🎵 AotW Classics Herb Alpert & The Tijuana Brass S.R.O. SP-4119

[Harry]

Herb Alpert & The Tijuana Brass
S.R.O.
A&M SP-4119

Released as mono LP-119
Released on A&M CD in Japan as D32Y3087, and on Shout! Factory CD as DK 30858

Tracks:

SIDE ONE:
1. Our Day Will Come (Garson-Hilliard) 2:21
2. Mexican Road Race (Sol Lake) 2:30
3. I Will Wait For You (Jobim-Mendonca-Gimbel) 3:15
4. Bean Bag (Pisano-Wechter-Alpert) 1:58
5. The Wall Street Rag (Ervan Coleman) 2:25
6. The Work Song (N. Adderley-O. Brown, Jr.) 2:10

SIDE TWO:
1. Mame (Jerry Herman) 2:08
2. Blue Sunday (Julius Wechter) 2:49
3. Don't Go Breaking My Heart (B. Bacharach-H. David) 2:38
4. For Carlos (Pisano-Ceroli-Alpert) 2:46
5. Freight Train Joe (John Pisano) 2:37
6. Flamingo (Grouya-Anderson) 2:25

CREDITS:

PRODUCED BY: HERB ALPERT AND JERRY MOSS
ARRANGED BY: HERB ALPERT
ENGINEERED BY: LARRY LEVINE / GOLD STAR RECORDING STUDIOS
COVER PHOTO BY: GEORGE JERMAN
PHOTO COURTESY OF ALLENTOWN CALL-CHRONICLE / ALLENTOWN, PENNSYLVANIA
ALBUM DESIGNED BY: PETER WHORF GRAPHICS

Liner Notes:

S.R.O. Standing Room Only. The absolute, total, out-of-sight compliment for any performers. Big letters on a sign near the box office, telling you that every seat has been sold. Nothing left in the hall, the arena or the stadium but a little space for standees along the side walls or across the back. That sign has been getting a real workout. Herb Alpert and the Tijuana Brass have been a-touring. And it’s been TJB-SRO from L.A. to N.Y. and D.C. to the U.K. The seven gents on the flipside of this jacket, with their high-starched collars and their piped lapels and their uniquely happy sounds, have been on the road, getting to know in person some of the millions who know them from radio, television and records. It was seven SRO nights at Los Angeles’ Greek Theatre (the all-time attendance figure shattered), SRO at the Forest Hills Music Festival, likewise in Washington, London, Paris, Frankfurt and several itineraries’ worth of other places. And now here are the latest sensational recorded offerings (put them all together, they spell more SRO from Herb Alpert and the TJB. This septet rakishly outfitted – for whom the cover photographer could find standing room only – includes leader Herb Alpert and, looking upright behind him: Lou Pagani, piano; John Pisano, guitar; Bob Edmondson, trombone; Tonni Kalash, trumpet; Nick Ceroli, drums; and Pat Senatore, bass guitar. Happy listening…wherever you’re sitting.

CHUCK CHAMPLIN
LOS ANGELES TIMES

[EDIT to fix a very slight typo in the poll question line.]

 

[Steve Sidoruk]

A&M 805 The Work Song b/w Plucky - promo copy

A&M 805 picture sleeve

A&M 805 The Work Song b/w Plucky - stock copy

A&M 813 picture sleeve

A&M 813 Flamingo b/w So What's New? - stock copy

A&M 823 Mame b/w Our Day Will Come - promo copy

A&M 823 picture sleeve

A&M 823 Mame b/w Our Day Will Come - stock copy

Recording session notes:

5/18/1966 - Gold Star Recording Studios - The Work Song - Herb Alpert - trumpet, Nick Ceroli - drums, Bob Edmondson - trombone, Pete Jolly - piano, Tonni Kalash - trumpet, Lew McCreary - trombone, Lou Pagani - piano, John Pisano - guitar, Pat Senatore - bass, Julius Wechter - marimba.
Steve's note: This track was recorded the day before seven What Now My Love tracks were recorded.

