Howdy Folks! Welcome to The UnEarthed In The Atomic Attic album blog! Here you will find a wide variety of unusual Space Age Vinyl finds that feature good quality cover scans, jacket notes and audio samples for you to enjoy. I'm here to have fun and hope you will share in my process of discovery!
Ralph Burns and his Orchestra and the Sounds of The City
Sounds by Joan Franklin
Photo Essay of The City by Ed Hamilton
Decca Records DL 79068
1959
From the inside (blue colored booklet): About Ralph Burns - How, in one musical language, do you interpret the pulse of a city as complex and contradictory as New York? In this exciting new album, the music of Ralph Burns gives the answer. You don't. You can only portray this city, musically or graphically, in as many varied languages, colors, contrasts and moods as it continually reflects. Here, in a collection of songs culled from the almost inexhaustible store of melodies inspired by New York, are those most broadly and vividly representative. And, through the extraordinary arranging skill and fruitful imagination of Ralph Burns, one of the most modern and perceptive musicians of our time, we present a unique musical portrait of New York ... at times elaborately coiffured, more often with its hair down. The authentic sounds of the city give added color. Ralph Burns, composer-conductor-arranger-piano soloist, was classically trained, but his experience runs the gamut of musical expression. His most recent plaudits have been garnered in television, but he is equally well known, in each of his outstanding musical func- tions and capacities, in the fields of jazz and popular music.
In attempting to define or classify the music in this collection, we can only say its scope is as broad as the fantastic potpourri of human activity and emotion of the city. In short, if it's a part of what makes New York a song... it's a part of this album
Side One
1. Sound: Sightseeing Bus Guide Music: "I HAPPEN TO LIKE NEW YORK" Sound: Traffic jam-Times Square
Teen Scene! Chet Akins Pickwick by Arrangement with RCA Records Previously released as LSP-2719 Pickwick ACL-7005
1975
From the back cover: I don't guess you've ever had the opportunity to interview Chet Atkins. I have – and somehow managed to accomplish the assignment. It was no easy feat. He is not known in Nashville music circles for being a braggart or the most talkative of sorts. As a matter of fact all during the interview I kept thinking how Chet reminded me of the great Gary Cooper. Coop was tall, slim, and rather imposing. Ditto Atkins. And Coop was famous for his "Yeps" and "Nopes." Ditto Atkins. It probably just all goes to show you that when you accomplish a lot of things in your career and life, you really don't have to go around telling everybody about them. If they've been good deeds and merits, people will know without you telling them. That must be Chet Atkins' way of thinking, because after spending one hour with him talking about his many-sided career as one of the prime forces behind the popularity of country music around the world, you know the accomplishments certainly outweigh the simplified answers of "Yep, I did that," "Everybody made a lot of that, but it really wasn't much," and "I guess they elected me into the Country Music Hall of Fame because they felt sorry for me-thought I was dying of cancer and wouldn't be around till next voting."
Chet Atkins is a man of sparse words and mean accomplishments. He is a believer in the motto that action speaks louder than words. His life and career in the music business has been nothing but action – and that's action with a capital A.
The gifted guitarist has recorded over 60 albums for RCA during his 27-year association with the label. Many of them are Gold Records – all of them are classics in one way or another and major best-sellers. He has garnered Best Instrumentalist, Grammy, and CMA Awards galore; been elected into the prestigious Hall of Fame, and even "played the White House and lived to tell about it."
He has gone from the dire poverty of life on a 50-acre Clinch Mountains (Tennessee) farm with 15 brothers and sisters to Nashville's suburb of million- aires, Belle Meade. Through it all, he has changed little from that "little kid in the hand-me-down clothes with the inferiority complex!"
The performer and successful record producer attributes his longevity as an entertainer and his knack of creating hits for other artists as "just pure luck." When asked to explain some of the innovations he brought to country music and the influences he has had on setting trends, Chet says humbly – and sincerely, "I really can't pick on a guitar very well, you know. I may have changed a trend or two by playing with my fingers. Up till then everybody had a pocketful of picks. I just decided it was necessary for me to use 'em. I said 'What's wrong with my fingers?'"
And that's a fact!
Actually Chet also developed the technique of using the thumb and three fingers to play the guitar – influenced by his mentor and country great Merle Travis' thumb and one finger method. Atkins modeled his style after the guitarists in the Western Kentucky coal fields and that of classic guitar virtuosos, such as Andres Segovia.
Over the years Chet Atkins has adapted to the music styles as they have come and gone – and even invented a few himself. He can play the most country of Texas hillbilly swing and then turn right around and do memorable renditions of Bach. "The only bad thing," he says, "is that when I play Bach, it comes out country. But I don't plan to change!"
