Humble Pie – Los Angeles (1983)

FrontCover1In late 1979, Marriott revived Humble Pie with Jerry Shirley, adding Bobby Tench, former vocalist and guitarist from The Jeff Beck Group and bassist Anthony “Sooty” Jones, from New York. They submitted “Fool for a Pretty Face”, a song Marriott and Shirley had just written, to record labels. They secured a recording contract with Atlantic Records subsidiary Atco and in the UK their material was released by Jet Records, owned by former Small Faces manager Don Arden. They recorded the album On to Victory (1980) and “Fool for a Pretty Face” reached No. 52 on the US Billboard Hot 100. On to Victory peaked at No. 60 on the Billboard 200. Humble Pie toured the US as part of the ‘Rock ‘N’ Roll Marathon Bill’ with Ted Nugent and Aerosmith and also recorded the album Go for the Throat (1981). This album was originally recorded by the band as a raw edged Rhythm and Blues album, but their record company wanted a slicker album. in April 1981, at the beginning of the promotional tour for the Go for the Throat album, Marriott crushed his hand in a hotel room door, delaying earlier scheduled appearances by the band and he later developed a duodenal ulcer forcing the cancellation of all further tour dates in July 1981. Soon afterwards this line up disbanded, due to contractual differences. (by wikipedia)

And this is a brilliant radio show from this Humble Pie period …

Humble Pie was one of those bands that always deliver high energy on stage, this is truely recommended for all rock’n’roll fans. Listen … enjoy !

Anthony “Sooty” Jones (bass, background vocals)
Steve Marriott (vocals, guitar)
Jerry Shirley (drums)
Bobby Tench (guitar, background vocals)

AlternateFrontCoversAlternate frontcovers

01. I Don’t Need No Doctor (Ashford/Simpson/Armstead) 9.32
02. Infatuation (Marriott) 5.37
03. 30 Days In The Hole (Marriott) 9.04
04. Tin Soldier (Mariott/Lane) 4.33
05. Fool For A Pretty Face (Marriott/Shirley) 5.44
06. Rock & Roll Medley 12.13
06.1. Route 66 (Troup)
06.2. Be-Bop-A-Lula (Davis/Vincent)
06.3. Tulsa Time (Flowers)


Jackson Heights – Bump ‘N’ Grind (1973)

FrontCover1Jackson Heights were an English musical group formed by bassist and vocalist Lee Jackson. The group was playing from 1970, when Jackson left The Nice, to 1973, after which he teamed up again with The Nice drummer Brian “Blinky” Davison to form Refugee with Patrick Moraz.

After the break-up of The Nice in 1969, each of that group’s three members formed a group of his own, and those three groups toured together: Emerson formed Emerson, Lake and Palmer, Davison’s group was named Every Which Way, and Jackson appeared with Jackson Heights.

Jackson Heights’ debut album, King Progress, included a reworking of “The Cry Of Eugene”, a song originally recorded by The Nice, and new material including “Doubting Thomas” and “Insomnia”. The group, which included Charlie Harcourt on lead guitar, Mario Enrique Covarrubias Tapia on bass and Tommy Sloane on drums, produced a radically different sound from that with which Jackson had become well-known, centred upon songs and led by acoustic guitar.

JacksonHeights2This group disbanded shortly after the first album’s release and reformed as a trio featuring pianist Brian Chatton (born 19 July 1948, Bolton, Lancashire) and singer/songwriter/guitarist John McBurnie, with Jackson mainly playing congas. The group left the Charisma label and signed with Vertigo, for whom they recorded three albums, The Fifth Avenue Bus and Ragamuffins Fool (1972) and Bump ‘n’ Grind (1973). In the recording studio, and sometimes at concerts, the group was often augmented by notable session musicians as well as by overdubs. (by wikipedia)

Fourth and last album for JH, and apparently it was commonly agreed that this was to be the make or break album. The usual trio (armed with two ex-crimson drummer as Ian Wallace joined-up Giles) intended as concept was the lives of the ladies in a cabaret, but apparently the concept diverged into a complete extravaganza with tons of extra musicians once the label got excited about the project and over- did their part with a luxurious sleeve.

