Stairway To Heaven - Gian Piero Reverberi

 

Stairway To Heaven

Reverberi
Stairway To Heaven
Arrange, Conducted and Produced by Gian Piero Reverberi (concert master)
Milan Symphony Orchestra, Choir, International Children's Choir
Violin: Sergio Almangano
Engineer: Gian Luigi Pezzera
Re-mixed at Record Plant Studios - Hollywood, California
Art Direction: DH Studio
Cover Photo: Garry Sato
Bob Skaff/Pausa Productions
Recorded at Ricordi Studios - Milan, Italy
Pausa Records, Inc. / United Artists Records UA-LA813-H

Gian Piero Reverberi: Steinway Grand Piano, Hohner Clavinet Fender Rhodes, Hammond Organ, Minimoog, Vibes, Glockenspiel, Bass Harmonica, Voice, Tympany & Tambourine
Gigi Cappellotto: Electric Bass Guitar
Tullio De Piscopo: Drums
Larry "Nastyee" Latimer: Congas, Timbales, Guiro, Shaker, Cow Bell, Woodblock
Vanda Radicchi: Voice
Marco Zoccheddu: Electric Guitar
Massimo Verardi: Acoustic & 12 String Guitar
Hugo Heredia: Bamboo Flute Solo (Bahia)
Michael James Turre: Soprano Saxophone (Stairway To Heaven)
Ivana Porrini: Lyric Soprano (Windy Wendy)

From Billboard - December 7, 1977: This is a soothing collection of classical and jazz flavored instrumental compositions recorded in Italy with a cast of Italian musicians. The title passage is a warm rendition of the classic Led Zeppelin song. The remainder are Reverberi originals, with his piano and organ fronting as extensive band The Milan Symphony among other perform. Best Cuts: Stairway To Heaven," "Angel Drops."

Muni's Mood
Beethoven's 7th
Windy Wendy
Stairway To Heaven
Innervoice
Escalation
Angel Drops
Bahia
Take Care

Thad Jones, Mel Lewis & UMO

 

Tip-Toe

Thad Jones, Mel Lewis & UMO
Composed and Arranged by Thad Jones
Produced by Esko Linnavalli
Engineered by Harold Burgon
Mastered by George Peckham
Photography and Album Design: Erik Uddstom
Recorded a SoundTrack, Helsinki - December 3 & 4, 1977
RCA Victor STEREO AFL1-3423
1978

UMO/The New Music Orchestra

Conductor, Composer, Arranger & Cornet: Thad Jones:
Co-Leader & Drums: Mel Lewis:
Alto Saxophone: Juhani Aaltonen & Pekka Poyry
Bass Trombone: Tom Bildo
Brass & Bass Clarinet: Pentti Lahti
Clarinet: Juhani Aaltonen & Teemu Salminen
Double Bass: Pekka Sarmanto
Electric Guitar: Otto Berger
Flugelhorn: Esko Heikkinen, Kaj Backlund, Markku Johansson & Simo Salminen
Flute: Juhani Aaltonen, Pekka Poyry & Teemu Salminen
Percussion: Esko Roswell
Piano, Electric Piano: Esko Linnavalli
Soprano Saxophone: Eero Koivistoinen, Juhani Aaltonen & Pekka Poyry
Tenor Saxophone: Eero Koivistoniene, Juhani Aaltonen & Pekka Poyry
Trombone: Juhani Aalto, Mircea Stan & Petri Juutilainen
Trumpet: Esko Heikkinen, Kaj Backlund, Markku Johansson & Simo Salminen

Groove Merchant
It Only Happens Every Time
Tip-Toe
The Great One
Kids Are Pretty People
Summary
Little Pixie
Only For Now

On The S. S. Catalina - The Shipmates & Ginger

 

Red Sails In The Sunset

On The S. S. Catalina
With The Shipmates & Ginger
Photographs: George Elton Watson
Venise 7015

From the back cover: Part of the fun of Catalina is in getting there. The ocean voyage aboard the Big White MGRS Steamship S. S. Catalina is an experience in itself, and one that's not likely to be forgotten. Entertaining passengers on each trip are The Shipmates and Ginger, who recreate their famous shipboard performance in this album. It is a versatile group that produces a happy sound. The Ginger of the group is Ginger Smock, violin, and the Shipmates are Leroy Morrison, bass; Al Mitchell, guitar and trumpet; Art Maryland, fender guitar, and Edward "Sharkey" Hall, drummer-vibraharpist. Lets take a musical cruise with them right now to the isle of Romance, Santa Catalina.

