1967

Madama Butterfly - Puccini

Madama Butterfly – Puccini

Sleeve Notes:

The action of Madama Butterfly lakes place in the early 1900s, at Nagasaki, Japan. After a brief orchestral introduction, the curtain rises on the exterior of Pinkerton’s house, set against the background of the hay. the harbour, and the town Benjamin Franklin Pinkerton, a lieutenant in the United States Navy, is being shown over the little house which he intends to occupy during his brief stay in Japan.

Sharpless, the U S Consul, arrives, and the opening bars of The Star-Spangled Banner’ are heard Pinkerton tells the Consul of the beautiful Japanese girl he has met (Dovunque al mondo) and whom he intends to marry, but with the privilege of annulling the marriage at any time. The consul does his best to dissuade his compatriot, convinced that no good will result, but Pinkerton will not be deflected from his course, and flippantly proposes a toast to America.

Goro announces the approach of the bridal party and the voice of Butterfly is heard (Ancora un passo or via) and with the serenely beautiful Spira sul mare e sulla terra she appears at the little wicket gate opening into the garden, looking radiantly happy, her arms filled with flowers Her relatives and friends assemble and the quaint ceremony of the signing of the marriage contract takes place While the guests are enjoying the delights of the table. Butterfly draws her husband aside and asks if she may retain a few souvenirs—a handkerchief, a mirror, a fan and a dagger m a ceremonial sheath. At the height of the festivities. Co-Co-San’s uncle, a Japanese priest, rushes in. He is furious with his niece for deserting her faith to marry an alien. Butterfly’s relatives and friends turn against her and leave hurriedly, with curses on their lips, leaving Pinkerton with his weeping bride.

Darkness falls and Suzuki. Co-Co-San’s maid, brings out a white kimono for her mistress to replace the ceremonial garment. Pinkerton takes his bride on to the terrace and clasped in each other’s arms, they sing ecstatically of their love (Bimba dagli occhi pieni di malia).

The interior of the house is seen when the curtain rises on tire second act Three years have passed and Pinkerton’s vessel has long left Japanese waters, but his wife still occupies the little house he bought. The faithful Suzuki still serves her mistress and there is an additional member of the household in the person of little “Trouble”, Butterfly’s son by Pinkerton.

Suzuki prays before an image of the Buddha, but Butterfly refuses to pray to a Japanese god. She fervently hopes that her husband’s God will answer her prayer that Pinkerton will return when the robins nest. She then sings the famous aria Un bel di, vedremo. assuring Suzuki that Pinkerton will return and that there will be a joyful reunion.

As she finishes the aria. Sharpless arrives with Goro the marriage broker. Sharpless tells Co-Co-San that he has received a letter from Pinkerton. She expresses her joy but Goro urges her to remarry and introduces a wealthy suitor, Yamadori. She replies that it is not possible as she is already married. Goro tells her that Pinkerton’s desertion gives her grounds for divorce, but she is confident that he will return. She runs out of the room and returns with a child in her arms. Sharpless asks. “Is this his child?” “Yes.” replies Butterfly, “his name is Trouble, but soon he will be called Joy.” Sharpless tries to read Pinkerton’s letter, m which he tells of his marriage to an American girl, but she interrupts and asks the Consul to write to Pinkerton and tell him what a beautiful son he has Taking the baby m her arms, she sings Che tua madre dovra prenderti un braccio, during which she bids the child not to believe the bad man who says his father will not return.

Sharpless leaves, and soon afterwards the boom of a cannon is heard. It is Pinkerton’s ship, and Co-Co-San tells Suzuki to fill the house with flowers The two sing the lovely Flower Duet (Scuoti quella fronda di ciliego… tutti I fior) Butterfly, her baby, and Suzuki silently await Pinkerton’s arrival as twilight steals over the room, and a lovely haunting melody is heard from an unseen chorus of humming voices.

