I think it planted some Album) for musical growth in my listening experience and for me as a musician. All the more reason to be a full time fan. This entry was posted on Friday, March 25th, at pm and is filed under News. You can follow any responses to this entry through the RSS 2. You can leave a responseor trackback from your own site.
Mail will not be published. How To Use Phawker. Letter From The Editor. There are also distinct woodwind sounds in the original soundtrack fluteclarinetoboeEnglish horn that are not in the Richards interpretations.
Johnny Richards makes some interesting changes to tempos of the Bernstein score. Besides the PrologueCool is probably the most distinctively Johnny Richards arrangement that is for more his than Bernstein's.
Many of Richards' orchestration devices used in Cuban Fire! In the final analysis the Kenton recording and Richards' orchestrations are magnificent but not as much in a "jazz" sense as they are just good music. The Bernstein themes and content are theatrical and one cannot avoid the musical picture this paints. The placement of lengthy improvised jazz solos are not there and Richards' orchestration is very heavily relied upon to carry the day.
It is understandable why the general public vs a hard core jazz audience was willing to readily accept Kenton's West Side Story propelling it to such high ratings with Billboard during and As a jazz soloist on trumpetConte Candoli is a shining star on the sessions. He backed his way onto the Kenton's West Side Story LP due to the failure of Ernie Berhardt to fill the trumpet solo slots and Marvin Stamm 's inability to fly back across the country for the sessions.
Candoli is highly conspicuous in having more solo space than anyone on the LP but this is understandable in order to compete with the brass heavy orchestrations.
Gabe BaltazarSam Donahue and Gene Roland are also nice LP to the solo roster but any one of them does not play any substantial statement of improvisation. Again, the solo space is very limited by the theatrical content of the music and Johnny Richards trying to stay true to the music with his orchestrations.
The Move — Tonight Free — My Brother Jake Rex — Hot Love The Sweet — Co-Co Mungo Jerry — Lady Rose Cher — Gypsys, Tramps And Thieves GET IT! Rex both were relevant. The scary thing is, today is as was to then. Arguably, the world, and music, had changed much more between and than it has changed in the past 50 years. Last year I did a mix of hits from to mark the 75 th anniversary of that year.
In many ways, looks more like today than it did look likeonly 26 years earlier. I was just a little too young to build many memories of that year, other than two holidays, one in the snow and the other on the beach. I do recall a few of the songs specifically from that time, especially the final one, since I loved music even as a four-year-old. But to me, this mix of big smashes and rather forgotten hits sounds likewhich is the effect I LP to go for. Mungo Jerry — In The Summertime 2.
Christie — San Bernadino 4. Freda Payne — Album) Of Gold 7. Paul Anka: Feelings LP ? Free: At Last LP ? Lee Michaels: 5th LP ? II LP ? Bill Anderson: Greatest Hits Vol.
OST: The Godfather ? James Gang: Thirds LP ? Puff, the Magic Dragon 7" 19?? Schoolday's LP 19?? How Much Is that Doggie in the Window? The Mr. Ringling Bros. Christopher Columbus LP ? Pickwick Singers: Great Children's Stories 8-track 19?? Reginald Carol with Full Symphony Orch. Marches for Children 10" Cousin Cricket: Farm Song Favorites 7" Full Cast and Orch. Snow White and the Seven Dwarfs 7" ? The 4 Cricketones and Orch. Lassie Saves the Farm 10" ? Gisele MacKenzie 7" ? You're a Good Man, Charlie Brown 7" ?
John L. Tchaikovsky: Piano Concerto No. A Tribute to Glenn Miller--Vol. II LP 19?? It was a line from another one of my narrative pieces named 21st-Century Goodnight. When I was writing the record, I cannibalized the line, inserting it into the middle of what was to be titled Waterfalls.
Hen House Studios executive producer Harlan Steinberger lifted the line and suggested that this had to be, without question, the main title. Jeb: Before we talk about the members of the Doors tell me about your style. The poetry in motion, jazzy-sort of thing you do. Where does that evolve from? Think about it for a minute: Jazz on AM… and they were my first music teachers, introducing me to cuts from Machito's Afro-Cuban bop band with solos by Charlie Parker, Stan Kenton's spin-off players in the Lighthouse All-Stars, too, with Shorty Rogers and his Giants, The George Shearing Quintet- just the entire spectrum of modern sounds buzzing my ears.
Within the framework of writing figurative language, it wasn't much of a leap to insinuate the components of complicated melodic lines and rhythm patterns into my own poetry and prose. I might point out that The Encore Room was only 2 blocks south of where The Doors established their upstairs office space and 1st floor rehearsal room. Interesting to recognize, now, a major fraction of my musical history is within a 2-block radius.
We email, text…even this interview, not only are we not in the same room, we are not speaking. Is this a good movement in our existence? It is harmful? Michael: I believe our dependence upon, sometimes, bewildering technology has become contagious wow that implies disease, doesn't it but maybe as you say "harmful," only, if it means constantly distancing ourselves from using our human voices for direct communication, until we feel that isn't really necessary anymore.
Although finding email an advantage due to its obvious super speed connections, I am slowly getting caught up with the 21st-Century. However, because of an electronic hijacking, haven't been on Facebook for over 2 years, so that when the urgency of advertising the introduction of this CD and LP product into the world, a campaign by Hen House Studios to recreate my old F-book page had to materialize for promo, posting pix, just all the stuff of the publicity machine.
Now, I have to admit that Hen House PR people have been accomplishing recognition in a far more industrious and enterprising way than I, in my computer illiteracy, could never have with equivalent energy.
So, in that sense, my eyes have been opened to many new important aspects of communication. And maybe I better get some semblance of a Facebook presence, again. Michael: As I've already indicated, music culture has always been LP major importance: most especially to my spoken word work. This is why so much of my obsession with all musical genres initiated me into the idea that I might be creating what was, in essence, "verbal music.
In the Orwellian year ofwith the Album) of Freeway Records, when I was invited by Spoken Word producer Harvey Robert Kubernik to record cuttings of my original materials at Radio Tokyo in Venice West, I realized here I was in the middle of Beat Generation history and felt an inclination to maintain a verbal respect for the way words worked out loud, verbal dynamics, the balance of words, the weight of words as I lifted them off the page and pumped them into a microphone.
And I guess, in an improvisational moment of vision, started thinking of myself as a "verbal artist. Jeb: This is the last recording made with Ray, Robby and John…that has to bring a weight to the project. Michael: To be honest I never thought of it as weight of any kind; it was, as I listened to every one of my musical colleagues on these sessions being so integral giving me this enormous cushion of support, and with the presence of Ray, Rob and Johnny D, I was feeling more of an almost buoyancy, as though during different vocal intonations my spirit was rising into the rafters, floating in an instrumental troposphere, sailing around in the ether.
It's just my words being, somehow, clarified by my musical brothers, in this luminous moment in time, for which we seem to have been tuning up, during the last 48 years. Jeb: Take me way back…to before I was born…I hatched in …I am going back to You met Jim Morrison.
Recall that meeting for me. I was a non-registered student, illegally attending incredible classes of which I never would have been aware.
Being enamored with German expressionist film we would habitually attend, most especially, the films of Carl Theodore Dreyer: the dire images of Vampyrthe luminous presence of Maria Falconetti in The Passion of Joan of Arcthe mind-bending films of Fritz Lang.
We attended Jack Hirschman's afternoon poetry classes.
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