Eso Es El Amore
Premier PS-9010 STEREO
Blue Skies
Mambo Inn
Jungle Drums
St. Louis Blues
Eso Es El Amor
Greensleeves
American Patrol
La Paloma
Habanera
Yellow Rose Of Texas
Thursday, November 29, 2012
Monday, November 26, 2012
Alan Dale Sings Great American Hits In Italian
Laura
Arranged and Produced by Don Costa
Cover Design by Stephen Hass Studio
Cover Photo by Lee Friedlander
Engineer: Bill MacMeekin
Recorded at Bell Sound Studios
United Artists UAL 3091
1960
From the back cover: This album means a great deal to me. Singing in Italian brings back fond memories of the days when I sang with my father in what is known in the East as the "Italian Theatre". My dad, Aristide Sigismondo, was one of the foremost Italian comedians. From the age of nine, until I was fourteen, I sang and acted, in Italian, in many of his shows – on stage and radio. Consequently, I learned to speak, read and write Italian fluently.
United Artists UAL 3091
1960
From the back cover: This album means a great deal to me. Singing in Italian brings back fond memories of the days when I sang with my father in what is known in the East as the "Italian Theatre". My dad, Aristide Sigismondo, was one of the foremost Italian comedians. From the age of nine, until I was fourteen, I sang and acted, in Italian, in many of his shows – on stage and radio. Consequently, I learned to speak, read and write Italian fluently.
For many years now, I have wanted to record an album such as this... the great American standards sung with beautiful Italian lyrics and a modern American background – strictly for listening. May I thank Don Costa for having faith in the idea and for his fine arrangements and supervision of the entire date. My parents and I are delighted with the album. – Sinceri Augurii, Alan Dale
Laura
Paradise (Paradiso)
I Surrender Dear (Me Arrendo)
At Last
Over The Rainbow
Don't Blame Me
Stardust (Polvere De Stelle)
I'm In The Mood For Love
I'm Thru With Love
If I Give My Heart To You
Blue Moon
Cherry Pink And Apple Blossom White (Ciliegi Rosa)
Laura
Paradise (Paradiso)
I Surrender Dear (Me Arrendo)
At Last
Over The Rainbow
Don't Blame Me
Stardust (Polvere De Stelle)
I'm In The Mood For Love
I'm Thru With Love
If I Give My Heart To You
Blue Moon
Cherry Pink And Apple Blossom White (Ciliegi Rosa)
Flaming Guitar - Jose Motos
Rondena
Jose Motos Plays Flamenco Suite No. 1
Cover by Maurer Studios, Inc.
Jabo International
Rank Records JAN 5005
1959
From the notes: Jose Motos possesses a mature and distinct technique, through command of the guitar and a virtuoso ability to distinguish between the rhythmic subtleties of the various types of cant flamenco. Twenty-eight year old Motos is known chiefly outside of Spain because of his touring with the Carmen Amaya Company..
Soleares
Morabita
Zapateado
Danza
Rondena
Bulerias
Seguidillas
Huelva
Taranta
Rapsodia
Jabo International
Rank Records JAN 5005
1959
From the notes: Jose Motos possesses a mature and distinct technique, through command of the guitar and a virtuoso ability to distinguish between the rhythmic subtleties of the various types of cant flamenco. Twenty-eight year old Motos is known chiefly outside of Spain because of his touring with the Carmen Amaya Company..
