Herb Alpert & The TJB - WARM Comments + Reviews

What is your favorite song?

  • The Sea Is My Soil

    Votes: 18 39.1%
  • Without Her

    Votes: 0 0.0%
  • Marjorine

    Votes: 5 10.9%
  • Girl Talk

    Votes: 4 8.7%
  • Ob-La-Di, Ob-La-Da

    Votes: 1 2.2%
  • Zazueira

    Votes: 7 15.2%
  • The Continental

    Votes: 1 2.2%
  • Pretty World

    Votes: 3 6.5%
  • Warm

    Votes: 1 2.2%
  • To Wait For Love

    Votes: 1 2.2%
  • Sandbox

    Votes: 5 10.9%

  • Total voters
    46
Status
Not open for further replies.
I googled Zazueira,, and found 35 images...apparently, Herb, Sergio and Astrud aren't the only ones who have recorded the song...


Dan
 
I see on eBay currently a copy of "Zazueira" by Bossa Rio. Apparently it was a single:

61f1_1_b.JPG


Harry
 
Well, I finally got to download the tracks and burn a CD thanks to my son and his laptop and a high-speed connection at a local Mexican restaraunt[how apropos is THAT?], and I haven't stopped listening to it since!

This is a great album, no doubt about it...I had a copy on vinyl that I bought from a cut-out bin in the early '70's...and I listened to it quite a bit, but it never really impressed me all that much. THE SEA IS MY SOIL and ZAZUEIRA were standout tracks, of course; but there wasn't much more to the album to me then...I was still in the TJB mold, and this album wasn't like that at all...a solo effort on Herb's part. It really left me rather cold...more puns, sorry...and it shouldn't have; because this album is a tremendous collaboration between Herb Alpert and Shorty Rogers, two giants [another pun...] if ever there were any in the music business.

The orchestrations are very inventive and complex, and the tracks are some of the most vivid tone poems Herb has ever produced. A tremendous amount of work must've gone into the production of this album, and I can understand Herb's frustration that it didn't get the attention it really deserved. People must have been caught off-guard by the album, as I was. It is different from the typical TJB stuff, and the market for the group was beginning to become saturated...I remember hearing ZAZUIERA on the radio and thinking, that it was great, but that it wouldn't sell, and it never broke into the top-40.

I also remember a lot of promos on the radio for the album...mostly on WLS from Chicago, and thinking that the album was much deeper than the previous albums, ad it was somewhat surprising in that regard.

However, time has been very good to this album...it sounds much better now, since Herb has branched out in several musical directions since 1969...now, it's a sonic tour de force that is more representative of it's era than it seemed in 1969. People are ready for an album like this from Herb now, and they weren't in '69. It really retains the flavor of the era, to me, and I can see why everybody wanted it to be rereleased. It was definitely underrated when it was originally released.

This will be one of my favorite TJB abums for a long time.

Dan
 
Not that it matters to anyone but me, but I listened to my entire TJB collection during two long drives last week, to and from North Carolina/New Jersey. I had burned my own CDs to build twofers of paired albums: Lonely Bull + Volume 2 and so on, filling out each disc's 80 minutes with BMB selections.

As I hit the Pennsylvania Turnpike last night, amid snow flurries (March 17th!), I played The Christmas Album. "Let It Snow" sounded just fine. And I may never again be able to hear the album Warm without being reminded of the PA TPK. This is not a happy thing, but there I am.
 
Moderator note: Moved the discussion about Astrud Gilberto's album "I Haven't Got Anything Better to Do" to its own space in the Sergio Mendes/Brazilian Music forum.
 
Given one of those silly random polls asking all and sundry to list the TjB LP “that you hold most dear”, far and away Whipped Cream & Other Delights would be selected – mostly owing to the fact that 74,000,000 casual “fans” would choose it in a heartbeat. However, if our colleagues here at A&M Corner are any indication – lifelong, earnest fans of both TjB and good music tend to opt for Warm as the most beloved TjB LP.