Avalon
Twenty-Six Miles
Beyond The Reef
Song Of The Islands
Catalina, Lovely Isle Of The Sea
Red Sails In The Sunset
Santa Catalina
Chimes Of Avalon
Aloha
Avalon Town

Saturday Nite Date - Dean Lester

 

Sweet And Lovely

Saturday Nite Date

Dean Lester and His Hollywood Recording Orchestra

Cover Photography: J. H. Maddocks

Art Direction & Production: Sheldon Marks & Florette Bihari

Crown Records HI-FI CLP 5039

Sweet And Lovely

I May Be Wrong

Penthouse Serenade

The Continental

Ramona

When Shadows Fall

Autumn Leaves

Too Marvelous

Mean To Me

The Night Is Young

Ciribiribin

Tenderly

New Electronic Music - Cage, Pousseur & Babbit

 

Trios Visages de Liege

New Electronic Music From Leaders Of The Avant-Garde
John Cage: Variations II
Henri Pousseur: Trois Visages de Liege
Milton Babbitt: Ensembles For Synthesizer
Produced by David Behrman
Engineer: Frank Laico & Ed Michaiski
Cover Art: Richard Mantel
Music Of Our Time
Columbia STEREO MS 7051
1967

From the back cover: John Cage was born in Los Angeles in 1912 and studied with Henry Cowell, Arnold Schoenberg and D. T. Suzuki. In addition to his activities as composer and performer, Cage has written and lectured extensively. The impact of Cage's work on composers and artists throughout the world is inestimable. The noted author and critic Peter Yates calls him "the most influential composer, worldwide, of his generation." Through his interest in Oriental thought (particularly Zen) and his employment of such ideas in his work, Cage has been a significant catalyst in the drawing together of East and West. This is increasingly apparent.

For more than thirty years it has been Cage's consistent concern to expand our consciousness and enhance our appreciation of the sounds – intended or accidental – that are always around us. To these ends he has composed work for conventional and unconventional instruments alike, believing all sounds to be acceptable musical materials. In 1952, Cage "opened the doors of music to the sounds which happen to be in the environment" with his 4' 33", "a piece in three movements, during all of which no sounds are intentionally produced."

Milton Babbitt was born in Philadelphia in 1916 and raised in Jackson, Mississippi. He received his B.A. from New York University and his M.A. from Princeton, where he studied with Roger Sessions and where he is currently Professor of Music. He has been a frequent contributor to leading music periodicals and has lectured in the United States and abroad.

Babbit is one of the first American composers to employ Schoenberg's twelve-tone method, and he has continued to extend and elaborate that method into a complex system of serial composition. His Three Compositions for Piano (1947) and Composition for Four Instruments (1948) were the first totally serialized works written for this country. Since then, employing such mathematical concepts as set and group theory, Professor Babbitt has continued his systematization of serial composition and in recent years has carried over these structural principles and techniques into his electronic works. He has composed four works in this medium, all created at the Columbia-Princeton Electronic Music Center, of which Mr. Babbitt is a director. In the 1950's, then the most advanced device for the production of electronic tape music. Mr. Babbitt has made it his unique province, employing in to realize all his electronic music.

Henri Pousseur was born in Malmedy, Belgium, in 1929. He was educated at the Royal Conservatory of Liege and at the Royal Conservatory in Brussels, where he received first prizes in harmony, solfege, organ and fugue. He is presently Sleeping Professor of Composition at the University of New York at Buffalo and is also director of the Electronic Music Studio in Brussels.

Pousseur was a leading member of the generation of composer that came to prominence after the war, a group that also include Pierre Boulez, Karlheinz Stockhausen, Luigi Nono and Luciano Berio. For these composers, the works of Anton Webern served as a kind of Corpus Juris Canonici, and the serial organization and pointillist textures of Pousseur's early works (Trois chants sacred, 1951; Quintet in Memory of Webern, 1955) reflect that influence. Pousseur soon realized that the arbitrary application of the series to all parameters of the music that characterized "total organization" produced a "statistical" effect not unlike the similar use of chance determinants. He has written: "A pitiless regimentation would appear to rule over this music, controlling the course of event even in its most intimate details. But, if one goes beyond a simple analysis of such music and beyond a dissection of its notations, if one relies primarily on concrete hearing... it often happens that one perceives just the contrary of such regimentation. Precisely where the most abstract constructions have been applied, it is not seldom that one has the impression of finding oneself in the presence of consequences of an aleatory free play. If the charm of the music is undeniable nonetheless, that is less of the more mysterious charm to be found in our awareness of the many distributive forms found in nature; the unhurried dispersion of passing clouds, the twinkle of pebbles in the bed of a mountain stream, or the breaking of surf against a rocky coast." Thus, in works such as Mobile For Two Pianos (1957-58) and Repons (which is dedicated to John Cage), Pousseur has introduced elements of chance or indeterminacy. In his most recent work, Notre Faust, an opera written in collaboration with the French author Michael Butor, the course of events taken by the opera is determined by the responses of the audience at each performance.

