STEREO ® RS 852 SD records ROMAN A CCORDION
CHARLES MAGNAN TE and h 1S OTC hestra
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TECHNICAL DATA: This specially selected Westrex cutter is installed They call him “Magnante Magnifico!” on an Automatic Scully lathe fitted with variable _This record is an example of the finest quality electronic depth control and variable pitch mech- And they mean it. sound fidelity that can be achieved with a mul- anisms. Charles Magnante has found in the accordion such tiple microphone pickup. From the origin of the Because sound in a large acoustically perfect studio to : From the preparation of the acetate master to the magnificent colors, such rich harmonies and such pure, scintillat- _ the editing and re-recording to the final pressing final stamper used to make this copy, all phases created a new instrument. (He of the record only the finest equipment is used of the manufacturing process are carefully super- ing melody that he has, in effect, — Some of the microphones used, representing vised and maximum quality control is exercised has done this literally, too, because he plays a special instrument the best of all manufactures available, are the: to the highest degree known at the present state RCA-44BX, Telefunken U-47, Telefunken KM 56, of the industry. which he designed for the Fred Gretsch Co.) Telefunken 201, Western Electric 1142A, Altec The amazing panoply of sound that Charles Magnante creates 639B, RCA-77D. RIAA standards are fully complied with in these new COMMAND Records and for best results we The reason for the multiplicity of microphone is one of the wonders of contemporary music. recommend that standard RIAA characteristics on his accordion types is to insure that the optimum instrumental for each channel should be followed. Great care Records, the great sound will be reproduced by use of the micro- And now, in his first recording for Command should be exercised in the selection of the stereo whose characteristics are most comple- that can match phone cartridge—properly adjusted for optimum track- _ Magnante has found engineering craftsmanship mentary to that particular instrument. The origi- ing force and a minimum of tracking error—and, nal tape was recorded on Ampex equipment. his own exciting and brilliant musical conceptions—the fabulous when playing through a two channel reproducing engineering that has made Command Records the greatest name Re-recording was from Ampex tape machines system of quality workmanship this COMMAND through 200 watt cutting amplifiers (specially Record will delight the most discriminating in sound reproduction. | : designed) which drive a Westrex feedback cutter. audiophile. Here is Magnante’s miracle of sound recorded with every brilliant nuance and all the breathtaking beauty captured so fully and completely by Command’s astounding recording processes — E. MURPHY that the sheer magnificence dazzles the ear. Art Director CHARLES
Originated and Produced by ENOCH LIGHT
SIDE 1 | SIDE 2 GUAGLIONE ce scsccseccecescteecneeee- Fred Raphael Music Inc. (ASCAP) MAMA 6 Southern Music Publishing Co., Inc. (ASCAP) Corp. (BMI) PUCCINI OPERA MEDLEY...... oe Public Domain TANGO DELLA ROSA...... Edward B. Marks Music Lucevan le Stelle. b) La Boheme—Musetta's Waltz (Tango of Roses) a) Tosca—E (ASCAP) TARANTELLA ALLEGRIA...... 000. Record Songs Inc. (ASCAP) THE JOLLY BARBER TARANTELLA...... Ampco Music Inc. OO ane Ampco Music Inc. (ASCAP) RUSELLA’E MAGGIO...... ee Leeds Music Corp. (ASCAP) NON DIMENTICAR...... cccscccccscccssscceressseeesessessseeeHOllis Music Inc. (BMI) UNO PER TUTTE... oe, .M. Witmark & Sons (ASCAP) PPRIBPRUBIN soe ee Public Domain ARRIVEDERCI ROMA...... Reg Connelly Music Inc. (ASCAP)
Enjoy the full program and technical data presented in detail, on the inside pages of this double album jacket
PRINTED IN U.S.A. © 1963 GRAND AWARD RECORD CO. INC., NEW YORK STEREO RS 852 SD
CHARLES MAGNANTE and his orchestra
It was inevitable that Charles Magnante and concert ever heard in Carnegie Hall, leading STELLE from TOSCA, Magnante moves delicate coloration that is a superb example of to the rhythm under Magnante’s accordion. Command Records should sooner or later join his own accordion quartet. He has written on to the evocative charm of MUSETTA’S the completeness of Command’s reproduction Notice the tremendous amount of full-bodied forces. [hey are both moving in the same excit- more material for the accordion than anyone WALEZ trom LA BOHEME. The vast of all the nuances of a musical sound. sound that Magnante draws from his accor- ing direction. range of Magnante’s accordion gives this vital dion as he builds a climactic approach to the else. Today his talents are in such demand that SIRIBIRIBIN. Gay and bouyant, Magnante Magnante’s detailed and probing study of he fulfills almost 70 per cent of the accordion and full-blooded music the tremendous scope second chorus. the accordion, which has taken him to a posi- rips through this high flying tune with virtuoso engagements in New York’s recording studios. that it demands. MAGGIO. Gliding briskly tion as a