Simon & Garfunkel/Dave Grusin – The Graduate (OST) (1968)

FrontCover1The Graduate is an album of songs from the soundtrack of Mike Nichols’ movie The Graduate, featuring many songs from the folk-rock duo Simon & Garfunkel as well as several instrumental pieces by Dave Grusin. Released on January 21, 1968, the album was produced by Teo Macero.The Graduate is an album of songs from the soundtrack of Mike Nichols’ movie The Graduate, featuring many songs from the folk-rock duo Simon & Garfunkel as well as several instrumental pieces by Dave Grusin. Released on January 21, 1968, the album was produced by Teo Macero.

Although the album features two versions of the acclaimed “Mrs. Robinson”, neither is the full version as featured on Bookends. The first is an instrumental, while the second is abbreviated, tapering off as it does in the film. However, the other major song of the album, “The Sound of Silence” is used three times in the film (by wikipedia)


The soundtrack to Mike Nichols’ The Graduate remains a key musical document of the late ’60s, although truth be told, its impact was much less artistic than commercial (and, for that matter, more negative than positive). With the exception of its centerpiece track, the elegiac and oft-quoted “Mrs. Robinson” — which only appears here as a pair of fragments — the Simon & Garfunkel songs that comprise much of the record (a series of Dave Grusin instrumentals round it out) appeared on the duo’s two preceding LPs; Nichols’ masterstroke was to transplant those songs into his film, where they not only meshed perfectly with the story’s themes of youthful rebellion and alienation (and the inner life of the central character, Dustin Hoffman’s Benjamin Braddock) but also heralded a new era in movie music centered around the appropriation of past pop hits, a marketing gimmick that grew exponentially in the years to follow.


The Graduate soundtrack, then, merits the dubious honor of being the earliest and one of the most successful Hollywood repackagings of “found” pop songs, a formula essentially based around coercing fans to purchase soundtrack albums filled with material they already own in order to acquire the occasional new track or two.


The album began its life because of Nichols’ enthusiasm for the duo’s music, and Columbia Records chief Clive Davis’ ability to persuade the pair of the importance of a soundtrack LP. Davis turned the actual making of the album over to producer Teo Macero, who approached it with skepticism — Paul Simon and Mike Nichols had discovered that they really weren’t on the same page, with Nichols rejecting “Overs” and “Punky’s Dilemma,” songs that ended up as highlights of the Bookends album, issued two months after The Graduate soundtrack.


Thus, there wasn’t enough Simon & Garfunkel material to fill even one LP side, and only about eight minutes of that were “new” recordings, and barely a quarter of that (the “Mrs. Robinson” fragments) new song material. And there also wasn’t enough of David Grusin’s instrumental music (none of which meshed with the duo’s work) for an album. Macero combined this material into a musically awkward LP that somehow did its job — which, in Davis’ eyes, was to introduce Simon & Garfunkel’s music to the parents of their existing audience (topping the charts in the bargain, and turning Grusin’s “Sunporch Cha-Cha-Cha” into a favorite of easy listening stations).


Fans of Simon & Garfunkel likely felt cheated by the presence of the “Mrs. Robinson” fragments, as well as repeats of the 1966-vintage “The Sound of Silence” and “April Come She Will,” and an edited extension of “Scarborough Fair/Canticle.” But there were two curiosities for the completist — a high-wattage, edited rendition of “The Big Bright Green Pleasure Machine” (in a style seemingly parodying the sound of Bob Dylan’s Highway 61 Revisited); and a gentle, subdued acoustic reprise of “The Sound of Silence,” which was possibly the best studio rendition the duo ever. (by Bruce Eder)

But we should not forget, that the soundtrack, written by Dave Grusin is a great one … Listen to “A Great Effect” ..  a wonderful jazz tune.


Art Garfunkel (vocals)
Paul Simon (vocals, guitar)
Dave Grusin & orchestra (additional music)

01. The Sound Of Silence (Simon) 3.07
02. The Singleman Party Foxtrot (Grusin) 2.53
03. Mrs. Robinson (Version 1) (Simon) 1.15
04. Sunporch Cha-Cha-Cha (Grusin) 2:53
05. Scarborough Fair/Canticle (Interlude) (Traditional) 1.42
06. On The Strip (Grusin) 2.01
07. April Come She Will (Simon) 1.50
08. The Folks (Grusin) 2.28
09. Scarborough Fair/Canticle (Traditional) 6.22
10. A Great Effect (Grusin) 4.07
11. The Big Bright Green Pleasure Machine (Simon) 1-46
12. Whew (Grusin) 2.12
13. Mrs. Robinson (Version 2) (Simon) 1.13
14. The Sound Of Silence (Simon) 3.06



Happy Birthday !

