iTunes 90024 - and more bears

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…and more bears
RECORDINGS
“designed for repeated listening”

AMB 90024
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Richard Maltby
and his Orchestra
& Mary Mazza
MALTBY
POWERHOUSE
Recorded
January 22, 1958 (09:30 - 13:00) at Columbia Recording Studio,
207 East 30th Street, New York City
with Mary Mazza, vocal; Al Caiola, guitar; Milt Hinton, bass;
Arthur Marotti & Teddy Sommer, drums; Buddy
Weed, piano; Artie Drelinger, Bernie Kaufman, Joe
Lenza, Boomie Richman, Stanley Webb, saxophones;
Warren Covington, Phil Giardina, Urbie Green, trombones;
Billy Butterfield, Lyle Dedrick, Bernie Glow, Dick Perry, trumpets
1. Marching The Blues (Richard W. Bowles) ......................... 2:28
2. Seville (A. Louis Scarmolin) ................................................ 2:33
3. I've Got The Blues (Mary Clark) ......................................... 2:20
4. Indian Serenade (Noble Can) ............................................. 3:29
5. Witch Doctor (Richard W. Bowles)..................................... 3:01
6. The Fox Steps Out (Jerry Harald)....................................... 2:24
7. Cha Cha Plenty (Norman J. Clayton) ................................. 2:58
8. Such Fun Being Bad (Hunter-Truman)............................... 2:57
9. La Fonda (Paul Yoder) ......................................................... 2:59
10. Wrong Number (Lee Roy Abernathy)................................ 2:51
Original: SESAC N 455/456 P 1958
Achtern Dahl 4 • D-27729 Vollersode • Germany
P 2009 & C 2009 …AND MORE BEARS LC 12483

AMB 90024
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Richard Maltby
and his Orchestra
& Mary Mazza
MALTBY
POWERHOUSE
The 'Maltby Powerhouse' is a fount of musical energy – dynamic selections presented
with authority, inexhaustible drive, full of lively shading and constantly swinging.
The exciting Maltby arrangements are instilled with the vigor of an allstar
aggregation, and the personable voice of songstress Mary Mazza adds an impressive
glow to the proceedings. From the opening note, the fuse is lit for an explosive
session of sounds and stylings that comprise a 'Maltby Powerhouse.'
Starting off in high gear the boys swing out with blues in the modern manner,
ablaze with collective improvisation and a smattering of authentic Dixieland brass
band effects which they call Marching The Blues. Then, for foot-stomping in a
different rhythm, the scene changes to the southwestern corner of Spain, and a
city bursting with floral glory and the murmur of clicking castanets. It's a musical
profile of Seville during a gala three-day Fair, when dancers gyrate to the voluptuous
beat and magnetic attraction of the paso doble. The blues return in a hard-hitting
vocal by charming Mary Mazza. Mary believes that the most efficient remedy for
relieving the blues is to sing about them – and sing she does, linking her voice with
the instrumental tones of the Richard Maltby Orchestra in I've Got The Blues.
Next, the super-charged sound takes a respite as the orchestra offers the reflective
mood piece, Indian Serenade, which showcases the trombone artistry of Urbie
Green. But the boys are whipped up into a fervor again, thanks to the enchantment

AMB 90024
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and demonry of black magic exorcised by the Witch Doctor. It all takes place in the
sorcerous spectacle that has Buddy Weed conjuring up bewitching chords at the
keyboard, Terry Snyder beating his bedevilled bongos and the ensemble voicing
the voodoo refrains to close out this wailing side.
The flip over finds the group making the daily rounds as The Fox Steps Out in a
jump pounce with some stealthy rhythmic maneuvering. Messrs. Snyder and Weed
on marimba and piano respectively, are joined by Teddy Sommer's wily drums,
George Duvivier's artful bass and the designing guitar of Al Caiola. Rhythm takes
the spotlight again in the fast south-of-the border whirligig that follows, as it pits
trumpets against saxes with no holds barred because it's called, Cha Cha Plenty.
Then, Mary Mazza bounces back with the novelty entry about a gal who sold her
soul to that old devil love. The reason – 'cause it's Such Fun Being Bad. It's followed
by a Latin encore – a tango in the best Argentinian tradition, with a certain charm
and individuality that earns a four-star rating in dancing and listening for La Fonda…
The Inn. The album concludes with a fine example of how a spiritual can be changed
into a swinging blues with a blast of right-bright vitality as a Wrong Number turns
out to have the correct charge for a 'Maltby Powerhouse.'
ORIGINAL LINER NOTES

AMB 90024
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…and more bears
RECORDINGS
“designed for repeated listening”
For the very first time you now can acquire –
exclusively through …AND MORE BEARS – the PT
Master Recording catalog, formerly known as
'SESAC Transcribed Library'. Extensive parts of
this catalog will be available worldwide for
downloading through the regular channels and
platforms, as well as CD-on-demand albums.
The most important point for music lovers
and collectors is the material's exclusiveness:
the music was unavailable elsewhere.
The musicians and band-leaders were given studio
time to record exclusive sessions of extra songs.
Successful artists liked SESAC because it meant
some extra money. From the very beginning, the
repertoire was only available on a loan basis for
radio stations – every month the stations were
given 40 cm transcription discs (later LP-sized
discs) that were delivered with complete text
information for the radio presenters. For DJs,
SESAC transcriptions meant interesting and rare
material for their audiences. And the sound
quality is brilliant, as the recordings took place
in some of America's best studios, and outstanding
arrangers worked on these sessions.
These recordings were initially produced for
SESAC, America's second-oldest copyright society.
The library was active from the late 1940s until
the early ‘80s. The rights to the recordings were
owned exclusively by the heirs of the SESAC
founder and, with a few exceptions, have never
been used for vinyl recordings... much less CD.
Highlights of the catalogue include:
● A catalog of more than 7500 songs;
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Thad Jones, Kai Winding, Si Zentner, Gary Burton, Andy
Williams, Eric Dolphy, Zoot Sims and many, many more;
● Rare and sought after session recordings with Chet Atkins,
The Jordanaires, Anita Kerr, Richard Maltby, Tony
Mottola, Nathaniel Shilkret, The Stamps Baxter Men,
The Statesmen, Webb Pierce and Faron Young;
● Extensive classical repertoire with symphony orchestras.
● 1950s material in categories like Swing, Lounge, Country,
Folk, Barbershop, Choir, Cowboy Music, Southern Gospel,
Hawaiian, Latin, Marching Bands, Polkas among others.
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