JOv2
Well-Known Member
Though a notable accomplishment, Warm wasn’t a TjB-friendly album; and by 1971 it must have stood more of a symbolic gesture than an overt musical statement and solo launching pad for HA.
It was a cheerless state of affairs that by the 1970s, non-“rock”-based instrumental music was corralled under the death-knell of LP-industry marketing categories, “Easy Listening”…where HA, unfairly, would be sharing counter space with the likes of Percy Faith and Montavoni. This is unfortunate given Herb modernized instrumental music relative to moldy figs like Ray Conniff who seemed to make a musical living out homogenizing pop trends into monotonous grocery-shopping music. Such are the ills of pop mu$ic. As hip as the TjB sound was in 1966, by 1969, their music was nearly as unhip as the latest Billy Vaughn LP. Given TjB compatibility with mainstream/progressive pop artists of 1966 (Loving Spoonful, Yardbirds, Kinks, Association, et al), three summers later, the harder-edged sounds of Jethro Tull, The Doors, and Jefferson Airplane had left HA in the dust. Not that the TjB didn’t evolve – they certainly did – but their changes were not consistent with the landslide transformations exhibited by new pacesetters. The TjB were not alone. Many “pre-Beatles” or “non-rock” artists were casualties of the 1964-69 pop revolution. As a good friend of mine recently suggested: the “biz” is only about selling records…and at a place like Columbia, by 1968, they had their rosters overflowing with artists who were no longer in the company’s economic interests…and they had to clean house. Of course, Herb commanded his own ship, and even though the TjB was musically (and spiritually) finished off with BOTB, HA continued to press on for another year or so via the issuance of three additional TjB LPs. The fact that each of these three albums were artistically isolated endeavours (a Christmas album, an album that appears devoid of TjB-band participation, and a TV soundtrack LP) speaks dimensions regarding HA/TjB direction from summer ’68 onward.
Herb probably had a contractual obligation for another TV special – and although it remains unknown if the original premise of the show was to say “audios amigos”, at some point in the planning production stages it must have been determined that the show would serve as such a vehicle. The accompanying LP, therefore, is more of a soundtrack: The Brass Are Comin’ is a final fling LP, a final ride in the Tijuana Taxi…and Herb issued this “TV soundtrack” album in suitable step-to-the-rear fashion relative to the noteworthy Warm.
Unlike BOTB which was superior to Ninth in its cache of fine originals, TBAC offers no such comparable material. In fact the only unconcealed progressive nod on the LP is the use of electric piano on most numbers, and a pretty damn hot latinesque rhythm on one selection. The LP boasts a few orchestral arrangements including yet another non-TjB backed vocal number. Happy to report that HA detailed several arrangements in a memorable manner – an attribute keeping the LP from dwelling in the TjB cellar along with Ninth and Christmas Album. The LP aligns well with BOTB actually – but the exuberant and truly pace-setting days of GP–SL were clearly a distant memory by Autumn ’69.
Little Train. This imaginative choo-choo tone poem is quite tasty: The mechanical workings of a locomotive are exemplified courtesy of a novel “string ‘n horn band” arrangement incorporating cascading counterpoint voicings, a unique whole tone scale break, single-tone banjo solo, and an unresolved somber ending. Nick’s propulsive double-stroke open rolls (with the high-hat carrying the back beat) was a mastermind stroke. At once one of Herb’s most imaginative arrangements and the most risky opener for a TjB LP. [Apparently Herb painted at least two other recent tone poems on Christmas Album – Sleigh Ride and My Favouirite Things – that escaped my radar. Thanks to the eagle ears of Cornerites, I’m now much more sensitive to Herb’s use of a sound easel]. A+
Sunshine. One of the stronger performances, this selection contains the most Mexicana TjB offering since SOTB. The legato notes and full-bodied tone seem to indicate that either: (1) Herb actively makes stylistic changes to alter his tone; or (2) during 1967-69 Herb was an incredibly inconsistent technical trumpeter. This would have fit nicely on Vol. 2 – although it’s a bit too polished for the drunken-stupor feel of that LP. The song has lots of melodic twists and turns though, with its stock orchestral arrangement, it’s definitely on the “Mitch Miller” side of things.
Country Lake. Though listed as a fave among Corner contributors, this one never sat well with me. HA’s playing is too casual – carelessly so – in places. Nor is it one of Sol’s more memorial pieces. To my ears the TjB is totally upstaged by the hot pedal steel guitarist. The I – VI minor coda on the fade nicely concludes the song.
