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Date: Mon, 8 Oct 2001 14:42:36 +0100
From: "jamie_james" <jamie_james@lineone.net>
Subject: (exotica) Mark Ryden
Good news for anyone in NYC in November!
There is a brand new Mark Ryden exhibition taking place either on or from the
8th of November, at the Earl McGrath Gallery.
The rest of us will have to console ourselves with the knowledge that his new
works can be viewed on his site from the same day!
ta
Jamie
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Date: Mon, 08 Oct 2001 09:40:13 -0500
From: Clayton Black <clayton.black@washcoll.edu>
Subject: Re: (exotica) Recent finds/honey west thanks
> Living Brass Play Songs Made Famous by Tom Jones
I wanted to add a great ditty from the liner notes on this one: [Of Tom
Jones] "His 'gearing' is so right now and his audience is so ready now that
if he ripped off his necktie and wailed into a rock version of the Staten
Island Yellow Pages that poor little directory would flush red with pleased
excitement."
I wish I written that one myself.
> And you didn't mention anything about that David Carroll record you got but
> I've never heard a bad one by him.
> Even the mediocre ones have amazing tunes. Is that the one with "Blue
> Blazer" on it?
It's not, although I've got quite a few other albums by him, so I'll take a
look back. I don't specifically recall that song. Most of this album is
clippity-clop, shuffle-your-feet, follow-the-bouncing-ball type of Welkian
music. The most humorous of those is a number called "Hey! Chick!" which
almost has an old West, player piano, drinking hole feel to it, interrupted
by some fellow saying "Hey! Chick!" With a line like that, I'm sure he
captured his quarry. One song makes this album worth it, however--"Swamp
Fire," which has a terrific exotica feel to it, very cool. The version of
"Adios" here is a nice, slow rhumba with heavy bongo.
By the way, speaking of David Carroll albums, I generally agree that I
really like most of his stuff. But I have never been able to enjoy "That
Feathery Feeling," which has potential as a vocal album but, to my mind,
doesn't rise above the level of most of the Ray Charles Singers' stuff.
And Colleen, I think you're right about Ruben Leon.
Clayton
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Date: Mon, 08 Oct 2001 10:21:39 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) Paul Mauriat (sp??)
I keep running across one album of his in particular - a sixties chick =
with body paint lounging on the bottom of the LP.
What's the scoop on this guy?
Yesterday at a flea, I came across 15 LP's, and turned down like 3 Mauriat =
records. The covers are always "cool" and feature the prototypical =
sixties chick. The one I *almost* took a chance on had a nude chickie =
suspended by a host of multi-colored balloons. The front was dye-cut and =
the front of the gals body "draped" across the LP sleeve from the upper =
left-hand corner.
I had a gut instinct that Paul is probably very "soft" with strings and =
basic, "by the lounge numbers" arrangements of current hits. Was I =
right??
- - Nate
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Date: Mon, 08 Oct 2001 10:30:23 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: Re: (exotica) Recent finds/honey west thanks
I'll second the recommendation on this LP. I wouldn't exactly say it's =
"awesome" but it does have a few great tracks.
- - Nate (and I enjoy the "finds" posts too - look for more "finds" posts =
from me this week.)
<<Don Costa--Echoing Voices and Trombones
This is an awesome album. I had no idea what a gem I was missing, but
this record has a great combination of swinging brass and wordless
vocalizing worthy of Esquivel. The arrangements aren't quite as over the
top, but this is damn fine stuff.>>
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Date: Mon, 08 Oct 2001 11:17:59 -0400
From: "M.Ace" <mace@ookworld.com>
Subject: (exotica) industry vs. technology news item
"Music biz wants tougher DMCA, CPRM 2 to protect copyright"
http://www.theregister.co.uk/content/6/22087.html
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Date: Mon, 08 Oct 2001 11:35:44 -0500
From: Clayton Black <clayton.black@washcoll.edu>
Subject: Re: (exotica) Recent finds/honey west thanks
> I'll second the recommendation on this LP. I wouldn't exactly say it's
> "awesome" but it does have a few great tracks.