One can detail the South American influence, the use of orchestral scoring or what have you; but the intrinsic inconspicuous fascination with the LP may not so much lie with the musical content per se, but rather with the explicit stylistic change away from the instantly identifiable “classic” TjB feel characteristic of WC&OD through to Christmas Album. Both WC&OD, and Warm share a unique similarity in the TjB catalogue as each exhibited the greatest stylistics changes relative to their predecessors: As much as WC&OD served to introduce the TjB sound, Warm removed the association. That said, in many ways the overall feel of Warm has more in common with This Guy’s in Love with You, than any “TjB” song.

The first time I heard Warm was the summer heading into 9th grade. One of our neighbors were much preoccupied with a California-style Payton Place excursion and on one typical out-of-control Summer’s day, I was afforded an inimitable opportunity to scour through said parents’ hitherto off-limits RtoR tape collection and play a tape or two through their prized McIntosh amp. It was there that I discovered two previously unseen TjB covers: Herb Alpert’s Ninth and Warm. I only had about an hour, and as there were other albums I wanted to audition (e.g., Wes Montgomery’s California Dreamin’). I selected Warm – the first few moments of which were instantly and forever locked into musical memory.

Musically, the most notable aspect of the LP is the unswerving absence of the TjB band. Of course there is a “band” present – combo instrumentation – electric bass guitar, drum kit and guitar are consistently at hand on every selection, but their presence is second fiddle relative to the overall role of the orchestration. One thing for sure: relative to all previous TjB-band LPs (WNML through to Christmas Album) the TjB “combo” instrument arrangements appear in much altered form. Trombone appears absent; bass playing is technically very different – being far more imaginative and in some cases subtly driving the rhythm; guitar is mostly acoustic; piano is markedly present and up front, even driving a few numbers; and drumming, particularly the fills, seem very un-TjB like. All this questions the TjB-band members presence on Warm. Of course the lead trumpets are Herb’s. Unfortunately, his tone has dropped back a notch or two…rivaling the sound on Ninth – the principal difference being the jacked-up reverb on Warm, whereas on Ninth he was recorded mostly dry.

The Sea. A blissful performance. Just a few moments into the gentle teeter-totter sway of the guitar voicings [CMaj9 - GMin7] and the listener realizes this LP is beginning on the most unique tinge of any TjB LP to date. Little could conjure up a warmer musical feeling better than those gentle marimba mallet rolls and sweet piano droplets against the subtle tension and release guitar voicings…all supporting a delicate harp melody. While I’m not a fan of arrangers threatening listeners with floodgates of violins, here, I confess, the melodrama works. Incidentally, the strings were clearly added to the track as you’ll note it runs against the song’s meter at one point (there’s a 5/4 bar inserted) – such that the strings are one beat off sync for numerous measures; and just before the turnaround, a 3/4 bar brings the strings back into alignment. Clever! It’s doubtful Pat or John are playing – as the bass and guitar technique are not consistent with anything offered to date. A+

Without Her. In its introduction and A section, Without Her does well to advance the mood of the introduction/A-section of the first selection; however, as my mom used to say, “if you can’t say anything nice…” In deference to mom, I’ll day this: A trumpet solo, and removing those repugnantly horrendous violin assaults, would have made a far better arrangement than HA’s mumbling. The best part is the ending: that acoustic guitar, piano, and bass groove is coo’. [For two superior versions of this song check out Harry Nilsson (a duet with ‘cello – the perfect arrangement for such a song about lonesomeness) or Al Kooper/BS&T’s horn-driven pop/latin faire – both from ’67.]

Marjorine. With its acoustic guitar + accordion intro, and an A-section featuring marimba, we’re finally treated to a piece more akin to the TjB bag…albeit augmented with an orchestra. Again, bass and drums don’t seem technically consistent with previous TjB sounds. The piano gives this one a good sway. The simplest Sol song in the TjB songbook, it’s diagrammed as AAA [A=16] – its simplicity on a par with "folk" songs.

