S. R. O. issued in 1966, was the Tijuana Brass' seventh album. It included work by Burt Bacharach and Hal David, as well as the band's cover of "Mame", one of the first TJB recordings to include vocals from Alpert, as he and the group sang the song's chorus in the middle of the otherwise-instrumental rendition. Released as a single, "Mame" reached the U. S. singles top 40, as did "The Work Song," which featured the "ping" sound effect of a hammer or a pickaxe hitting rocks or other solid objects. The album reached number 2 on the U. S. album chart. S. R. O. Means "Standing-room only"."Bean Bag" became famous in the UK as the theme tune to the popular long-running game show It's a Knockout, as well as a prize cue for the game show The Guinness Game. The Dixieland-inspired song "Wall Street Rag" from this album was not to be confused with the Scott Joplin song of the same name. "For Carlos" was re-titled "Wind Song", covered by jazz guitarist Wes Montgomery. "Our Day Will Come" – 2:21 "Mexican Road Race" – 2:30 "I Will Wait for You" – 3:15 "Bean Bag" – 1:58 "The Wall Street Rag" – 2:25 "The Work Song" – 2:10 "Mame" – 2:08 "Blue Sunday" – 2:49 "Don't Go Breaking My Heart" – 2:38 "For Carlos" – 2:46 "Freight Train Joe" – 2:37 "Flamingo" – 2:25 The recording personnel for this album mirrors the album cover: Nick Ceroli – drums Bob Edmondson – trombone Tonni Kalash – trumpet Lou Pagani – piano John Pisano – guitar Pat Senatore – bass Julius Wechter – marimba, vibes
Stephen Joshua Sondheim is an American composer and lyricist known for more than a half-century of contributions to musical theatre. Sondheim has received an Academy Award, eight Tony Awards, eight Grammy Awards, a Pulitzer Prize, a Laurence Olivier Award, a 2015 Presidential Medal of Freedom, he has been described by Frank Rich of The New York Times as "now the greatest and best-known artist in the American musical theater". His best-known works as composer and lyricist include A Funny Thing Happened on the Way to the Forum, Follies, A Little Night Music, Pacific Overtures, Sweeney Todd, Merrily We Roll Along, Sunday in the Park with George, Into the Woods and Passion, he wrote the lyrics for West Side Story and Gypsy. Sondheim has written film music, he wrote five songs for 1990's Dick Tracy, including "Sooner or Later," sung in the film by Madonna, which won the Academy Award for Best Original Song. Sondheim was president of the Dramatists Guild from 1973 to 1981. To celebrate his 80th birthday, the former Henry Miller's Theatre was renamed the Stephen Sondheim Theatre on September 15, 2010, the BBC Proms held a concert in his honor.
Cameron Mackintosh has called Sondheim "possibly the greatest lyricist ever". Sondheim was born into a Jewish family in the son of Etta Janet and Herbert Sondheim, his father manufactured dresses designed by his mother. The composer grew up on the Upper West Side of Manhattan and, after his parents divorced, on a farm near Doylestown, Pennsylvania; as the only child of well-to-do parents living in the San Remo on Central Park West, he was described in Meryle Secrest's biography as an isolated neglected child. When he lived in New York, Sondheim attended ECFS, the Ethical Culture Fieldston School known as "Fieldston", he attended the New York Military Academy and George School, a private Quaker preparatory school in Bucks County, Pennsylvania where he wrote his first musical, By George, from which he graduated in 1946. Sondheim spent several summers at Camp Androscoggin, he matriculated to Williams College and graduated in 1950. He traces his interest in theatre to Very Warm for May, a Broadway musical.