Dustin Lee Hoffman (born August 8, 1937)

Hubert Laws – Bridge Over Troubled Water (2002)

FrontCover1 Flute virtuoso Hubert Laws has always occupied his own artistic turf, whether interpreting works by Mozart, Stravinsky, Dvorák, Debussy, Satie, Fauré, and J.S. Bach or improvising with immaculate ease through the modern jazz compositions of Chick Corea, Sonny Rollins, and John Coltrane. He has also demonstrated a well-grounded attitude toward the mainstream pop repertoire, which he handles with comparable mastery. Bridge Over Troubled Water, as one might guess, is an entire album of hit tunes by Paul Simon. Each melody is executed with the relaxed precision that has always characterized much of this artist’s work. The flutist is backed by pianist John Beasley, bassist Stanley Gilbert, drummer Ralph Penland, and the West L.A. Strings under the direction of Stanley Gilbert. The familiarity of the playlist makes this an ideal choice for weddings and family gatherings, with the friendly friction generated during “Cecilia” and “I Am a Rock” bringing up welcome intimations of honest jazz. (by arwulf)
John Beasley (piano)
Stanley Gilbert (bass)
Hubert Laws (flute)
Ralph Penland (drums)
West L.A. Strings –  conducted by Stanley Gilbert

01. The Sound of Silence (Simon) 3.21
02. So Long, Frank Lloyd Wright (Simon) 3.52
03. I Am a Rock (Simon) 5.12
04. April Come She Will (Simon) 5.18
05. El Condor Pasa (Michberg/Robles) 5.02
06. Bridge over Troubled Water (Simon) 4.08
07. The Boxer (Simon) 5.31
08. Scaborough Fair (Tradiional) 6.54
09. Mrs. Robinson (Simon) 4.41
10. America (Simon) 3.12
11. The 59th Street Bridge Song (Feelin’ Groovy) (Simon) 2.55
12. Cecilia (Simon) 5.06


Various Artists – Monterey Pop Festival 67 (Part 2): The Who – Steve Miller – Scott McKenzie – Simon & Garfunkel (1989)

FrontCover1Monterey Pop Festival ’67 – The Summer Of Love All Began From Here” is an Italien bootleg from 1989 and includes 7 LPs in a box (and the cover art is pretty great, too). And this set (the sound is very good throughout!) is documenting the legendary California rock festival:

The Monterey International Pop Music Festival was a three-day concert event held June 16 to June 18, 1967 at the Monterey County Fairgrounds in Monterey, California. Crowd estimates for the festival have ranged from 25,000-90,000 people, who congregated in and around the festival grounds. The fairgrounds’ enclosed performance arena, where the music took place, had an approved festival capacity of 7,000, but it was estimated that 8,500 jammed into it for Saturday night’s show. Festival-goers who wanted to see the musical performances were required to have either an ‘all-festival’ ticket or a separate ticket for each of the five scheduled concert events they wanted to attend in the arena: Friday night, Saturday afternoon and night, and Sunday afternoon and night. Ticket prices varied by seating area, and ranged from $3 to $6.50 ($21–46, adjusted for inflation.

TheWhoAtMonteryThe Who at the Monterey Pop Festival ’67

More informations about this festival here.

And here´s the second Lp from the box-set. including the legendary performance of The Who (including a rare live performance of “Pictures Of Lily”) and much more. Steve Miller with the “Mercury Blues” (reminds me to “Spoonful”), Scott McKenzie with his great hymn “San Francisco” (the only real live performance of this song, played together with the “Mamas And Papas” !) and a nice performance by Simon & Garfunkel … a real acoustic performance … one guitar and two voices …

Enjoy this very rare recordings ….

ScottMcKenzieAtMontereyScott McKenzie at the Monterey Pop Festival ’67


The Who:
01. Summertime Blues (Cochran/Capehaeart) 3.05
02. Pictures Of Lily (Townshend) 2.30
03. Happy Jack (Townshend) 2.15
04. My Generation (Townshend) 3.30

Steve Miller Blues Band:
05. Mercury Blues     3.47

Scott McKenzie:
06. San Francisco     4.20

Simon & Garfunkel:
07. Introduction + Homeward Bound (Simon) 2.55
08. At The Zoo (Simon) 2.17
09. Announcment +  Feelin’ Groovy (Simon) 3.29
10. For Emily, Whenever I May Found Her (Simon) 2.42
11. Sound Of Silence (Simon) 3.10
12. Benedictus (de Lassus) 3.45
13. Punky’s Dilemma (Simon) 3.40


Simon & Garfunkel – Back To College 1969 (1994)

FrontCover1Besides some concerts in the beginning of 1969 Simon & Garfunkel toured the US during November. Not only the campusses, which they played a lot during their career, also the larger halls like NYC’s ‘Carnegie Hall’.
Most of this tour seems to have been recorded by Columbia Records. Was a ‘live album’ in the making? Maybe. But it was also filmed for a special to be aired ABC, nation wide. A special called ‘Songs for America’.

