CLASSICAL CURRENT SIDE ONE: SIDE TWO: THE BREEZE AND I (3:56) MOON LOVE ______(2:50) {Adapted by T. Camarata from Ernesto Lecuona's "Andalucia") {Adapted from Tschaikovsky's 5th Symphony, 2nd movement" ) MY REVERIE ______(2:21) {Melody based on Claude Debussy's "Reverie") MY PRAYER ______(3:52) {Based on Boulanger's "Avant de Mourier") TILL THE END OF TIME _____(2:54) {Based on Chopin's "Polonaise") MY MOONLIGHT MADONNA ____(2:39) {Adapted from Fibich's "Poeme") THE LAMP IS LOW ______(2:47) {Melody based on a theme from M. Ravel 's " Pavane") OUR LOVE ______-,--,--_ (2:50) {Based on Tschaikovsky's "Romeo And Juliet") BAUBLES, BANGLES AND BEADS __ (3:00) {Based on themes of A. Borodin) WHEN I WRITE MY SONG _____ (3:33) {Based on a theme from Saint Saens' "Samson and Delilah") FULL MOON AND EMPTY ARMS ___(3:22) {Based on Rachmaninoff's " Piano Concerto No . 2" ) Theme from THE WARSAW CONCERT0_ (4:27)

Since joining forces with the Orchestra shortly after immigrating to this country in 1947 from his native Brazil, Laurinda Almeida has been frequently acclaimed as a brilliant guitarist in both the classical and idioms and as a musical innovator. To mention but one of his innumerable contributions to the literature of jazz, he is generally credited with the fusion of American jazz ele- ments with the samba form of his native country - coming up with what we know as the bossa nova . Which is actually another story from the one on Classical Current, in which the always-experi- menting virtuoso weds, through his use of an electronic classical guitar, familiar forms with some of the more amenable elements of musique concrete, interest in which has increased almost geomet- rically since rock musicians began studying the work of John Cage and attempting to duplicate some of his more rudimentary effects in their own work. We are confident that Laurinda Almeida's Classical Current will prove one of the most enduring and influental corpuses of work to emerge in the broad area of electronically-influenced music.

Arranged and conducted by Larry Cansler, Lex de Azevedo, and Pete King / Recorded on July 14, 15, and 16, 1969, at Western Recorders, Hollywood, California/ Cover photo: Ken Biggs / Art direction: Ed Thrasher. PRODUCED BY SONNY BURKE LAURINDO ALMEIDA

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