Starting on seagulls and piano into I Could Be Your Orchestra or its string-overloaded follow-up Spaghetti Sunshine, this album seems to be filled to the brim with the whole kettle of prog clichés, but then again, this might be a proghead’s easiest way to get into JH. Classically trained Brian Chatton, constantly pushed by his buddy Keith Emerson, he obviously explodes into this album (he hadn’t written anything on FAB, then did his bit in RF), but here seems to take on the lion’s share in terms of songwriting.


Again, when these big projects get on a roll, with the label’s consent, it’s usually the opposite returns that comes back in return. In the same genre than Bump And Grind, I can think of Audience’s Lunch (mega project that broke the band up) and Stackridge’s Mr Mick (also a mega project, but apparently botched up by the record company for not releasing the tracks correctly and consequently broke up the band), and indeed Jackson ended up broke with a group whose forces fled them. Swiss wizz Patrick Moraz would then step in and save the day for Jackson .(by Sean Trane)

Brian Chatton (keyboards, celesta, bells, clarinet, synthesizer, vocals)
Lee Jackson (bass, percussion, cello)
John McBurnie (guitar, mellotron, percussion)
Billy Bell (banjo on 03.)
Johnny van Derrick (fiddle on 03.)
Keith Emerson (synthesizer)
Mike Giles (drums on 01., 02., 04. + 06.)
Chris Laurence (bass)
Roger McKew (guitar on 06.)
Ian Wallace (drums on 03., 07. – 09.)
Helen Liebmann – Lynden Cranham – Martin Robinson – Mike Hurwitz
Brian Hawkins – Brian Mack – Don McVay . Jan Schlapp
Alan Travers – Andy Babynchuk – Cathy Wei – Clare Farmer – David Woodcock – Eddy Roberts – Liz Edwards – Gavyn Wright – Godfrey Salmon – Jeff Grey – Louise Jopling – Paul Pearce

01. I Could Be Your Orchestra (Murphy/McBurnie) 4.22
02. Spaghetti Sunshine (Chatton) 3.30
03. Long Necked Lady (McBurnie) 3.40
04. Public Romance (Chatton) 2.40
05. Bump And Grind (McBurnie) 3.30
06. Cumberland Country (Chatton/Jackson) 4.30
07. It’s A Shame (Chatton/Jackson) 4.25
08. Ladies In The Chorus (Chatton/Jackson) 3.10
09. Whatever Happened To The Conversation (Chatton/McBurnie/Jackson) 4.03


Front+BackCover1Sex sells: what a nice cover !

Beach Boys – Live In Japan (1966)

FrontCover1As we go down another Japanese memory lane, let’s spare a thought for the Earthquake/Tsunami/nuclear fallout victims in Japan, as well as those in China and New Zealand. And for those who can, in your own countries, donate to a charity that is sending aid to Japan and/or any of the afflicted places.

Steven Gaines’ Heroes And Villains: The True Story Of The Beach Boys gives only a cursory mention of the Beach Boys’ 1965/66 tour:

After two dates and ten days of knowing each other – with Mike (Love) bragging he had $70,000 in the bank – he asked Suzanne (Belcher) to marry him. They flew to Las Vegas on October 15, 1965, where they were quietly married. Then Mike had to rush home for a Beach Boys appearance on The Andy Williams Show. Mike took his new bride with him and the rest of the Beach Boys on a long Asian tour, which included Japan, Hong Kong and Honolulu.

BeachBoys01With the other Beach Boys gone, Brian started work on a new album, which would turn out to be the watershed of his career.

Of the Pet Sounds recording, Steven Gaines continues:

[When] the other members of the group returned to LA, they found that most of the tracks were complete – and they didn’t like it. They objected to Brian’s preconceived notion of what the vocals should sound like. Mike Love reportedly considered this Brian’s ‘ego’ music… ‘It took some getting used to,’ Alan Jardine admitted. ‘When we left the country, we were just a surfing group. This was a whole new thing.’