Soleares
Morabita
Zapateado
Danza
Rondena
Bulerias
Seguidillas
Huelva
Taranta
Rapsodia
Let's Dance The Bossa Nova - Enoch Light
Big Ben Bossa
Enoch Light And His Orchestra
Arrangements By Lew Davies
Originated and Produced by Enoch Light
Associate Producer: Julie Klages
Recording Chief: Robert Fine
Mastering: George Piros
Cover Design by Charles E. Murphy
Command Records RS851SD
1963
Meditation
Tonight
Nola
Days Of Wine And Roses
Big Ben Bossa
I Could Have Dance All Night
Fly Me To The Moon
What Kind Of Fool Am I
O Barquinho
Mi Adorado
Moon River
Blame It On The Bossa Nova
Command Records RS851SD
1963
Meditation
Tonight
Nola
Days Of Wine And Roses
Big Ben Bossa
I Could Have Dance All Night
Fly Me To The Moon
What Kind Of Fool Am I
O Barquinho
Mi Adorado
Moon River
Blame It On The Bossa Nova
Like Bongos! - Bob Rosengarden and Phil Kraus
Baia
Conceived and Arranged by Bob Rosengarden and Phil Kraus
Series 2000
Time S/2025
1960
From the inside cover: The group is led jointly by Bob Rosengarden and Phil Kraus, both of whom are among the top free-lance percussionists in New York. During a nine-year stretch on the National Broadcasting Company staff, Rosengarden was seen regularly on the Steve Allen and Ernie Kovacs shows among many others. He does most of the solo bongo work in this set. Kraus, who also served a long apprenticeship in radio and television before going out on his own, plays all the instruments involving mallets – vibes, marimba and xylophone as well as bongos. Handling other percussive sounds are Johnny Pacheco, who specializes in both bongo and conga and Steve Berrios, an expert in all types of Latin American drumming who concentrates on timbales in these numbers. Another essential member with remarkable rapidity from oboe to flute to piccolo to alto and baritone sax.
Featured musicians: Al Caiola, guitar; Nick Tagg, keyboards; Frank Carroll, bass.
Taboo
Glow Worm
Mack The Knife
Caravan
Baia
Bongo Frailich
Hawaiian War Chant
Babalu
Monterrey
Bongolina
Yankee Doodle Bongo
Tony's Wife
Sunday, November 25, 2012
Love Is Blue - Manny Kellem
And I Love Her
Here, There And Everywhere
Manny Kellem His Orchestra
Arranged and Conducted by Al Gorgoni
Produced by Manny Kellem
Cover Photo: Frank Lerner
Cover Design: Michael Mendel
Epic BN 26367
1968
Epic BN 26367
1968
From the back cover: Manny Kellem - Hit-record producer, trend setter, mood minter.
Tuned in on Today and music for mammas and papas, teens and teeny-boppers. Polished, professional background. Flourished in Philadelphia. Nourished in New York. Now Epic's Executive Producer.
Nurtured such artists as Mike Douglas, Nancy Ames, The Hollies, Donovan, Dave Clark, Jackie Gleason, Al Martino, Jane Morgan, The Vibrations and more... like Lulu, The Tremeloes.
Mounted such hits as "The Men In My Little Girl's Life," "Devotion," "Cry Me A River," "To Sir, With Love."
"Love Is Blue" is his first record with his own name attached. His touch with instrumental-vocal styling is electric and plugged in on the current music scene.
Love Is Blue (L'Amour Est Bleu)
A Man And A Woman (Un Homme et Une Femme, from the Motion Picture "A Man And A Woman" – an Allied Artists Release)
And I Love Her
It's Not Unusual
I Will Wait For You (Love Theme from the Motion Picture "The Umbrellas of Cherbourg")
Here, There And Everywhere
Free Again
Trains And Boats And Planes
Claudine
What A Wonderful World
My Love
The Dance Of The Hours
The Dance Of The Hours
And Hungarian Dances
Philharmonia Orchestra
Halo HI-FI 5075
Halo HI-FI 5075
12-inch Long Playing Records - The "Colorful" Line
1957
Dance Of The Polovetzki Maidens
Brahms - 10 Hungarian Dances
Solo - Kai WInding
Playboy's Theme
Kai Winding
Produced by Creed Taylor
Cover Art by Leroy Neiman
Recorded in New York City Jan. 24, Feb. 4 & 5, 1963
Recording Engineer: Phil Ramone
Verve V6-8525
1963
Verve V6-8525
1963
Personnel on:
How Are Things In Glocca Morra, The Things That We did Last Summer, Hey There, Days Of Wine And Roses: Kai Winding (trombone), Ross Tompkins (piano), Russell George (bass), Gus John- son (drums).
You've Changed, I Believe In You, The Sweetest Sounds, Playboy's Theme: Tommy Check for Gus Johnson (drums). The rest same as above.