virtuoso unmatched by any other ac- abandon. Subtle shifts in rhythmic emphasis RUSELLA ’E Twice a year Magnante leaves his New York into this flowing waltz, another current Italian cordionist, has included a continuing analysis TARANTELLA ALLEGRIA. The taran- are mixed in with rapidly changing percussive commitments to tour the country in combina- hit, Magnante shows the warmth and variety of the electronic problems he has run into in tella is a Neapolitan dance that calls for fast accents as tambourine, mandolin, orchestra tion concert and workshop appearances. At that are available in his accordion for develop- radio, television and recording studios. For feet on the part of the dancers and fast fingers bells and guitar follow in headlong pursuit of these appearances, besides giving a concert of ing a melody so as to show aspects of it in dif- this purpose, he has built up a sound labora- for the musicians. Magnante answers the chal- each other while Magnante’s accordion dodges popular and classical numbers, including many ferent lights. Notice his suggestions of Neapol- tory of his own in which he has carried on lenge magnificently as he shows the amazing in and out of the development of the melody. of the specialties for which he has become itan music in his use of mandolin fills, the never-ending experiments designed to extend fluency of the accordion. Note particularly the famous, he discusses such technical matters as rhythmic pulse of the tambourine under the and enrich the musical potential of the astonishing exhibition of fingering he gives in SIDE TWO the fundamentals of right hand technique, the accordion, the striking variations in sonic accordion. the passage where his high accordion is mated mastery of the accordion bellows and the cor- MAMA. Don Lamond’s brushes set up a structure through the use of single string guitar At the same time, Command’s adventurous with Billy Rowland’s deep piano. rect use of the amplifier (he was one of the shuffle rhythm on the left that paves the way and piano and, finally, the complete change in engineers steadily pushing back and eliminat- On this album CHARLES MAGNANTE— first accordionists to take advantage of the ex- for the triangle and mandolin to bring on tempo that takes this lovely tune out in a flood ing the walls that have inhibited the perfect, panded sonic possibilities opened up to the O MARIE. With the possible exception of Plays the La Tosca“Eldorado”’ Accordion Mfd. by Gretsch Magnante’s accordion. Magnante achieves a O Sole Mio, no other tune is so immediately of gaiety. completely realistic reproduction of sound, accordion by the use of an amplifier). slightly different type of attack in this arrange- evocative of Italy aa O MARIE. Magnante have been preparing the means by which All of the tunes that Magnante plays in this ment for, having established Lamond’s brushes UNO PER TUTTE. In this current Italian plays it in warm, romantic fashion, filling his Magnante’s advances in accordion sound can mandolins and guitars in an album of great album are his own distinctive arrangements, in the introduction, he brings them back later hit, Charles Magnante captures the exciting arrangement with rich harmonies and varia- be recorded and reproduced with full and Italian songs, Magnante likes them because of arrangements in which he holds to one of his for a break that sets off a propulsive series of musical sound of young, contemporary Italy. complete accuracy of detail. the percussive quality they give to his per- cardinal principals: Never lose trace of the tions in tempo and feeling that extend the full breaks by Magnante himself. This interlude Over a sinuous shuffle rhythm, the beat 1s values of the melody to their utmost limits. The The joining of forces that takes place on this formances. melodic line. Helping him to carry this out are shows the unusual rhythmic force that Magn- punctuated by the striking sound of a slapstick, strength and positive force of the accordion record is a landmark in the history of sonics. “My accordion is usually heard about 75% Dick Lia, Leonid Bolotin and Artie Ryerson, ante can achieve with the accordion. establishing a propulsive setting for Magn- You hear the accordion played as only the of the time during a tune, either playing the mandolins, Tony Mottola, guitar, and the have rarely been brought out as clearly as they ante’s wide-ranging accordion and Dick Dia’s world’s greatest master of this complex instru- lead or playing in the background,” he points superb rhythm team of Billy Rowland, piano, are in Magnante’s final passages. TANGO DELLA ROSA. Magnante has dancing mandolin. The expansive coloration ment can play it and you hear it reproduced out. ‘‘Because the accordion tone has a sustain- Bob Haggart, bass, Don Lamond, drums, and created a complex arrangement for this strik- that Magnante draws from his accordion is by techniques that have been painstakingly ing quality, I like a percussive quality of tone Bob Rosengarden and Phil Kraus, percussion. NON DIMENTICAR. One of the loveliest ing tango, an arrangement full of shifting