I'll Be Back. Herb’s technical abilities appear vulnerable on this touching ballad. The arrangement is beautiful, but the lead horn falls short at times. The reverb sounds hard and unnatural – makes me wonder if the A&M studios were not in the same sound league with Western in this regard. (The reverb since Sounds Like lacks the acoustical warmth of SOTB, GP and WNML.) To me, it sounds like Herb is tracking this one as there is nary a musical response from the other instrumentalists.
Moon River. The TjB-band section is quite nice (note the cool mandolin part) with some surprising voicings on the repeated releases during the coda. On the other hand, the “other” section…the pompous, bombastic arrangement – replete with big band and symphony orchestra – approaches the aural absurdity of cue music for an All-Star Studded TV Extravaganza Extra Special Hollywood Presentation Fancy-Schmancy Spectacular!!!!. Zzzzzz. (Personally, I think such kitchen sink arrangements could admirably benefit from a couple cycles of the waste disposer…or a sewage line back-up. Arranged by Dave Grusin.)
Maltese. This has a nice WNML/SRO feel…with a strong ensemble performance reminiscent of SL (but lacking the progressive feel of that impressive LP). Dig the great “Jewish wedding band” ending. Nice job.
Sunny. This forward-looking arrangement is exciting in its capturing and innovatively re-tooling the spirit of Warm and Zanzuera…and in doing so making the balance of the LP look rather anachronistic. Had Herb pushed ahead from Warm, his (non-TjB) follow-up LP may have sounded more akin to this. That “out there” guitar chord is a B sus b9. Following the vocal break, the rhythm shifts into Armageddon mode by having three rhythmic instruments – bongos, electric guitar, drum kit – play double-time [8/8] feel. Herb sails nicely through the ultra-cool chord progression (always have liked this one) with easily his most electrifying playing on the LP. A+
Cowhand. Finally! Hands down, the best throwaway arrangement in the TjB book! That little electric guitar intro lick is the perfect tease for this over-the-top cornball number. But wait! Direct from Neptune…comes a startling C-section vamp! Who would’ve imagined such an anomalous section break involving Nick’s ride cymbal triplets fueling a faux-modal electric piano part? Oh, the power of music. Dig that intoxicated trombone, baby! (I wonder what kinda ciggies Herb was smokin’ when he came up with this one~)
Anna. Probably the best “TjB” piece of the LP, this one feels like it’s gonna burst through into a jam – or at least a hot horn solo…again we’re teased. Fine arrangement.
Robbers and Cops. The LP has been an OK ride up to this point. However… This is meant to be a light-hearted romp, but where Cowhand was fresh and unique, this tune seems contrived. It’s very reminiscent of Cowboys & Indians in that it seems derivative, or an amalgamate, of “stock” TjB sounds.
Moments. John Piasno delivers an uncharacteristically mushy tune. I’d never figure John for something like this; easily his least impressive TjB offering – coming off as rather dispassionate.
You Are. I like how the LP label says “vocal by Herb Alpert”. (Whew! Glad that got cleared up…and all this time I thought Lou Pagani was singing.) It’s a shame that the TjB called it a wrap with this swampdog. Song, arrangement, and performance is unadulterated muzak; where Moments is uninteresting, this is unlistenable. (I see Dave Grusin is yet again responsible – his arranger’s baton batting 2-for-2 in cruddy arrangements on TBAC. He seems to favour overstated arrangements that not only get in the way of song but also force the lead voice into hand-to-hand combat. Must be his style, as I’ve noted this on some of the Brasil ‘66 LPs.)
In spite of the unflattering ending, TBAC is not all that bad an LP… Relative to Ninth or Christmas Album, TBAC is more imaginative and dynamic in its arrangements; additionally, the band seems to exhibit more salt-of-the-earth musical energy. On the other hand, it’s a patchy affair relative to historical TjB standards and at day’s end can only be regarded as a mediocre or disappointing entry in the TjB catalogue.
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I want to thank my e-friends out here who’ve encouraged me to continue posting review pieces: Seashorepiano, Mike, David, Rickster, Jay, Dan, Dave, Harry, Mr. Bill, Rudy, Cap’n D, and especially Mike B! Thanks guyz… I’ve learned a great deal writing about this fascinating music during that past three months – particularly when someone was highly critical of my opinions. Regarding the latter, we have good news and bad news: The good news is, of course, that this is the final installment – so all those that I’ve made “sick” can begin to hobble along the road to recovery – may god speed you back to good health. The bad news is…well…let’s just put it this way: “so many A&M artists…so little time!”