"The curtain went up and revealed a piano," Sondheim recalled. "A butler brushed it up, tinkling the keys. I thought, thrilling."When Sondheim was ten years old, his father had left his mother for another woman. Herbert was unsuccessful. Sondheim explained to biographer Secrest that he was "what they call an institutionalized child, meaning one who has no contact with any kind of family. You're in, though it's luxurious, you're in an environment that supplies you with everything but human contact. No brothers and sisters, no parents, yet plenty to eat, friends to play with and a warm bed, you know?" Sondheim detested his mother, said to be psychologically abusive and projected her anger from her failed marriage on her son: "When my father left her, she substituted me for him. And she used me the way she used him, to come on to and to berate, beat up on, you see. What she did for five years was treat me like dirt, but come on to me at the same time." She once wrote him a letter saying that the "only regret had was giving him birth".
When his mother died in the spring of 1992, Sondheim did not attend her funeral. He had been estranged from her for nearly 20 years; when Sondheim was about ten years old, he became friends with James Hammerstein, son of lyricist and playwright Oscar Hammerstein II. The elder Hammerstein became Sondheim's surrogate father, influencing him profoundly and developing his love of musical theatre. Sondheim met Hal Prince, who would direct many of his shows, at the opening of South Pacific, Hammerstein's musical with Richard Rodgers; the comic musical he wrote at George School, By George, was a success among his peers and buoyed the young songwriter's self-esteem. When Sondheim asked Hammerstein to evaluate it as though he had no knowledge of its author, he said it was the worst thing he had seen: "But if you want to know why it's terrible, I'll tell you." They spent the rest of the day going over the musical, Sondheim said, "In that afternoon I learned more about songwriting and the musical theater than most people learn in a lifetime."Hammerstein designed a course of sorts for Sondheim on constructing a musical.
He had the young composer write four musicals, each with one of the following conditions: Based on a play he admired Based on a play he liked but thought flawed. High Tor and Mary Poppins have never been produced: The rights holder for the original High Tor refused permission, Mary Poppins was unfinished. Sondheim began attending Williams College, a liberal arts college in Williamstown, Massachusetts whose theatre program attracted him, his first teacher there was Robert Barrow:... everybody hated him because he was dry, I thought he was
Leonard Bernstein was an American composer, author, music lecturer, pianist. He was among the first conductors educated in the US to receive worldwide acclaim. According to music critic Donal Henahan, he was "one of the most prodigiously talented and successful musicians in American history."His fame derived from his long tenure as the music director of the New York Philharmonic, from his conducting of concerts with most of the world's leading orchestras, from his music for West Side Story, Peter Pan, Wonderful Town, On the Town, On the Waterfront, his Mass, a range of other compositions, including three symphonies and many shorter chamber and solo works. Bernstein was the first conductor to give a series of television lectures on classical music, starting in 1954 and continuing until his death, he was a skilled pianist conducting piano concertos from the keyboard. He was a critical figure in the modern revival of the music of Gustav Mahler, the composer he was most passionately interested in.
As a composer he wrote in many styles encompassing symphonic and orchestral music, ballet and theatre music, choral works, chamber music and pieces for the piano. Many of his works are performed around the world, although none has matched the tremendous popular and critical success of West Side Story, he was born Louis Bernstein in Lawrence, the son of Ukrainian Jewish parents Jennie and Samuel Joseph Bernstein, a hairdressing supplies wholesaler originating from Rivne. His family spent their summers at their vacation home in Massachusetts, his grandmother insisted that his first name be Louis, but his parents always called him Leonard, which they preferred. He changed his name to Leonard when he was fifteen, shortly after his grandmother's death. To his friends and many others he was known as "Lenny", his father, Sam Bernstein, was a businessman and owner of a hair product store in downtown Lawrence on the corners of Amesbury and Essex Streets. Sam opposed young Leonard's interest in music. Despite this, the elder Bernstein took him to orchestral concerts in his teenage years and supported his music education.