This most outstanding collection of Chet Atkins instrumentals shows his ability to handle just about any kind of tune that comes his way. There's the Broadway touch with "Bye, Bye, Birdie" – the reminisces to and the nostalgia of yesteryear in "Back Home Again in Indiana"-the hard-driving rock-a-billy of "I Got A Woman" – the warmth and simplicity of "I Love How You Love Me" – and there are the Atkins stable of hits and personal favorites, such as "Alley Cat," "Walk Right In," and "Teen Scene!"
They call Chet Atkins "Mr. Guitar." In music circles they speak of him in revered tones. They say he is the man most responsible for promoting "The Nashville Sound!" Let's face it, folks, Chet Atkins is a legend.
Then, why is he such a disappointment to interview-no hate stories about some artist stealing one of his songs, no grudges, no patting himself on the back for the wonderful job done. Then I thought that perhaps that was why Chet Atkins was so interesting. For all the things he is and has become and stands for, he is just like our ole neighbor next door. With one exception, of course: Chet Atkins is the singularly, most outstanding instrumentalist in all the world of country music and a stunning exponent of what the country sound is all about. – ELLIS NASSOUR, Music City News, Nashville
I Got A Woman Sweetie Baby Teen Scene Back Home Again In Indiana
Jazz Best Coast Coral Records 97 010 LPCM Original American Recording Deutsche Grannophon 1958
From the back cover:
Bill Holman and his Orchestra / Evil Eyes. Bright Eyes
Personnel: Bill Holman, aranger-composer-tenor and leader...
Trumpets: All Porcino, Ray Linn, Conte Candoli, Stu Williamson (also plays valve trombone)
Trombones: Bob Fitzpatrick, Ray Sims, Harry Betts Saxes: Charlie Mariano, Herb Geller, altos; Charlie Kennedy, Richie Kamuca, tenors; Steve Perlow, baritone.
Rhythm: Lou Levy, piano, Max Bennet, bass; Mel Lewis, drums.
Solo Annotation
Evil Eyes: Lou Levy, Bill Holman, Stu Williamson, Charlie Mariano, Max Bennet.
Bright Eyes: Lou Levy, Stu Williamson, Bill Holman, Max Bennet.
In cross-the-continent correspondence concerning this Album Bill made his position clear.
"In the writing for this album, I was working for form, continuity, and economy while trying to retain. the swing and vitality necessary to a good jazz feel. This aim is certainly not new, but I think it's a direction in which jazz can do a lot of growing.
"I don't consider myself an innovator. Rather than use odd instrumentations and/or pseudo-classical writing, I prefer to build the music on a fairly traditional base, letting what novelty there is come from the swing and sincerity of the band and the soloists, and from what individuality might be in the writing.
"The instrumentation here is a common one for a band of this size. It's light but capable of generating a lot of energy when required. The harmonies used are mostly simple, not so tense that they defy swing... Harmonic progressions should provide momentum of their own.
"Melodically, I try to write human, singable lines with natural curves, sometimes trying for an improvised feel...
"Rhythmically, I use a lot of syncopation and off- beat accents in the ensembles as a band seems to be able to get together easier on off-beats than on on-beats.
"Solos are fewer but longer, to give the soloists a better chance to build something of their own. Regarding backgrounds to soloists, I feel they shouldn't be confining to the soloist, (Ed. note they usually aren't in Holman's writing) although this premise is sometimes sacrificed for the sake of continuing a mood or idea."
Al Cohn Zoot Sims Quintet /Gone With The Wind
Personnel: Al Cohn, Zoot Sims, tenors; Mole Alli- son, piano; Teddy Kotick, bass; Nick Stabulas, drums.
COHN and SIMS, an earthy duo, by any measuring rod, in an informal mood. The dominant emphasis is on blowing; the propagation of an honest, unleashed swing. The cause is a winning one, in this case, for great rapport exists between the two; a sense of oneness within the group as a whole.
Both Cohn and Sims make stylistic reference to Lester Young. However, rather than reflecting on the grandeur of the man who so heavily mannered. their playing at an earlier time, the mirrow is turned inward; talent and jazz experience permitting individuality within a frame originally fashioned by Young.
After a conversational opening, Sims takes two solo choruses; Cohn three. They proceed to a chorus of eight bar exchanges initiated by Sims, and then a chorus and a half of "fours", which leads to the closing.
(Other recordings of this session on 57171.)
Joe Newman Sextet / Joe's Blues
Personnel: Joe Newman, trumpet; Frank Wess, tenor; Frank Rehak, trombone; John Acea, piano, Eddie Jones, bass; Corinie Kay, drums.
As arrangers Ernie Wilkins and Manny Albam have repeatedly said to me: "JOE NEWMAN is a modern trumpeter with the rare facility and flexibility to be able to deal expressively with both old and new formats in jazz It is also to be noted that he retains his own musical personality, while projecting the spirit of the materials he is dealing wth. On his appearance here with a sextet, Newman turns to the heart of jazz, the blues. Certainly a fruitful form when dealt with adequately, the blues are demanding on the musician in that he is dealing with only three basic chord changes, and must produce.
