voices in song AMERICAN MUSICAL THEATRE

Serves 2000

2000 voices

in

song AMERICAN MUSICAL THEATRE

YOU'RE JUST IN LOVE oo. IRVING BERUN oe CALL ME MADAM

16 TROMBONES =... MEREDITH WILLSON ................ MUSIC MAN

BEWionee ee RODGERS-HART - go 2... PAL JOEY

IT’S ALL RIGHT WITH ME oo... COLE PORTER. = CAN CAN

ONCEINLOVE WITHAMY.. FRANK LOESSER .......... WHERE’S CHARLEY?

PRIENDON = COLE PORTER cc. DU BARRY WAS A LADY

EVERYTHING'S COMING UP ROSES ....... SONDHEIM-STYNE ooo. GYPSY

TOMORROW MOUNTAIN ow... ELLINGTON-LATOUCHE .. BEGGAR’S HOLIDAY

ON THE STREET WHERE YOU LIVE EERNER-LOWE MY FAIR LADY

SURREY WITH THE FRINGE ON TOP... RODGERS-HAMMERSTEIN ......... OKLAHOMA!

MUTUAL ADMIRATION SOCIETY... KARR DUbEL =. HAPPY HUNTING

THERE’S NO BUSINESS LIKE SHOW BUSINESS |... IRVING BERLIN ........ ANNIE GET YOUR GUN

ARRANGED

AND CONDUCTED

BY

HAL MOONEY

Ce ee eee Gene Lowell Singers

Prise PF epenOre ik a Ss ee Bob Shad

Original Reeording.Engineer 00. _... Bill MacMeekin

Me-recoraing ENeinGer ee ea Victor Brainard

NMeSene. a Se ae Saul Kessler

Liner Notes ................ Re Pg es a Nat Hentoff

Album Coordination =. 230 SF ee ae Arpena Spargo

PADI DSSS 8 oe ee Murray Stein

Recorded ee ee April 18, 20, 1960

52003

Fon those who dane... Printed in U.S.A.

i ee ag

SERIES 2000 by Time Records, Inc. is produced by the foremost

artists and technicians in the world of music and sound. The last

decade has become an era of intense specialization, no matter

what the field. Time Records recognizes this and has applied

this in force to its SERIES 2000.

The creed of SERIES 2000 is craftsmanship. This product origi-

nates through multi-channel recording. No monaural record-

ings are made at initial sessions. It is our feeling that simulta- neous stereophonic and monaural recording Produces a com-

promise. However, when concentrating on recording only three

track stereo, one achieves the best possible results. The end

product is mixed down from the original multi-channel recora-

ing. This enables SERIES 2000 to reach the maximum peak of

recording efficiency.

SERIES 2000 aims to prove that people interested in increasing

their intellectual and instinctive knowledge towards music and sound respond readily when confronted with new dimensions

... SERIES 2000.

TECHNICAL INFORMATION:

This record represents the finest quality of multi-channel re-

cording that can be achieved through the finest equipment

available today.

All of our material is recorded on Ampex tape machines using

a multiple microphone technique, so that a microphone whose

qualities best suit the instrument being recorded can be used

to give the optimum in sound reproduction. Microphones used

are: Telefunken U-47, U-48, KM-54, KM-56; Western Electric

639A, RCA-44-BX; Beyer M-160 and Sony C37A.

The master tapes are recorded to a master disc on a Sculley

Lathe using custom built Amplifiers driving a Westrex 3C

Stereophonic cutting head. The Sculley Lathe is equipped with

a fully automatic variable pitch and electronic depth control

system, so that groove spacing and depth are always main-

tained in an ideal relationship to the modulation on the record,

assuring best tracking results.

Check that your pickup is balanced and adjusted to the weight

specified by the manufacturer.

Not even a diamond stylus is immune to wear. Many dealers

who handle high quality styli are equipped to shadowgraph

your stylus and determine its condition. Take advantage of

this service and protect your valuable record collection.

