iTunes 90024 - and more bears
iTunes 90024 - and more bears
iTunes 90024 - and more bears
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1<br />
…<strong>and</strong> <strong>more</strong> <strong>bears</strong><br />
RECORDINGS<br />
“designed for repeated listening”
AMB <strong>90024</strong><br />
2<br />
Richard Maltby<br />
<strong>and</strong> his Orchestra<br />
& Mary Mazza<br />
MALTBY<br />
POWERHOUSE<br />
Recorded<br />
January 22, 1958 (09:30 - 13:00) at Columbia Recording Studio,<br />
207 East 30th Street, New York City<br />
with Mary Mazza, vocal; Al Caiola, guitar; Milt Hinton, bass;<br />
Arthur Marotti & Teddy Sommer, drums; Buddy<br />
Weed, piano; Artie Drelinger, Bernie Kaufman, Joe<br />
Lenza, Boomie Richman, Stanley Webb, saxophones;<br />
Warren Covington, Phil Giardina, Urbie Green, trombones;<br />
Billy Butterfield, Lyle Dedrick, Bernie Glow, Dick Perry, trumpets<br />
1. Marching The Blues (Richard W. Bowles) ......................... 2:28<br />
2. Seville (A. Louis Scarmolin) ................................................ 2:33<br />
3. I've Got The Blues (Mary Clark) ......................................... 2:20<br />
4. Indian Serenade (Noble Can) ............................................. 3:29<br />
5. Witch Doctor (Richard W. Bowles)..................................... 3:01<br />
6. The Fox Steps Out (Jerry Harald)....................................... 2:24<br />
7. Cha Cha Plenty (Norman J. Clayton) ................................. 2:58<br />
8. Such Fun Being Bad (Hunter-Truman)............................... 2:57<br />
9. La Fonda (Paul Yoder) ......................................................... 2:59<br />
10. Wrong Number (Lee Roy Abernathy)................................ 2:51<br />
Original: SESAC N 455/456 P 1958<br />
Achtern Dahl 4 • D-27729 Vollersode • Germany<br />
P 2009 & C 2009 …AND MORE BEARS LC 12483
AMB <strong>90024</strong><br />
3<br />
Richard Maltby<br />
<strong>and</strong> his Orchestra<br />
& Mary Mazza<br />
MALTBY<br />
POWERHOUSE<br />
The 'Maltby Powerhouse' is a fount of musical energy – dynamic selections presented<br />
with authority, inexhaustible drive, full of lively shading <strong>and</strong> constantly swinging.<br />
The exciting Maltby arrangements are instilled with the vigor of an allstar<br />
aggregation, <strong>and</strong> the personable voice of songstress Mary Mazza adds an impressive<br />
glow to the proceedings. From the opening note, the fuse is lit for an explosive<br />
session of sounds <strong>and</strong> stylings that comprise a 'Maltby Powerhouse.'<br />
Starting off in high gear the boys swing out with blues in the modern manner,<br />
ablaze with collective improvisation <strong>and</strong> a smattering of authentic Dixiel<strong>and</strong> brass<br />
b<strong>and</strong> effects which they call Marching The Blues. Then, for foot-stomping in a<br />
different rhythm, the scene changes to the southwestern corner of Spain, <strong>and</strong> a<br />
city bursting with floral glory <strong>and</strong> the murmur of clicking castanets. It's a musical<br />
profile of Seville during a gala three-day Fair, when dancers gyrate to the voluptuous<br />
beat <strong>and</strong> magnetic attraction of the paso doble. The blues return in a hard-hitting<br />
vocal by charming Mary Mazza. Mary believes that the most efficient remedy for<br />
relieving the blues is to sing about them – <strong>and</strong> sing she does, linking her voice with<br />
the instrumental tones of the Richard Maltby Orchestra in I've Got The Blues.<br />
Next, the super-charged sound takes a respite as the orchestra offers the reflective<br />
mood piece, Indian Serenade, which showcases the trombone artistry of Urbie<br />
Green. But the boys are whipped up into a fervor again, thanks to the enchantment
AMB <strong>90024</strong><br />
4<br />
<strong>and</strong> demonry of black magic exorcised by the Witch Doctor. It all takes place in the<br />
sorcerous spectacle that has Buddy Weed conjuring up bewitching chords at the<br />
keyboard, Terry Snyder beating his bedevilled bongos <strong>and</strong> the ensemble voicing<br />
the voodoo refrains to close out this wailing side.<br />
The flip over finds the group making the daily rounds as The Fox Steps Out in a<br />