The final scene shows dawn approaching, but the three figures keep their vigil, the music of the Intermezzo suggesting the brightening mom Suzuki and the child sleep, but Butterfly has not closed her eyes the long night through. The music of the Intermezzo runs straight into the singing of sailors from afar (Oh eh! Oh eh!). As sunshine fills the room, Suzuki awakens and Butterfly carries her son into an adjoining room. Hardly has she gone than Pinkerton arrives with Sharpless. Suzuki is overjoyed, but they bid her to be silent She sees an American woman in the garden and Sharpless tells her it is Pinkerton’s American wife, who has come to adopt the child. Sharpless advises Pinkerton to withdraw, so that he may tell Butterfly the cruel truth alone Before leaving, Pinkerton takes a sad farewell of his Japanese home (Addio fiorito asil) Suzuki cries out despairingly and Butterfly rushes in expecting to find Pinkerton The truth dawns on her and she agrees to give up her child, but asks half an hour’s grace Left alone, she takes the dagger from its sheath, and reads the words inscribed on it. Con onor muore chi non puo serbar vita con onore (Die with honour when it is impossible to live with honour) A sliding door opens and Suzuki pushes the child towards his mother, who bids him a poignant farewell Then, taking the dagger, she goes behind a screen and the knife is heard to fall from her hand She staggers forward, takes the child’s hand, and falls lifeless. Pinkerton rushes in, sobbing with grief and shame. As the curtain falls, Sharpless picks up the child and turns away, while a solemn Japanese melody is thundered out by the orchestra.
ART & SOUND LTD. 1967

Madama Butterfly - Puccini

Label: SAGA XID 5172

1967 1960s Covers

London Symphony Orchestra - Scheherazade

London Symphony Orchestra – Scheherazade

Sleeve Notes:

Few works in the entire literature of orchestral music can match Scheherazade for brilliance, appeal or vividness of instrumental coloring. But then, few composers have possessed the wizardry to orchestrate music as did Rimsky-Korsakov. And until now, it has been difficult to reproduce the full spectrum of the composer’s palette on records. Thanks to advanced recording techniques every subtle oriental shading, every overtone of this sumptuous symphonic suite can be enjoyed with startling realism in the home.

Actually, Rimsky-Korsakov learned the art of orchestration relatively late in life. At the start of his career, music played a secondary role, for he started out as a naval officer. It was only at the insistence of the composer Mily Balakirev that be accepted a professorship of composition and orchestration at the St. Petersburg Conservatory. There at first, be learned more from his pupils than they from him. Meanwhile, the Navy appointed Rimsky-Korsakov, Inspector of Naval Bands. The combination of these two positions, plus a great deal of study of counterpoint, composition and orchestration, succeeded in giving him the technical equipment to support his already inventive intuitive musical ideas.

Rimsky-Korsakov composed Scheherazade during the summer of 1888, completing it early in August. It was first per-formed the following winter at the Russian Symphony Concerts in St. Petersburg.

Considering the opulence and infinite variety of sounds produced in this symphonic suite, the instrumental requirements of the score are relatively modest. They are: two flutes, piccolo, two oboes, English horn, two clarinets, two bassoons, four horns, two trumpets, three trombones, tuba, kettledrums, bass drum, snare drum, cymbals, triangle, tambourine, tam-tam, harp and strings. The work bears a dedication to the critic, Vladimir Stassov.

Prefacing the score of Scheherazade are the following introductory remarks, written by the composer:

“The Sultan Schahriar, persuaded of the falseness and the faithlessness of women, has sworn to put to death each one of his wives after the first night. But the Sultana Scheherazade saved her life by interesting him in tales which she told him during one thousand and one nights. Pricked by curiosity – the Sultan put off his wife’s execution from day to day, and at last gave up entirely his bloody plan.

“Many marvels were told Schahriar by the Sultana Scheherazade. For her stories the Sultana borrowed from poets their verses, from folks songs their words; and she strung together tales and adventures.

No composer has been as communicative as Rimsky-Korsakov in informing us of his aims and achievements. In his autobiography, My Musical Life, he has much to say about Scheherazade.