From Billboard - November 25, 1967: The avant-garde at its weirdest is offered in this electronic music disk. Babbitt's "Ensemble For Synthesizer" is a tour-de-force for the electronic tape machine, while Pousseur's "Trioz Visages de Liege" uses voices along with electronic sounds for dramatic effect. Tudor's association with Cage has produced in "Variations II" an interesting perplexing piece.

John Cage: Variations II - David Tudor, Piano

Milton Babbitt: Ensembles For Synthesizer

Henri Pousser: Trois Visaged de Liege
I – L'Air et I'eau
II – Vois de la ville
III – Forges

Billy May 70

 

Road To Hong Kong

Billy May And His Orchestra
Arrangements: Billy May
Process 70
Series 2000
Cover Painting by Kimsou
Artist and Repertoire: Bob Shad
Orchestra Manager: Manny Klein
Original and Re-recording Engineer: Bill Putnam
Mastering: Process 70
Liner Notes: John Astor
Research and Re-mixing Supervisor: Pete Spargo
Production Coordinator: Harry Ringler
Album Coordination: Sandi Greene
Typography: The Composing Room
Album Design: Murray Stein
Time Records S/2064
1960

Personnel and Instrumentation:

Violins

Vic Arno
Israel Baker
Harry Bluestone
Jacques Gasselin
James Getzoff
Ben Gill
Anatol Kaminsky
Murray Kellner
Dan Lube
Erno Neufeld
Stan Plummer
Lou Raderman
Nathan Ross
Mischa Russell
Myron Sandler
Eudice Shapiro
Paul Shure
Felix Slatkin
Gerald Vinci
William Weiss

Violas

Dorothy Cotton
Alvin Dinkin
Louis Kievman
Virginia Majewski
Alex Neimann
Paul Robyn
Abraham Weiss

Celli

Victor Gottlieb
Justin DiTullio
Armand Kaproff
Ray Kramer
Edgar Lustgaten
Dave Pratt
Joseph Saxon
Elanor Slatkin

Trumpets

Frank Beach
John Best
Pete Candoli
Ray Triscari
Trombones

Milt Bernhart
Ed Kusby
Murray McEacherm
William Schaeffer

Woodwinds

William Calkin
Fred Falensby
Justin Gordon
Arthur Hurfurt
Jules Jacobs

Bass

Joe Mondragon
Meyer Rubin

Harp

Verlye Mills Brilhart
Irving Cottler

Guitar

Al Hendrickson

Piano

Bud Cole

Percussion

Larry Brinker
Frank Flynn
Ralph Hansell
Stan Levy
Amiel Riehard

About Process 70

Process 70 has its own unique way of mastering, different from that used by recording companies. The net result is apparent enough that you will hear a difference. The improvement is most apparent in respect to the improved transient response and the cleanness in the high frequency range which is attendant on the operation of the system on a bias that leaves better overload reserve.

Perforated film "35mm" is known to shrink so that sprocket drive tearing mutilates the medium beyond usefulness. 35mm is guided and never pulled past the recording head. This is a tremendous disadvantage since continuous head contact is not obtained except at relatively higher contact pressure. PROCESS 70 does not have this liability because it is pulled past the recording heads and never loses peak fidelity of highs, lows or mid-range. Therefore, dimensional stability of PROCESS 70 is excellent compared to that of film recording methods now in use.

From the inside cover: Billy May is an arranger with imagination, technique and a unique sense of humor unmatched by any other arranger. The artists that Billy has magnificently supported are among the greats in the recording field – Frank Sinatra, Nat "King" Cole and Mel Torme, just to mention a few. His brilliant, colorful orchestrations on the famous "Bozo The Clown" series have become classics and recommended studying for any arranger, whether he be novice or professional.

Billy's career has touched on many facets. He studied the usual number of instruments – piano and trombone before he settled on trumpet. He began arranging at an early age and learned a great deal by practical experience. His most noted accomplishments were with the Charlie Barnett orchestra – "Cherokee," "Redskin Rhumba," and "Pompton Turnpike." In the early part of his career, Billy was more noted for his great trumpet work with the Glenn Miller band during the big band's golden era.

Believe In You
Theme From "Advise And Consent"
Oglan Oglan
The Naked Island
Once Again
Handful Of Stars
Bashful Billie
Lovewise
Road To Hong Kong
Pennies From Heaven
Perdido
Change Partners

Rain Forrest - Walter Wanderley

 

Song Of The Jet

Rain Forrest
Walter Wanderly
Brazil's No. 1 Organist
Produced by Creed Taylor
Cover Design: Act Lehman
Recorded at the Van Gelder Studios - Englewood Cliffs, New Jersey, on May 16 and 17, 1966
Director of Recording: Val Valentin
Verve V6-8658 STEREO & V-8658

Soloists:

Flute: Joe Grimm
Trombone: Urbie Green
Guitar: Bucky Pizzarelli
Percussion: Bobby Rosengarden

"If you like Ella, Duke, Count, Sinatra... you'll love Walter Wanderley's music." – Tony Bennett

From the back cover: The young Sao Paulo organist first caught the public ear with his brilliant arrangements for his good friend and compatriot, Joao Gilberto. The year was 1961. By '62, Wanderley was a headliner in his own right, launching a string of hits that included The Girl From Ipanema, Desadinado and the high-flying Song Of The Jet (which you'll hear in this album).