Musically e-yours,
James
It was a cheerless state of affairs that by the 1970s, non-“rock”-based instrumental music was corralled under the death-knell of LP-industry marketing categories, “Easy Listening”…where HA, unfairly, would be sharing counter space with the likes of Percy Faith and Montavoni. This is unfortunate given Herb modernized instrumental music relative to moldy figs like Ray Conniff who seemed to make a musical living out homogenizing pop trends into monotonous grocery-shopping music. Such are the ills of pop mu$ic. As hip as the TjB sound was in 1966, by 1969, their music was nearly as unhip as the latest Billy Vaughn LP. Given TjB compatibility with mainstream/progressive pop artists of 1966 (Loving Spoonful, Yardbirds, Kinks, Association, et al), three summers later, the harder-edged sounds of Jethro Tull, The Doors, and Jefferson Airplane had left HA in the dust. Not that the TjB didn’t evolve – they certainly did – but their changes were not consistent with the landslide transformations exhibited by new pacesetters. The TjB were not alone. Many “pre-Beatles” or “non-rock” artists were casualties of the 1964-69 pop revolution. As a good friend of mine recently suggested: the “biz” is only about selling records…and at a place like Columbia, by 1968, they had their rosters overflowing with artists who were no longer in the company’s economic interests…and they had to clean house. Of course, Herb commanded his own ship, and even though the TjB was musically (and spiritually) finished off with BOTB, HA continued to press on for another year or so via the issuance of three additional TjB LPs. The fact that each of these three albums were artistically isolated endeavours (a Christmas album, an album that appears devoid of TjB-band participation, and a TV soundtrack LP) speaks dimensions regarding HA/TjB direction from summer ’68 onward.
Herb probably had a contractual obligation for another TV special – and although it remains unknown if the original premise of the show was to say “audios amigos”, at some point in the planning production stages it must have been determined that the show would serve as such a vehicle. The accompanying LP, therefore, is more of a soundtrack: The Brass Are Comin’ is a final fling LP, a final ride in the Tijuana Taxi…and Herb issued this “TV soundtrack” album in suitable step-to-the-rear fashion relative to the noteworthy Warm.
Unlike BOTB which was superior to Ninth in its cache of fine originals, TBAC offers no such comparable material. In fact the only unconcealed progressive nod on the LP is the use of electric piano on most numbers, and a pretty damn hot latinesque rhythm on one selection. The LP boasts a few orchestral arrangements including yet another non-TjB backed vocal number. Happy to report that HA detailed several arrangements in a memorable manner – an attribute keeping the LP from dwelling in the TjB cellar along with Ninth and Christmas Album. The LP aligns well with BOTB actually – but the exuberant and truly pace-setting days of GP–SL were clearly a distant memory by Autumn ’69.
Little Train. This imaginative choo-choo tone poem is quite tasty: The mechanical workings of a locomotive are exemplified courtesy of a novel “string ‘n horn band” arrangement incorporating cascading counterpoint voicings, a unique whole tone scale break, single-tone banjo solo, and an unresolved somber ending. Nick’s propulsive double-stroke open rolls (with the high-hat carrying the back beat) was a mastermind stroke. At once one of Herb’s most imaginative arrangements and the most risky opener for a TjB LP. [Apparently Herb painted at least two other recent tone poems on Christmas Album – Sleigh Ride and My Favouirite Things – that escaped my radar. Thanks to the eagle ears of Cornerites, I’m now much more sensitive to Herb’s use of a sound easel]. A+
Sunshine. One of the stronger performances, this selection contains the most Mexicana TjB offering since SOTB. The legato notes and full-bodied tone seem to indicate that either: (1) Herb actively makes stylistic changes to alter his tone; or (2) during 1967-69 Herb was an incredibly inconsistent technical trumpeter. This would have fit nicely on Vol. 2 – although it’s a bit too polished for the drunken-stupor feel of that LP. The song has lots of melodic twists and turns though, with its stock orchestral arrangement, it’s definitely on the “Mitch Miller” side of things.
Country Lake. Though listed as a fave among Corner contributors, this one never sat well with me. HA’s playing is too casual – carelessly so – in places. Nor is it one of Sol’s more memorial pieces. To my ears the TjB is totally upstaged by the hot pedal steel guitarist. The I – VI minor coda on the fade nicely concludes the song.
I'll Be Back. Herb’s technical abilities appear vulnerable on this touching ballad. The arrangement is beautiful, but the lead horn falls short at times. The reverb sounds hard and unnatural – makes me wonder if the A&M studios were not in the same sound league with Western in this regard. (The reverb since Sounds Like lacks the acoustical warmth of SOTB, GP and WNML.) To me, it sounds like Herb is tracking this one as there is nary a musical response from the other instrumentalists.