I'm Your Bunny, Bossa Nova, Capricious, Ricardo: Kai Winding (trombone), Ross Tompkins (piano), Russell George (bass), Dick Garcia (guitar), Gus Johnson (drums).
NOTES ON THE PLAYERS
*Ross Tompkins with Winding for past three years. Prior to this association, he played with Chet Baker and the Al Cohn- Zoot Sims group.
*Russell George-a former trombone player who switched to bass eight years ago. He worked with Marian McPartland and Pee Wee Russell before joining Winding.
Tommy Check a well-schooled drummer who not only plays the various percussion instruments but composes and arranges. His credits-a number of name bands, including the Jimmy Dorsey Orchestra directed by Lee Castle.
Dick Garcia-an important though under- rated guitarist who has worked with Tony Scott, Joe Roland, and became nationally known during his stay with the George Shearing Quintet.
Gus Johnson- veteran jazz drummer who first achieved prominence with the Jay McShann band over twenty years ago. Since then, he has appeared with Count Basie, Earl Hines, and Gerry Mulligan, among others.
*A member of the current Kai Winding Quartet.
From the back cover: Kai Winding, one of jazz's most fluent and influential trombonists, is not one to use equivocal language when playing or speaking. He believes in moving directly to the point. "Music must be a living thing," he asserts. "The cold, abstract, mathematical approaches to it are not for me.
"A well-known contemporary composer once said: 'Don't be afraid of simplicity and warmth; there is no need to mask your message in a mass of techniques.' I am in complete agreement with this concept."
NOTES ON THE PLAYERS
*Ross Tompkins with Winding for past three years. Prior to this association, he played with Chet Baker and the Al Cohn- Zoot Sims group.
*Russell George-a former trombone player who switched to bass eight years ago. He worked with Marian McPartland and Pee Wee Russell before joining Winding.
Tommy Check a well-schooled drummer who not only plays the various percussion instruments but composes and arranges. His credits-a number of name bands, including the Jimmy Dorsey Orchestra directed by Lee Castle.
Dick Garcia-an important though under- rated guitarist who has worked with Tony Scott, Joe Roland, and became nationally known during his stay with the George Shearing Quintet.
Gus Johnson- veteran jazz drummer who first achieved prominence with the Jay McShann band over twenty years ago. Since then, he has appeared with Count Basie, Earl Hines, and Gerry Mulligan, among others.
*A member of the current Kai Winding Quartet.
From the back cover: Kai Winding, one of jazz's most fluent and influential trombonists, is not one to use equivocal language when playing or speaking. He believes in moving directly to the point. "Music must be a living thing," he asserts. "The cold, abstract, mathematical approaches to it are not for me.
"A well-known contemporary composer once said: 'Don't be afraid of simplicity and warmth; there is no need to mask your message in a mass of techniques.' I am in complete agreement with this concept."
Winding came into jazz in the early 1940s when this idea was more firmly entrenched than it is today.
The big bands held sway. Soloists, because of the nature of the context in which they functioned, were forced to develop the ability to express themselves succinctly. Blow- Wing space was limited, especially when compared with the latitude typical of the more casual small band. Therefore, every note had to count.
Soloists worked for definitive control and organization of their ideas -a logical flow that would clearly illuminate thoughts and the character of emotions. They learned not only what to play, but more important, what to leave out.
The training ground the big band Kai Winding (trombone), Ross Tompkins provided was invaluable. Some players could tell the stories of their lives in sixteen bars," says veteran tenor saxophone star Lucky Thompson.
When many big band soloists made the change in the mid-1940s to small bands, the only accommodation necessary-to larger quarters for their ideas-was generally accomplished with comparative ease.
Why? They came to this milieu prepared; the foundation had been
laid. Like the short story writer who moves into the larger area of the novel, they had only to apply the techniques, disciplines and knowledge gained on the smaller playground.
Kai Winding did not falter when he emerged from a series of big band experiences in April of 1947 and entered the ranks of the small band blowers. Stints with Sonny Dunham, Alvino Rey, Benny Goodman, and particularly the Stan Kenton Orchestra stood him in good stead.
The big bands held sway. Soloists, because of the nature of the context in which they functioned, were forced to develop the ability to express themselves succinctly. Blow- Wing space was limited, especially when compared with the latitude typical of the more casual small band. Therefore, every note had to count.
