Lazy Afternoon
Morgana King With A Taste Of Honey
Arranged and Conducted by Torrie Zito
Artist & Repertoire: Bud Shad
Original Recording Engineer: John Cue
Re-recording Engineer: Bob Arnold
Mastering: Hal Diepolo
Liner Notes Peter Spargo
Production Coordinator: Harry Ringler
Album Coordination: Elena Festa
Typography: The Composing Room, Inc.
Cover Art and Design: Jack Lonshein
Printing and Fabrication: Globe Albums, Inc.
Mainstream Records S/6015
1966 (or as marked on the run out: 3-30-66)
Personnel and Instrumentation
Fred Buldrini
Norman Carr
Mac Ceppos
Peter Dimitriades
Peter Dimitriades
Leo Kahn
Leo Kruczek
Joe Malignaggi
Harry Melnikoff
David Nadien
Max Pollikoff
Eugene Orloff
Tosha Samaroff
Aaron Rosand
VIOLAS
Richard Dickler
VIOLAS
Richard Dickler
Leon Frengut
Emanuel Vardi
CELLI
CELLI
Peter Makas
Avron Twerdowsky
REEDS
Avron Twerdowsky
REEDS
Julius Baker
Leon Cohen
Tom Newsome
Romero Penque
Charles Russo
Sol Schlinger
Bill Slapin
Phil Woods
TROMBONE
Willie Dennis
FLUGEL HORN & TRUMPET
TROMBONE
Willie Dennis
FLUGEL HORN & TRUMPET
Clark Terry
Joseph Wilder
FRENCH HORN
FRENCH HORN
Richard Berg
James Buffington
Donald Corrado
Tony Miranda
Al Richman
GUITAR
Joseph Galbraith
GUITAR
Joseph Galbraith
Mundell Lowe
PIANO
Hank Jones
PIANO
Hank Jones
Dave McKenna
BASS
Milt Hinton
TUBA
Don Butterfield
DRUMS
BASS
Milt Hinton
TUBA
Don Butterfield
DRUMS
Mel Lewis
PERCUSSION
PERCUSSION
George Devens
Phil Kraus
HARP
Robert Maxwell
HARP
Robert Maxwell
Margaret Ross
Before one recording date was even scheduled, Morgana spent weeks and weeks going over countless numbers of compositions, seeking out the right ones for the album. After selecting the songs Morgana worked them in her act. This way she was thoroughly familiar with each tune. The one common pitfall which Morgana avoided was not allowing her interpretations to become stereotyped or sound dried up. When Morgana was convinced that her interpretation was just right, her next procedure was to sit down with the arranger and work out her ideas with him. The arranger she chose is one of the freshest, most creative writing talents to come along in quite a while. His name is Torrie Zito and the combination of Morgana King and Torrie Zito is a perfect match. It's like a Lorenz Hart lyric supported by a Richard Rodgers melody. Morgana and Torrie put their creative minds together and worked each tune out. Of course, the final orchestration was left up to Torrie. It was decided that it should be recorded in two different sessions. One for the slow expressive ballads and the other for the swinging, up-tempo sides. The composition of the large orchestra on the slow ballad sides was made up of a full complement of strings offset by a section of horns and reeds, tastefully supported by a precise rhythm section. The up-tempo session had a complement of strings, winds and horns, aided by a great brass section consisting of Clark Terry, Joe Wilder, Willie Dennis and Don Butterfield on tuba.
The original conception of "A TASTE OF HONEY" was moderately up tempo and initially performed instrumentally. Morgana's reading is so candid that it makes all the others obsolete and I'm sure that in the future there will be many artists who will try to imitate it, but the way she phrased and interpreted "A TASTE OF HONEY" will never be equalled. Torrie Zito sets the mood perfectly with a poignant introduction. Morgana sings the first verse delicately, accompanied by Barry Galbraith's smooth even guitar. Then she goes into the chorus which is sung in an up tempo. Here the steady drumwork of Mel Lewis and the tasty penetrating fills of Dave McKenna fully support Morgana. The second verse and chorus are performed in the same manner. The third verse is again sung in a slow moving style, but this time Morgana is accompanied by a magnificent counter melody in the strings that reminds you of a duet by Puccini. Supported by a punching brass, soaring strings and Phil Woods' tenor obligato, Morgana reaches to great heights as she makes the last chorus really swing. She then tapers off into a soft melancholy ending making full use of her unusual vocal style.