At a young age, Bernstein listened to a piano performance and was captivated. Bernstein attended Boston Latin School; as a child, he was close to his younger sister Shirley, would play entire operas or Beethoven symphonies with her at the piano. He had a variety of piano teachers in his youth, including Helen Coates, who became his secretary. After graduation from Boston Latin School in 1935, Bernstein attended Harvard University, where he studied music with, among others, Edward Burlingame Hill and Walter Piston. Although he majored in music with a final year thesis entitled "The Absorption of Race Elements into American Music", Bernstein's main intellectual influence at Harvard was the aesthetics Professor David Prall, whose multidisciplinary outlook on the arts Bernstein shared for the rest of his life. One of his friends at Harvard was philosopher Donald Davidson. Bernstein wrote and conducted the musical score for the production Davidson mounted of Aristophanes' play The Birds in the original Greek.
Bernstein reused some of this music in the ballet Fancy Free. During his time at Harvard he was an accompanist for the Harvard Glee Club. Bernstein mounted a student production of The Cradle Will Rock, directing its action from the piano as the composer Marc Blitzstein had done at the premiere. Blitzstein, who heard about the production, subsequently became a influence on Bernstein. Bernstein met the conductor Dimitri Mitropoulos at the time. Although he never taught Bernstein, Mitropoulos's charisma and power as a musician were a major influence on Bernstein's eventual decision to take up conducting. Mitropoulos was not stylistically that similar to Bernstein, but he influenced some of Bernstein's habits such as his conducting from the keyboard, his initial practice of conducting without a baton and his interest in Mahler; the other important influence that Bernstein first met during his Harvard years was composer Aaron Copland, whom he met at a concert and at a party afterwards on Copland's birthday in 1938.
At the party Bernstein played Copland's Piano Variations, a thorny work Bernstein loved without knowing anything about its composer until that evening. Although he was not formally Copland's student as such, Bernstein would seek advice from Copland in the following years about his own compositions and would cite him as "his only real composition teacher". After completing his studies at Harvard in 1939, he enrolled at the Curtis Institute of Music in Philadelphia. During his time at Curtis, Bernstein studied conducting with Fritz Reiner, piano with Isabelle Vengerova, orchestration with Randall Thompson, counterpoint with Richard Stöhr, score reading with Renée Longy Miquelle. Unlike his years at Harvard, Bernstein appears not to have enjoyed the formal training environment of Curtis, although in his life he would mention Reiner when discussing important mentors. After he left Curtis, Bernstein lived in New York, he shared an apartment with his friend Adolph Green and accompanied Green, Betty Comden, Judy Holliday in a comedy trou
Jazz is a music genre that originated in the African-American communities of New Orleans, United States, in the late 19th and early 20th centuries, developed from roots in blues and ragtime. Jazz is seen by many as "America's classical music". Since the 1920s Jazz Age, jazz has become recognized as a major form of musical expression, it emerged in the form of independent traditional and popular musical styles, all linked by the common bonds of African-American and European-American musical parentage with a performance orientation. Jazz is characterized by swing and blue notes and response vocals and improvisation. Jazz has roots in West African cultural and musical expression, in African-American music traditions including blues and ragtime, as well as European military band music. Intellectuals around the world have hailed jazz as "one of America's original art forms"; as jazz spread around the world, it drew on national and local musical cultures, which gave rise to different styles. New Orleans jazz began in the early 1910s, combining earlier brass-band marches, French quadrilles, biguine and blues with collective polyphonic improvisation.
In the 1930s arranged dance-oriented swing big bands, Kansas City jazz, a hard-swinging, improvisational style and Gypsy jazz were the prominent styles. Bebop emerged in the 1940s, shifting jazz from danceable popular music toward a more challenging "musician's music", played at faster tempos and used more chord-based improvisation. Cool jazz developed near the end of the 1940s, introducing calmer, smoother sounds and long, linear melodic lines; the 1950s saw the emergence of free jazz, which explored playing without regular meter and formal structures, in the mid-1950s, hard bop emerged, which introduced influences from rhythm and blues and blues in the saxophone and piano playing. Modal jazz developed in the late 1950s, using the mode, or musical scale, as the basis of musical structure and improvisation. Jazz-rock fusion appeared in the late 1960s and early 1970s, combining jazz improvisation with rock music's rhythms, electric instruments, amplified stage sound. In the early 1980s, a commercial form of jazz fusion called smooth jazz became successful, garnering significant radio airplay.