jump pounce with some stealthy rhythmic maneuvering. Messrs. Snyder <strong>and</strong> Weed<br />
on marimba <strong>and</strong> piano respectively, are joined by Teddy Sommer's wily drums,<br />
George Duvivier's artful bass <strong>and</strong> the designing guitar of Al Caiola. Rhythm takes<br />
the spotlight again in the fast south-of-the border whirligig that follows, as it pits<br />
trumpets against saxes with no holds barred because it's called, Cha Cha Plenty.<br />
Then, Mary Mazza bounces back with the novelty entry about a gal who sold her<br />
soul to that old devil love. The reason – 'cause it's Such Fun Being Bad. It's followed<br />
by a Latin encore – a tango in the best Argentinian tradition, with a certain charm<br />
<strong>and</strong> individuality that earns a four-star rating in dancing <strong>and</strong> listening for La Fonda…<br />
The Inn. The album concludes with a fine example of how a spiritual can be changed<br />
into a swinging blues with a blast of right-bright vitality as a Wrong Number turns<br />
out to have the correct charge for a 'Maltby Powerhouse.'<br />
ORIGINAL LINER NOTES
AMB <strong>90024</strong><br />
5<br />
…<strong>and</strong> <strong>more</strong> <strong>bears</strong><br />
RECORDINGS<br />
“designed for repeated listening”<br />
For the very first time you now can acquire –<br />
exclusively through …AND MORE BEARS – the PT<br />
Master Recording catalog, formerly known as<br />
'SESAC Transcribed Library'. Extensive parts of<br />
this catalog will be available worldwide for<br />
downloading through the regular channels <strong>and</strong><br />
platforms, as well as CD-on-dem<strong>and</strong> albums.<br />
The most important point for music lovers<br />
<strong>and</strong> collectors is the material's exclusiveness:<br />
the music was unavailable elsewhere.<br />
The musicians <strong>and</strong> b<strong>and</strong>-leaders were given studio<br />
time to record exclusive sessions of extra songs.<br />
Successful artists liked SESAC because it meant<br />
some extra money. From the very beginning, the<br />
repertoire was only available on a loan basis for<br />
radio stations – every month the stations were<br />
given 40 cm transcription discs (later LP-sized<br />
discs) that were delivered with complete text<br />
information for the radio presenters. For DJs,<br />
SESAC transcriptions meant interesting <strong>and</strong> rare<br />
material for their audiences. And the sound<br />
quality is brilliant, as the recordings took place<br />
in some of America's best studios, <strong>and</strong> outst<strong>and</strong>ing<br />
arrangers worked on these sessions.<br />
These recordings were initially produced for<br />
SESAC, America's second-oldest copyright society.<br />
The library was active from the late 1940s until<br />
the early ‘80s. The rights to the recordings were<br />
owned exclusively by the heirs of the SESAC<br />
founder <strong>and</strong>, with a few exceptions, have never<br />
been used for vinyl recordings... much less CD.<br />
Highlights of the catalogue include:<br />
● A catalog of <strong>more</strong> than 7500 songs;<br />
● Exclusive recordings from jazz giants such as Count<br />
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● Ace session musicians <strong>and</strong> supporting players who were<br />
stars in their own right like Alice Coltrane, Nat Adderly,<br />
Thad Jones, Kai Winding, Si Zentner, Gary Burton, Andy<br />
Williams, Eric Dolphy, Zoot Sims <strong>and</strong> many, many <strong>more</strong>;<br />
● Rare <strong>and</strong> sought after session recordings with Chet Atkins,<br />
The Jordanaires, Anita Kerr, Richard Maltby, Tony<br />
Mottola, Nathaniel Shilkret, The Stamps Baxter Men,<br />
The Statesmen, Webb Pierce <strong>and</strong> Faron Young;<br />
● Extensive classical repertoire with symphony orchestras.<br />
● 1950s material in categories like Swing, Lounge, Country,<br />
Folk, Barbershop, Choir, Cowboy Music, Southern Gospel,<br />
Hawaiian, Latin, Marching B<strong>and</strong>s, Polkas among others.<br />
Go to www.<strong>and</strong>-<strong>more</strong>-<strong>bears</strong>.de to explore the full catalogue <strong>and</strong> see the latest additions