6/16/1966 - Gold Star Recording Studios - I Will Wait For You - Herb Alpert - trumpet, Nick Ceroli - drums, Pete Jolly - piano, John Pisano - guitar, Pat Senatore - bass, Julius Wechter - marimba, Bill Green - sax, flute & reeds, Jackie Kelso - sax.

6/17/1966 - Sunset Sound Recording Studios - Mame - I Will Wait For You - Heart - Sol #3 - Herb Alpert - trumpet, Bob Edmondson - trombone, piano, Tonni Kalash - trumpet, Lou Pagani - piano, John Pisano - guitar, Pat Senatore - bass.

6/20/1966 - Gold Star Recording Studios - I Will Wait For You - Herb Alpert - trumpet, Nick Ceroli - drums, Pete Jolly - piano, Lou Pagani - piano, John Pisano - guitar, Pat Senatore - bass, Jacki Kelso - sax.

9/2/1966 - Gold Star Recording Studios - Our Day Will Come - Day Train - Herb Alpert - trumpet, Nick Ceroli - drums, Pete Jolly - piano, Tonni Kalash - trumpet, Lew McCreary - trombone, Lou Pagani - piano, John Pisano - guitar, Pat Senatore - bass, Julius Wechter - marimba, Milt Holland - percussion, Bill Pitman - guitar.

Steve's note: It is possible that either this album somehow never got Stereo Jukebox Little LP treatment as SP 419, or after all these years I just haven't found a copy.

 

[audiofile]

In my opinion, this is the first great TJB album. This record is flawless! I choose For Carlos, for the beautiful arrangement and trombone solo. Our Day Will Come is a close second, but the whole album is just awesome.

 

[Mike]

Yes, I'm the one who voted for Mame. I can't help it; I'm a sucker for show tunes. It's a very joyful and fun song that probably gets skipped over by most because it's surrounded by so many other fantastic songs on this album.

You coax the blues right out of the horn, Mame,
You charm the husk right off of the corn, Mame,
You've got the banjoes strummin'
And plunkin' out a tune to beat the band,
The whole plantation's hummin'
Since you brought Dixie back to Dixie land.

You gotta love it!

Mike

 

[Mike Blakesley]

Often when I think of this album, I envision the 8-track version I had. It was the first TJB 8-track I got that came in the black cartridges that were so much trouble. I think I went through 3 of them before giving up and eventually getting the LP several years later.

I think SOUNDS LIKE is a little stronger than this album, but they are both excellent. Lots of great songs to pick from, but my favorite (today) would probably be "Don't Go Breaking My Heart" or "Mexican Road Race." I've never been a huge fan of "Flamingo" -- to me that wall of sound isn't quite in the TJB bag.

Nothing to do with this album, but a question: Does the version of "Plucky" on the flipside of the "The Work Song" single have the striptease section, or is it the shorter version?

 

[Harry]

Nothing to do with this album, but a question: Does the version of "Plucky" on the flipside of the "The Work Song" single have the striptease section, or is it the shorter version?

It's the shorter version.

And in giving single #805 a spin to double-check, I think I detect a slightly different (more compressed) mix than even the mono album versions of these two songs on WHAT NOW MY LOVE and SRO.

It's got that "Larry Levine" punch, almost like the "Tijuana Taxi/Zorba The Greek" single, but not quite as dramatic a difference.

If you've got the single, listen to "Plucky" and how Julius' work is given a little more emphasis in the mix. There might be a bit more reverb to the whole thing, but again, not much.

Harry

 

[Steve Sidoruk]

Nothing to do with this album, but a question: Does the version of "Plucky" on the flipside of the "The Work Song" single have the striptease section, or is it the shorter version?

Plucky on the 45 is 2:21, the stripped down or shorts version.

 

[gameenjoyer]

Had to vote for The Wall Street Rag. Don't ask me why. I just like it.