Other styles and genres abound in the 2000s, such as Afro-Cuban jazz. The origin of the word "jazz" has resulted in considerable research, its history is well documented, it is believed to be related to "jasm", a slang term dating back to 1860 meaning "pep, energy". The earliest written record of the word is in a 1912 article in the Los Angeles Times in which a minor league baseball pitcher described a pitch which he called a "jazz ball" "because it wobbles and you can't do anything with it"; the use of the word in a musical context was documented as early as 1915 in the Chicago Daily Tribune. Its first documented use in a musical context in New Orleans was in a November 14, 1916 Times-Picayune article about "jas bands". In an interview with NPR, musician Eubie Blake offered his recollections of the slang connotations of the term, saying, "When Broadway picked it up, they called it'J-A-Z-Z', it wasn't called that. It was spelled'J-A-S-S'; that was dirty, if you knew what it was, you wouldn't say it in front of ladies."
The American Dialect Society named it the Word of the Twentieth Century. Jazz is difficult to define because it encompasses a wide range of music spanning a period of over 100 years, from ragtime to the rock-infused fusion. Attempts have been made to define jazz from the perspective of other musical traditions, such as European music history or African music, but critic Joachim-Ernst Berendt argues that its terms of reference and its definition should be broader, defining jazz as a "form of art music which originated in the United States through the confrontation of the Negro with European music" and arguing that it differs from European music in that jazz has a "special relationship to time defined as'swing'". Jazz involves "a spontaneity and vitality of musical production in which improvisation plays a role" and contains a "sonority and manner of phrasing which mirror the individuality of the performing jazz musician". In the opinion of Robert Christgau, "most of us would say that inventing meaning while letting loose is the essence and promise of jazz".
A broader definition that encompasses different eras of jazz has been proposed by Travis Jackson: "it is music that includes qualities such as swing, group interaction, developing an'individual voice', being open to different musical possibilities". Krin Gibbard argued that "jazz is a construct" which designates "a number of musics with enough in common to be understood as part of a coherent tradition". In contrast to commentators who have argued for excluding types of jazz, musicians are sometimes reluctant to define the music they play. Duke Ellington, one of jazz's most famous figures, said, "It's all music." Although jazz is considered difficult to define, in part because it contains many subgenres, improvisation is one of its defining elements. The centrality of improvisation is attributed to the influence of earlier forms of music such as blues, a form of folk music which arose in part from the work songs and field hollers of African-American slaves on plantations; these work songs were structured around a repetitive call-and-response pattern, but early blues was improvisational.
Classical music performance is evaluated more by its fidelity to the musical score, with less attention given to interpretation and accompaniment. The classical performer's goal is to play the composition. In contrast, jazz is characterized by the product of i
John Pisano is a jazz guitarist born in Staten Island, New York. Pisano has accompanied in concert or recording Burt Bacharach, Tony Bennett, Herb Alpert, Natalie Cole, Michael Franks, Diana Krall, Peggy Lee, Julie London, Joe Pass, Frank Sinatra, Barbra Streisand, Billy Bean, Chico Hamilton. Under the Blanket with Willie Ruff Among Friends Conversation Pieces Makin' It Again with Billy Bean West Coast Sessions with Billy Bean and Dennis Budimir Affinity with Ray Walker John Pisano's Guitar Night With Herb Alpert Whipped Cream & Other Delights Going Places What Now My Love S. R. O. Sounds Like... Herb Alpert's Ninth The Beat of the Brass Christmas Album Warm The Brass Are Comin' Summertime Coney Island Midnight Sun With Les Baxter Brazil Now With Tony Bennett The Beat of My Heart With Michael Bublé Michael Bublé With Frank Capp In a Hefti Bag Play It Again Sam With Natalie Cole Unforgettable... with Love Ask a Woman Who Knows With Sam Cooke Ain't That Good News With James Darren This One's from the Heart With Allyn Ferguson Pictures at an Exhibition Framed in Jazz With Lani Hall Hello It's Me With Chico Hamilton Chico Hamilton Quintet Sweet Smell of Success South Pacific in Hi-Fi The Original Ellington Suite Reunion With Dan Hicks It Happened One Bite With Paul Horn House of Horn Impressions!