This record should be played using RIAA reproducing equali-

zation.

AMERICAN MUSICAL THEATRE

®

“voices in song

TIME’S SERIES 2000 of recordings, specifically de-

signed for maximum high fidelity enjoyment, now

brings you VOICES IN SONG with a realism and imme-

diacy of interplay that are unique in vocal recordings.

The voices are those of the Gene Lowell Singers. The

direction and the arrangements are by Hal Mooney,

who has written for nearly every major popular vo-

calist and for several notable bands.

Mooney arranged these major musical comedy

standards for optimum recorded reproduction. The

vocalists were four girls and six boys. These singers

are among the most skilled vocalists in New York, and

are in constant demand on recording sessions. Their

leader, Gene Lowell, was associated with the Lucky

Strike Hit Parade for most of its life, and as you'll

hear, is expert in blending vocal timbres.

The regular rhythm section—drums, piano, bass

and guitar is enhanced by an additional range of per-

cussive coloration. This version of 76 TROMBONES

with its clarity of complementary choirs and its im-

mediate illustration of the instrumental references in

the lyrics is, | think, the most entertaining yet recorded.

The basic woodwind complement was tenor and

baritone saxophones doubling on piccolo, flute and

clarinet. The arrangements make the melody line pre-

eminent. The voices surrounding the listener may well

become infectious enough to get you to join in the cen- |

ter as a soloist encircled by a choir. Basically, the al-

bum is for listening, but my own feeling is that, though

not intended as such, it makes for a much more satis-

fying sing-a-long than. most of the sets of that genre

which have been released, since the arrangements are

so functional and the backgrounds are so tasteful.

The songs chosen are among the most durable of

American popular standards. YOU’RE JUST IN LOVE,

a universal diagnosis for the symptoms described, | Gg

was written by Irving Berlin for the 1950 CALL ME

MADAM, starring the air raid alert of Broadway, Ethel

Merman. The majestically euphoric 76 TROMBONES

is from Meredith Willson’s 1958 smash, THE MUSIC

MAN. One of the most persistently beguiling of all

show scores was that of Larry Hart and Richard Rodg-

ers for PAL JOEY in 1940. BEWITCHED, BOTHERED

AND BEWILDERED is from that show. Cole Porter’s

rollicking celebration, IT’S ALL RIGHT WITH ME, is

from the 1953 CAN CAN. Frank Loesser’s ONCE IN

LOVE WITH AMY, sung so sunnily by Ray Bolger in

the original performance, is from the 1948 musical

version of WHERE’S CHARLEY? The sprightly, tongue-

in-cheek FRIENDSHIP by Cole Porter helped animate

DU BARRY WAS A LADY, a 1939 project that starred

Ethel Merman, Bert Lahr and Betty Grable.

One of the most stimulatingly successful of the

newer Broadway musicals is GYPSY, and EVERY-

THING’S COMING UP ROSES is from that 1959

chronicle of the early years of Gypsy Rose Lee, Amer-

ica’s most articulate ecdysiast. To my mind, one of

the most original and absorbing American musicals

ever produced was Duke Ellington and John Latouche’s

BEGGAR'S HOLIDAY. It did not, alas, run very long,

but this modernization of John Gay’s 18th century,

BEGGAR’S OPERA certainly deserves to be revived.

The cast—a remarkably vivid one—included Alfred

a&

Drake, Zero Mostel, Bernice Parks and Avon Long.

One of the songs was a vision of utopia-on-the-rocks,

TOMORROW MOUNTAIN.

When I saw MY FAIR LADY, the most spectacular

Broadway success in recent times, | felt that one of

the few weak points was ON THE STREET WHERE

YOU LIVE. Hearing it now, however, in this choral

setting makes me aware of how romantically effective

the song—and the lyrics—are. OKLAHOMA, in a sense,

ushered in a new era of Broadway shows in which the

book and the music were more integrated than had

been the custom before. That epochal 1943 produc-

tion included Alfred Drake, Celeste Holme, and

Howard Da Silva. The music included THE SURREY

WITH THE FRINGE ON TOP.