The vocals tracks were arduous to lay down, and Brain made them work harder than ever to perfect them. Mike hated Brian’s role as taskmaster. ‘Who’s gonna hear this?’ he asked. “The ears of a dog? But Brian had those kind of ears, so I said, ‘Okay, we’ll do it another time.’ Every voice in its resonance and tonality and timbre had to be right. Then the next day he might throw it out and have us do it again.”… [Brian] would sometimes let the group do the vocals the way they wanted, then, after they left the studio, he would wipe the vocals off completely and finish the track himself, since he could sing all the parts.

Live in Japan, January 1966. Some list this as Shibuya, January 7, 1966.
Good to very good soundboard.
This show has also been listed as a probable FM broadcast.

Al Jardine (bass, background vocals)
Bruce Johnston (guitar, background vocals)
Mike Love (vocals)
Carl Wilson (guitar, background vocals)
Dennis Wilson (drums, background vocals)

01. Fun, Fun, Fun (B.Wilson/Love) 0.52
02. Little Honda (B.Wilson/Love) 1.52
03. Medley: Little Deuce Coupe/Shut Down/Surfin’ USA (B.Wilson/Christian/Love/Berry) 4.14
04. Surfer Girl (B.Wilson) 2.26
05. Papa-Oom-Mow-Mow (White/Frazier/Harris/Wilson Jr.) 2.07
06. Hawaii (B.Wilson/Love) 1.40
07. You’ve Got To Hide Your Love Away (Lennon/McCartney) (2.17
08. Monster Mash (Pickett/Capizzi) 2.12
09. Help Me, Rhonda (B.Wilson/Love) 1.14
10. California Girls (B.Wilson/Love) 2.47
11. Barbara Ann (Fassert) 2.04
12. I Get Around (B.Wilson/Love) 1.57
13. Johnny B. Goode (Berry) 2.29
14. The Beach Boys Interview In Japan 1966 4.31

AlternateBackCoverAlternate backcover


Billy Price and the Keystone Rhythm Band – Live (1984)

FrontCover1Blues revivalist Billy Price, born November 10, 1949 in Passaic, NJ, took to singing at a young age and has performed professionally for more than two decades. He’s a superstar in his adopted hometown, Pittsburgh, PA, America’s doo wop capital. Price caught the public’s eye as the vocalist for the Roy Buchanan Band. He’s featured on two acclaimed albums recorded under Buchanan’s name: That’s What I’m Here For, in 1972, and Livestock, in 1974, both on Polygram. Price toured all over the United States and parts of Canada with the highlights being the Newport Jazz Festival, Carnegie Hall, the Roxy, and the Troubadour in Los Angeles, as part of Buchanan’s crew.

After splitting with Buchanan, Price started Billy Price and the Keystone Rhythm Band in 1977. They stayed together 13 years and recorded four critically acclaimed albums including Is It Over, in 1980, and They Found Me Guilty, in 1982, both on Green Dolphin Records; Antenna Records has compiled the two albums on CD. Other Antenna CD’s include Live (1984), Free at Last (1988). Billy named his new group the Billy Price Band in 1990 and increased their repertoire by including riveting interpretations of R&B & soul classics. Road band members are Lenny Smith (guitar), Willie Franklin (bass), H. B. Bennett (drums), John Burgh (keyboards), Ralph Guzzi (trumpet), Eric Defade (tenor sax), and Curtis Johnson (baritone & tenor sax). The Billy Price Band released Danger Zone, in 1993 on Corona Records, and returned to Green Dolphin Records in 1997 to record The Soul Collection, and Can I Change My Mind, in 1999. A diehard, Price will be around til he can’t belt em’ out anymore; arbitrary retirement is not in the cards for the blue eye soul singer who performs one of the most sincere brands of R&B/blues around. (by Andrew Hamilton)

BillPrice2And this album captures Billy Price and the Keystone Rhythm Band live at the Wax Museum in Washington D.C. Featuring the blistering rock/blues guitar of Glenn Pavone, the band smokes through a hot set of blues and soul before an enthusiastic audience. The LP includes the first release ever of a lost Otis Redding song, “Since You’ve Gone Again”; Price’s version of “I Can’t Lose The Blues”, which was later covered by bluesman Son Seals; and Price’s lengthy workout on Tyrone Davis’s Turn Back the Hands of Time.

