Showing posts with label pre-recorded Reel-to-Reel Tape. Show all posts
Showing posts with label pre-recorded Reel-to-Reel Tape. Show all posts

January 7, 2016

101 Reel-to-Reel Tapes 116: Herb Alpert & the Tijuana Brass ~ Summertime

reel-to-reel tape box cover
photo of tape box cover by Styrous®


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I started the Vinyl LP series because I have a collection of over 20,000 vinyl record albums I am selling; each blog entry is about an album from my collection. The 101 Reel-to-Reel Tapes series is an extension of that collection. Inquire for information here.   

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As with most albums, the top hit on this one, Hurt So Bad, written by Teddy Randazzo, Bobby Weinstein, and Bobby Hart (of the The Monkees), is not my favorite song. That honor goes to the song, Summertime, music by DuBose Heyward, lyrics by George Gershwin. My mom used to sing the song to me when I was little.   

Summertime is from the 1934 opera, Porgy & Bess, which was based on the book by Heyward.  Summertime is sung in the opera by the character, Clara as a lullaby. to sooth a baby to sleep. It is slow and mournful but filled with emotion promising a brighter future. Heyward’s inspiration for the lyrics was the southern folk spiritual-lullaby All My Trials.     

The song as interpreted by Alpert sounds nothing like the original version. His is almost primal and even erotic. The song has been covered by many others (link below to the song on YouTube).   




Herb Alpert & the Tijuana Brass ~ Summertime
reel-to-reel tape box back cover
photo of tape box cover by Styrous®


Summertime lyrics

Summertime,
An’ the livin' is easy
Fish are jumpin'
An’ the cotton is high.

Oh yo’ daddy's rich
An’ yo’ mamma's good lookin'
So hush little baby
Don' yo’ cry.

One of these mornin’s
You're goin’ to rise up singin’
Then you'll spread yo’ wings
An’ you'll take the sky.

But till that mornin’
There's a-nothin’ can harm you
With daddy an’ mammy standin’ by.

Repeat first two verses






reel-to-reel tape box spine
photo by Styrous®


In 1965, the Tijuana Brass were one of the highest paid touring/recording acts. In 1966, they sold over 13 million records, outselling The Beatles! Also in 1966, The Guiness Book Of World Records reported they set a new record by placing five albums simultaneously on the Top 20 of the Billboard Pop LP Chart, an accomplishment that has never been duplicated! In April of 1966, four of those albums were in the Top 10 simultaneously. They won six Grammy Awards, had fifteen Gold albums, fourteen of which went Platinum. I hear you saying, "The Tijuana Brass?"! 


Yes!



reel-to-reel tape box spine
photo by Styrous®



Alpert brought a refreshing tonality to the sounds of the sixties. It was a pop music alternative to the other types of mostly guitar based rock music that were defining the era. He was very important in giving instrumental music a place on the musical landscape, so to speak, and popularizing the trumpet. A second aspect was the way he attacked each note. The attacks were always clean and well defined yet delicate.   

In an interview by Gary James with bass guitarist, Pat Senatore, Senatore said Alpert used multiple overdubs to give the trumpet(s) more of a section sound. 






reel-to-reel tape 
photo by Styrous®



Though some adopted a prototypical physical appearance, no one in Alpert's band was actually Hispanic. Alpert used to tell his audiences that his group consisted of "Four lasagnas, two bagels, and an American cheese": John Pisano (electric guitar); Lou Pagani (piano); Nick Ceroli (drums); Pat Senatore (bass guitar); Tonni Kalash (trumpet); Herb Alpert (trumpet and vocal); and Bob Edmondson (trombone).  





reel-to-reel tape label detail
detail photo by Styrous®



Tracklist:

Side 1:

Hurt So Bad     2:20
Catch A Falling Star     3:00
Martha My Dear     2:07
If You Could Read My Mind     2:39
Darlin'     2:50

Side 2:

Summertime     2:10
Jerusalem     2:33
The Nicest Things Happen     3:12
Montezuma's Revenge     2:41
Strike Up The Band     2:33

Credits:

Producer – Herb Alpert, Jerry Moss

Herb Alpert & The Tijuana Brass ‎– Summertime
Label: A&M Records ‎– OR-4314
Format: 7½ ips reel-to-reel tape
Country: US
Released: 1971
Genre: Jazz, Latin
Style: Easy Listening, Latin Jazz




Net links:

Summertime on YouTube:  
    
Herb Alpert        
Anne Brown, soprano Introduction and Summertime from the opera    
Ella Fitzgerald     
Frank Sinatra           


Thanks, mom 



Styrous® ~ Thursday, January 7, 2016 

January 3, 2016

101 Reel-to-Reel Tapes 115: Pierre Henry ~ Le Voyage

Pierre Henry ~ Le Voyage
reel-to-reel tape box detail


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I started the Vinyl LP series because I have a collection of over 20,000 vinyl record albums I am selling; each blog entry is about an album from my collection. The 101 Reel-to-Reel Tapes series is an extension of that collection. Inquire for information here.   