>
> <<Don Costa--Echoing Voices and Trombones
> This is an awesome album. I had no idea what a gem I was missing, but
> this record has a great combination of swinging brass and wordless
> vocalizing worthy of Esquivel. The arrangements aren't quite as over the
> top, but this is damn fine stuff.>>
I could back off a bit on my hyperbole, but I wouldn't be true to
sentiments. I was really wowed by this record. I listened to it again last
night and liked it even more. There's a terrific exotica tune (track 2,
side 2) on the second side, and the version of "Adios" (I get a double dose
with the David Carroll album) is superior. But the comparison, I now think,
should not be with Esquivel but with Bob Thompson.
By the way, I caught the interview with Ferrante and Teicher in the
final days of Luxuria.com and they talked about their producer being a
"genius" (if I recall correctly). I can't remember if they were referring
to Don Costa or Nick Perito. Can anybody help?
Clayton
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Date: Mon, 08 Oct 2001 11:48:10 -0400
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) Re: Don Costa
I liked "Echo of Love" and his version of "The Breeze and I"
- - Nate
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Date: Mon, 8 Oct 2001 12:46:18 -0700 (PDT)
From: Colleen <colleeni@Chatini.com>
Subject: (exotica) Test again
Having trouble reply ing to messages. Tried to respond to Sean's message as a reply, but said I had too much quoted material. Jeeze, Sean only had three lines, for heaven's sake...how do YOU do it, AZ? I didn't even think lazlo paid attention to the list anymore.
==
Colleeni !
~~~^~~~^~~~^~~~^
The problem with the world is that it's about three drinks behind............
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Date: Tue, 9 Oct 2001 00:04:26 -0700 (PDT)
From: Sean Pearman <Pearmania@Chatini.com>
Subject: Re: (exotica) Ravi Shankar movie soundtracks
>
>Can somebody tell me more about Ravi Shankar's movie soundtracks,
>like"Charly"? Also if anybody has heard his other recordings with non-Indian
>musicians, i would like to know more about it. Please
I found a copy of Ravi Shankar's Concerto for Sitar and Orchestra with Andre Previn conducting the orchestra. I had high hopes for it, but unfortunately it's a snoozer.
NEW from Yahoo! GeoCities - quick and easy web site hosting, just $8.95/month.
http://geocities.yahoo.com/ps/info1
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Date: Tue, 09 Oct 2001 13:22:14 -0400
From: azed@pathcom.com
Subject: Re: (exotica) Paul Mauriat (sp??)
At 02:51 PM 10/9/01, Daniel Shiman wrote:
>
>>too. His version of "You keep me hanging on" is one of the best Now Sound
>>electric sitar cuts I own.
>
>Which album is this on?? I love these hidden sitar gems.
>
>Speaking of h.s.g.'s, I've only recently made the personal discovery of the
>Soulful Strings. So where have they been all my life? Their first 2 LP's
>("Groovin' With" and "Another Exposure") are pretty heavy, man, but best are
>the lightly funky, very psychedelic sitar cuts on each. Both George
>Harrison covers, natch.
The Mauriat is on "The Soul of...".
Another hsg is on "Really big hits" by The Ed Sullivan Singers and Orchestra.
And though you shouldn't be too surprised to find sitar on Project 3,
there's this Herb Larson record. And also one by Peter Matz.
And there's this record by a band calling themselves Royal Blue doing
"Traces".
And I'm pretty sure there's one on a Bill Black Combo record, "Black with
Sugar".
As far as the Soulful Strings go, you got lucky with those two because
there's a whole bunch of them and those are the best two I've found.
There's also a good one "Paint it Black" which I'm sure you can well
imagine, with that tune.
I never actually disliked one of them. That Richard Evans is a hell of an
arranger and I've heard stuff by him in the more easy listening genre that
I still loved.