“The program I had been guided by in composing Scheherazade,” he writes, “consisted of separate, unconnected episodes and pictures from The Arabian Nights, scattered through all four movements of my suite: the sea and Sinbad’s ship, the fantastic narrative of the Prince Kalendar, the Prince and the Princess, the Bagdad festival and the ship dashing against the rock with the bronze rider upon it. The unifying thread consisted of the brief introductions to Movements I, II and IV and the intermezzo in Movement III, written for violin solo and delineating Scheherazade herself as telling her wondrous tales to the stern sultan. The final conclusion of Movement IV serves the same artistic purpose. In vain do people seek, in my suite, leading motives linked unbrokenly with ever the same poetic ideas and conceptions. On the contrary, in the majority of cases, all these seeming leis-motives are nothing but purely musical material or the given motives for symphonic development. These given motives thread and spread over all the movements of the suite, alternating and intertwining each with the other. Appearing as they do each time under different illumination, depicting each time different traits and expressing different moods, the self-same given motives and themes correspond each time to different images, actions and pictures. Thus, for instance, the sharply outlined fanfare motive of the muted trombone and trumpet, which first appears in the Kalender’s Narrative (Movement II) appears afresh in Movement IV, in the delineation of the wrecking ship, though this episode has no connection with the Kalender’s Narrative. The principal theme of the Kalender’s Narrative (B minor, 3/4) and the theme of the Princess in Movement III (B fiat major, 6/8, clarinet) in altered guise and quick tempo appear as the secondary themes of the Bagdad festival; yet nothing is said in The Arabian Nights about these persons taking part in the festivities. The unison phrase, as though depicting Scheherazade’s stern spouse, at the beginning of the suite appears as a datum, in the Kalendar’s Narrative, where there cannot, however, be any mention of Sultan Schahriar. In this manner, developing quite freely the musical data taken as a basis of the composition, I had in view the creation of an orchestral suite in four movements, closely knit by the community of its themes and motives, yet presenting, as it were, a kaleidoscope of fairytale images and designs of oriental character . . . Originally I had even intended to label Movement I of Scheherazade – Prelude; – Ballade; III – Adagio; and IV – Finale; but on the advice of Liadov and others I had not done so. My aversion for the seeking of a too definite program in my composition led me subsequently (in the new edition) to do away with even those hints of it which had lain in the headings of each movement, like: The Sea; Sinbad’s Ship; the Kalendar’s Narrative, etc.

“In composing Scheherazade I meant these hints to direct but slightly the hearer’s fancy on the path which my own fancy had travelled, and to leave more minute and particular conceptions to the will and mood of each. All I had desired was that the hearer, if he liked my piece as symphonic musk, should carry away the impression that it is beyond doubt an oriental narrative of some numerous and varied fairy-tale wonders and not merely four pieces played one after the other and composed on the basis of themes common to all the four movements. Why then, if that be the case, does my suite bear the name, precisely, of Scheherazade? Because this name and the title The Arabian Nights connote in everybody’s mind the East and fairytale wonders; besides, certain details of the musical exposition hint at the fact that all of these are various tales of some one person (which happens to be Scheherazade) entertaining therewith her stern husband.

Notes by PAUL AFFELDER

London Symphony Orchestra - Scheherazade

Label: Hallmark HM 512

1967 1960s Covers

The Mike Sammes Singers - Somewhere My Love - Mike Sammes appeared on The Beatles album known as The White Album

The Mike Sammes Singers – Somewhere My Love

Sleeve Notes:

I think it true to say that everyone associated with the world of show business, and particularly with the recording industry, was delighted when the Mike Sammes Singers scored a chart success with the haunting “Somewhere My Love’ from the film ” Dr. Zhivago”. For many years, they have been acknowledged as one of the most hard-working and under-rated groups in Britain, and their hit parade entry was warmly acclaimed as both overdue and thoroughly justified.

