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Roman Guitar Volume Two

Tony Mottola and His Orchestra

Tony Mottola - Roman Guitar Volume TwoTony Mottola - Roman Guitar Volume Two
33MMottola T2

Command...RS 836 SD...[1962]...33 1/3 RPM...Stereo

Side 1:
1) Tra Veglia E Sonno - O. Scaltrito/P. Forte/L. Canora...2:17 (2:24)
2) Anema E Core - S.D.'Esposito...3:24 (3:36)
3) Carnival of Venice - Tran. & Arr. Tony Mottola...2:02 (2:08)
4) Scapricciatiello - F. Albano/P. Vento...2:22 (2:08)
5) Autumn In Rome - A. Cicognini/P.Weston/S.Chan...3:01 (3:11)
6) Guaglione - G. Fanciulla/Nisa...1:46 (1:50)

Side 2:
1) Nina - Tony Mottola...1:28 (1:32)
2) Souvenir D'italie - Sigman/Scarericci/Tarbusi/Luttazzi...2:35 (2:42)
3) Scalinatella - Bonaguara/Cioffi...2:22 (2:49)
4) Summertime In Venice - Cicognini/Sigman...2:21 (2:27)
5) Te Voio Ben - Bidoli/Rome...2:24 (2:30)
6) Funiculi Funicula - Not Given (Denza)...2:23 (2:29)

CommandRS-836-SDA label Tony Mottola - Roman Guitar Volume TwoCommandRS-836-SDB label Tony Mottola - Roman Guitar Volume Two
33MMottola T2


Tony Mottola and His Orchestra

Roman Guitar Volume Two

Original master recorded on 35mm magnetic tape OMAN GUITAR The exciting Roman guitar of Tony Mottola is back again with more of the singing, soulful, musical flavor of Italy that made his first Roman Guitar album (Command RS 816) such a dazzling experience. But this time there´s an important difference! Now for the very first time the subtle beauty and the gorgeous melodiousness of Tony Mottola´s brilliant treatment of lilting Italian tunes have been recorded on 35 mm MAGNETIC FILM-the most breathtaking advance toward absolute truth in sound reproduction since man first began using his ears.

Originated and Produced by ENOCH LIGHT

Tra Veglia E Sonno...........0. Di Bella Music Co. (ASCAP) Nina ..........................................Record Songs, Inc. (ASCAP)
Anema E Core............Leeds Music Corporation (ASCAP) Souvenir D´italie................Leeds Music Corporation (ASCAP)
Carnival Of Venice.................Ampco Music Inc. (ASCAP) Scalinatella......................................Italian Book Co. (ASCAP)
Scapricciatiello.............Leeds Music Corporation (ASCAP) Summertime In Venice...........Pickwick Music Corp. (ASCAP)
Autumn In Rome.................Cromwell Music Inc. (ASCAP) Te Voio Ben.....................Leeds Music Corporation (ASCAP)
Guaglione......................Fred Raphael Music Inc. (ASCAP) Funiculi Funicula.............................................Public domain

Enjoy the full program and technical data in detail, on the inside pages of this double album jacket.
Mfd. by Grand Award Record Co., Inc. U. S. A.


When musical sounds are as closely related and as subtly conveyed as those in Tony Mottola´s group-four guitars, two woodwinds, accordion, bass, drums and percussion-even the slightest disturbance in the process of reproduction can mask some of the musical beauty and excitement that has been so carefully poured into the actual performances. The merest suggestion of background hiss, which is inevitable in tape recording, can obscure the finer points of these performances. Flutter, another quality of tape that cannot be entirely eliminated, can inject an element of distortion that may dim the true fullness of as delicate a sound as a gently projected guitar string.

Both these handicaps of tape recording -scarcely noticeable in most cases-loom as obstacles to obtaining the sheer perfection of sound that Tony Mottola draws from his group.

But amazing 35mm MAGNETIC film recording completely eliminates both hindrances. There is no hiss whatever in 35mm MAGNETIC film recording. Backgrounds are completely pure, utterly true. Not a suggestion of a foreign sound intrudes. And film does not flutter as tape does. So not even the slightest distortion interferes with the true clarity of every sound reproduced.

True clarity on a background of utter silence-that is what 35mm MAGNETIC film recording delivers. And by using this fantastic new method of recording, Command Records has been able to record Tony Mottola´s group with a transparency and undisturbed clearness that has never been possible before. Now you can hear each individual instrument with such complete and full definition that it is almost as though it were being played in a vacuum by itself. And yet it is part of a skillfully and excitingly integrated musical unit.

