BETHLEHEM BCP46 DELUXE SERIES HI FIDELITY

BPQjL jGOLbblSATTj BCP-46 BCP-46 * FOUR HORNS AND A LUSH LIFE

SIDE 1 SIDE 2 Band I: I'LL NEVER FORGET WHAT'S HER NAME PERSONNEL: Band T: LIMEHOUSE BLUES (Garcia) (THE LO-EST) RUSS GARCIA - conductor (Furber-Braham) 2: BUT BEAUTIFUL FRANK ROSOLINO - trombone 2: LUSH LIFE J (Burke-Van Heusen) HERBIE HARPER - trombone (Strayhorn) 1 3: DANCING ON THE CEILING TOMMY PEDERSON - trombone 3: LOVER, COME BACK TO ME (Rodgers-Hart) - trombone (Romberg-Hammerst-ein) i 4: THE BOY NEXT DOOR (Courtesy Emarcy Records) 4: RAMONA (AAartin-Blane) STAN LEVEY - drums (Gilbert-Wayne) 5: JUST ONE OF THOSE THINGS - bass 5: SOMEONE TO WATCH OVER ME (Porter) - piano (G&I Gershwin) 6: ZIGEUNER DICK HOULGATE - baritone sax 6: WHAT IS THIS THING CALLED LOVE (Coward) (Porter) i

It is only in recent years that the theory of standard in¬ BUT BEAUTIFUL: This lovely melody is played through t strumentation for band or vocal offerings has been shattered. just once, yet in the course of it the lead goes from Tommy •; Time was when musician and listener alike accepted the Pederson to obligato by Herbie Harper to lead by Maynard prevailing mode as the sacrosanct formula for organizing a Ferguson. The order is repeated, and Herbie is heard over successful musical aggregation. the ensemble at the close. Admittedly, economics were an important factor in forcing DANCING ON THE CEILING: Sixteen is the magic this condition on the music business, and even today makes number here. Following the well arranged first chorus, the its presence felt in the conventional, non experimental dance ensuing three choruses are split into six 16-bar efforts by units that dot the scene. Pederson, Rosolino, Ferguson, Harper, Paich and Mitchell As in any art form, however, there emerges an element that in that order. Watch the ending here! denounces the norms of standard procedure, and suggests an experimental framework on which newer and greater presenta¬ LIMEHOUSE BLUES: Here is a romping, happy version tions can be fashioned. Thus, in this LP, Bethlehem offers of this old timer. Full choruses are contributed by Pederson, four trombones with support from a rhythm section and a Harper, Ferguson and Rosolino with Marty Paich contributing baritone sax that validates the experimentalists cause. 16-bars on piano before the finale. This orchestral sound was first heard supporting Frances LUSH LIFE: This great Billy Strayhorn composition features Faye on her initial Bethlehem LP (BCP-23). Then, as now, the brass choir with piano. Herbie Harper has the lead Russ Garcia was responsible for the distinctive arrangements throughout. that characterize this sound. Because it IS a different ap¬ proach, it was concluded that the four "bones*’ should have LOVER COME BACK TO ME: Timed at 5:35 this is an outing on their own with a similar rhythm backing — the most extensive effort in the set. Two full choruses apiece only the guitar is absent — and a baritone sax added for feature the trombones of Herbie Harper, Maynard Ferguson support. and Frank Rosolino. Then, with Stan Levey as the answering The trombone playing members of the group are the same voice, the horns begin a double go-round of 4’s with Pederson, men who worked the Frances Faye date with great success. Harper, Ferguson and Rosolino heard in order. Marty Paich Slide trombones were in the hands of Herbie Harper, Tommy is heard before the close. Pederson and Frank Rosolino, while Maynard Ferguson ROMONA: This typical Russ Garcia treatment of a tried Distinguishing the sound of these four horns is not an romped through the proceedings on valve trombone. Each and true standard features 8 bars apiece by Tommy, Herbie, easy matter, especially in solo passages, and we acknowledge member of this quartet has distinguished himself as an artist Maynard and Frank with Red Mitchell chipping in 16 before a huge assist from Bethlehem’s A & R chief, Red Clyde, in brass, and their blended talents has produced a trombone the final passages. choir that is unexcelled. whose accurate notes at the session made the task of tune analysis far easier. WHAT IS THIS THING CALLED LOVE: Variety being Three of the foremost rhythm men on the west coast THE BOY NEXT DOOR: features the four trombones what it is, Russ employs the baritone for melody with the were chosen for the date, and once again turned in stellar horns punctuating through the first chorus. Marty Paich has performances. Marty Paich, who divides his musical week ip choir and of course Russ Garcia’s arrangement. Marty a full chorus leading to an exchange of fours between Stan between playing and arranging, is heard on piano. Red Mit¬ Paich has the only solo. Levey’s drums and Tommy, Herbie, Maynard and Frank as chell, a veritable giant in his division, is on bass, and the JUST ONE OF THOSE THINGS: Here the baritone sax shown. The exchange is repeated before Marty’s piano passage drummer is the ever-dependable southpaw, Stan Levey. The is used rhythmically and melodically in contrast with the four which leads back to the finale. baritone parts were neatly executed by Dick Houlgate. horns for an unusual treatment of this familiar theme. Marty Special mention must be given here to Russ Garcia who Paich has a full chorus leading to Herbie Harper’s 32-bar SOMEONE TO WATCH OVER ME: The beautiful arranged and conducted the date. Russ has been in music passage. Maynard follows on valve for 16, sharing the chorus Gershwin standard features some easily recognized inter-play for most of his working life and actually has sufficient work with Frank Rosolino. Paich is heard briefly again leading between Tommy Pederson and Frank Rosolino with nice around the Hollywood movie studios to provide him with back to the closing ensemble. underscoring by the other horns. an ample income. Possibly the confining, aspects of studio ZIGEUNER: is typical of the kind of tune Russ likes to With so much emphasis being placed on instrument com¬ work have led him to seek more flexible outlets for his re-work from his own point of view. The well arranged en¬ bination and varying harmonics, it’s evident that Russ Garcia "spare time" experiments. His first LP for Bethlehem semble makes way for a full piano chorus followed by Herbie, has once again distinguished himself as a keen student of (BCP 1040) which is entitled "Wigville" seems to bear Frank and Maynard in that order for 16 bars each leading dynamics. He deliberately bends his music into new channels out this point for it contains some composition and arranging to the final ensemble. but never at the expense of fundamentals. The performance that are completely divorced from the average movie sound I’LL NEVER FORGET WHAT’S HER NAME: Russ has of his compositions and arrangements by the musicians fea¬ track. a sub-title for this which he calls "The Lo-est." Following tured in "Four Horns and A Lush Life" is enthusiastic Russ also has the happy faculty of giving new life to tunes the ensemble and a full chorus by Marty Paich, Maynard, testimony to the stature he has attained. that seem to be out of the orbit as well as blending Herbie and Frank contribute 32 bars each before joining his cleanly written harmonics into the ballads selected. forces on the cleverly written finale. JOE QUINN Cover Design: BURT GOLDBLATT Photograph by: STAN LEVEY Engineer: VAL VALENTIN