Girl Talk. Shorty had his trumpet section switch to flugelhorns to harmonize with Herb. The introduction features piano reminiscent of The Sea is My Soil. Acoustic guitar drives the mild rhythm and, as in all the preceding pieces, the bass is more alive than on all previous LPs: Utilizing subtle grace notes and cool little intra-song transitions resulted in a substantial bass part that complements Herb’s articulation…this is possibly the first TjB song since the era of Walk Don’t Run and Lollipops & Roses in which the bass actively drives the arrangement – it certainly is leading the drums (which do little more than supply a human metronome). The single-tone electric guitar + harmonica give the song a western feel in places. Note that very sharp flugelhorn on the outro. You’d think someone would’ve picked up on that. Nice ending.

Ob-La-Di. The celebratory nature of McCartney’s oft-loved/hated ska number receives a latinification. Other than an attempt at re-capturing the Cinco De Mayo feel there’s little to report here (other than the song begin superior to Cinco – but that isn’t saying much in this throwaway arrangement).

Zanzueria. This was a single – the only TjB single I can genuinely remember from the AM radio era. The piano lead is a nice feature of this exciting call and response piece. With its instantly memorable B-section hook, this has Top 10 written all over it, though I doubt it was a “qualified” hit (given Warm’s absence from the Shout!/TjB reissue campaign). In many ways this song is quintessential Herb – exhibiting his reserve, unique trumpet stylings on a very catchy song with a thoughtful arrangement in full tow. Like Panama, this was a forward-looking arrangement…and TjB dreams are made up of wall-to-wall performances like this. Had Herb played Woodstock this would have made the coolest of openers to a contemporary set of nuevo latin/pop songs…and the acid-drenched, weekend-hippified audience would’ve totally dug it! Well done. A+

Continental. Similarly celebratory like Ob-La-Di, Ob-La-Da. I like this one a great deal – the perfect follow-up to the amazing Zanzueria, too bad, the mix is so crappy: the comp guitar is way too loud and the solo vibes and pans are nearly inaudible! The bass nicely pushes the song merrily along.

Pretty World. As I write this it’s raining outside…this song is rainy-day music. Although I prefer HA’s solemn take relative to lablemate Brasil ‘66’s "Sing-Along-With-Sergio" version, truth be told, the arrangement is pretty maudlin – except, of course, the bass which injects some life into an otherwise uninspired performance. Perhaps someone can explain why it required 4 songwriters to write a song of mediocre quality – which is only exacerbated by an extended coda driving the point home.

Warm. Oh, my! This unique feature for trumpet and ride cymbal cone is very likable indeed! The scoring [piano, vibes, and flugelhorns] works well in support of lead trumpet. The song structure is quite complicated [D ABCD EFD AB] – or simple [AAB] – depending on what rodeo you’ve been to. The arrangement at the main break is some of the most powerful and thoughtful TjB scoring since the SRO/Sounds Like days – dig how the melody is handed off from instrument-to-instrument – including voice. That ending flourish from Herb is the perfect foil to an otherwise reserve performance. Beautiful. A+

To Wait For Love. Of HA’s six TjB vocals, this one is "artistically" the best. He seems to align better “1:1” with the orchestra and chorus (as opposed to what seems more akin to “tracking” a recording as on This Guy). The piano-driven arrangement suggests HA probably developed this from a piano/voice duet. Following hot on the footstep of This Guy, this outing was clearly offered to build upon current vocal momentum…so the previous touchdown formula was offered up (albeit without Burt – no doubt busy with his musical, Promises, Promises). The song is another slow Bacharach elevator shaft love-ballad, heavy-handily arranged replete with girlie choruses, and a touch of HA’s trumpet. The recording is historically important as it would appear to initially document the Herb/Shorty TjB alliance which would result in two additional HA vocals, and arrangements for Christmas Album and Warm [summer/68 – winter/69]. As initially recorded, it’s doubtful this was intended for Warm. Like This Guy (and all HA’s TjB-era vocals) this is very un-hip pop music (i.e., leave this off the Woodstock set list). Given that HA-associated music from ‘65/’66 was delighting both 15 and 50 year old alike, it’s hard to imagine any one under 30 – particularly men – flocking in droves to Woolworths or JC Penny’s to buy this 45.