And believe me it´s: this music is like dynamite !

Don Aliquo (saxophone)
Steve Binsberger (keyboards)
David Ray Dodd (drums)
Jim Emminger (saxophone)
Glenn Pavone (guitar, background vocals)
Bill Price (vocals)
Tom Valentine (bass, background vocals)

01. I’m So Glad (Holland) 4.19
02. Precious, Precious (Crawford/Moore) 4.02
03. Good Time Charlie (Caples/Malone/Scott 4.17
04. Since You’ve Gone Again (Redding) 3.28
05. Eldorado Cafe (Price/Roethel) 3.20
06. I’m Sick Y’all (Cropper/Porter/Redding) 3.07
07. One Man, Two Lovers (Price/Binsberger/Pavone) 3.52
08. I Can’t Lose the Blues (Rock/Darke/Price) 5.06
09. Turn Back The Hands Of Time (Daniel/Moore) 6.03


Johnny Cash – The Fabulous Johnny Cash (1958/2002)

FrontCover1The Fabulous Johnny Cash is the third album by American singer, Johnny Cash. It was released on November 3, 1958 by Columbia Records, long after Cash’s departure from Sun Records, and was re-issued in 2002 by Sony Music’s Legacy imprint. The re-issue contains six bonus tracks and unedited versions of the songs. Legacy Records reissued the album in 180 gram vinyl for Record Store Day in November 23, 2012.

The album features five tracks written by Cash and backing vocal performances by The Jordanaires (who at this time were also regulars on Elvis Presley’s recording sessions for RCA Records). Overall, even though the album is only 29 minutes in length, it is considered one of Cash’s most cohesive pieces. This is largely because his sessions with Columbia were completed over a two-month period. That is greatly reduced when compared to the year by year sessions by Sun Records.[2] The Fabulous Johnny Cash was a successful debut on Columbia for Cash as it sold over half a million copies during its initial release. The album was recorded simultaneously with Hymns by Johnny Cash, released in 1959. (by wikipedia)

Booklet03AThese 18 tracks (12 of them from the original 1959 LP, The Fabulous Johnny Cash, and 6 of them recorded during the same sessions, but previously unreleased in the U.S.) captured Cash during a particularly vital period of his long, illustrious career. Cash first broke through in the mid-`50s with his now-trademark “boom-chicka-boom” rhythms and sonorous, drawling baritone on Memphis’s Sun Records; these are the earliest recordings from his nearly three decades on the Columbia label. Demonstrating an energy and down-home diversity that would later become even more fully realized, Cash herein moves deftly from introspective ballads (his original “Run Softly, Blue River”) and railroad songs (“One More Ride”) to cowboy ballads (his sardonic original, “Don’t Take Your Guns to Town”) and stoic laments like “I Still Miss Someone.” In the process, he refines a vivid musical persona that more or less became synonymous with country music in the 1960s. (by Bob Allen)

CD1If you even think of yourself as a casual Johnny Cash fan, do yourself a favor and hear this 2002 reissue of the first record Johnny did for Columbia in late 1958. It marks his “major label” debut, his deliberate turn from rockabilly/rock ‘n roll to country, gospel and folk songs, and the start of 28 consecutive years making big money with, and for, the company. This remastered disc, with six bonus tracks from the same two-month studio stint that resulted in the 12 original cuts, is really done right. The CD features the original cover and liner notes, plus a nice booklet and updated, detailed notes, and several period photos of John in performance. This effort was not only historically important for Johnny Cash, it was historic for me, too. I bought it when I was 14 and it was hot off the vinyl press. It was my first Cash album, my first stereo LP, and I liked 11 of the 12 songs (Only “Suppertime” seemed weak to me.) Somewhere around the early 70’s, my copy vanished. It was almost worn out, the cover was torn up by my many relocations, but I have no memory of what happened to it.