Soloists worked for definitive control and organization of their ideas -a logical flow that would clearly illuminate thoughts and the character of emotions. They learned not only what to play, but more important, what to leave out.
The training ground the big band Kai Winding (trombone), Ross Tompkins provided was invaluable. Some players could tell the stories of their lives in sixteen bars," says veteran tenor saxophone star Lucky Thompson.
When many big band soloists made the change in the mid-1940s to small bands, the only accommodation necessary-to larger quarters for their ideas-was generally accomplished with comparative ease.
Why? They came to this milieu prepared; the foundation had been
laid. Like the short story writer who moves into the larger area of the novel, they had only to apply the techniques, disciplines and knowledge gained on the smaller playground.
Kai Winding did not falter when he emerged from a series of big band experiences in April of 1947 and entered the ranks of the small band blowers. Stints with Sonny Dunham, Alvino Rey, Benny Goodman, and particularly the Stan Kenton Orchestra stood him in good stead.
To a number of small bands in New York, which included such leading modernists as Miles Davis, Gerry Mulligan, Allen Eager, Stan Getz, Brew Moore, Max Roach, and others, Winding brought an appro- Brew Moore, Max Roach, and priately modern trombone style.
The Winding manner of expression was (and is) characterized by fluid- ity. His jabbing, often penetrating long lines, played with great dex- terity, generally surprised listeners used to the rougher, more jagged stylings of the older practitioners. The brassiness of the horn had been retained; yet, as Leonard Feather has pointed out: Winding added something new; he "pioneered in the difficult task of transferring the technically complex requirements of bebop to the incompatible medium of the slide trombone."
Winding and the equally influential J. J. Johnson, with whom he later led a successful group for two years (1954-56), showed the way to mod- ernism on the trombone, without losing touch with the realities of jazz playing. The instrument became more expressive in their hands. The techniques they used, though first introduced on less un- wieldy instruments-the saxophone and trumpet-were cogently adapted to the trombone and allowed trom- bonists who followed to touch bases previously inaccessible to them.
Since Winding helped co-spark the trombone revolution in the mid- 1940s, he has successfully headed jazz groups and endeavored "to further evolve as a player and to ex- tend the limits of the trombone."
His most widely exposed unit, featuring three trombones, himself and a rhythm section, formed in the late 1950s and with which he still appears on occasion, occupied the major portion of his time until recently. The sound of the trombone in various ensemble and solo combinations was given swinging il- lustration nightly as Kai and his slidemen traveled the nitery, con- cert, and college circuits. Because of its flexibility, its appeal to both dyed-in-the-wool jazz fans AND dancers around the nation, the group built a following. Winding, however, progressively felt more and more of a need to "stretch out."
"The septet was a kick," says Winding, "We could capture the sound of the big band, project with the intimacy of a small band, and run a wide range of feelings. But it didn't afford me the freedom offered in a small group situation.
"After a while, restlessness got the better of me. I had to play more!"
Winding's restlessness has somewhat subsided since the formation of his current quartet. Improvisa- tion is the focus around which the unit revolves. The improvisatory approach even extends to its arrangements which evolve as a result of the contributions of the players. Like all Winding's groups, however, there is a defined sense of organiza- tion about all it does.
"I've surrounded myself with vigorous, creative men," reports the trombonist-leader. "They act on me in a way that can only be described as beneficial. Every time I pick up the horn, it's another situation, another challenge."
Solo serves to re-introduce Kai Winding in an old role-that of an improvising jazzman. It is a depart- ure in that this is the first time Winding has recorded without other front-line horns. He is out there alone, though his excursions are not as extended as those taken at New York's Playboy Club, where he is musical director and "wails" with his group from early in the evening until early in the dawning six eve- nings a week.
The music herein, much of which will be familiar to you, is rendered in a manner which underscores Winding's musical attitude. The cold, the abstract, the mathematical are nowhere to be found. Instead, we find warmth, directness, sim- plicity, and not least of all, swing.