Sandbox. A good moody closure – just begging for a Pisano guitar solo. (There’s even a modal hole big enough to drive a few seconds of In A Silent Way through! Alas, no soap, baby.) I like the tight snare drum and the bass part. Nice piano break – stylistically similar to the piano releases on Zanzueria – probably the same cat.

The apparent absence of TjB alumni and inclusion of two vocal numbers indicated HA was stylistically distancing himself from the TjB. Indeed, for the first time since the TjB “band” was formed, no TjB members are featured on the LP artwork. Apparently such was the politics of things-TjB in mid-69. The LP is fairly solid – unpredictably featuring the strongest electric bass guitar playing of any TjB LP to date. I think most connoisseurs would willingly exchange both vocal numbers for more music like Zanzueria or the title cut – do that and Warm could firmly elevate itself to the greatness of the !!Going Places!! / Sounds Like period. Then again, that’s not really necessary. Earnestly, Warm isn’t a TjB album at all – it’s the first Herb Alpert salvo readying the public for his non-TjB 1970s future. While Warm may have smoldered with many Herb Alpert "TjB" fans of the day, its momentum – the announcement of Herb Alpert "solo artist" – was as clear, striking, and memorable as the solitary harp plucks on The Sea Is My Soil. In this regard, Warm can be considered the most successful Alpert LP since Sounds Like. In spite of all this, HA felt indebted to the public that made him a musical celebrity…and just for them he made one last TjB LP – an LP that, for the time being, essentially ignored the penultimate musical excursions of Warm.
 
Agreed on most points, although I enjoy "Ob-La-Di" a great deal. To me it's one of the best of all the A&M interpretations of Beatles songs.

One wonders what directions Herb would have gone if WARM had been a smash hit.
 
Mike Blakesley said:
One wonders what directions Herb would have gone if WARM had been a smash hit.

My guesses:

"The Brass Are Comin'" TV special and LP would have had at least three Herb vocals. "You Are My Life" would have been a hit (for WARM to have been a smash, "Without Her" and "To Wait For Love" would have had to have been). The other two? No way to know. Maybe, with hot demand for vocal singles, Herb might not have passed on "Close To You" and would have unknowingly deprived the Carpenters of their first hit.

Herb might have chosen Lani rather than Petula Clark to guest on the show.

There would have been an album of fresh material in 1970 (along with the "Greatest Hits" kiss-off that most of the 60s A&M mainstays had released that year), and SUMMERTIME in 1971 would have been more consistent (actually, if WARM had been a smash, SUMMERTIME as it stands would have been better recieved.

YOU SMILE...THE SONG BEGINS would probably have been about the same album...and again, better recieved thanks to momentum, which would have made "Last Tango In Paris" a hit.

With Herb doing well in the new direction, my guess is SOLID BRASS wouldn't have been released. FOURSIDER probably would have, since that was another "everybody gets one" series.

Beyond that, I think Herb's catalogue would pretty much be what it is. He ended up being the artist he wanted to be...it was just the transition from the original TJB that didn't work commercially.

WARM sounds exactly like a perfect day in L.A. felt in 1969. But if you're in Chicago, or Atlanta, or Boston and just a casual fan...something probably gets lost in the translation.

---Michael Hagerty
 
Mike Blakesley said:
One wonders what directions Herb would have gone if WARM had been a smash hit.
Hey, Mike -- My 2 cents...if he was able to sustain a career as a hit vocalist or regain the instrumental momentum from the Zanzueria 45 -- either way, I think it would've been w/o the TjB. Given the two most interesting songs on Warm are from Brazilian writers, maybe he would've gone more in that direction. (Definitely my "TjB dream LP" following Warm would've emphasized HA's unique take on Brazilian pop.)
 