Booklet04AThe songs are good, the singing strong, and the guitar and bass from Luther Perkins and Marshall Grant and guitar from John himself are all wonderful. The only “dated” feel in the record are the backing vocals by the Jordanaires. Back in those days, “backing vocals” were thought to be vital on all kinds of records, pop, rock and country included. For instance, Buddy Holly’s hits had them, and many of Elvis’s too. In some songs, the vocal choruses do add some interest and contrast, but more often, to today’s ear, they could easily be eliminated. Their presence on “The Fabulous Johnny Cash” does not ruin any song, but we’ve learned in the 40-plus years since the album came out that Johnny does not need the help of The Jordanaires or anybody else to sell product. Listening to this CD today, for the first time in almost 30 years, I still love 11 of the 12 original selections (feeling “Suppertime” still is a bit weak), but I also like five of the six bonus tracks. (Only “Mama’s Baby” seems slight.) So, if you buy this, you’ll get 16 excellent examples of late-50’s Johnny Cash deliberately aimed at the country music customer of that time. Johnny’s reworking of the Frankie and Johnny saga song is clever; his version of the wanderlust train song “One More Ride” is one of the best performances of his entire career; the religious song “That’s Enough” is macho and unusual and stirring. You also get “I Still Miss Someone”, and I’ve heard a dozen other singers do that one over the decades, but no one has done it better than Cash, who wrote it. Next comes “Don’t Take Your Guns to Town”, and as the astute liner notes point out, this one has subleties only a careful listener will realize. It deservedly was a big hit and has retained its popularity as a classic Cash piece.

Booklet02AI also like “I’d Rather Die Young”, a morbid love ballad, and “Shepherd of My Heart” a happier love song. Johnny wrote “Pickin’ Time” in honor of the cotton growers of his native Arkansas. I live adjacent to the cotton growers of far West Texas, and the song is a nice tribute to them as well. “That’s All Over” is about rebounding from romantic rejection, and I liked it even before I was old enough to be rejected, or to bounce back. “The Troubadour” points to the “beyond the glory” moments in a star singer’s life. The bonus tracks, one assumes, are items which didn’t make the final list to be included on the album. I agree that they are slightly less interesting than the songs which were released, but not by much. “Oh What a Dream” and “Fools Hall of Fame” and “Walking the Blues” are each good rockabilly in their own right, and sound as if they should have been released on his prior label, the incomparable Sun Records. To sum up, Johnny did a fine album back then, and Columbia/Legacy has done a great job of updating, expanding and presenting it for the modern fan. The product is worth every penny they are asking for it. (by William E. Adams)


Johnny Cash (guitar, vocals)
Marshall Grant (bass)
Don Helms (steel guitar)
Marvin Hughes (piano)
Morris Palmer (drums)
Luther Perkins (guitar)
Buddy Harman (drums on 12., 13. + 16.)
The Jordanaires (background vocals)

01. Run Softly, Blue River (Cash) 2.22
02. Frankie’s Man, Johnny (Cash) 2.15
03. That’s All Over (Glasser) 1.52
04. The Troubadour (Walker) 2.15
05. One More Ride (Nolan) 1.59
06. That’s Enough (Coates) 2.41
07. I Still Miss Someone  (J.Cash/R.Cash) 2.34
08. Don’t Take Your Guns To Town (Cash) 3.03
09. I’d Rather Die Young (Smith/Vaughn/Wood) 2.29
10. Pickin’ Time (Cash) 1.58
11. Shepherd Of My Heart (Carson) 2.10
12. Suppertime (Stanphill) 2.50
13. Oh What A Dream (take one) (Cash) 2.01
14. Mama’s Baby (Cash) 2.22
15. Fool’s Hall Of Fame (Freeman/Wolfe) 2.10
16. I’ll Remember You (Cash) 2.07
17. Cold Shoulder (Hudgins) 1.55
18. Walkin’ The Blues (Cash/Lunn) 2.11