Having been associated with the Count Basie band from 1943 to 1946; from 1952 to the present, New- man has become well-oriented in the letter and spirit of the blues, for the Basie library is essentially blues in feeling, if not in form
In his entourage of blues blowers, Newman has two associates from the Basie band: tenorist Frank Wess and bassist Eddie Jones. In addition, MJQ's timekeeper, Connie Kay, who essays a virility in his work here, seldom manifested with the John Lewis unit; 'New Star' Down Beat poll winner Frank Rehak on trombone, and at the piano, the extremely knowledgeable blues player, John Acea.
Within this expanded, blues commentary, one is apt to be impressed with the pointed economy of the solos. The solo commentators speak in a flowing manner, but never over-embellish, thus intimating all the more by their restraint.
The opening and closing choruses of this selection. feature Joe and bassist Jones; the opening setting the stage, issuing the clarion call; the close com- pleting the design of the blues fabric. (Other recordings of this session on 94 103.)
Manny Albam and the Jazz Greats of Our Time
Arranger composer MANNY ALBAM charts the way for an excellent array of soloists on both of these selections with unintursive yet provocative frameworks. In his compositional relationship between writing and blowing, one seems to nourish the other; the balance, flow of one to the other, to be noted.
Essaying strong ties with jazz's ancestry by fusing elements particular to jazz tradition and the idiom's individuality in his writing: the beat, improvisation within a disciplinary frame, jazz's own unique feeling, Albam is just another example, a most valid one, at that, of the basing of modern outlook on the secure plank of traditionalism. Home Brew
Personnel: Conti Candoli, "Trumpeter X", trumpets; Stu Williamson, valve trombone; Herb Geller, alto; Richie Kamuca, Charlie Mariano, tenors; Bill Holman, baritone; Lou Levy, piano; Red Mitchell, bass; Shelly Manne, drums.
Selection is initiated by an eight bar piano intro by Lou Levy, establishing the 'feel" of material. A full chorus of ensemble follows with 'Trumpeter X' playing a one note commentary on last four bars of the bridge. Solo choruses by Geller, Williamson, the ever-charming 'Trumpeter X', and Kamuca separated by four bar ensemble send-offs and underlined by interweaving sax figures are next. The 'out chorus' is notable for a repeated two-bar riff with drum adornments by Manne; a four-bar drum break and 'Trumpeter X's' four-bar interjection in the last 16 of the tune.
(Other recordings of this session on 57 142.)
Am I Blue
Personnel: Art Farmer, Nick Travis, trumpets; Bob Brookmeyer, valve trombone; Phil Woods, alto; Al Cohn, Zoot Sims, tenors; Gerry Mulligan, bari- tone; Hank Jones, piano, Milt Hinton, bass; Osie Johnson, drums.
The relaxation, general tenor of the interpretation, evokes memories of Jimmie Lunceford in its off- hand but pointed movement.
Altoist Woods is the dominant voice in the first 16 bars of the theme chorus which plays off the saxes, anchored by Mulligan, against the brass. Brookmeyer wends his way in and out of ensemble textures during last 16 of first chorus. The lyrically inclined Cohn tenor glides in next, framed by quietly flowing backgrounds. Woods then voices his backstory in his typically virile manner, as the ground fabric changes color. Mulligan takes cue from ensemble figure preceding his stint, enlarges upon it in a rhythmic manner; paries with the figure again, then delineates further, leading directly into Art Farmer's muted solo. Zoot Sims continues the skein, and makes some thoughtful yet pulsating Hank Jones takes the solo spotlight, engages primarily in interplay with the band, and moves the opus into closing theme chorus. Latter is notable for bassist Hinton's conversation with the band, and a lyrical stint by Travis on the bridge. (Other recordings of this session on 57 173.)
Hal McKusick Quintet featuring Art Farmer / This Time The Dream's On Me
Personnel: Hal McKusick, alto; Art Farmer, trumpet; Ed Costa, piano; Milt Hinton, bass; Gus Johnson, drums.
Hal McKusick has always been quite concerned with projecting his feelings through his horn, working in circumstances which permit him to do so.
"I don't feel that larger bands. have a negative function, but in most cases, they tend to emphasize the orientation of the arranger or composer rather than the improvisor, and the feeling of creation notable in the small group is lacking.
"The group of musicians I had on this session all feel strongly about individual expression, but realize there is a need for a certain amount of writing to frame the expansive blowing sections.
"Manny Albam, a writer who understands the needs of the jazz player, created a substantial, non-ccn-stricting chart, which helped engender the relaxed, impovisory feeling we wanted.
In the final evaluation of this track, the heat and flow of the solos is not to be overlooked. The latter indicative of the compatibility of the players; the capacity of highly competent individuals to make for a cogent whole.
(Other recordings of this session on 57 131.) – Burt Korall
Shelly Manne by Courtesy of RCA Victor_Records Lou Levy by Courtesy of Contemporary Records