BURT KORALL
How Are Things In Glocca Morra
Recardo
Playboy's Theme
The Things We Did Last Summer
The Sweetest Sounds
Hey There
I'm Your Bunny Bossa Nova
Days Of Wine And Roses
You've Changed
I Believe In You
Capricious
The Winding manner of expression was (and is) characterized by fluid- ity. His jabbing, often penetrating long lines, played with great dex- terity, generally surprised listeners used to the rougher, more jagged stylings of the older practitioners. The brassiness of the horn had been retained; yet, as Leonard Feather has pointed out: Winding added something new; he "pioneered in the difficult task of transferring the technically complex requirements of bebop to the incompatible medium of the slide trombone."
Winding and the equally influential J. J. Johnson, with whom he later led a successful group for two years (1954-56), showed the way to mod- ernism on the trombone, without losing touch with the realities of jazz playing. The instrument became more expressive in their hands. The techniques they used, though first introduced on less un- wieldy instruments-the saxophone and trumpet-were cogently adapted to the trombone and allowed trom- bonists who followed to touch bases previously inaccessible to them.
Since Winding helped co-spark the trombone revolution in the mid- 1940s, he has successfully headed jazz groups and endeavored "to further evolve as a player and to ex- tend the limits of the trombone."
His most widely exposed unit, featuring three trombones, himself and a rhythm section, formed in the late 1950s and with which he still appears on occasion, occupied the major portion of his time until recently. The sound of the trombone in various ensemble and solo combinations was given swinging il- lustration nightly as Kai and his slidemen traveled the nitery, con- cert, and college circuits. Because of its flexibility, its appeal to both dyed-in-the-wool jazz fans AND dancers around the nation, the group built a following. Winding, however, progressively felt more and more of a need to "stretch out."
"The septet was a kick," says Winding, "We could capture the sound of the big band, project with the intimacy of a small band, and run a wide range of feelings. But it didn't afford me the freedom offered in a small group situation.
"After a while, restlessness got the better of me. I had to play more!"
Winding's restlessness has somewhat subsided since the formation of his current quartet. Improvisa- tion is the focus around which the unit revolves. The improvisatory approach even extends to its arrangements which evolve as a result of the contributions of the players. Like all Winding's groups, however, there is a defined sense of organiza- tion about all it does.
"I've surrounded myself with vigorous, creative men," reports the trombonist-leader. "They act on me in a way that can only be described as beneficial. Every time I pick up the horn, it's another situation, another challenge."
Solo serves to re-introduce Kai Winding in an old role-that of an improvising jazzman. It is a depart- ure in that this is the first time Winding has recorded without other front-line horns. He is out there alone, though his excursions are not as extended as those taken at New York's Playboy Club, where he is musical director and "wails" with his group from early in the evening until early in the dawning six eve- nings a week.
The music herein, much of which will be familiar to you, is rendered in a manner which underscores Winding's musical attitude. The cold, the abstract, the mathematical are nowhere to be found. Instead, we find warmth, directness, sim- plicity, and not least of all, swing.
BURT KORALL
How Are Things In Glocca Morra
Recardo
Playboy's Theme
The Things We Did Last Summer
The Sweetest Sounds
Hey There
I'm Your Bunny Bossa Nova
Days Of Wine And Roses
You've Changed
I Believe In You
Capricious
Penny Lane & Time - Kai Winding
Penny Lane
Arranged and Conducted by Kai Winding
Produced by Creed Taylor
Cover Design: Acy R. Lehman
Cover Photo: Gartner-Hammerstein
Lighting: Stimulite & Sound, Inc.