Sumer Samba
It's Easy To Say Good-Bye
Cried, Cried
Rain
The Girl From Ipanema
Beloved Melancholy
Taste Of Sadness
Beach Samba
Cry Out Your Sadness
The Great Love
Song Of The Jet

JFK A Profile Of Courage - Documentaries Unlimited Vol. 1

 

President Kennedy on Cuban Crisis

A Profile Of Courage

JKF May 29, 1917 - November 22, 1963

Narrated by Barry Gray

Editing by Richard Sloan

Recording Supervision by Daniel Sloan

Documentaries Unlimited Inc.

From the back cover: Paradoxes of John F. Kennedy

Although a Roman Catholic, he tenaciously clung to the unprecedented dream of presidency for a Catholic.

Despite bitter clerical criticism, his campaign pledge of no Federal aid to private or parochial schools was kept.

Although a Democrat, he supported a strong civil rights program, thereby incensing the Southern Democrats.

Although it militated against his sensibilities, he ultimately resorted to the use of Federal troops to implement the inherent right of negro students to enroll and receive education in southern colleges. 

Although a multi-millionaire, he dared to block the steel industry from courting inflation by raising its prices

Although a peaceful man, he courageously flirted with death – for principles he believed in.

Also from the back cover: Barry Gray, our narrator, is an eminent journalist and broadcaster who is known for his humanitarian and critical examination of mankind's present problems. His pen and voice are committed to the cause of freedom and liberty. Drawing upon a deep reservoir of knowledge, experience and courage, Mr. Gray has championed causes – popular and unpopular – that he believed should be brought into the bright light of open scrutiny. We believe that our narrator is eminently qualified to represent the highlights of John F. Kennedy, man and President, in vie of their common dedication.

Side One

News Coverage

Ambassador Adlai E. Stevenson

Senator Barry M. Goldwater

President Dwight D. Eisenhower

Sir Alec Home

His Holiness Pope Paul VI

President Lyndon B. Johnson

Eyewitness Account Of Assassination

Pre-Election Speech Of Kennedy

Election Speech Of Kennedy

Talking Of Oath Of Office For Presidency By Kennedy

Inaugural Address Of Kennedy

Side 2

Presidential Press Conference

Address To National Women's Press Club

President Kennedy on Peace Corps

President Kennedy on Space Flights

President Kennedy on Alliance for Progress

"Jackie" Kennedy Speaking in Spanish in South America

President Kennedy on Cuban Crisis

President Kennedy on Berlin

President Kennedy in Houston, Texas

President Kennedy in Dallas, Texas

Presenting Dionne Warwick

 

I Smiled Yesterday

Presenting Dionne Warwick
Scepter Records SCEPTER 508
1963

From the back cover: First record, first hit. It's not as easy as it sounds. Dionne studied music for years. In time she became an accomplished singer and pianist. Playing and singing in church every Sunday, her talent for music flourished and grew. Her next step forward took Dionne to the recording studios in New York. There she sang in the background chorus on many recording sessions. This was when she was first seen and heard by two songwriters, Burt Bacharach and Hal David. They brought her to the attention of the Scepter Record Co. and what followed is "Don't Make Me Over."

From Billboard - April 20, 1963: Dionne Warwick has a sound and a style and she has a chance to get attention with this, her first album for the label. She sells in a warm and tender way both originals and standards that should interest and "Don't Make Me Over," "Empty Place" and Wishin' and Hopin'."

The Empty Place
Wishin' & Hopin'
I Cry Alone
Zip-A-Dee-Doo-Dah
Make The Music Play
If You See Bill
Don't Make Me Over
It's Love That Really Counts
Unlucky
I Smiled Yesterday
Make It Easy On Yourself
The Love Of A Boy

This Is Nat "King" Cole

 

Nothing Ever Changes My Love For You

This Is Nat "King" Cole
Arranged and Conducted by Nelson Riddle
Capitol Duophonic Record
Capitol Records DT 870
1957

Dreams Can Tell A Lie
I Just Found Out About Love
Too Young To Go Steady
Forgive My Heart
Annabelle
Nothing Ever Changed My Love For You
To The Ends Of The Earth
I'm Gonna Laugh You Out Of My Life
Someone You Love
Love Me As Though There Were No Tomorrow
That's All
Never Let Me Go