particularly effective when he is providing an developed by the most advanced engineering to take over as a change when my accordion is of recent Italian tunes, and one that became a shadows and colors as he takes full advantage almost orchestral background for the rest of craftsmen in today’s recording industry. not being heard. That’s why I have the mando SIDE ONE great favorite in the United States) NON of the cutting, percussive sound of the mando- the group and for the mandolin. The program of gorgeous Italian melodies lins and guitars.” : DIMENTICAR is given an unusual treat- lins and guitar and teams guitar with triangle that Magnante plays is an ideal setting for the Magnante has developed this and other GUAGLIONE. Tony Mottola finds a riff ment by Magnante that underlines the amazing and mandolin with xylophone for brief, bright ARRIVEDERCI ROMA. Appropriately, warmth, the excitement and the beauty that theories out of the experience of many years deep in the lower regions of his guitar to estab- lyrical beauty of the melody. The striking bits of percussion that set off the heavier this is good-bye to Rome with a warmly lyrical he draws from his instrument. The accordion of playing. He has been a professional since he list the rhythmic pulse for Magnante’s bright mood is set in the introduction by Bob Hag- rhythm of the castanets that penetrate his rich treatment of this familiar and memorable is an innately Italian instrument—the graceful was 14 years old. He gained his first fame as treatment of this lively Italian tune which has gart’s whistling over tuned bongos, leading into accordion passages. And don’t overlook Magn- melody. In the midst of the romantic setting melodies and the titillating rhythms of the a member of Major Bowes’ famous “Capitol found equal success in both Italy and the an odd and exotic accordion entrance. The ante’s imaginative use of a whistling passage provided by this tune, it is interesting to find music of Italy are given their most appro- Theatre Family” on radio. Since then he has United States. “Oh, boy!” is the way Magnante types of percussive variation that Magnante at the very end. Magnante suddenly turning to a stark, strong priately romantic or toe-tickling interpretation played on innumerable radio and television translates it and he plays it with appropriate likes when the spotlight shifts away from his style of playing that, instead of conflicting with on the accordion. And the setting is given an programs—he once appeared on 31 different snap and fire, eventually working out some accordion are illustrated here in the unison THE JOLLY BARBER TARANTELLA. the mood of the performance, simply adds a even stronger Italian flavor by the way in shows in a single week. fluttering figures over a shuffle rhythm and piano and xylophone passages in the first This is Magnante’s lively adaptation of one new dimension to it. And, to hear an impres- which Magnante uses two other predominantly When Erno Rapee engaged Magnante to play swinging hard all the way. chorus and in Dick Dia’s mandolin exchanges of the most familiar melodies from THE sive display of Magnante’s ability to achieve Italian instruments—Dick Dia’s mandolin and with the WEAF Symphony, it was the first with Magnante in the second. Notice the ex- BARBER OF SEVILLE. The gay abandon subtleties of shading on his accordion, just Tony Mottola’s guitar. time an accordion had been used in a symphony PUCCINI OPERA MEDLEY. Opening tremely subtle but highly effective accent con- of the tarantella is emphasized by the tam- follow the beautifully executed delicacy of his But beyond the mere appropriateness of orchestra. Magnante gave the first accordion with the haunting E LUCHEVAN LE tributed by a triangle in the second chorus—a bourine and castanets that add sparkling color ending.
Originated and Produced by Enoch Light Associate Producer Julie Klages Recording chief Robert Fine Mastering George Piros Arrangements by Lew Davies and Charles Magnante
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(34) Ne Srmmanmd sain _. STEREO e RS 852-S.D. - Side i (RS 852-SD-A) ROMAN ACCORDION €harles Magnante and His Orchestra
1. GUAGLIONE (Mosa-G. Fanciulli) (2:38) 2. PUCCINI OPERA MEDLEY (3:22) a) Tosca - E Lucevan le Stelle bh) La Boheme - Musetta’s Waltz . TARANTELLA ALLEGRIA (C. Magnante-E. Light) (2:51) - O MARIE (Arr. C. Magnante) (2:49) - NON DIMENTICAR (P. Redi- M. Galdierei-S. Dobbins) (3:13) . CIRIBIRIBIN (2:42) Total Time 17:40 Upp ». 4 ia Ns R ne» AND AWaRD RECORD CO” THE GREATEST ADVANCE IN SOUND... Since Hi-Fidelity was invented
ommand sy, cm STEREO a RS 852-S.D. - Side II (RS 852-SD-B) ROMAN ACCORDION Charles Magnante and His Orchestra 1. MAMA (C. A. Bixio-B. Cherubini- H. Barlow-P. Brito) (2:56) TANGO DELLA ROSA (Tango of Roses) (Schreier-Bottero-C. Raven) (4:17) . THE JOLLY BARBER TARANTELLA (Arr. C. Magnante) (2:05) . RUSELLA ’E MAGGIO (A. Trusiano-E. Cannio)~(2:56) .» UNO PER TUTTE (A. Testa-Mogol-T. Renis) (2:39) . ARRIVEDERCI ROMA (R. Rascel- Carinei-Giovanninity—(3:05) a Total Time 18:13
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