Director of Engineering: Val Valentine
Recorded February 2, 9, 13 and March 2, 1967 at Van Gelder Studios, Englewood Cliffs, New Jersey
Verve V8691
1967
1967
Time and Elanor Rigby: Flute, Alto & Bass Flutes - Daniel Bank; Jerry Dodgion; Hubert Laws; Romeo Penque / Guitar - Joe Beck / Bass - Ron Carter / Drums - Grady Tate
A Man And A Woman and Battle Hymn Of The Republic: Flute, Alto & Bass Flute and Piccolo - Daniel Bank; Hubert Laws; Romeo Penque; Jerome Richardson / Bass - Ron Carter / Drums - Grady Tate / Guitar - Bucky Pizzarelli / Trombones - Kai Winding; Thomas Mitchell; Bill Watrous
Mini-Skirt, Amor Em Paz, A Time For Love: Flute - Alto & Bass Flute - Daniel Bank; Jerry Dodgion, Romeo Penque, Jerome Richardson / Bass - Ron Carter / Drums - Grady Tate / Guitar - Bucky Pizzarelli
Penny Lane, Here There And Everywhere, Amy's Theme, Lugar Bonito: Flute, Alto & Bass Flute and Piccolo - Daniel Bank, Jerry Dodgion, Romeo Penque, Jerome Richardson / Drums - Grady Tate / Guitar - Bucky Pizzarelli / Vibes, Tympani, Triangle, - Warren Smith / Tombones - Kia Winding, Thomas Mitchell, Bill Watrous / Bass - Ron Carter
From the inside cover (gatefold): The same thing is being said by Pinter and Ionesco and Tennessee Williams and Leroi Jones, and Edward Albee, and William Burroughs: a terrifying concert attesting to the lack of communication. Well world, I for one disagree. Is that an act of arrogance? Certainly seems a sin, somehow to disagree. World, I don't think they are listening. And, if they are, then they aren't hearing. I mean, is it possible that they haven't heard the "new" music? Music critic Ralph Gleason recently wrote of this current generation taking the creation of today's music and lyrics out of the hands of the hacks and giving it over to the poets. To Lennon and McCartney (who unfortunately, at times feel compelled to sing what they write). To John B. Sebastian. To Bob Dylan and Phil Ochs. To Antonio Carlos Jobim. To Kai Winding. Penny Lane and Time is a culmination of ideas. New ideas. Its vitality reaches out.
Penny Lane
A Man And A Woman
Here, There & Everywhere
Amor Em Paz
Eleanor Rigby
Lugar Bonito
A Time For Love
Amy's Theme
Mini-Skirt
Battle Hymn Of The Republic
From the inside cover (gatefold): The same thing is being said by Pinter and Ionesco and Tennessee Williams and Leroi Jones, and Edward Albee, and William Burroughs: a terrifying concert attesting to the lack of communication. Well world, I for one disagree. Is that an act of arrogance? Certainly seems a sin, somehow to disagree. World, I don't think they are listening. And, if they are, then they aren't hearing. I mean, is it possible that they haven't heard the "new" music? Music critic Ralph Gleason recently wrote of this current generation taking the creation of today's music and lyrics out of the hands of the hacks and giving it over to the poets. To Lennon and McCartney (who unfortunately, at times feel compelled to sing what they write). To John B. Sebastian. To Bob Dylan and Phil Ochs. To Antonio Carlos Jobim. To Kai Winding. Penny Lane and Time is a culmination of ideas. New ideas. Its vitality reaches out.
Penny Lane
A Man And A Woman
Here, There & Everywhere
Amor Em Paz
Eleanor Rigby
Lugar Bonito
A Time For Love
Amy's Theme
Mini-Skirt
Battle Hymn Of The Republic
Harp, Skip & Jump - Gene Bianco
Love For Sale
Gene Bianco And His Group
Featuring Mundell Lowe
RCA Camden CAL 452
1958
From Billboard - November 10, 1958: The introduction of a smoothly plucked harp as a jazz instrument comes off rather well in this interesting package. The blend of harp and studio man, Mundell Lowe's guitar, while still maintaining a jaz pattern, imparts an uncommon lightness and refinement to the medium. The combo of familiar items such as "Gigi" and "Stairway to the Stars."
From the back cover: A bright spotlight is turned on some relatively un- explored musical territory in this album as Gene Bianco, the brilliant young harpist who made an exciting and widely heralded recording debut on STRINGIN' THE STANDARDS (RCA Camden CAL-366), shows how thoroughly the harp can be integrated into a swinging small group.
Bianco demonstrated in his earlier set that the harp has a great deal more to offer than the customary glittering glissandos and arpeggios. When his hands are on the strings, its tone can remain angelic even while it takes a more assertive, less ethereal role than we are accustomed to hear.