One of Duke Ellington's most magnificent and underplayed compositions is "PRELUDE TO A KISS" but Morgana's rendition in this album will make a lot of discerning people aware once more. This is one of those rare occasions when everything came off perfectly – the arrangement, the sound and balance of the band and Morgana's rich, haunting reading. "LAZY AFTERNOON" is one of those great, unique songs that is rarely performed simply because it is very hard to sing. You have to be an exceptional artist to do full justice to this Jerome Moross composition from "The Golden Apple." Morgana's keen ear and imaginative style allow her to give an articulate and fresh approach to this difficult song. "LADY IS A TRAMP" puts Morgana in a swinging groove as she lets loose every bit of her energy and exacting sense of rhythm. She is backed up by two hard driving solos by Willie Dennis and Clark Terry. When Morgana said she wanted to do "FASCINATING RHYTHM" it was frowned upon, but when she explained to Torrie her idea of doing it in a 34 tempo, allowing the accents to fall in different beats, Torrie visualized new ideas for an arrangement. The tune came off perfectly as Morgana and Torrie complemented each other articulately. Once again Phil Woods' hard driving solo rounds out the piece. Listen to Morgana's quality on this release – its richness and warmth seem to burst right out of the speakers.
"CORCAVADO" (Quiet Nights) can be classified alongside "TASTE OF HONEY" as a song that is going to be identified as belonging to Morgana King. This beautiful Bossa Nova tune shows off Morgana's fantastic vocal pyrotechnics. Supported by Mundell Lowe's guitar, Mel Lewis' drums and the muted, sonorous string passages written by Torrie, Morgana is in complete control as she makes "CORCAVADO" one of the highspots in the album.
"WHEN THE WORLD WAS YOUNG" and "YOUNG AND FOOLISH" are harmoniously integrated into a warm, meaningful medley. Morgana sings the verse of "WORLD WAS YOUNG" free and easy, supported by a harp. Then she takes the chorus in tempo, melting into "YOUNG AND FOOLISH." After building up "YOUNG AND FOOLISH" to a breathtaking ending, she returns once more to the bright "WHEN THE WORLD WAS YOUNG." Morgana rounds out the album with two Cole Porter classics "EASY TO LOVE" and "I LOVE PARIS." "EASY TO LOVE" is sung in a smooth seductive quality allowing Morgana full use of her immaculate sense of phrasing. "PARIS," on the other hand, puts Morgana back into the relaxed up-tempo groove proving once again that she is one of the most consummate artists in the entertainment field. Even the captious critic will find no room for criticism with this album.
From the back cover: One of the basic characteristics of any great artist is integrity, not only to themselves but to their many admirers who instilled with a deep sense of dedication expect consummate effort from the artist. Morgana King is a sensitive artist who employs with deep respect and reverence a style of singing that is imaginative and unique. Blessed with an acute ear and a distinct sense of rhythm, Morgana selects each tune meticulously so that it complements her free floating style.
Before one recording date was even scheduled, Morgana spent weeks and weeks going over countless numbers of compositions, seeking out the right ones for the album. After selecting the songs Morgana worked them in her act. This way she was thoroughly familiar with each tune. The one common pitfall which Morgana avoided was not allowing her interpretations to become stereotyped or sound dried up. When Morgana was convinced that her interpretation was just right, her next procedure was to sit down with the arranger and work out her ideas with him. The arranger she chose is one of the freshest, most creative writing talents to come along in quite a while. His name is Torrie Zito and the combination of Morgana King and Torrie Zito is a perfect match. It's like a Lorenz Hart lyric supported by a Richard Rodgers melody. Morgana and Torrie put their creative minds together and worked each tune out. Of course, the final orchestration was left up to Torrie. It was decided that it should be recorded in two different sessions. One for the slow expressive ballads and the other for the swinging, up-tempo sides. The composition of the large orchestra on the slow ballad sides was made up of a full complement of strings offset by a section of horns and reeds, tastefully supported by a precise rhythm section. The up-tempo session had a complement of strings, winds and horns, aided by a great brass section consisting of Clark Terry, Joe Wilder, Willie Dennis and Don Butterfield on tuba.