Because every note comes through your playback in such pristine cleanliness, you actually hear more music than you have ever heard before. Because there is no foreign noise of any sort to interfere with the musical sounds, these musical sounds can be heard more fully and completely than had ever been possible before the development of 35mm MAGNETIC fill recording.

That is why the sheer beauty, the dazzling brilliance and the stirring rhythm: excitement of Tony Mottola´s Roman gutar is reproduced in these performancs with a glorious, full-bodied honesty that a new and breathtaking experience for everyone who hears it for the first time.

The tunes that Tony has chosen to show off the skills of his group in this vivid new recording process are some of the lovelie; and liveliest melodies to be found in what now the very heartland of stirringly beautiful music - the sunny, singing hills of Italy.

For these pieces, Tony Mottola has added one guitar to the group that he led on the first Roman Guitar album (there are, in addition to Tony, two electric guitarists Don Arnone and either Al Casamenti or Alien Hanlon-and one rhythm guitaris Bucky Pizzarelli). The two remarkable woodwind virtuosi, Stanley Webb and Phil Bodner, are back again and so are Don Cortese on accordion and Bob Haggart on bass. Don Lamond is Mottola´s drummer and instead of the single percussionist us on the earlier album there are now two-the team of Bob Rosengarden and Phil Kraus on some selections, Eddie Costa and Artie Marotti on others.

Side One:

Tra Veglia E Sonno.This is a tune on which Tony Mottola was weaned as a child. A gay mazurka that is almost as popular among Italians as the Neapolitan Tarantella that was one of the highlights of the first volume of Roman Guitar, Tony learned it from his father. It is a tune that can be heard coming from the back room of almost any Italian barber shop or in any Italian home where a wedding is taking place or a party is being held. Mottola has split his arrangement between his solo guitar, a three-man guitar ensemble, the two flutes of Stanley Webb and Phil Bodner and Dom Cortese´s accordion as the melody shifts back and forth with piquant fills and background from all the instruments that are not involved in developing the melody.

Anema E Core. Eddie Fisher popularized this lovely tune a few years ago. Tony Mottola begins it with the verse-he is a great admirer of good verses and regrets the neglect into which they have fallen in American songwriting. He plays the verse ad lib in a style that captures some of the softness of an unamplified guitar. During this quiet, undisturbed solo, the lucid transparency and purity of sound that is made possible by 35mm MAGNETIC film recording becomes vividly apparent. The sheer beauty of string sounds has never before been reproduced with such clean, clear honesty. As the rhythm is established and the rest of the group comes in to support the romantically soulful exposition of the melody by the flutes, notice the sensation of opening-up that occurs as these new musical sounds are added. This is exactly the opposite of the constriction that usually occurs when mere sounds are added in a recording -the new sounds normally cover some of the overtones that give each individual sound its full dimension. With 35mm MAGNETIC film recording every sound and all the overtones are heard in their entirety.

Carnival of Venice. Tony Mottola´s fondness for doing things a little differently (the definitive example of this is his treatment of folk songs on Command RS823) roused his interest in breathing refreshing new life into this well-worn trumpet showpiece by adapting it to his guitar group. And what a wonderful guitar vehicle he has made of it! Listen to the complex figures the three guitars whirl through early in Tony´s treatment with glockenspiel and xylophone spinning out brightening fills under the guitars. And after the tempo increases, notice the brilliant exchanges between Tony´s guitar, and the brilliantly luminous combination of xylophone and piccolo. Still another deft touch is the use of Stanley Webb´s bass clarinet in what would normally be a tuba´s role in the rhythm that accompanies the introductory guitar figures.

Scapricciatiello. Again Tony Mottola spotlights the verse, this time opening with Dom Cortese giving it a slow, ad lib accordion treatment. "The verse," says Tony in stressing the value he places on these frequently neglected portions of a tune, "sets up the song so prettily." In this case, Cortese´s accordion not only does the setting up of the song but starts the actual melody as well, extracting unbelievably bright beauty against piccolo fills that are equally bright. Later in the first chorus, when both Stanley Webb and Phil Bodner are playing piccolos with Cortese´s accordion backing them, the fantastic clarity of 35mm MAGNETIC film recording makes this passage a startling mixture of shining brilliance and utter, unalloyed clarity right down to the most subtle murmur of the accordion.