There was a TJB "Greatest Hits Vol. 3" album that was never released.

I figure that "Warm" was the beginning of the next phase of the artist's career...an album that was a result of his trip to Brazil to skip the California winter of 1968-69.

The "Brass Are Comin'" special and accompanying album would have already been contracted with NBC and BankAmericard, and once that obligation was finished in October, 1969, he was "fried" and focused on producing others' work (England Dan, "Wings")
 
The "Brass Are Comin'" special and accompanying album would have already been contracted with NBC and BankAmericard, and once that obligation was finished in October, 1969...
Hi, Richard -- I routinely fail to adequately consider the business end of things with artists... Surely you are correct in that he had contractual obligations pending from previous management decisions. (Recall how, similarly, the Beatles used Let it Be as their final film in their 4-film contract; and Allen Klein issued an LP of 45 and non-LP cuts [Hey Jude] to similarly satisfy their recording contract. Of course, HA, owning his own company, had no such recording obligations.)

Given the absence of the '69 TV special, he may very well have dissolved the group following the release of Christmas Album, DEC68. Musically, it would certainly seem the appropriate move.

Out of curiosity, does anyone know who formally "managed" the TjB and/or Herb Alpert as a recording artists -- or did Herb and Jerry provide self-oversight for all things Alpert/TjB?

Another question: Did the TjB member sustain simultaneous musical activities outside of the Brass as session musicians or members of other bands?
 
Well Pisano was a member of Brasil '66 (not on the road though) for a few years. And of course he was also half of Pisano and Ruff! (Have you heard that UNDER THE BLANKET album, James?)

There was a TJB "Greatest Hits Vol. 3" album that was never released.
I've never heard that before. What would have been the point? Almost all of the group's hits, and then some, were on the previous 2 compilations.
 
Regarding a "third Greatest Hits" album for the TjB, had this era been as successful, as the eras that brought Greatest Hits, Volume 1 and ...Volume, 2, perhaps a ...Volume, 3 might've emerged...

Though it would, or at least might've come in the '70's following Coney Island, You Smile, The Song Begins, and even Just You and Me and perhaps in the event of it being a Double-Disc, would rehash a few moments from the First Compilations, if not including material which had not made it onto them, maybe even thereby eliminating Solid Brass...



Dave

--With just "My Thoughts" on the "expansion" of this Topic...
 
JO said:
Out of curiosity, does anyone know who formally "managed" the TjB and/or Herb Alpert as a recording artists -- or did Herb and Jerry provide self-oversight for all things Alpert/TjB?


There was a manager - I believe his name was Sherwin Bash or something like that - who was Herb's manager.



Capt. Bacardi
 
The Irrepressable Captain B said:
There was a manager - I believe his name was Sherwin Bash or something like that - who was Herb's manager.

Yes. Corwin/Bash Associates (CBA) I believe was the management group's name. Sherwin Bash also managed Carpenters. IIRC, Mr. Bash was, along with Herb Alpert, one of the pallbearer's at Karen Carpenter's funeral... :sad:

--Mr. Bill
 
The snarky repellent of the humorless said:
The Irrepressable Captain B said:
There was a manager - I believe his name was Sherwin Bash or something like that - who was Herb's manager.
Yes. Corwin/Bash Associates (CBA) I believe was the management group's name.
--Mr. Bill
This forum is amazing...there's always someone whose got the goods!

Anyway, my curiosity simply stems from the fact that as a "manager" Mr. Bash would have been the most significant person to learn of Herb's private decision to dissolve the brass (at some point during '69). As a manger Bash would have prepared the legal documents and scheduled a meeting with the guys to formally discuss the dissolution proceedings (not unlike Herbie Cohen informing the Mothers of Invention that Frank would no longer require their services or Brian Epstein dismissing Pete Best from the Beatles). Endings are difficult -- and although Warm should have been an obvious indicator, at some point a formal announcement had to happen. Must've been tough on Herb and the band...the obvious hard feelings in such situations cannot be denied.
 