Eugene Ormandy + Philadelphia Orchestra – Great Ballet Music (Tchaikovsky) (2002)

FrontCover1“Tchaikovsky was made for ballet,” writes musicologist David Brown Before him, musicologist Francis Maes writes, ballet music was written by specialists, such as Ludwig Minkus and Cesare Pugni, “who wrote nothing else and knew all the tricks of the trade.” Brown explains that Tchaikovsky gifts for melody and orchestration, his ability to write memorable dance music with great fluency and his responsiveness to a theatrical atmosphere made him uniquely qualified in writing for the genre. Above all, Brown writes, he had “an ability to create and sustain atmosphere: above all, a faculty for suggesting and supporting movement … animated by an abundant inventiveness, above all rhythmic, within the individual phrase.” In comparing Tchaikovsky to French composer Léo Delibes, whose ballets Tchaikovsky adored, Brown writes that while the two composers shared similar talents, the Russian’s passion places him in a higher league than that of the Frenchman. Where Delibes’ music remains decorative, Tchaikovsky’s touches the senses and achieves a deeper significance. Tchaikovsky’s three ballets, Maes says, forced an aesthetic re-evaluation of music for that genre.

Brown calls Tchaikovsky’s first ballet, Swan Lake, “a very remarkable and bold achievement.” The genre on the whole was mainly “a decorative spectacle” when Swan Lake was written, which made Tchaikovsky’s attempt to “incorporate a drama that was more than a convenient series of incidents for mechanically shifting from one divertissement to the next … almost visionary.” However, while the composer showed considerable aptitude in writing music that focused on the drama of the story, the demand for set pieces undercut his potential for complete success. The lengthy divertissements he supplied for two of the ballet’s four acts display a “commendable variety of character” but divert action (and audience attention) away from the main plot. Moreover, Brown adds, the formal dance music is uneven, some of it “quite ordinary, a little even trite.” Despite these handicaps, Swan Lake gives Tchaikovsky many opportunities to showcase his gift for melody and, as Brown points out, has proved “indestructible” in popular appeal. The oboe solo associated with Odette and her swans, which first appears at the end of Act 1, is one of the composer’s best–known themes.

SwanLakeTchaikovsky considered his next ballet, The Sleeping Beauty, one of his finest works, according to Brown. The structure of the scenario proved more successful than that of Swan Lake. While the prologue and first two acts contain a certain number of set dances, they are not designed for gratuitous choreographic decoration but have at least some marginal relevance to the main plot. These dances are also far more striking than their counterparts in Swan Lake, as several of them are character pieces from fairy tales such as Puss in Boots and Little Red Riding Hood, which elicited a far more individualized type of invention from the composer. Likewise, the musical ideas in these sections are more striking, pointed and precise. This characterful musical invention, combined with a structural fluency, a keen feeling for atmosphere and a well-structured plot, makes The Sleeping Beauty perhaps Tchaikovsky’s most consistently successful ballet.

The Nutcracker, on the other hand, is one of Tchaikovsky’s best known works. While it has been criticized as the least substantial of the composer’s three ballets, it should be remembered that Tchaikovsky was restricted by a rigorous scenario supplied by Marius Petipa. This scenario provided no opportunity for the expression of human feelings beyond the most trivial and confined Tchaikovsky mostly within a world of tinsel, sweets and fantasy. Yet, at its best, the melodies are charming and pretty, and by this time Tchaikovsky’s virtuosity at orchestration and counterpoint ensured an endless fascination in the surface attractiveness of the score. (by wikipedia)

NutcrackerHeare you can hear excerpts from these 3 ballet music from Pyotr Il’yich Tchaikovsky by the Philadelphia Orchestra, conducted by Eugene Ormandy:

Longtime Philadelphia Orchestra conductor Eugene Ormandy (November 18, 1899 – March 12, 1985) (born Jenó Blau) developed what came to be known as the “Philadelphia Sound.” (He groused that it should be called the “Ormandy Sound,” even though its fundamentals had already been established during Leopold Stokowski’s long tenure with the Philadelphia Orchestra.) Largely as an effort to overcome the dry acoustics of the Stamporchestra’s home, the Academy of Music, Ormandy emphasized lush string sonorities and, often, legato phrasing and rounded tone. He was lauded even by his own musicians for his ability to conduct everything from memory, even complex contemporary scores. Still, aside from the voluptuous tone, Ormandy’s interpretations rarely bore an individual stamp. They were, however, highly polished, intelligently balanced, and well paced, always serving the scores honorably, and often with a dash of controlled excitement.