The only one I sort of didn't like that much was this one where they cover
tunes by Gamble and Huff.
But I just sent in a warning post so once more, take my recommendations
with an even tinier grain of salt.
AZ
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Date: Tue, 09 Oct 2001 14:45:55 -0400
From: lousmith@pipeline.com
Subject: (exotica) [obit] Manny Albam
October 6, 2001
Manny Albam, Jazz Composer and Player, Dies at 79
By PETER KEEPNEWS,NYTimes
Manny Albam, a musician, composer and arranger in the jazz world of the 1950's and 60's who also played a major role in the growth of jazz education, died on Tuesday at his home in Croton, N.Y. He was 79.
The cause was cancer, his family said.
Although he was far from a household name even at the height of his career, Mr. Albam did much to shape the sound of jazz between the end of World War II and the rock onslaught of the 60's. As a composer and arranger, he worked with the big bands of Count Basie, Woody Herman, Stan Kenton and Buddy Rich, as well as with Dizzy Gillespie, Stan Getz, Gerry Mulligan, Coleman Hawkins and others. He wrote arrangements for prominent singers, including Sarah Vaughan, Carmen McRae and Dakota Staton.
He also wrote music for television shows and commercials and recorded several critically praised albums under his own name. In recent years, the Carnegie Hall Jazz Band commissioned several works from him.
Although education was his primary focus over the last three decades, Mr. Albam was active as an arranger into the 90's. In 1997 he provided most of the arrangements for the saxophonist Joe Lovano's album "Celebrating Sinatra" and the jazz pianist Hank Jones's collaboration with the Meridian String Quartet. In 1999 he worked with the singer Nancy Marano and the 60-piece Netherlands Metropole Orchestra on the album "If You Could See Us Now."
Born in the Dominican Republic on June 24, 1922, Emmanuel Albam was reared in New York City, where he took up the saxophone while he was a student at Stuyvesant High School. He began his professional career in 1940 and over the next few years played alto and baritone saxophone with a number of bands. After getting out of the Army in 1946, while playing with the big bands of Charlie Barnet, Jerry Wald and others, he began to write music. By the early 50's he had given up playing to become a full-time composer and arranger.
Mr. Albam never led a regular working band. But from 1955 to 1966 he recorded several albums as the leader of studio ensembles for labels like RCA Victor, Coral and Solid State. Those albums included some of his most ambitious compositions, among them "The Blues Is Everybody's Business" and the suite "Soul of the City."
In 1964 Mr. Albam became involved in the still young field of jazz education, establishing a summer arranging workshop at the Eastman School of Music. He later taught at Glassboro State College in New Jersey and the Manhattan School of Music. In 1988 he became the associate musical director of the Jazz Composers Workshop, which the music licensing organization BMI established to guide aspiring composers and arrangers in the creation of new works for big bands. He succeeded Bob Brookmeyer as musical director and held the position until his death.
Mr. Albam is survived by his wife, Betty Hindes; a son, Evan, of Nyack, N.Y.; two daughters, Amy Albam of Nyack and Kate Crain of El Sobrante, Calif.; two stepsons, Paul Hindes of New York and Andrew Hindes of Eagle Rock, Calif.; three grandchildren; and four step-grandchildren.
Burt Korall, the director of the BMI Jazz Composers Workshop and a friend of Mr. Albam's, said that after Mr. Albam's jazz version of the "West Side Story" score (which was nominated for a Grammy Award) was released in 1958, the composer, Leonard Bernstein, called Mr. Albam. "He was very impressed by Manny's writing," Mr. Korall recalled. "He said, `Anytime you want to write something for the Philharmonic, let me know.' And that frightened Manny so much that he started studying."
Mr. Albam studied with the composer Tibor Serly from 1958 to 1960, and although he never did write anything for the Philharmonic, he went on to compose a number of chamber and orchestral works.