The emphasis in that first set was on Bianco's virtuosity as a harpist. Now that that attribute has been well established, he moves on to new adventures here – placing the harp in the context of a brilliant small jazz group where it holds its own as both an ensemble and solo instrument; using the same kind of group as a vehicle for pop tunes, standards and original pieces of his own, and trimming the richly varied package with a pair of mood-evoking harp solos.
The single holdover from Bianco's earlier group is Mundell Lowe, a magnificent guitarist who is skilled in so many styles of music that he has been in constant demand in New York's television and recording studios for the last eight years. It was Lowe who inadvertently interested Bianco in using the harp in a small group when they were both working on Ernie Kovacs' television show, and Bianco discovered to his surprise that Lowe's guitar could blend with his harp and simultaneously provide a contrast.
Because he wanted more color and depth in these arrangements than the harp-guitar combination alone could provide, Bianco sought out Joe Venuto whose work on vibraphone, xylophone, marimba, celeste, drums, tuned water glasses, Chinese gong and a battery of instrumental oddities added so much color to the unusual arrangements played by the Sauter-Finegan Orchestra. At this session Venuto concentrated on vibraphone on most selections, switching to celeste on Gigi and In the Still of the Night, and turning to the brightly percussive xylophone for Bianco's delightfully strutting version of 12th Street Rag.
To round out his group, Gene reached into the very topmost drawer of rhythm section men: on drums he has Don Lamond, the driving spark behind Woody Herman's magnificent First Herd in the middle Forties and latterly considered one of the best studio men in New York; while the bassist is Wendell Marshall, long a Duke Ellington standby until he, too, settled down to the relative comfort and high recognition of studio work.
The selections, all arranged by Bianco, run a wide gamut. There are bright, pulsing standards from the jazz repertoire – From This Moment On and Oh Lady Be Good from a recent jazz genre, 12th Street Rag from an earlier one. On this last number Lowe switches. effectively to banjo and Bianco makes the fascinating discovery that the harp is an ideal instrument for playing the older, ragtime-touched tunes in a manner that keeps the old spirit even while dressing them in bright, new colors.
From This Moment On is a dazzling swinger which brought a sigh of relief from Mundy Lowe when it was finished.
"I'm glad we didn't goof on that," he said. "That's the best I've ever played."
He could be right, too.
In contrast, there is the moodier jazz feeling of Love for Sale, the darkly swinging style of Stairway to the Stars and I'll See You in My Dreams (both of which carry reflections of George Shearing, who has been one of the two main jazz influences in Bianco's work-the other is Bobby Hackett). And, moving away from jazz, there is the subtle simplicity of the recently arrived pop tune, Gigi, and the seasoned beauty of that standard of the pop repertoire, In the Still of the Night.
Bianco's facility for creating light and catchy melodies is brought out in his two originals, Harp, Skip & Jump and Cairo After Dark, both written with Norman Beatty, a trumpet player and pianist who joins the group on piano in Cairo After Dark. On this piece Lowe sets up such a driving background riff that he couldn't get out of it when he came to his solo spot. So he kept it up and later dubbed in his solo on top of it. And you have Bianco's word for it that when he wrote Harp, Skip & Jump, he handed himself a fantastically difficult harp assignment.
No harpist's program would be complete without at least one demonstration of the delightful mood music that can be drawn from the instrument. Gene Bianco has included two samples of his mood style-his unaccompanied solos of September Song and Stella by Starlight. That these are particularly mellow examples of the harpist's art is due, in part, to the fact that Bianco's instrument is completely equipped with gut strings instead of the sharper, more piercing nylon strings preferred by some harpists.
The problem of balancing the harp properly within a group of this type and in pieces like these was not one that concerned Bianco alone. It was also a matter of consideration for the rest of the musicians, for they had to modify their usual manner of playing to avoid drowning out the harp. They had to be subdued with- out losing any of their musical vitality.
"Push me, fellows," Bianco told them at the begin- ning of the session, "but softly."
And that may be one more significant contribution to our music that Gene Bianco makes in this album: the soft push.
Harp Skip & Jump
Gigi
In The Still Of The Night
12th Street Rag
September Song
From This Moment On
Love For Sale
Cairo After Dark
Stella By Starlight
Stairway To The Stars
Oh Lady Be Good
I'll See You In My Dreams
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