Mind you, recordings on which the Sammes Singers were featured had previously tasted chart glory—but only in the role of a backing group accompanying a star soloist. Indeed, there are literally scores of such best-selling discs which—although their success cannot, perhaps, be directly attributed to the Sammes team—have been given added lustre, colour and sparkle by the contributions of this versatile and highly adaptable bunch of boys and girls. It is an accepted fact that the hit potential of any record is dependent upon a subtle combination of the right song, the right singer and the right backing—and these three factors are, in their own way, equally important. On how many occasions, for instance, have you heard the “Juke Box Jury” panel discussing the backing of a record, and declaring it to be the best part of the disc? Well, the Sammes Singers cannot claim to have been responsible for selecting songs or singers, but they have played a prominent part in the backings of numerous Top Twenty hits—and there’s many an international star who’s grateful to them for their assistance. The group has also fulfilled a similar accompanying function on countless television shows, including the top-rated “London Palladium Show”.

It was ironic that the group should have been so closely associated with stardom, without actually sampling it for themselves, more especially bearing in mind (as has now, happily, become common knowledge) that they are extremely accomplished performers in their own right. I don’t know why it should have taken so long for their reputation to blossom—possibly it is something to do with the all-powerful dominance of the beat groups, and the fact that pop fans have at last begun to swing back to an appreciation of melody rather than noise. In any event, “Somewhere My Love” (which, by the way, secured a hit for Mike Sammes in the teeth of competition from at least six rival versions by, at the time, better-known artists) was the turning of the tide. And the man-in-the-street has belatedly realised that, in the Mike Sammes Singers, we in Britain have our own home-grown answer to America’s top singing groups.

It is appropriate that his new showcase for the group should open with the song with which it is so closely linked. However, lest you should think that the Singers are restricted to romantic and sentimental ballads of this nature, I suggest you listen to a few of the other tracks which amply demonstrate their wide range and flexibility—as, for instance, the cheeky little Irish ditty “I’ll Tell Me Ma”, the exotic enchantment of the calypso-flavoured “Lemon Tree”, and the captivatingly seductive bossa nova setting of “The Shadow Of Your Smile”. My own particular favourite is the unusual martial treatment of the majestic “Born Free”, the first all-British composition ever to win a Hollywood Academy Award as the `Best Film Song of the Year’. But doubtless you will choose your own special favourite. Certainly there is plenty from which to select–items in the currently popular sing-along vein, like “Somebody’s Thinking Of You Tonight” and “I Will Wait For You”; songs which have had a smash-hit impact upon the hit parade, here given a completely new and distinctive styling, such as “Strangers In The Night” and “Somewhere”; a few slightly lesser-known items, like the poignantly charming “Lace Covered Window”; film songs, show songs—they’re all here! And all endowed with one over-riding quality—an irresistible melody . . . delightfully, competently and refreshingly performed. If proof were needed that the Mike Sammes Singers have now emerged as one of Britain’s foremost groups, this collection provides it. For my part, I can think of none other with such widespread family appeal. And after sitting on the touch-line for so long, who would say that they are unworthy of the high esteem in which thy are now held?

DEREK JOHNSON.

Side One 1. SOMEWHERE MY LOVE (Lara’s Theme from “Dr. Zhivago”) (Webster—Jarre) 2. SUNRISE, SUNSET (from “Fiddler on the Roof”) (Harnick—Bock) 3. STRANGERS IN THE NIGHT (Singleton—Snyder—Kaempfert) 4. THE SHADOW OF YOUR SMILE (from film “The Sandpiper”) (Webster—Mandel) 5. I’LL TELL ME MA (Trad.—arr. Sammes) 6. SOMEWHERE (Unaccompanied) (from “West Side Story”) (Bernstein—Sondheim) Side Two 1. SOMEBODY’S THINKING OF YOU TONIGHT (Powell—Symes—Schuster) 2. I WILL WAIT FOR YOU (Umbrellas of Cherbourg) (Legrand—Gimbel) 3. LEMON TREE (Holt) 4. WHAT DO I DO? (Paul) 5. LACE COVERED WINDOW (Westlake—Lobsa) 6. BORN FREE (from film “Born Free”) (Barry—Black)

Label: His Master’s Voice CSD 3621

1967 1960s Covers

Paul Mauriat and His Orchestra - Blooming Hits - a splendid record cover from Cover Heaven

Paul Mauriat and His Orchestra – Blooming Hits

Sleeve Notes:

Paul Mauriat is an original, a young master, filling his musical masterpieces with a kaleidoscope of amazing sound variety. It is one thing to take an evergreen and shape it into a slick modern arrangement. But it is an entirely different matter to take the “now” music of today, considered by critics to be the most imaginative and creative in the history of pop music, and orchestrate it in such a way that it emerges entirely new and vital and from that day forward the property of Mauriat.