Ormandy initially studied violin with his father, and entered Budapest’s Royal Academy of Music at age 5, falling under the tutelage of Jenö Hubay at 9. He received a teacher’s certificate at 17, and served as concertmaster of the Blüthner Orchestra in Germany, also giving recitals and performing as a concerto soloist.

Omandy01He moved to the United States in 1921 (taking citizenship in 1927), lured by the promise of a lucrative concert tour. That tour fell through, though, and Ormandy was forced to make ends meet by taking a back-desk job with the Capitol Theater Orchestra in New York City, accompanying silent films. Ormandy soon advanced to the position of concertmaster, and made his conducting debut there in September 1924 when the regular conductor fell ill. By 1926 he was named the orchestra’s associate music director, and made extra money conducting light classics on the radio. Important debuts soon followed: he conducted the New York Philharmonic at Lewisohn Stadium in 1929, and the following year became guest conductor of the Robin Hood Dell Orchestra in Philadelphia. On October 30, 1931, came his first performance with the Philadelphia Orchestra.

The following year he was engaged as music director of the Minneapolis Symphony, with which he made several recordings, but he didn’t remain long in the Midwest. In 1936 the Philadelphia Orchestra called him back as associate conductor, to share baton duties with Leopold Stokowski, who was being eased out. Ormandy became the orchestra’s music Omandy02director in the autumn of 1938, and held that position for 42 years, until his retirement at the end of the 1979-1980 season (whereupon he was named Conductor Laureate). He led the Philadelphia Orchestra on several national and international tours, including, in 1973, the first appearance of an American symphony orchestra in the People’s Republic of China. Ormandy was knighted in 1976 — Queen Elizabeth II’s way of observing the American bicentennial.

Ormandy was always a proficient, well-prepared conductor, but he was most comfortable in Romantic and post-Romantic music; especially noteworthy were his performances and recordings of Richard Strauss and Sergei Rachmaninov. He established an especially close professional relationship with the latter in the 1930s, and premiered his Symphonic Dances. Ormandy also led the first performances of many works by American composers, and gave the U.S. premieres of several Shostakovich symphonies, among other works. In 1948 he led the Philadelphia Orchestra in the first symphony concert broadcast on American TV, beating Arturo Toscanini and the NBC Symphony by 90 minutes. Ormandy and the orchestra recorded extensively for Columbia and RCA, especially during the stereo LP era; their discography ranged from the first recording of Shostakovich’s thorny Symphony No. 4 to “easy listening” treatments of recent movie music, harking back to his nights in the Capitol Orchestra. (by James Reel)

The recordings was made in the years 1972 + 1973.

Philadelphia Orchestra counducted by Eugene Ormandy


Swan Lake, suite, Op. 20   
01. Act 1. Scène 3.06
02. Act 1. Valse 6.03
03. Act 2. Scène 3.05
04. Act 2. Danses des cygnes: Coda 2.54
05. Act 3. Danse hongroise: Czardas. Moderato assai – Allegro moderato 1.55
06. Act 3. Vivace 0.59
07. Act 4. Scène finale 6.16

The Sleeping Beauty, suite, Op. 66:
08. Introduction 4.12
09. Act 1. Valse 4.34
10. Act 1. Pas d’action 10.20
11. Act 2. Panorama 2.41
12. Act 3. Marche 3.30
13. Act 3. Pas de caractère 1.40
14. Act 3. Apothéose 2.15