I may be in the minority here, but I think S.R.O. and Sounds Like are a definitive step backward from the "big three". Why? Because they are less peppy/happy-go-lucky and more serious in all likelihood. That's not to say that these two are bad, only to say that I prefer the earlier ones and Ninth to these two. That's just my opinion though.

 

[JOv2]

I think SOUNDS LIKE is a little stronger than this album, but they are both excellent. Lots of great songs to pick from, but my favorite (today) would probably be "Don't Go Breaking My Heart" or "Mexican Road Race." I've never been a huge fan of "Flamingo" -- to me that wall of sound isn't quite in the TJB bag.

In my opinion, this is the first great TJB album. This record is flawless! I choose For Carlos, for the beautiful arrangement and trombone solo. Our Day Will Come is a close second, but the whole album is just awesome.

I concur with Mike B & audiophile.

!!Going Places!! was a major improvement over Whipped Cream & Other Delights as Herb clearly upped the ante regarding overall song and performance quality. The follow-up, What Now My Love, was the first LP exclusively featuring his working band (with augmentation from the usual A&M cohorts: Coleman, Jolly, and Wechter). On that LP, the fervent wildass merriment that characterizes much of !!Going Places!! is clearly refined; in hindsight, Herb probably began to taylor his arrangements by writing each part for a specific player -- which would clearly result in unifying the group's sound. With S.R.O, Herb broadens the TJB "band" palette as he becomes more comfortable with his working band. This trend continues to and peaks with ...Sounds Like... -- which features the TJB playing their most challenging, intense, driving arrangements of their '60s period.

Oh yeah, the choice was between For Carlos, Don't Go Breaking My Heart, or Blue Sunday -- the latter winning out as its breathtaking arrangement and performance catch the TJB at just about their zenith. The arrangements on these three selections in particular foreshadows the darker, more challenging arrangements forthcoming on ...Sounds Like...

Btw, that opening bone solo -- with its sweet, blue-buttery tone, is so high in the register that I wonder if Bob's playing an alto bone? Cap'n B would know!

 

[Captain Bacardi]

Btw, that opening bone solo -- with its sweet, blue-buttery tone, is so high in the register that I wonder if Bob's playing an alto bone? Cap'n B would know!

No, it's a regular tenor trombone. And it's not that high a note - just a D, which most high school kids can play. The only thing here is that the D is a little flat. The rest of the tune is played on trumpet through a hat.



Capt. Bacardi

 

[toeknee4bz]

In my opinion, this is the first great TJB album. This record is flawless! ...the whole album is just awesome.

For once, you and I are in complete agreement.

Tony

 

[Mike Blakesley]

trumpet through a hat.

What's that mean? Is it an accessory like a mute, or would any old hat work? I've never heard of that before....

 

[Captaindave]

Yes, it's a mute, and it is called a hat.

It looks a little bit like an old fashioned derby hat. It doesn't fit onto the horn with the usual corks that hold it in the bell; rather, the player would hold it over the bell with the left hand and the horn in the right hand. You can often see the trumpet sections using them on certain kinds of songs in big bands playing such music as Glenn Miller standards.

It has a little different kind of tone due to its design and construction.

They were mostly the old Stonelined Mutes which are immediately recognizable by their red and white color.

 

[JOv2]

I just listened to For Carlos. It's quite complex -- I diagrammed it ABACCDBA -- with each section 8-bars (the C sections contain those heavy sextuplets measures -- the hard waltz rhythms). Bob plays the first A-section on bone (which, for a trumpet, peaks at high E -- definitely not a note most HS-level trumpet players could "make recognizable music with"). Herb introduces the B-section melody slightly off mike with heavy reverb. Herb then repeats the A melody with a slightly coloured/muffled tone. As Cap'n D points out, he's playing into a hat -- either that or he's using a bucket mute.

On the '60s TJB LPs, I can think of only one other time Herb used a mute -- a harmon (which produces that metallic-wispy tone Miles' popularized in the '50s) -- on I Will Wait For You from side 1, interestingly enough.