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Pierre Henry was born in Paris, France, on December 9, 1927. His experimentation with sounds produced by various objects began when he was 15 and he became absorbed with the integration of "noise" into music. He studied with Nadia Boulanger, Olivier Messiaen, pioneers in experimental music, and Félix Passerone at the Paris Conservatoire from 1938 to 1948.   

Pierre Henry at home - 2008
photographer unknown



Between 1949 and 1958, after World War II and before the use of magnetic tape (developed in Germany), Henry worked at the Club d'Essai studio at RTF, founded by Pierre Schaeffer in 1943. Schaeffer and Henry began recording sounds from the natural world onto phonograph discs, altering them through the primitive means available, and creating an alarming music that they dubbed Musique Concrète (pronounced: muzeek kon-kret), or concrete music. 

Unlike the earlier Futurist work of Luigi Russolo, Schaeffer wanted to remove the original meanings and definitions of his sounds and create a deeper psychological-emotional response. In works such as Etude aux Chemins de Fer (Etude on Railroads), Etude Pathetique (Etude on Pathos), and Etude aux Objets (Etude on Objects), the sounds were familiar, but rearranged into bizarre juxtapositions, in the surrealist style of the era. The techniques of speeding up, slowing down, reversing, editing, and looping were all used to create sonic "collages," as Schaeffer calls them, all before the advent of tape recorders.        

After recording their sounds, they went back into the studio and isolated them, re-recording them onto other disks with different manipulations, including what they called "the locked groove"; putting an intentional skip in the record so a sound would be repeated, not unlike a tape loop or sequencer. Schaeffer describes the recording process. "We would have seven or eight turntables playing together, but with only one sound playing on each. Then we would try different variations, montages with let's say, sound 'A' repeated twice, then a sound 'B' then 'C' repeated and so on. It was similar to an orchestra rehearsal where you would be trying different themes, different variations." This operation would be repeated fifty years later by The Flaming Lips with their album, Zaireeka (see link below).            
 
In 1950 Henry wrote the piece, Symphonie pour un homme seul, in cooperation with Schaeffer; he also composed the first musique concrète to appear in a commercial film, the 1952 twelve minute short film, Astrologie ou le miroir de la vie, directed by Jean Grémillon. Henry has scored numerous additional films as well as ballets.    







Le Voyage
photos by Styrous®




Pierre Henry ~ Le Voyage
reel-to-reel tape box cover


Le Voyage is one of the finest examples of Musique Concrète; the range of the compositions is filled with remarkable electronic experimentation. There are industrial and traffic noises, natural sounds and voices tape-recorded and altered by re-recording them backwards at different speeds and with different effects.

Schaeffer and Henry created audio portraits for the end of the machine age and the beginning of the electronic age that burst with mechanical noises, orchestral hits, trains, and text-sound babble. Doors open and close on indecipherable conversations; engines start, stop and transform into screams and moans; disembodied pianists jam with mouth noise rhythm sections. 




Pierre Henry ~ Le Voyage
reel-to-reel tape box back


Le Voyage evokes the moment of a person's final breath (opening track, Breath) through the three stages of reincarnation until their eventual rebirth (closing track, Breath II).   

The first piece, Breath, is seven minutes long with the sound a little like the air being released from a balloon somewhere in deep space. 


Pierre Henry ~ Le Voyage
reel-to-reel tape box detail




After Death and After Death II is filled with computer chatter dynamics typical of that heard in computer rooms everywhere in Corporate America in the mid sixties.     










Pierre Henry ~ Le Voyage
reel-to-reel tape box spine










Peaceful Deities is a forerunner to early Ambient House. The Coupling is a searing, aching, metal-on-metal beauty to a composition that is brilliantly absolute.   



Pierre Henry ~ Le Voyage

In 1969, Henry collaborated with the progressive UK rock band, Spooky Tooth on the album, Ceremony. The music takes the form of a church service and will be featured in a future article.   


Pierre Henry ~ Le Voyage
reel-to-reel tape label detail



Pierre Henry ‎– Le Voyage

Tracklist

A1 Breath 7:06
A2 After Death 1 9:39
A3 After Death 2 7:39
B1 Peaceful Deities 9:18
B2 Wrathful Deities 3:47
B3 Coupling 6:50
B4 Breath

Companies, etc.

Notes

Based on the Wheel of Life described in the Tibetan Book of The Dead.

Label: Limelight Records ‎– LLX 86049
Format: reel-to-reel, 3 ¾ ips, ¼", 4-Track Stereo, Stereo, 7" Cine Reel, Album
Country: US
Released: 1968
Genre: Electronic




Pierre Henry discography  

Le Voyage on YouTube:
      Breath
      After Death 1      
      After Death 2      
      Peaceful Deities      
      Wrathful Deities      
      Coupling      
      Breath      



Flaming Lips, Zaireeka   



The Pierre Henry ~ Le Voyage, reel-to-reel tape is for sale on eBay & Discogs.    



Styrous® ~ Sunday, January 3, 2016