OTHER GREAT ARTISTS ON BETHLEHEM

BCP-1020 Milt Hinton Quartet BCP-21 Jazz At The Metropole BCP-31 Australian Jazz Quartet BCP-4T Ralph Sharon BCP-12 Don Elliott: Mellophone BCP-22 Smith-Glamann Quintet BCP-32 Terry Morel BCP-42 Howard McGhee BCP-13 Kai Winding & J. J. Johnson BCP-23 Frances Faye BCP-33 Oscar Pettiford BCP-43 Johnny Hartman BCP-14 Urbie Green Septet BCP-24 Herbie Mann Quartet Vol. 2 BCP-34 Mel Torme — IPs A Blue World BCP-44 Jazz City Workshop BCP-15 Don Elliot Sings BCP-25 Charlie Mariano Vol. 2 BCP-35 Bobby Troup Vol. 2 BCP-45 Helen Carr BCP-16 Hal McKusick Quartet BCP-27 Charlie Shavers Vol. 2 BCP-37 Stan Levey BCP-47 Terry Morel — Ralph Sharon BCP-17 Joe Roland Quintet BCP-28 The Six BCP-38 Red Mitchell BCP-48 Max Bennett BCP-18 Sam Most Sextet BCP-29 Bud Freeman BCP-39 Australian Jazz Quartet BCP-52 Mel Torme BCP-19 Bobby Troup Vol. i BCP-30 Conte Candoli Vol. 2 BCP-40 Mann and Most BCP-56 "Chris" Connor BCP-20 Chris Connor

NEW YORK, N. Y. HOLLYWOOD, CALIF. Printed and Packaged by Globe Albuims, Inc., New York 57, N Y.

mmi f k annm\ismrii\ .n ./^wigi jmtk \ wwmn**'?. FOUR TROMBONES Russ Garcia Orchestra l NEVER FORGET WHAT'S HER N FOUR TROMBONES Russ Garcia Orchestra It UMEHOUSE BLUES

BCP-46

LOVER,