 

[Captaindave]

Here's an example of the kind of thing I am talking about in my post above:

http://www.music123.com/Humes---Berg-120-Trumpet-Trombone-Derby-Mute-360064-i1129426.Music123

 

[Captaindave]

I've played For Carlos often. I used a plain old cup mute, but a Harmon mute works well too.

In the muted line, the trumpet only ascends to a fourth space E. That is a note well within the range of most junior high school players - even elementary school after a year or so of practice.

For a typical high school player, if he/she can't reach that note easily, then either they never practice and seldom play, or there is a pretty significant problem of some kind.

(My typing is terrible and more so today... )

 

[Mike Blakesley]

Thanks for the info. I guess I thought a mute was a mute was a mute!

 

[Captaindave]

In the bridge part of For Carlos, the harmony trumpet is playing a third above the lead, and ascends to a G on the top of the staff - I can't remember right now without the horn in my hand...I think it's a G or maybe G#..

That is the highest note in the song. It is also easily playable by an experienced player, but it would be out of the range of a beginner. It should be playable by most high school students.

 

[JOv2]

I've played For Carlos often. I used a plain old cup mute, but a Harmon mute works well too.

In the muted line, the trumpet only ascends to a fourth space E. That is a note well within the range of most junior high school players - even elementary school after a year or so of practice.

For a typical high school player, if he/she can't reach that note easily, then either they never practice and seldom play, or there is a pretty significant problem of some kind...

I, too, use a cup mute to play this pretty melody (though containing a fabric insert to absorb the sound -- it takes one in the direction of the bucket mute sound).

I may have mislead you, Cap'n D (sorry!). I merely meant that if a trumpet player were to "mirror" Bob's A-section line, he/she would be up an octave and thus would top out at that high E (since the trumpet is 1 octave higher than the bone). You are correct in that Herb plays his lines "in unison" with Bob's melody -- so he only ascends to middle E.

Mike, the typical trumpet/cornet mutes include straight, cup, harmon, and bucket. There are few other more specialized mutes that Capn's D and B may be able to list. I find these four cover most needs.

 

[Captaindave]

There are tons of different kinds of mutes made by many different companies. Different designs, different names, different materials, and a wide range of prices.

But, the basic cup mute and straight mute are the most common. The Harmon is common also. Then, things become more specialized for slightly different kinds of sounds and effects.

 

[JOv2]

Hey, Cap'n D --

As I recall, you caught a few TJB shows when you were a kid back in the late '60s.

I believe you may have commented on this before, nevertheless, allow me to ask: Did Herb and the band ever open up the arrangements and "go outside the box", or did they pretty much perform as on LP? Am curious, principally, because Herb is not a "flashy" trumpeter on LP, and I'm wondering if he, Tonni, or the other artists ever opened up on stage. The LP performances are tightly contained (although on ...Sounds Like... the group pushes out a bit); for instance, I don't recall Herb ever blowing over high C on any of the '60s LPs.

 

[Steve Sidoruk]

Having attended TJB concerts in 1966 and 1968, I can offer this - Herb tended to speed up songs that on record were slow, notably Never On Sunday. Even some of their TV appearances (Kraft Music Hall, Andy Williams Show, Dean Martin, Hollywood Palace, etc) from that era, when they did play live, were usually played at a faster pace than what was on record. And, many times the band did get a chance to stretch out and not be as restrained (or constrained) as on their recorded versions. On TV it was probably due to having to squeeze so much into such little time. There were however, times on TV shows that the tunes were pre-recorded just for that show and their appearance was clearly "synched."

It is why I very much treasure my archive of live TJB material. Not only do we get to hear an alternate version of our favorite tunes, but we really get to see the musicians who we knew as The Tijuana Brass actually play, rather than the many studio musicians who made the records.

 

[Captaindave]

Hey, Cap'n D --

As I recall, you caught a few TJB shows when you were a kid back in the late '60s.

