An excellent cut, with wailing big band brass and cool vibes. The song is quite familiar - musically it is an early draft of the standard 'Black coffee', sounding similar, but slightly sped-up. The percussion is also excellent - lots of bongos. Overall, the sound recalls some of Mancini's best 50s work, but somehow sounds even more vital and brilliant to me. Milt's work on the vibes also seems to have influenced Angelo Badalamenti (his David Lynch soundtrack work, anyway), and the solo work of Barry Adamson.
totally amazing, swinging piece of japanese vocal-centered 60's big band sound. i´m especially fond of the tarzan-esque way her voice bends at about 2:54, and the uh! ah! sounds of the backup singers. this needs to get its own movie scene ala the big dance number in sabu's "monday", if anyone's seen that.
Sem Sinatra: I totally agree with the above. It's by far the best song I've heard by Jun Mayuzumi. Her later songs veer dangerously into Enka (Melodramatic and melancholy but largely very dull Japanese popular song) sardonicsmile: oh, i own this 7" too! both sides are great, and so are her gutsy and fun vocals.
An outstanding live reading of this song recorded by Talking Heads’ “big band” on the tour to support “Remain in Light” in 1980. Augmenting their original quartet with six extra players, the sound of the group is huge and funky, but appropriately paranoid. Check out the use the of Adrian Belew’s freaky guitar textures – here between stints w/Bowie and Robert Fripp’s soon to be reformed King Crimson, and Dolette McDonald’s cinematic background vocals on the song’s break. (It’s all very Morricone-damaged, I think). And David Bryne is @ the absolute height of his powers, here.
from The Name of the Band is Talking Heads, available on CD ()
In my experience John Gregory is one of the most consistently superb British arrangers of the 60s and 70s. I've never really heard anything I didn't like by him, although I understand that he was very prolific and that I've barely scratched the surface so far.
His arrangements have simultaneously a bite and a beauty that few others were able to match. Although not much of his work is available on CD, there's one excellent disc, 'Mission Impossible and other themes', that compiles most of his 'big band crime jazz' work, dating from the early 1960s to the mid 1970s. The disc isn't very excitingly packaged and can be had very cheaply, but it's full of outstanding tracks.
'Fire and Rain' is from a 70s album (I have it on a Philips sampler from the early 70s), and is a sumptuously arranged instrumental in the vein of some of the work of other British arrangers of the era, such as Johnny Harris and John Schroeder.
Of course, the song was written and originally recorded by James Taylor. His track is quite nice, but maybe it helped that I came to this version 'fresh', without having heard the original. This happens to me a lot, and Gregory's full arrangement and jazzy touches definitely elevate the track for me.
The melody is carried by a beautifully played trumpet, and later by the strings. There's a strong beat throughout, and a particularly groovy break towards the end with some great brass.
Got a haircut today (short, choppy, fab). Getting a haircut often makes me think of June because she did have the greatest barnet ever - that fringe!
So I've pulled out my June collection - a paltry 4 LPs but growing - and am lovin' a bit of this tonight. The instrumentation here reminds me a lot of Ella Mae Morse's corner of the market, someone I should really get around to recommending on this site.
How High The Moon opens gentle as duck down, moving into a light finger snappin' mood then onto a heavy big band scat rhythm. Christy's technique is superlative and you can almost hear her intuitively measuring the band, taking each note perfectly.
This LP is a set of re-interpretations of songs June originally sang with the Stan Kenton Orchestra. Being a June novice, I'm not aware of the original version but I doubt I could like it more.
from June Christy Recalls Those Kenton Days (Capitol ST 1202)
Wonderful (nearly) instrumental Big Band arrangement, short but with a dynamic plot with gently humming singers and powerful horns. In my opinion a great and swinging piece of art, it makes me think of the gone era of great gala shows.
never liked musicals, especially not the ones done by andrew lloyd webber. this one though is a whole different story! strange moog sounds mixed with big band jazz.
available on CD - the sound gallery vol 1 (scamp)
n-jeff: It actually sounds better on the Sound Gallery Comp than the original Studio 2 LP (if you play the vinyls back to back), The other track lifted from this LP for the Sound Gallery I Feel the Earth Move, is the other stand out track. Along with the beefy Moog Bassline I love the harmonica on JCS, and used to double this up with Grooving with Mr Bloe.
Man! You really have to get up early in the morning to find tracks like this. LA big band funk, banks of brass, electric bass throbbing away, and the hard hitting Jimmy Gordon on drums! But the best part is the vocals, done it a way that makes it sound like an Odeon recording from late 60's Brazil!... Stunning. The rest of the LP is no slouch either though, and reminds me a lot of Quincy's late 60's work and the Project 3 era Enoch Light stuff.
Highly recommended to lounge DJ's and fans of mod rarities.
Richards unique take on this standard is unlikely in the extreme.
Recorded for Vee Jay records in 1964 as am album track it seems it only appeared on 45 an "Oldie".
Almost big band in style it's about as jazzy as richard ever got-so far ! It's available on numerous re-issue albums.
I was heard a female version -same backing but different tune and lyric. I've never managed to find out what it is.
from Little Richard Is Back (Vee Jay Vee Jay LP1107)
This is my first recommendation, so I will go easy on all of you. The following description is from my website. (it is the only way to do the song justice):
This can only be compared to something like "Retro-60's Upside-down Elevator Muzak".
(although it certainly draws from 20's/ 30's Big Band escapism)
The thing is, if this actually were playing in an elevator, the people there would certainly perform an odd ritual of alternately:
a. Merrily tapping their foot, and then
b. Looking up at the speaker, frowning and befuddled.
This is a song, which back in my partying days, we would use as a soundtrack for the following activity:
We would put our tiny baby Alligator Lizard, Festus
(who was an inch long, head to tail, and smaller around than a pencil)
...we would put him on this cheap little multi-colored fiber-optic "fountain" and put the clear cube back over it.
We would then watch as this "fountain" would very slowly spin around, Festus aboard, with this completely absurd (but oddly beautiful) music playing.
This produced near-catastrophic laughter because he would be looking up at you with this little tiny frown, as if to say;
"what the hell is wrong with you people?"
To this day, I cannot properly answer that question.
The sax is not my favorite instrument, but it is perfectly utilized here. It wavers between slightly obnoxious and smooth as silk.
What really make the track sweet, however are the unique guitar stylings of Snakefinger.
I came across this on what's probably quite an obscure compilation called Surfbeat Behind the Iron Curtain Vol 2. I know very little about it. It's kind of like classic surf, but with some overtly 50s big band influences thrown in. The production sounds very odd - I'd guess this was recorded maybe in the early 1970s but I could be way off. Lots of nice horns and reverb-laden guitar and some weird radio-interference type effects.