With Diane Hubka West Coast Strings With Pete Jolly Herb Alpert Presents Pete Jolly Seasons With Fred Katz Zen: The Music of Fred Katz Soul° Cello 4-5-6 Trio Fred Katz and his Jammers With Diana Krall The Look of Love Live in Paris With Peggy Lee Blues Cross Country Mink Jazz In the Name of Love Pass Me By Mirrors Close Enough for Love With The Limeliters The Limeliters With The Manhattan Transfer The Christmas Album Swing With Barry Manilow Manilow Sings Sinatra With Sérgio Mendes Equinox Look Around Sérgio Mendes' Favorite Things Fool on the Hill Sérgio Mendes With Ken Nordine Word Jazz Son of Word Jazz My Baby With Joe Pass For Django The Stones Jazz Ira and Joe Whitestone Summer Nights Appassionato Live at Yoshi's Six-String Santa My Song Roy Clark & Joe Pass Play Hank Williams with Roy ClarkWith Bill Perkins Quietly There featuring Victor FeldmanWith Dianne Reeves Art & Survival With Howard Roberts Goodies With Kenny Rogers Timepiece With Lalo Schifrin Gone with the Wave With Diane Schuur Love Songs With Jimmy Scott All the Way With Bud Shank Girl in Love With Ben Sidran Feel Your Groove With Barbra Streisand The Movie Album With Walter Wanderley Brazil's Greatest Hits!
Perpetual Motion Love With Tim Weisberg Dreamspeaker John Pisano's Guitar Night website John Pisano NAMM Oral History Program Interview
Christmas Album (Herb Alpert album)
Christmas Album is a late-1968 album by Herb Alpert & the Tijuana Brass. It was the group's eleventh release; the LP edition of the album was issued twice. The original edition had the cover photography filling the back sides of the album jacket. For the reissue, the photos were reduced to half size and placed in the center of a white background. Although the Brass' albums were out of print for a good many years, the Christmas Album was released on CD in the 1980s, with annual reappearances in record stores at Christmastime; the album was re-released again on CD by the Shout! Factory label in 2006 as were many of the other Tijuana Brass albums; the Shout! Factory release restored the original artwork to the front cover and featured the original back cover on the included CD booklet. Another CD re-release occurred on October 23, 2015, this time restoring the original artwork to the front and back; the album contains a mixture of popular Christmas-season music American secular standards. Exceptions include the Bach piece "Jesu, Joy of Man's Desiring," and a traditional Hispanic number, "Las Mañanitas."