Mike Blakesley said:
Well Pisano was a member of Brasil '66 (not on the road though) for a few years. And of course he was also half of Pisano and Ruff! (Have you heard that UNDER THE BLANKET album, James?)

Thanks, Mike -- So then John was a busy fella! (Don't know Under The Blanket. Sounds like you're making a recommendation -- if so, I'll add it to my growing A&M-forum list! You guyz are totally gonna make me go broke with all the great album suggestions!!)
 
I figure that "Warm" was the beginning of the next phase of the artist's career...an album that was a result of his trip to Brazil to skip the California winter of 1968-69.

The "Brass Are Comin'" special and accompanying album would have already been contracted with NBC and BankAmericard, and once that obligation was finished in October, 1969, he was "fried" and focused on producing others' work (England Dan, "Wings")

Is anyone here suggesting that THE BRASS ARE COMIN' album was recorded and "in the can" before WARM? And that WARM was rushed out after a Brazilian vacation?

I don't remember things that way at all, although having no contact with Herb, the industry, or even other fans, I can only theorize on what was out there for public consumption.

To my way of thinking, WARM was most definitely the followup to BEAT OF THE BRASS and CHRISTMAS ALBUM. Herb had had his big vocal hit "This Guy's In Love With You" in the summer of 1968 and put out the CHRISTMAS ALBUM that fall. Close on the heels of that release was the single "To Wait For Love" which preceded the WARM album by quite awhile. It was common practice back then to release a single that was from a "forthcoming" album.

The next we heard of Herb Alpert was with the release of "Zazueira", yet another single without an album. It was followed up with a third single, "Without Her" with "Sandbox on the flipside. So by now we'd already heard more than a third of the new album WARM. I remember being excited as I looked of the track listing of WARM on the way home from the store that I'd finally get to hear all of these singles in stereo on the album.

Then there was the TV special THE BRASS ARE COMIN' which used not only songs from that new album, but songs from WARM as well. And of course it featured all of the members of the "Tijuana Brass" touring group that we knew and loved. The first single from THE BRASS ARE COMIN' was "The Maltese Melody". That was followed up by "You Are My Life" which as I recall got very little attention or airplay.

Harry
 
My memory is pretty much the same...

BOTB - Spring 1968

This Guy's...is a big hit - Summer 1968

Christmas album - late 1968

Zazuiera - Spring 1969

Warm - late Spring/Summer 1969

TBAC - Fall 1969

Disbanding the TJB - shortly thereafter; early 1970.

I don't remember To Wait For Love on the radio for some reason. Maybe it did get some play, but I just don't remember. I also do not remember any songs from TBAC getting much radio play either. The last song I remember on the radio from that time was Zazuiera. After that, it seemed like Herb/TJB pretty much dropped off the airwaves.

Those are the highlights of my recollections from that time. I don't have any memories other than that.

Seems like Herb/TJB had pretty much dropped off the airwaves and out of the public consciousness about the time Woodstock happened. Maybe even a little bit earlier. Times, tastes, and styles in music had certainly changed by that point.
 
I remember trying to "capture" the song "To Wait For Love" on my home recorder. My dad tipped me off that he'd heard it on a local station WIP, and I knew that my favorite FM station would be playing it too. After I finally HEARD the song played and knew what it sounded like, my next challenge was to record it onto reel-to-reel tape, since the single wasn't yet released. Every time I heard a record start with that "Bacharach bounce" I rolled tape - and 99 tmies out of 100 it turned out to be "Who Is Gonna Love Me" by Dionne Warwick.

As a result, that Dionne song somehow became one of my favorites by her. Anyway, bottom line is that "To Wait For Love" DID at least get SOME airplay in Philly for a time. But it disappeared pretty quickly, never to return. I've not heard it on the radio since 1969.

