning wisps of blond hair, Merkle directs a detective's quiet, hot stare into one's eyes.

"Everybody was in town at the time," he says. "I figured it was a good time to see if anybody would be interested in something from Washington again." Pleased with the album which resulted, he conceivably might have been pleased even if it hadn't turned out as swingingly good.

Freddy Merkle was born in 1928. His frist drum enthusiasm was Sid Carlett, on Prez' Keynote record Afternoon Of A Basie-ite. Today his preference is for Art Taylor.

"But I've got my own thing going, whether anybody digs it or not."

How does Freddy describe his "own thing'? –

"Getting away from the solo-type thing. Like, Kenny Clarke is concentrating on laying down the time instead of flashy solos. I'm for the rhythm section working as a team, and grooving.

"The rhythm section is like the line on a football team – they open up the holes and let the man with the ball run through. The line is in on every play; the rhythm section is in on every beat.

Among the cats one finds in Washington is Bill Potts, a craggy, frosted-black-wire-haired iconoclast and post-cynic whose writings for The Orchestra showed him to be as good as any big-band composer-arranger around, and better then most. His piano-playing is as good as his writing; in fact, it sounds like his writing. Listen to his piano-work on Aide de "Comp," for illustrations.

This album consists of them Bill Potts originals, five played by a 5-piece band and five by an 11-piece band (3 saxes, 5 brass, 3 rhythm) which sound like a much bigger band. Freddy Merkle chose half of the titles; but several titles are distinctively Bill Potts; he digs titles which thumb their noses at many popularly accepted attitudes, and most of his titles have several meanings on different levels, somewhat like Al Capp dialogues. I don't always approve of the mean gins, and this bothers Bill none. But, on one level at least, one of the titles is this collection, D.C. Current, would make at least as good a title for the whole album as the one it was given; the phenomenon of the current D.C. scene.

These tracks don't stop at good writing, however. Freddy Merkle and his men swing!

I think people are going to flip. – Willis Conover

From Billboard - May 24, 1958: This is a nicely swingin' set that can move with exposure. The original tunes and arrangements by Bill Potts are neatly presented by the Merkle crew featuring Rob and Earle Swope. The groups vary between sets of five and 11 musicians. The sound with either number displays a progressive mainstream feeling that can appeal to a wide range of jazz tastes. Very readable notes by Willis Conover.

Proto Cool
Pottsville, U.S.A.
White House
Pernod 806
555 Feet High
Happy Daze
Aide De "Comp"
Shhhhhh!
D.C. Current
Lunch Box

Life Is A Many Splendored Gig- Herb Pomeroy

No One Will Room With Me

Life Is A Many Splendored Gig
The Herb Pomeroy Orchestra
Recording Supervision: Joe Guercio
Cover Photography: Chuck Stewart
Roulette Birdland Series R-52001
1958
Personel:

Trumpet: Herb Pomeroy, Lennie Johnson, Augie Ferretti, Evertt Longstreth and Joe Gordon
Trombone: Joe Ciavardone, Bill Legan and Gene Di Stasio
Saxophone: Dave Chapman, Boots Mussulli, Varty Harcutunian, Jakie Byard and Deane Haskins
Piano: Ray Santisi
Bass: John Neves
Drums: Jimmy Zitano

From the back cover: Not long ago a Broadway dance casino operator decided that it would be a nice gesture – as well as good business – to put Paul Whiteman, the daddy-o of dance music, in front of a brand new band and present him for two weeks in a big anniversary program. Whiteman agreed, with enthusiasm. Then they began studying the costs. It was found that such a two-week, big band production would cost more than $20,000. At almost the same time, Herb Pomeroy came bouncing down from Boston with a 16-piece orchestra, made his first stand a Birdland on The Big Apple, and almost immediately made this album, his first.

Hardly any member of the Pomeroy outfit was born when Whiteman was playing "Moonlight On The Ganges" and other primitives. Yet the fact remains that these youngsters were able to do what was too much for one of the legendary figures in American music – put a band together and make it stick. Further, Pomeroy and his strongboys did it the hard way. No important money was involved. A group of young professional musicians just wanted to make an orchestra so badly they up and made one.

The title, "Life Is A Many Splendored Gig," is particularly appropriate. Hearken, dear reader, to some of the obstacles which were overcome before the music finally beat the machines. First a date was set. Then it was found that saxophonist Dave Chapman couldn't leave his bank. He wasn't counting his money, he was counting other people's money because he supplements his musical earnings with a daytime job as clerk. Another date had to be changed because trombonist Bill Logan arrange to get a day off from his maintenance duties in a men's home. Trombonist Gene Di Stasio had to drop his drill in the dental school around Boston where they teach.

Roulette Records was faced with an odd problem even for the record industry, which expects problems. The record firm had to get the band together before it could start to play. What it played speak for itself. The music on this album is as exciting and as full of verde as the men who play it.

Herb Pomeroy is a Boston boy and a graduate of the Stan Kenton band. A couple of years ago he got a job at The Stable, the Boston jazz club, when local business was at its nadir. He built a six piece combo with Varty Haroutunian, Joe Gordon, Ray Santial and Alex Cirini, all either professional musicians or music teachers in nearby schools. The combo, and, The Stable, started to jump. Pomeroy was determined to make his band jump bigger and farther. He started to build.

In and around Boston – as, alas! in many other cities – were able professional musicians who had been forced by one reason or another to abandon jazz as a sole means of living. Some were married and had the understandable wish to live with wife and children rather than in buses and in those road hotels. Others had seen too many bands disintegrate after too few experimental paydays. Still others had never found the band they wanted to sacrifice things for, just to belong. The economics of show business today still have the big band business in the doldrums.

Little by little, week by week, Pomerory found the men he wanted. His band got larger, so did the book. At first, the "big" band could only play on night a week at The Stable. Finally it was playing two nights a week. The men worked together and found a common theme, a mutual beat on and off the bandstand. In less than two years the Pomeroy orchestra, one of the few bands in history which actually invented and created itself, was ready for the big time.

The songs which are recorded in "Life Is A Many Splendored Gig" are evidence of this originality. With the exception of one or two little known or forgotten tunes, all are originals. Most noticeable , to the first listener, is the full-beat background which never varies with the most imaginative and original solos and front line breaks.

It's a high-styled circuit agains a solid foundation which is where Pomeroy firmly intends to keep it. As to style, he feels that it is a band which will form and improve a style of its own while never shutting its ears to the basic beats which have been the anchor of almost every truly great big band which has lasted through the years.

Probably most important of all, Herb Pomeroy and his partners should be an inspiration for musicians all over the country. Pomeroy proved it could be done. There's no reason why somebody else can't do it their own way. It is proven with this record, and with the acclaim that Pomeroy music already had received in musical circles, that the obstacles and the problems which almost drove the big bands from the music scene aren't insurmountable. – Robert Sylvester

From Billboard - February 3, 1958: The charging Herb Pomeroy ork out of Boston presents a brace of fine performances with sharp, well rehearsed (often essaying Basie and Herman) arranging flavors. The band is enthusiastic and compels by sheer rhythmic impact. Unidentified tenorist, reminiscent of Zoot Sims, and trumpeter Joe Gordon are solo stand-outs. Try "Wolafunt's Lament" and "Feather Merchant" as demo-tracks. Could sell well to buyers of modern big-band sound, if shown.

Blue Grass
Wolafunt's Lament
Jack Sprat
Aluminum Baby
It's Sandman
Our Delight
Theme For Terry
No Now Will Room With Me
Feather Merchant
Big Man
Less Talk