It’s like seeing an especially favorite film suddenly and unexpectedly presented in radiant technicolor.

For this album the exciting Mauriat Orchestra presents a wonderful pop-pourri. There are songs from the Top Ten, familiar and at the same time distinctfully different. “A Kind Of A Hush,” is a softly rocking symphony, featuring, of all unusual instruments, a harpsichord. “Somethin’ Stupid,” originally sung by the Sinatras, pere et fille, is transformed into a Latin melody, a wonderful combi-nation of the lyrical and the dramatic.

The top beat music composers are well represented. The songwriting Beatles, Lennon and McCartney, by “Penny Lane,” and Cher’s Sonny by “Mama.” The former emerges as a musical distillation of the composition. Again the harpsichord is pleasantly evident, but there is also an incredible horn solo complete with scat riffs. “Mama’s” muted horn slices through an intricate counter melody, with the harpsichord keeping the beat. Hardly as Mr. Bono imagined, but nonetheless extremely successful.

There are other surprises: the first prize winner in the Eurovision, 1967 song contest, “Puppet On A String,” as bright and happy as a street band sprinkled with the confetti of circus music; two from the films. The wistful and haunting “This Is My Song,” from Charlie Chaplin’s THE COUNTESS FROM HONG KONG. Chaplin’s music is almost old-fashioned in concept, but Mauriat has endowed it with such subtlety and nuance that it forms a nostalgic, lasting impression. “Goodbye To The Night,” is one of the themes from the suspenseful THE NIGHT OF THE GENERALS. Here suspense is not stressed. Instead, voices and piano join forces, violins soar, and the melody becomes truly majestic.

There are other songs. The powerful “Inch Allah,” the incurably romantic “Seuls Au Monde,” “L’Amour Est Bleu,” where rock-beat is combined with chamber music styles.

A recent quote states: “The Paul Mauriat Orchestra is the one to watch for innovations in modern sound.” But watch, is not the word. Mauriat’s artistry is on an entirely different sensory wave length. Listen! And you’ll hear the new sound for the now generation.

Dick Lochte

Paul Mauriat and His Orchestra - Blooming Hits - a splendid record cover from Cover Heaven

Label: Phillips SBL 7837

1967 1960s Covers

Joe Loss And His Orchestra - Top Pop Dance Time

Joe Loss And His Orchestra – Top Pop Dance Time

Sleeve Notes:

Side One

Quickstep Medley: I’m A Believer, Simon Smith And The Amazing Dancing Bear, The Happening, Georgy Girl

Latin Medley: What Would I Be, Memories Are Made Of This, Up Up And Away

Slow Foxtrot Medley: Let’s Go To San Francisco, Silence Is Golden, It Must Be Him (Seul Sur Son Etoile)

Beat Medley: She’d Rather Be With Me, The House That Jack Built, Flowers On The Wall, Penny Lane

Side Two

Quickstep Medley: Here Comes My Baby, Morningtown Ride, Pleasant Valley Sunday, Thoroughly Modern Millie

Waltz Medley: Funny, Familiar, Forgotten Feelings, There Goes My Everything, The Last Waltz

Slow Foxtrot Medley: Just Loving You, San Francisco (Be Sure To Wear Some Flowers In Your Hair), A Whiter Shade Of Pale

Beat Medley: Even The Bed Times Are Good, Itchycoo Park, The Boat That I Row, Ha! Ha! Said The Clown

Joe Loss And His Orchestra - Top Pop Dance Time

Label: HMV CSD 3644

1967 1960s Covers

Mireille Mathieu

Mireille Mathieu

Sleeve Notes:

