Mostrando postagens com marcador Milt Bernhart. Mostrar todas as postagens
Mostrando postagens com marcador Milt Bernhart. Mostrar todas as postagens

2.7.25

CHET BAKER & BUD SHANK — Theme Music from "The James Dean Story" (1958-2000) FLAC (tracks+.cue), lossless

West coast cool purveyors Chet Baker (trumpet) and Bud Shank team up to provide the incidental soundtrack to The James Dean Story (1958). Granted, the biopic was presumably made to cash in on the actor's untimely demise, but movie buffs also recognize it as one of director Robert Altman's earliest features. The score was written by Leith Stevens, who had previously worked on Private Hell 36 (1954), The Wild One (1954), and the Oscar-winning sci-fi classic Destination Moon (1950). Those credentials may have gotten Stevens the gig, but his contributions remain somewhat of a double-edged sword. Neither Baker, Shank, nor any of the other post-bop luminaries in the makeshift ensemble are able to transcend or expound upon the arguably limiting melodies, such as the hopelessly dated and unintentionally kitschy "Hollywood." That shouldn't suggest that this title is a complete washout, thanks in part to another Tinsel Town-related maestro, Johnny Mandel, whose moody, exploratory "The Search" and understated noir of "Success and Then What?" stand as exemplary. One of Stevens' more affective selections is the ballad "Let Me Be Loved." Perhaps by design, it is noticeably reminiscent of Baker's unofficial theme song, "My Funny Valentine," and is easily the most poignant performance on the platter. Otherwise, the vast majority of the material is little more than ersatz-cool filler, bearing little distinction. From a historical perspective, this seems almost criminal, especially in light of the inordinate talent corralled for the project. Potential consumers and Baker enthusiasts should note that the 1958 Pacific Jazz long player did not include the rare vocal version of "Let Me Be Loved." Lindsay Planer 
Tracklist : 
1. Jimmy's Theme 2:49
 Leith Stevens 
2. The Search 4:44
 Leith Stevens  
3. Lost Love 3:35
 Leith Stevens 
4. People 3:32
 Bob Merrill / Leith Stevens / Jule Styne 
5. The Movie Star 3:32
 Leith Stevens 
6. Fairmont, Indiana 4:30
 Leith Stevens 
7. Rebel At Work 3:41
 Leith Stevens 
8. Success And Then What? 3:53
 Leith Stevens 
9. Let Me Be Loved 4:08
Written-By – Livingston-Evans
10. Hollywood 5:02
 Leith Stevens 
11. Let Me Be Loved (Vocal Version) 2:13
Vocals – Chet Baker
Written-By – J. Livingston / R. Evans
Credits :
Alto Saxophone – Charlie Mariano (tracks: 1, 2, 4, 6, 8 to 11), Herbie Steward
Alto Saxophone, Flute – Bud Shank (tracks: 1 to 6, 8 to 11)
Baritone Saxophone – Pepper Adams (tracks: 1, 2, 4 to 6, 8 to 11)
Bass – Monte Budwig
Bongos – Mike Pacheco (tracks: 1, 2, 4 to 6, 8 to 11)
Drums – Mel Lewis
Flute – Don Fagerquist (tracks: 1, 2, 4 to 6, 8 to 11)
Orchestrated By, Arranged By, Conductor – Bill Holman (tracks: 3 to 6, 9, 11), Johnny Mandel (tracks: 1, 2, 8)
Piano – Claude Williamson
Tenor Saxophone – Bill Holman (tracks: 1, 2, 4 to 11), Richie Kamuca (tracks: 1, 2, 4 to 6, 8 to 11)
Trombone – Milt Bernhart (tracks: 1, 2, 4 to 6, 8 to 11)
Trumpet – Chet Baker, Ray Linn (tracks: 1, 2, 4 to 6, 8 to 1

12.5.23

STAN KENTON AND HIS ORCHESTRA – 1950 | The Classics Chronological Series – 1185 (2001) FLAC (tracks), lossless

There is a gap in the Stan Kenton chronology. It begins with the ellipsis caused by the second commercial recording ban mandated by the American Federation of Musicians, which was in effect throughout most of 1948. Unable to continue making studio recordings, Kenton toured with his mammoth orchestra until he wore himself down and disbanded on December 14, only days before AFM president James C. Petrillo lifted the ban. Kenton apparently needed a break; it wasn't until February 1950 that he resumed making records for Capitol. Kenton's Innovations in Modern Music Orchestra consisted of 37 players; he was now straddling a 23-piece big band plus strings. The sessions that took place in Los Angeles on February 3, 4, and 5 1950 resulted in some of Kenton's most theatrical and dramatically charged recordings; more than half of them were issued on 12" 78 rpm platters, which allowed for extended durations of between four and five minutes. Pete Rugolo's suspenseful tone poem titled "Conflict" is one of the weirdest. Scored almost as if intended for a Hollywood sci-fi movie and using elements that seem to lead directly back to Anton Webern's Opus 6, "Conflict" combines oozing, queasy tonalities with unsettling percussion, sudden blasts from startled trumpets, and an eerie wordless vocal by June Christy. Kenton also continued to experiment with Latin American-flavored jazz; Neal Hefti's "In Veradero" and Laurindo Almeida's "Mardi Gras," which tap into Brazilian traditions, feature ensemble vocals generated by members of the band and their families. With players like Art Pepper, Bud Shank and Shorty Rogers on board, 1950 turns out to be one of the better installments in the Classics Stan Kenton chronology. arwulf arwulf  
Tracklist & Credits :

JOHN ADAMS — Road Movies (2004) Two Version | FLAC (image+.tracks+.cue), lossless

Composer John Adams' album Road Movies contains five pieces that Adams' considers "travel music, (...) passing through harmonic...