The original conception of "A TASTE OF HONEY" was moderately up tempo and initially performed instrumentally. Morgana's reading is so candid that it makes all the others obsolete and I'm sure that in the future there will be many artists who will try to imitate it, but the way she phrased and interpreted "A TASTE OF HONEY" will never be equalled. Torrie Zito sets the mood perfectly with a poignant introduction. Morgana sings the first verse delicately, accompanied by Barry Galbraith's smooth even guitar. Then she goes into the chorus which is sung in an up tempo. Here the steady drumwork of Mel Lewis and the tasty penetrating fills of Dave McKenna fully support Morgana. The second verse and chorus are performed in the same manner. The third verse is again sung in a slow moving style, but this time Morgana is accompanied by a magnificent counter melody in the strings that reminds you of a duet by Puccini. Supported by a punching brass, soaring strings and Phil Woods' tenor obligato, Morgana reaches to great heights as she makes the last chorus really swing. She then tapers off into a soft melancholy ending making full use of her unusual vocal style.
One of Duke Ellington's most magnificent and underplayed compositions is "PRELUDE TO A KISS" but Morgana's rendition in this album will make a lot of discerning people aware once more. This is one of those rare occasions when everything came off perfectly – the arrangement, the sound and balance of the band and Morgana's rich, haunting reading. "LAZY AFTERNOON" is one of those great, unique songs that is rarely performed simply because it is very hard to sing. You have to be an exceptional artist to do full justice to this Jerome Moross composition from "The Golden Apple." Morgana's keen ear and imaginative style allow her to give an articulate and fresh approach to this difficult song. "LADY IS A TRAMP" puts Morgana in a swinging groove as she lets loose every bit of her energy and exacting sense of rhythm. She is backed up by two hard driving solos by Willie Dennis and Clark Terry. When Morgana said she wanted to do "FASCINATING RHYTHM" it was frowned upon, but when she explained to Torrie her idea of doing it in a 34 tempo, allowing the accents to fall in different beats, Torrie visualized new ideas for an arrangement. The tune came off perfectly as Morgana and Torrie complemented each other articulately. Once again Phil Woods' hard driving solo rounds out the piece. Listen to Morgana's quality on this release – its richness and warmth seem to burst right out of the speakers.
"CORCAVADO" (Quiet Nights) can be classified alongside "TASTE OF HONEY" as a song that is going to be identified as belonging to Morgana King. This beautiful Bossa Nova tune shows off Morgana's fantastic vocal pyrotechnics. Supported by Mundell Lowe's guitar, Mel Lewis' drums and the muted, sonorous string passages written by Torrie, Morgana is in complete control as she makes "CORCAVADO" one of the highspots in the album.
"WHEN THE WORLD WAS YOUNG" and "YOUNG AND FOOLISH" are harmoniously integrated into a warm, meaningful medley. Morgana sings the verse of "WORLD WAS YOUNG" free and easy, supported by a harp. Then she takes the chorus in tempo, melting into "YOUNG AND FOOLISH." After building up "YOUNG AND FOOLISH" to a breathtaking ending, she returns once more to the bright "WHEN THE WORLD WAS YOUNG." Morgana rounds out the album with two Cole Porter classics "EASY TO LOVE" and "I LOVE PARIS." "EASY TO LOVE" is sung in a smooth seductive quality allowing Morgana full use of her immaculate sense of phrasing. "PARIS," on the other hand, puts Morgana back into the relaxed up-tempo groove proving once again that she is one of the most consummate artists in the entertainment field. Even the captious critic will find no room for criticism with this album.
A Taste Of Honey
Fascinating Rhythm
Corcovado
Prelude To A Kiss
Lady Is A Tramp
Lazy Afternoon
I Love Paris
Medley: When The World Was Young, Young And Foolish
Easy To Love
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