I believe you may have commented on this before, nevertheless, allow me to ask: Did Herb and the band ever open up the arrangements and "go outside the box", or did they pretty much perform as on LP? Am curious, principally, because Herb is not a "flashy" trumpeter on LP, and I'm wondering if he, Tonni, or the other artists ever opened up on stage. The LP performances are tightly contained (although on ...Sounds Like... the group pushes out a bit); for instance, I don't recall Herb ever blowing over high C on any of the '60s LPs.

No, not much.

The TJB played pretty much according to the recordings, but there was a little bit of jazzing it up here and there if you were inclined to listen closely and were observant to such things. The average listener in the audience probably wouldn't notice.

There were minor rearrangements of songs, some medleys, and things like slightly different articulations and very minor "jazzing" within the context of the group playing very close to the record that you would only hear if you were really listening and were like me who paid very, very close attention to the specific sound and playing that came from the stage - again the average listener would never notice it or be aware. But, the shows were very tight and well rehearsed and it wasn't like a jazz concert where individual players were showcased. Herb was the star of the show - that was obvious, and the show was the TJB - not the individual players. You heard the band as a unit play the recordings. Some songs may have been played with a little bit jazzier feel or with a little more "swing" than the recordings, but most people wouldn't have noticed or picked up on those things. I think these players liked to swing, and were very good at that kind of playing. I think they just played that way naturally. I could detect their jazz and big band backgrounds, but I would describe what I heard as "controlled swing" or maybe "swing within a group context."

Herb knew that the audience came to hear Herb Alpert and the Tijuana Brass. He didn't deviate from that formula. Having played lots of the same songs many times over and over again myself - as the TJB would have done after many, many concerts, I can tell you that after a while, you don't play anything the same way twice...that is the kind of thing I was hearing more than anything else.

The only time I heard anything come out of Tonni Kalash was a slide up to an F# above high C on the closing fanfare of the Lonely Bull. I have always had the suspicion that Tonni was the more powerful of the two trumpet players and probably had more range, but I never heard him use it beyond what I mentioned.

I recall that The Lonely Bull and Winds of Barcelona were given a little bit more of a rock "treatment" than the original recording. By that I mean there seemed to be a definite "edge" to the sound with a little bit heavier punch on the rhythm.

In all, these guys sounded great in concert. I think Herb was more interested in putting on a good show and in presenting a visual and sonic experience that would impress the audience. As good as the individual players were, I think it was one of those "the sum is greater than the parts" things. The group was visually very striking in the stage outfits they wore, and the sound was very clean, crisp, and powerful. He was very successful in that regard. I think he followed his formula about making each note count, and quality over quantity of notes.

 

[Captaindave]

Let me make one amendment to my post above - I am referring to the original TJB.

Now, with the reformed group in the early 1970s, Bob Findley was given a solo with Carmine, Coney Island, and I think Panama also. Maybe Bob Frishberg had some piano also, but I'm not sure I remember.

Herb did present a little bit different approach to that group's concerts.

 

[Captain Bacardi]

Getting back to this album....

This has always been my favorite TJB recording. It's easily the jazziest of the 60's group and I think Herb really shined on the arrangements. The TJB actually sounds like a real band instead of just session musicians playing together. For me, this album was the peak of creativity for the group. The following albums - while still good - just didn't have the spark that the previous albums had. Picking a favorite tune is almost impossible for me, but I finally went with "I Will Wait For You" - I just love the groove on this tune. You can't go wrong with any of these songs, although I was never that fond of "Freight Train Joe". I loved Herb's solo on "Our Day", I always dug the racing car going from left to right on "Mexican Road Race" when we finally got a hi-fi system at home, and I loved the Dixie feel on "Wall Street Rag".

I remember hearing "Bean Bag" a lot on the Dating Game when the winning couple would get a trip to somewhere in Mexico. I always thought that "Bean Bag" and "A Banda" would make a great dance medley if someone could put the right beat behind it. I always thought the second trumpet part in "Blue Sunday" was really cool the way it contrasted with the lead part. Lots of solid trombone work throughout this album, especially some of the bass 'bone on "Don't Go Breaking..." and "I Will Wait...". Simply a top notch album!



Capt. Bacardi