Moon River. The TjB-band section is quite nice (note the cool mandolin part) with some surprising voicings on the repeated releases during the coda. On the other hand, the “other” section…the pompous, bombastic arrangement – replete with big band and symphony orchestra – approaches the aural absurdity of cue music for an All-Star Studded TV Extravaganza Extra Special Hollywood Presentation Fancy-Schmancy Spectacular!!!!. Zzzzzz. (Personally, I think such kitchen sink arrangements could admirably benefit from a couple cycles of the waste disposer…or a sewage line back-up. Arranged by Dave Grusin.)
Maltese. This has a nice WNML/SRO feel…with a strong ensemble performance reminiscent of SL (but lacking the progressive feel of that impressive LP). Dig the great “Jewish wedding band” ending. Nice job.
Sunny. This forward-looking arrangement is exciting in its capturing and innovatively re-tooling the spirit of Warm and Zanzuera…and in doing so making the balance of the LP look rather anachronistic. Had Herb pushed ahead from Warm, his (non-TjB) follow-up LP may have sounded more akin to this. That “out there” guitar chord is a B sus b9. Following the vocal break, the rhythm shifts into Armageddon mode by having three rhythmic instruments – bongos, electric guitar, drum kit – play double-time [8/8] feel. Herb sails nicely through the ultra-cool chord progression (always have liked this one) with easily his most electrifying playing on the LP. A+
Cowhand. Finally! Hands down, the best throwaway arrangement in the TjB book! That little electric guitar intro lick is the perfect tease for this over-the-top cornball number. But wait! Direct from Neptune…comes a startling C-section vamp! Who would’ve imagined such an anomalous section break involving Nick’s ride cymbal triplets fueling a faux-modal electric piano part? Oh, the power of music. Dig that intoxicated trombone, baby! (I wonder what kinda ciggies Herb was smokin’ when he came up with this one~)
Anna. Probably the best “TjB” piece of the LP, this one feels like it’s gonna burst through into a jam – or at least a hot horn solo…again we’re teased. Fine arrangement.
Robbers and Cops. The LP has been an OK ride up to this point. However… This is meant to be a light-hearted romp, but where Cowhand was fresh and unique, this tune seems contrived. It’s very reminiscent of Cowboys & Indians in that it seems derivative, or an amalgamate, of “stock” TjB sounds.
Moments. John Piasno delivers an uncharacteristically mushy tune. I’d never figure John for something like this; easily his least impressive TjB offering – coming off as rather dispassionate.
You Are. I like how the LP label says “vocal by Herb Alpert”. (Whew! Glad that got cleared up…and all this time I thought Lou Pagani was singing.) It’s a shame that the TjB called it a wrap with this swampdog. Song, arrangement, and performance is unadulterated muzak; where Moments is uninteresting, this is unlistenable. (I see Dave Grusin is yet again responsible – his arranger’s baton batting 2-for-2 in cruddy arrangements on TBAC. He seems to favour overstated arrangements that not only get in the way of song but also force the lead voice into hand-to-hand combat. Must be his style, as I’ve noted this on some of the Brasil ‘66 LPs.)
In spite of the unflattering ending, TBAC is not all that bad an LP… Relative to Ninth or Christmas Album, TBAC is more imaginative and dynamic in its arrangements; additionally, the band seems to exhibit more salt-of-the-earth musical energy. On the other hand, it’s a patchy affair relative to historical TjB standards and at day’s end can only be regarded as a mediocre or disappointing entry in the TjB catalogue.
----------
I want to thank my e-friends out here who’ve encouraged me to continue posting review pieces: Seashorepiano, Mike, David, Rickster, Jay, Dan, Dave, Harry, Mr. Bill, Rudy, Cap’n D, and especially Mike B! Thanks guyz… I’ve learned a great deal writing about this fascinating music during that past three months – particularly when someone was highly critical of my opinions. Regarding the latter, we have good news and bad news: The good news is, of course, that this is the final installment – so all those that I’ve made “sick” can begin to hobble along the road to recovery – may god speed you back to good health. The bad news is…well…let’s just put it this way: “so many A&M artists…so little time!”
Musically e-yours,
James
--OK, didn't mean to come off like that at all... Just uncommonly good reviews that are well-written in words, descriptions and adjectives, which I little-often think of using or can't think of in similar instances...
inkshield: 
