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Sounds Of The
Great Bands!

Glen Gray And The Casa Loma Orchesta

Sounds Of The Great Bands Sounds Of The Great Bands
33MGray G1

Capitol Records...SW 1022...33 1/3 LP

Side 1
1) Symphony in Riffs - Benny Carter/Irving Mills...2:55
2) Begin the Beguine - Cole Porter...3:17
3) Contrasts - Jimmy Dorsey...3:09
4) Take the A Train - Billy Strayhorn...2:59
5) Tenderly - Walter Grass/Jack Lawrence...2:53
6) Flying Home - Goodman/Hampton/Robin...2:54

Side 2
1) Song of India - Arr. by Red Bone/Tommy Dorsey...3:01
2) Snowfall - Claude Rhornhill...3:11
3) Woodchopper´s Ball - Joe Bishop...3:19
4) 720 in the Books - Savitt/Watson/Adamson...2:54
5) String of Pearls - Jerry Gray/Eddie DeLange...2:45
6) Elk´s Parade - Bobby Sherwood...2:55

CapitolSW-1022a label Glen Gray - Sounds Of The Great Bands CapitolSW-1022b label Glen Gray - Sounds Of The Great Bands

ON THE BACK OF THE JACKET

Glen Gray and His Orchestra

Sounds Of The Great Bands

Sounds Of The Great Bands

Glen Gray

In the 30's and early 40's a phenomenon known as "big band swing" caught the pulse of the world. A third trombonist had a fan club. A clarinetist's records were written up like Duke Snider's batting average. Justly, it is called the Golden Era of Swing. A pioneer and leader was the Casa Loma Orchestra, with Glen Gray at the helm. Its records sold millions of copies. The Orchestra, one of the perennials in an occupation full of fatalities, was in demand from coast to coast.

In this album, Glen Gray has undertaken a jazz odyssey, recreating from the original arrangements the sounds, solos, personalities, indeed everything that made the big bands big.

Here, Glen Gray speaks of the men that made the era and the selections in this album:
side one
GENE KRUPA Symphony in Riffs
(Solos: Russin, tenor; Candoli, trumpet; Bivona, clarinet; Fatool, drums)
Gene Krupa was one of those sidemen who looked like a natural to become a leader from his early days with Goodman. We do his Symphony in Riffs here, which is typical of his sound: the unruffled tonal quality of the saxes that blends well with the rhythm, the swinging trumpet work, and, of course, Krupa's driving drums.

ARTIE SHAW Begin the Beguine
(Solos: Bivona, clarinet; Russin, tenor)
A tune that's impossible to separate from its original arrange ment is Artie Shaw's Begin the Beguine. I know it's impossible, because when Artie dug the number out of a file somewhere and made his hit arrangement, it gave every other band trouble. It seemed like every couple wanted to hear it, and if a band didn't want to play Artie's version, well, just nothing else worked. His was the dream rendition - not a note is antiquated today.

JIMMY DORSEY Contrasts
(Solo: Herfurt, alto)
Contrasts was Jimmy Dorsey's theme. It was taken from a composition called "Beebee" He and Tommy started out with Jean Goldkette when thev were only seventeen. Throughout the years, with his various bands, Jimmy always had one of the most influential sax and clarinet styles around.

DUKE ELLINGTON Take the A Train
(Solo: Klein, trumpet)
The Duke's A Train is probably in more bands' books than any other number. Many's the time I've taken the IRT's subway up to Harlem to hear Ellington and his men. And when ever we played theatres and a dance team came on, it would invariably be this they'd ask for. It's a real tribute to Duke's sense of rhythm.

RANDY BROOKS Tenderly
(Solo: Sherock, trumpet)
Tenderly was featured by one of the finest trumpet players ever, Randy Brooks. This number characterizes his style very well: it's a pretty, smooth thing. But the solo here is still very rough, very tricky. Shorty Sherock handles it.

LIONEL HAMPTON Flying Home
(Solos: Emil Richards, vibes; Plas Johnson, tenor; Candoli, trumpet)
Hampton first caught on with all of us when he was with Benny Goodman. His Flying Home has been recorded so many ways. All tenor men know it and quote it. On this recreation of Hamp's version with his band we used Plas on tenor, Emil Richards on vibes, and Pete Candoli on trumpet up top. This number, like all of them, is typical of all the excitement, turmoil, and general busting loose that went on in those days.

side two
TOMMY DORSEY Song of India
(Solos: Zentner, trombone; Sherock, trumpet)
I remember Tommy Dorsey as a great trombone player from the first day I met him with Goldkette in Detroit. We do his Song of India, which is typical of his style. He could play sixteen bars without breathing, or at least you couldn't catch him at it.

CLAUDE THORNHILL Snowfall
(Solo: Sherman, piano)
Claude Thornhill has enormous prestige among musicians, because of the beautiful voicings with French horns and the vairiety of material he uses. Snowfall is the essence of what he was trying to do with his '40's band: those beautiful voicings and big sounds coming from his light, transparent piano solos. Wonderful tonal texture.

WOODY HERMAN Woodchopper's Ball
(Solos: Bivona, clarinet; Howard, trombone; Russin, tenor; Klein, trumpet; Rubin, bass)
When I think of Woody, I think of Woodchopper, like ham and eggs. That's a symbol of what we were all trying to do with our bands, to make music something more than just for dancing, without forgetting the dancers. As I remember, the tune started out as a head arrangement, growing out of a riff the boys heard at the Roseland Ballroom in New York.

JAN SAVITT 720 in the Books
(Solos: Howard, trombone; Bivona, clarinet)
Jan Savitt gave up the Philadelphia Symphony, where he was a fiddle player, to throw his hat in the big band ring. He introduced the shuffle style which became so popular; 720 oiginally started out as only an instrumental with no title, but got this number in Savitt's book. He was playing the Hotel Lincoln in New York at the time, and through radio broadcasts asked everyone to join in titling the number. It became more and more difficult as time went on to change the name, so the nickname became the title.

GLENN MILLER String of Pearls
(Solos: Herfurt, alto; Russin, tenor; Sherman, piano; Klein, trumpet)
I guess about the greatest leader of all was Glenn Miller. We had lots to choose from, but in my opinion String of Pearls was his most outstanding. Miller's great 'genius lay in knowing how to balance a band and get the most out of his men. He had brilliant shadings - no one else could do what he did.

ROBBY SHERWOOD Elks' Parade
(Solos: Herfurt, alto; Bivona, clarinet; Russin, tenor; Klein, trumpet)
EIks' Parade, the Bobbv Sherwood tune, is just about as diffrent as you can find. I think it was Johnny Mercer who titied this. He came ambling into rehearsal, asked, "What's that? Sounds like a bloomin' (I think that was the word) Elks' Parade" It's always been one of my favorites.



TRUMPETS: Mannie Klein, Conrad Gozzo, Shorty Sherock, Pete Candoli
TROMBONES: Si Zentner, Murray McEachern, Joe Howard, Benny Benson
SAXES: Skeets Herfurt, Gus Bivona, Babe Russin, Chuck Gentry, Julie Jacobs
PIANO: Ray Sherman
GUITAR: Jack Marshall
BASS: Mike Rubin
DRUMS: Nick Fatool




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