From their November 69 tour at least one famous bootleg exists. ‘Back to college’ released on the Yellow Dog label (YD 044) in 1994.

Recorded at Miami University, Oxford, Ohio, 11 November 1969. This is historically important, as it was this tour that saw the first performance of the ‘Bridge Over Troubled Water’ album. You can see that even here Paul was getting pissed off with Art being a movie star. By saying ‘No-one cares for the little old song writer anymore.

“… it’s fascinating to hear the songs that would be released on 1970’s Bridge Over Troubled Water in sparser musical settings, played in front of an audience that had never heard these songs before. When Art Garfunkel introduces “Bridge” by saying, “Here’s another new song, probably my favorite, called ‘Bridge Over Troubled Water,’” you can’t help but smile, knowing what’s coming for the audience.

What is eye opening on these songs is how powerful Art Garfunkel’s singing is on them. I had always thought of Garfunkel more as an appendage than as a true partner of Simon’s – but this show proves me wrong. And while the duo was backed here by their great studio band – drummer Hal Blaine, bassist Joe Osborn, pianist Larry Knechtel and guitarist Fred Carter Jr., they’re used sparingly and subtly, letting the strength, craft and skill of the songs and voices shine through. ” (by a deeper shade of soul)

Arthur Garfunkel (vocals)
Paul Simon (vocals, guitar)
Hal Blaine (drums)
Fred Carter, Jr. (guitar)
Larry Knechtel (keyboards)
Joe Osborn (bass)

01. Mrs. Robinson 4.51
02. Fakin’ It 3.33
03. The Boxer 5.28
04. So Long, Frank Lloyd Wright 3.11
05.Why Don’t You Write Me 3.38
06. Silver Haired Daddy 3.19
07. Cuba Si – Nixon No 3.27
08. Bridge Over Troubled Water 5.47
09. The Sound Of Silence 4.43
10. Bye Bye Love 2.34
11. Homeward Bound 6.28
12. At The Zoo 2.18
13. America 7.19
14. Song For The Asking 1.45
15. A Poem On The Underground Wall 3.52
16. For Emily, Whenever I May Find Her 2.29



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Paul Desmond – Bridge Over Troubled Water (1970)

FrontCover1Simon and Garfunkel’s Bridge Over Troubled Water was the hottest album in the land in 1970, and Paul Simon’s tunes from that and their earlier albums unexpectedly find a congenial advocate in Paul Desmond. Against the odds as determined by bopsters, Desmond finds something beautiful, wistful, and/or sly to say in each of these ten tunes, backed by Herbie Hancock’s Rhodes electric piano and a set of ravishing, occasionally overstated (as in “America”) orchestrations by Don Sebesky. “The 59th Street Bridge Song” is given a jaunty, carefree rendition, adapting quite well to a jazz treatment (after all, Desmond’s old teammate in the Brubeck quartet Joe Morello played drums on S&G’s original record) and Desmond even does some cascading overdubs on his solo part. “Cecilia” is a fast samba, Desmond cleverly works his old “Sacre Blues” into the solo on “El Condor Pasa,” and the title track has a breathtakingly pretty fadeout. Hancock’s solos often reflect where he was personally at in 1970, with ideas transferred from his progressive electric Sextet. This is a Creed Taylor production in all but name; the sound, track editing, and production values are right in line with the A&M CTI line, but Sebesky is listed as producer, Taylor having recently severed his ties with A&M to form his own label. (by Richard S. Ginell )

Sam Brown (guitar)
Gene Bertoncini (guitar)
Ron Carter (bass)
Paul Desmond (saxophone)
Jerry Jemmott (bass)
Herbie Hancock (piano)
Bill Lavorgna (drums)
Airto Moreira (drums)
João Palma (drums)

01. El Condor Pasa (Traditional) 3.05
02. So Long, Frank Lloyd Wright (Simon) 3.27
03. The 59th Street Bridge Song (Feelin’ Groovy) (Simon)  5.11
04. Mrs. Robinson (Simon) 2.42
05. Old Friends (Simon) 3.54
06. America (Simon) 3.58
07. For Emily, Whenever I May Find Her (Simon) 4.03
08. Scarborough Fair/Canticle (Traditional) 4.23
09. Cecilia (Simon) 2.14
10. Bridge Over Troubled Water (Simon) 3.24


Alternate frontcover