MUTUAL ADMIRATION SOCIETY, a brash anthem

is from the 1956-57 HAPPY HUNTING while the

rousing ode to grease paint, THERE’S NO BUSINESS

LIKE SHOW BUSINESS, comes from Irving Berlin’s

1946 achievement, ANNIE GET YOUR GUN.

In American Musical Comedy, an October, 1956

telecast that is included in The Joy of Music (Simon

and Schuster), Leonard Bernstein noted that ‘‘the

American musical comedy [is] a magic phrase. We

seem to be addicted to it; we pay enormous sums to

attend it; we discuss it at breakfast and at cocktail

parties with passion otherwise reserved for elections

and the Dodgers. We anticipate a new musical comedy

of Rodgers and Hammerstein or of Frank Loesser with

the same excitement and partisan feeling as Milan

used to await a new Puccini opera, or Vienna the latest

Brahms symphony ... the American musical theater

has come a long way, borrowing this from opera, that

from revue, the other from operetta, something else

from vaudeville—and mixing all the elements into

something quite new...” |

Some of the very best of the music that the ‘‘magic

phrase,’’ American musical comedy, connotes is con-

tained in this album. The arrangements are clear and

faithful to the originals; the singing is attractive and

accurate; and the engineering allows these VOICES

IN SONG to come out of your loudspeakers with a

_ presence and a stunning illusion of reality that will

add to your enjoyment of the music itself. This, like

the other projects in TIME’S SERIES 2000, is intended |

_to indicate how much totality of enjoyment high fidelity

sound has made possible.

One wonders what the Roman writer, Marcus Vir-

tuvius Pollio would have thought of these truly superior

high fidelity recordings. He wrote centuries ago: ‘‘Voice

is a flowing breath of air, perceptible to the hearing by

contact. It moves in an endless number of circular

rounds, like the innumerably increasing circular waves

which appear when a stone is thrown into smooth

water, and which keep on spreading indefinitely from

the centre, unless interrupted by narrow limits, or by

some obstruction which prevents such waves from

reaching their end in due formation.”

Here there are rounds upon rounds of waves en-

circling the room in flowing streams of air that place

you in a seat for a Broadway show, the like of which

has never existed before.

PERSONNEL AND INSTRUMENTATION

The following were the musicians

who performed on...

ONCE IN LOVE WITH AMY, FRIENDSHIP,

TOMORROW MOUNTAIN, ON THE STREET WHERE

YOU LIVE, BEWITCHED, YOU’RE JUST IN LOVE:

Stan Webb, flute, tenor and baritone sax

Romeo Penque, flute, clarinet, baritone sax

James Maxwell, trumpet

Mel Davis, trumpet

Joe Wilder, trumpet

Chauncey Welsch, trombone

Bob Alexander, trombone

Tommy Mitchell, bass trombone

Irving Joseph, piano

Barry Galbraith, guitar

Milt Hinton, bass

Osie Johnson, drums

Bob Rosengarden, percussion

on

SURREY WITH THE FRINGE ON TOP,

MUTUAL ADMIRATION SOCIETY, NO BUSINESS

LIKE SHOW BUSINESS, IT’S ALL RIGHT WITH ME,

EVERYTHING’S COMING UP ROSES,

76 TROMBONES the following performed:

Stan Webh, flute, clarinet, tenor and baritone sax

Don Hammond, piccolo, flute, clarinet, baritone sax

Bernie Glow, trumpet

Joe Wilder, trumpet

Mel Davis, trumpet

Bob Alexander, trombone

Chauncey Welsch, trombone

Tommy Mitchell, bass trombone

Irving Joseph, piano

Barry Galbraith, guitar

Eddie Safranski, bass

Osie Johnson, drums

Ted Sommer, percussion