La Derniere Valse, La Vieille Barque, Quand Fera-T-Il Jour Camarade, En Ecoutant Mon Coeur Chanter, Ponts De Paris, Un Monde Avec Toi, Les Yeux De L’Amour, La Chanson De Notre Amour, Chant Olympique, Seuls Au Monde, Quelqu’un Pour Toi, L’Amour

Mireille Mathieu

Label: Columbia SX 6210
photo: H Vassal

1967 1960s Covers

Alex Stordahl and His Orchestra - Magic Islands Revisited

Alex Stordahl and His Orchestra – Magic Islands Revisited

Sleeve Notes:

New York born And Stordahl is one of the most distinguished musical personalities in motion pictures, television and radio.

Primarily self-taught, Mr. Stordahl went from Staten Island’s Port Richmond High School to a famous resort, where he joined Bert Block’s band. He remained with Block for three years.

Today, with close associations with some of America’s greatest musical names, Mr. Stordahl is one of the most accomplished and sought-after conductors in practically every medium of entertainment.

About The Music
This album is a musical visit (return visit, actually) to the Magic Islands.

We have tried, through spontaneously authentic and sensitive arrangements, the superb orchestral artistry of Axel Stordahl, and one of the most successful exploitations of High Fidelity to date, to bring the Magic Islands to you in all their lavish splendour.

Here is music that represents the enchantment of today’s Hawaii, while at the same time reflecting on a history rich in tribal tradition, the unprecedented courage of ancient warriors, and the Hawaiian’s natural instinct for harmony and rhythm.

In order that your musical “stay” in the Magic Islands is uninterrupted, and the delightful mood free of distractions, the talents of the Gene Rains Group – bright young natives of Oahu – beautifully bridge Mr. Stordahl’s beautiful interpretations.

We like to think we have, in so doing, created something more than an outstanding musical performance. We think you might find in “The Magic Islands Revisited” an almost tangible experience.

Alex Stordahl and His Orchestra - Magic Islands Revisited

Label: Ace of Hearts AH 134

1967 1960s Covers

The Tequila Brass - A Taste Of Tijuana

The Tequila Brass – A Taste Of Tijuana

Sleeve Notes:

Tijuana is a town often described as “Mexican” but it is in fact on the border of lower California and Mexico, on the West Coast, south of San Diego. It is a medium-sized town that has achieved international fame through the most extraordinary medium – the mariachi trumpet. Ever since Herb Alpert produced his first Mexican sound nearly three years ago, the foot-tapping music of the Mexican fiesta has grown in popularity, until it is now the most exciting dancing sound in the world.

The mariachi trumpet, with its hot, harsh tone, is the key instrument in a Mexican brass band. Backed with maraccas, bongos and guitars, the sound produced is as exciting and colourful as a day in Tijuana itself.

THE TEQUILA BRASS are one of the leading groups playing Tijuana music. They have been together for more than six years, but it is only recently that they have become so much in demand all over Central America. Their versions of the popular melodies on this record – a little jazz, a little cha-cha, a little Dixieland – make it a real “fiesta” sound, as gay and amusing as a Mexican festival.

© ART & SOUND LTD 1967

The Tequila Brass - A Taste Of Tijuana

Label: Saga Records ERO 8045

1967 1960s Covers

Bill Shepherd and his Border Brass - Tijuana Style

Bill Shepherd and his Border Brass – Tijuana Style

Sleeve Notes:

Tijuana, the exciting, exotic new sound for Brass, born of the fertile arranging genius of Herb Alpert, has hit the popular music scene with a never-to-be-forgotten impact. Record after record of “The Tijuana Sound” has swept to the top of the charts in incredible fashion. With pride, ALLEGRO RECORDS present this, their first “Tijuana” album, featuring some of Britain’s best loved melodies; and to do full justice to this fresh, taut, rhythmic sound we have commissioned the versatile Bill Shepherd for the musical arrangements and also to conduct his fabulous “Border Brass”. This is a great album.

H. Jung

Bill Shepherd and his Border Brass - Tijuana Style

Label: Allegro ALL 847

1967 1960s Covers