The latter song's arrangement, provided by marimbist Julius Wechter, is near identical to one used by Wechter's Baja Marimba Band several years earlier, on their 1965 album For Animals Only. The songs's title means "The Little Mornings; the cover features the image of Alpert, Jewish, dressed as Santa Claus while playing his trumpet. Collaborating with Alpert in the production was his usual cadre of musicians: Nick Ceroli, Bob Edmondson, Tonni Kalash, Lou Pagani, John Pisano and Pat Senatore. Perennial sideman, Julius Wechter, appears on percussion. Alpert provides lead vocals on "The Christmas Song" and "The Bell That Couldn't Jingle," and there are appearances by a studio choir and string instruments, arranged by Shorty Rogers. "Winter Wonderland" – 3:02 "Jingle Bells" – 3:08 "My Favorite Things" – 3:01 "The Christmas Song" – 3:38 "Las Mañanitas" – 2:57 "Sleigh Ride" – 3:56 "The Bell That Couldn't Jingle" – 2:55 "Let It Snow, Let It Snow, Let It Snow" – 3:44 "Jingle Bell Rock" – 1:50 "Jesu, Joy of Man's Desiring" – 3:26
An album is a collection of audio recordings issued as a collection on compact disc, audio tape, or another medium. Albums of recorded music were developed in the early 20th century as individual 78-rpm records collected in a bound book resembling a photograph album. Vinyl LPs are still issued, though album sales in the 21st-century have focused on CD and MP3 formats; the audio cassette was a format used alongside vinyl from the 1970s into the first decade of the 2000s. An album may be recorded in a recording studio, in a concert venue, at home, in the field, or a mix of places; the time frame for recording an album varies between a few hours to several years. This process requires several takes with different parts recorded separately, brought or "mixed" together. Recordings that are done in one take without overdubbing are termed "live" when done in a studio. Studios are built to absorb sound, eliminating reverberation, so as to assist in mixing different takes. Recordings, including live, may contain sound effects, voice adjustments, etc..
With modern recording technology, musicians can be recorded in separate rooms or at separate times while listening to the other parts using headphones. Album covers and liner notes are used, sometimes additional information is provided, such as analysis of the recording, lyrics or librettos; the term "album" was applied to a collection of various items housed in a book format. In musical usage the word was used for collections of short pieces of printed music from the early nineteenth century. Collections of related 78rpm records were bundled in book-like albums; when long-playing records were introduced, a collection of pieces on a single record was called an album. An album, in ancient Rome, was a board chalked or painted white, on which decrees and other public notices were inscribed in black, it was from this that in medieval and modern times album came to denote a book of blank pages in which verses, sketches and the like are collected. Which in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
In the early nineteenth century "album" was used in the titles of some classical music sets, such as Schumann's Album for the Young Opus 68, a set of 43 short pieces. When 78rpm records came out, the popular 10-inch disc could only hold about three minutes of sound per side, so all popular recordings were limited to around three minutes in length. Classical-music and spoken-word items were released on the longer 12-inch 78s, about 4–5 minutes per side. For example, in 1924, George Gershwin recorded a drastically shortened version of the seventeen-minute Rhapsody in Blue with Paul Whiteman and His Orchestra, it ran for 8m 59s. Deutsche Grammophon had produced an album for its complete recording of the opera Carmen in 1908. German record company Odeon released the Nutcracker Suite by Tchaikovsky in 1909 on 4 double-sided discs in a specially designed package; this practice of issuing albums does not seem to have been taken up by other record companies for many years. By about 1910, bound collections of empty sleeves with a paperboard or leather cover, similar to a photograph album, were sold as record albums that customers could use to store their records.
These albums came in both 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78 rpm records by one performer or of one type of music in specially assembled albums with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album; the 12-inch LP record, or 33 1⁄3 rpm microgroove vinyl record, is a gramophone record format introduced by Columbia Records in 1948. A single LP record had the same or similar number of tunes as a typical album of 78s, it was adopted by the record industry as a standard format for the "album". Apart from minor refinements and the important addition of stereophonic sound capability, it has remained the standard format for vinyl albums.
The term "album" was extended to other recording media such as Compact audio cassette, compact disc, MiniDisc, digital albums, as they were introduced. As part of a trend of shifting sales in the music industry, some observers feel that the early 21st century experienced the death of the album. While an album may contain as many or as few tracks as required, in the United States, The Recording Academy's rules for Grammy Awards state that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement. In the United Kingdom, the criteria for the UK Albums Chart is that a recording counts as an "album" i