The Nutcracker, suite, Op. 71:
15. Ouverture miniature 3.34
16. Danses caractéristiques. a. Marche 2.13
17. Danses caractéristiques. b. Danse de la Fée-Dragée 2.07
18. Danses caractéristiques. c. Danse russe. Trépak 1.11
19. Danses caractéristiques. d. Danse arabe 3.36
20. Danses caractéristiques. e. Danse chinoise1.16
21. Danses caractéristiques. f. Danse des mirlitons 2.31
22. Valse des fleurs 6.53

Music composed by Pyotr Il’yich Tchaikovsky


Chuck Mangione – An Evening Of Magic – Live At The Hollywood Bowl (1978)

FrontCover1An Evening of Magic, Live at the Hollywood Bowl is Chuck Mangione’s second live album. It was released through A&M Records. It features Charles Meeks on bass guitar, Grant Geissman on guitar, James Bradley Jr. on drums, and Chris Vadala on several woodwind instruments. It features many of his popular songs such as “Feels So Good”, “Main Squeeze”, “Land of Make Believe”, and “Children of Sanchez”.

Recorded at the height of Chuck Mangione’s fame when “Feels So Good” was still busting up the charts, this double-LP set attempts to recapture the dynamism of his earlier live albums but falls short on a few counts. For one thing, the sound gives the listener no idea of what it was like to be in the audience that evening; there are only fleeting traces of the live presence and electricity of the event in this tightly mic’ed recording. For another, the sense of fresh discovery of a new voice in the Mercury sets is replaced by a mostly self-congratulatory round of reprises from earlier albums, centered in the jazz-funk idiom of Mangione’s then-current quintet (the funkified “Hill Where the Lord Hides” in particular lacks the majesty and tension of the original live version). Mangione and his sidemen (Chris Vadala, winds; Grant Geissman, guitars; Charles Meeks, bass; James Bradley, Jr., drums) are sufficiently pumped up and energetic, sometimes outdoing the studio performances of the material, and there is a 70-piece orchestra of L.A. musicians who mostly form part of the scenery.

LiveThe only “new” stuff (as of July 1978) is a set of excerpts from the film score to Children of Sanchez — a heavily truncated selection from what was heard that night — that comes off pretty well. Of the two live Mangione A&M albums, this one is a more accurate career retrospective, but Tarantella is quirkier and thus more fun. (by Richard S. Ginell)

James Bradley, Jr. (drums)
Grant Geissman (guitar)
Chuck Mangione (fluegelhorn, piano)
Charles Meeks (bass)
Chris Vadala (saxophone, flute)
Nate Alford (percussion)
Richard Chamberlain (trombone)
Larry Covelli (saxophone, flute)
Jeff Kievit (trumpet, flugelhorn)
Ron Leonard (cello)
Art Linsner (trombone)
John Mitchell (saxophone, flute)
Adah Mosello (flute)
Keith O’Quinn (trombone)
Jerry Peel (french horn)
John Stevens (tuba)
Frank Szabo (trumpet, flugelhorn)
Jeff Tkazyik (trumpet)
Jay Wadenpfuhl (french horn)
Gerry Vinci (concertmaster)

01. Feels So Good (Mangione) 9.17
02. The XIth Commandment (Mangione) 6.37
03. Chase The Clouds Away (Mangione) 9.38
04. Hill Where The Lord Hides (Mangione) 5.26
05. Doin’ Everything With You (Mangione) 7.38
06. Love The Feelin’ (Mangione) 7.23
07. I Get Crazy (Mangione) 4.15
08. Land Of Make Believe (Mangione) 9.09
09. Hide And Seek (Ready Or Not Here I Come) (Mangione) 8.39
10. The Day After (Our First Night Together) (Mangione) 7.38
11. Children Of Sanchez (Main Theme) (Mangione) 6.49
12. B’Bye (Mangione) 5.06
13. Children Of Sanchez (Finale) (Mangione) 3.55
14. Main Squeeze (Mangione/Mann/Grolnick/Tropea/MacDonald/Tee/Bassini/Levin) 6.35
15. Feels So Good (Encore) (Mangione) 3.14