Autumn in Rome. Originally a background theme for an Italian movie before it was developed into a song with a lyric, the haunting nostalgia in this lovely tune appealed strongly to the basic romanticism in Tony Mottola. To bring out the dark, sombrely beautiful attraction he felt in it, he painted his musical picture with rich splashes of low alto flute and far off, beckoning cries from an English horn. He has written what amounts to a beautiful weavering of solos and duet for Stanley Webb alto flute and Phil Bodner on English horn and, with their incredible artistry, they make this a tremendously moving musical experience.

Guaglione. "A big, happy, happy Song!" Tony cried as he listened to this. Big it is happy it is and bouncing with bright rhythm as it gallops along with Tony´s guitar trading off passages with Dom Cortese´s accordion and, occasionally, a spatter of xylophonics or a couple of hard=bitten saxophones. Notice the added excitement that Tony builds late in the arrangement when he shifts to the use of very taut strings on his guitar.

Side Two:

Nina. Bubbling and sunny as a warm day on the Italian shore, this polka-like song was inspired by Tony´s nine-year-old daughter, Nina, partially as a reflection of her bouyant personality and partially as an effort to solve a problem for her. Nina came home from school one day and reported to her father that there was an awfully stubborn new boy in her class. She had been talking to him, she said, trying to make him feel at home in his new surroundings when he had asked her what her father did.
"He plays with Perry Como on TV," replied Nina.
"Ha!" laughed the boy scornfully. "I´ll bet he does."
"So," said Nina to her father, "can´t you do something to prove I´m right?"
Tony´s solution was to catch and develop a happy, carefree little melody that had been running around loose in his mind, to record it and to pinpoint its source by calling it Nina, so that Nina can take this album to school with her and show her doubting friend. Yes, Nina´s daddy does play with Perry Como on TV (and, before TV, he played with him on radio, too).

Souvenire d´ltalie. Tony Mottola smacks his forehead and grins with pleasure. "Oh, those Italians!" he exclaims. "The way they write! Which is prettier here-the verse or the chorus?" A problem-so he pays special attention to both. The verse is played gently ad lib, split between Tony´s guitar and Stanley Webb´s alto flute. Moving into a quirksome, compelling tempo in the chorus, Tony spins out a singing, romantic line that gives way, in the second chorus, to a rippling clarinet solo by Phil Bodner.

Scalinatella. This gorgeous tune typifies, in Tony Mottola´s opinion, the beautiful writing that is being done in popular music in Italy today. The warm, haunting melody is introduced by an exchange between guitar and flute, setting the scene for a lovely and evocative guitar solo by Tony. Notice that when Tony takes another solo in the middle of the chorus the other guitarists back him with a mandolin effect that gives the pieces added overtones of Neapolitan charm. And pay particular attention to the utter perfection of the brilliant glissando with which Stanley Webb enters on alto flute toward the end of the arrangement.

Summertime in Venice. The mandolin style of backing turns up again in the opening portions of this tune from the film of the same name in which Katherine Hepburn starred. The remarkable transparency of 35mm MAGNETIC film recordingis strongly evident in the passages in which the flutes are carrying the melody when the full substance of Bucky Pizzarelli´s rhythm guitar is made completely apparent without raising it beyond a normal accompaniment level. This is a subtlety in sound that has rarely been heard on a record before. And for sheer richness of sound, few combinations have ever been recorded that can match the brief conjunction of accordion and clarinets at the beginning of the second chorus.

Te Voio Ben. The sunny brightness that sparkles through much current Italian composition shines all through this vivid melody and Tony Mottola´s exhilarating treatment of it. The woodwinds sing warmly over soaring fills by Tony´s guitar and percussively brilliant backing from the xylophone. But the high point is the warm and delicate clarinet solo with which Phil Bodner ends the first chorus and then turns the tune over to Tony´s guitar.

Funiculi Funicula. The bright, spirited Neapolitan Tarantella that exploded so brilliantly in Tony Mottola´s first Roman Guitar album is matched in this second album by his tingling treatment of this old and beloved folk tune. Over the dancing merriment of the pulsing rhythm, the gay, bright colors of tambourine, xylophone and piccolo fly high to provide exciting accents to the instruments that carry the familiar melody - the woodwinds, the accordion and the guitar. It is an especially festive finish to a set of performances that are filled with the fresh, warming glow of Italian sunshine and reproduced with the striking, shocking brilliance and full color of a cloudless day on the Mediterranean.

Associate Producer Julie Klages
Recording chief Robert Fine
Mastering George Piros
Arrangments by Tony Mottola and Lew Davies

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