"Zazueira" and "Without Her" got a similar treatment - appearing on-air for a time and then disappearing.

After "The Maltese Melody" disappeared, the next time I recall hearing any new Herb Alpert track on the radio was "Last Tango In Paris".

Harry
 
The small newspaper article (that I still have) is from November, 1969, that Herb had "disbanded the brass along with the Baja Marimba Band, another A&M group." I had to look up what "disbanded" meant.

I don't think Warm or Brass Are Comin' were rushed...but the absence of clear involvement of the TJB's members in Warm is a clue that changes were coming.

I agree with what was said earlier in the thread that Warm is one of the dearest albums among TJB fans.

As for the never-released Herb Alpert and the Tijuana Brass Greatest Hits Volume 3, its catalog number was 4640, which was shortly after Greatest Hits Volume 2.
 
The small newspaper article (that I still have) is from November, 1969, that Herb had "disbanded the brass along with the Baja Marimba Band, another A&M group."
I can corroborate Richard's story. While going through my Major TjB Kick II in HS, I went over to the local university library and researched magazines and journals in an attempt to compile a list of released TjB [this was 1981/82]. Here I found an industry journal (whose name is now long since forgotten) listing both release dates and, if I correctly recall, deletion dates. Interestingly, while there were dozens of articles written about HA/TjB in '68, in '69 there were only two that I located. One was a feature I believe entitled something like "Everybody's Music Maker" in a "women's" magazine...it had a photo of Herb in his A&M office with really bushy sideburns, I seem to recall a shag carpet and colourful clothes -- a trendy '69 photo. The other reference led me to a press release in a trade publication. It mentioned that HA (or A&M) had dissolved both the TjB and the BMB. No doubt this release was picked up by newspapers and magazines. It was OCT/NOV69.
 
If my memory is correct, after the filming of TBAC TV special, the TJB embarked on a short concert tour. These evidently were the final concert appearances.

One of the stops was in Cleveland, Ohio, in late October, 1969. So, at that time, the TJB was still in operation.

I also remember reading about the disbanding of the group shortly thereafter, and some kind of comment attributed to Herb about needing to recharge his batteries. I think the source of that was a local newspaper article.
 
I still have an ancient newpaper clipping. Unfortunately it has no date and seems confused in its details, but here it is:

HOLLYWOOD--There's no reason for Tijuana Brass fans to get overly excited.

True, Herb Alpert has reorganized the group which catapulted him from obscurity to undisputed international king of the music scene in the '60s. However, the reorganization has been for recording the new album due on record racks this month. Herb has no plans for a permanent rebirth of the group, no intentions of booking Brass concert dates or performances.

And, before he will even consider any additional record commitments, his new album "Wings," will have to be a big, big seller.

Nearly a year-and-a-half ago I reported that Herb, returning from a disappointing Tijuana Brass tour which proved popularity was diminishing, decided to disband the group which, in seven years, sold over 30 million records.

In the 17 months since that decision, Herb has kept busy working on various producing projects for his A&M label, and several of the Brass boys have cut an album of their own.

In his latest try to rekindle the Tijuana magic, Herb is augmenting the classic Brass sound with elaborate orchestrations, including woodwinds and strings. It will be interesting to see if the public buys it.

The center of the article had an older picture of Herb, probably from about the mid-'60s.

The backside of this newspaper clipping has coupons for A&P supermarkets. (Rinso detergent 10¢ off label!) The coupons expired on April 24th, but there's no year.

My suspicions are that the article was referring to the then new SUMMERTIME album, and confusing the title with the Michel Colombier project called WINGS.

Harry
 
The TJB did a concert in England in November '69 that was broadcast on the BBC New Year's Eve '69 (one that many of us have). I always thought that was one of the last performances of the group. Herb missed many a note on that night. He sounded like he was struggling.



Capt. Bacardi
 
Status
Not open for further replies.
Back
Top Bottom