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

[Harry]

As others have said, this is a great album from the peak years of the TjB, and picking a favorite is tough - many would do.

I ultimately went with "The Work Song", but could have easily gone with "For Carlos" or "Flamingo" or my dad's favorite, "The Wall Street Rag."

Like the hits that came before it, "The Work Song" is one of those tunes that simply defines the TjB and is defined by it. They go hand in hand and I couldn't imagine "The Work Song" by anyone else, nor a TjB repertoire without "The Work Song".

I first heard this album in its mono version as it was one of the titles I owned before discovering "stereo." I later upgraded to the stereo LP version.

I was one of the lucky ones to have had SRO on CD from Japan, finding it in a CD-only store in the mid-'80s in the import section along with WHIPPED CREAM. Up until then, the only TjB on CD that existed was the CHRISTMAS ALBUM, I believe, and perhaps one of the compilation discs. I was thrilled to have my old favorite band on this newfangled format.

The Shout! Factory CD sounds better than that old Japanese CD, with its nice remastering work. Some of the flaws that existed then, still exist today, like the mushy distortion in the opening minute of "Our Day Will Come".

Burt Bacharach gets another of his tunes on an A&M album here with "Don't Go Breaking My Heart." His "Walk On By" got the very first A&M album treatment by the Baja Marimba Band. Burt, of course, would go on to record for the label and become and important part of its success.

Harry

 

[JOv2]

Thanks, Steve S & Cap'n D for your recollections. F# over high C -- that's some major stuff going on!

Steve S. -- (again, pardon the forthcoming question as I'm confident it's been previously discussed...) Your sessionography lists Tonni in attendance -- though it's clear Herb plays all trumpet parts. Any idea why he may be listed and what his role might have been?

...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...

For me that spark can be summed up in two words: Nick Ceroli. He totally drives the ensemble on S.R.O. and even more so on ...Sounds Like.... He didn't do this very much on What Now My Love, and on Ninth and Beat Of The Brass he backed down and played more inside the group.

 

[Mike Blakesley]

Your sessionography lists Tonni in attendance -- though it's clear Herb plays all trumpet parts. Any idea why he may be listed and what his role might have been?

I am not Steve, but I think I can answer this: Tonni played in the sessions, but just to give Herb a counterpoint to play against. Then Herb would go back and overdub his own trumpet.

You probably already know this, but in the DEFININITVE HITS booklet, the liner notes say ALL trumpets are played by Herb except those in the "Casino Royale" orchestra.

 

[DAN BOLTON]

I had to go with DON'T GO BREAKING MY HEART...when I first discovered this album, I played this track over and over. It just plain COOKS! I love the 'bone "bite", the double tracked trombones a fifth apart. The drums really drive this tune...everything just comes together perfectly here. The only other version of this song I've heard was Johnny Mathis', and it just doesn't hold a candle to Herb's take, IMO.

A close second goes to I WILL WAIT FOR YOU, especially love the fade-out.

This is by far my favorite TJB album. Herb had finally found the sound and honed it down to a tight ensemble that epitomized the TJB experience. The emphasis is on jazz combo-style arrangements and there's a definite driving beat throughout the album.

It's interesting that I WILL WAIT FOR YOU evidently took several takes for Herb to be satisfied with it; but the results are well worth the effort. Also, I was rather surprised to find out that THE WORK SONG was recorded during the timeframe that most of the tracks for WNML were being made.

If I had to guess just when HAPPY HOUR was recorded, I'd say that it was probably about the same time as DGBMH, but this was evidently not the case, as Steve's Session Info shows. Happy Hour reminds me a lot of DGBMH.


Dan

 

[JOv2]

...Tonni played in the sessions, but just to give Herb a counterpoint to play against. Then Herb would go back and overdub his own trumpet...

Wow! Now there are some outtakes I'd like to hear!![/i].

 

[toeknee4bz]

Picking a favorite tune is almost impossible for me, but I finally went with "I Will Wait For You" You can't go wrong with any of these songs, although I was never that fond of "Freight Train Joe".
Capt. Bacardi

Funny that you should mention it, but "Freight Train Joe" pops into my head when I least expect it (for some unknown reason)... Frustrating as it may be, I have had a 'love-hate' relationship with this tune, but the love of it grew stronger since I first heard it back in the early eighties. Funny how one's taste and perspective changes over the years. Now I find myself picking it as a favorite! Go figure!

I must admit that I am somewhat envious of the old-timers who were alive and anxious to hear the next new release of the original TJB, as well as seeing the original group (or Herb himself, for that matter) in a great live show during the heyday. Since I was born in '68, I only have the memories of my own excitement of the solo years, and none whatsoever of actually attending a Herb Alpert concert. And Herb was considered to be a 'has-been' in the music world by then, ... Well, you get the point.

I often wonder what kind of antics went on at a TJB show!

Tony

 

[Steve Sidoruk]

I am somewhat envious of the old-timers who were alive and anxious to hear the next new release of the original TJB, as well as seeing the original group (or Herb himself, for that matter) in a great live show during the heyday. Since I was born in '68, I only have the memories of my own excitement of the solo years, and none whatsoever of actually attending a Herb Alpert concert. And Herb was considered to be a 'has-been' in the music world by then, ... Well, you get the point.
I often wonder what kind of antics went on at a TJB show!
Tony

Who are you calling an old-timer? Just because I was 12 in 1964, when I bought my first TJB album, South Of The Border, doesn't make me old, but rather, have had more life experience!

I will have forever memories of growing up as a fan of Herb, Julius and Sergio. I have had the pleasure to see them all perform and meet them over the years.

As this was my first experience with jazz, I guess I didn't really realize it at the time - it was then called everything from Pop to 'Ameriachi'. I found Sergio's earlier efforts on Atlantic and because of A&M's clever way of marketing the label, also found Pete Jolly, Wes Montgomery, Herbie Mann and others, who were known as jazz artists.

As a teenager, it was a real thrill waiting for the new releases to come out and watching them appear on all the popular TV shows of the time. Without the technology of Ipods or MP3 players, I usually made an effort to get home from school quickly to be able to put on the headphones and listen loudly to one of those neat A&M albums spinning on the turntable.

From SOB on, I bought all the Alpert albums (and Baja, Mendes, etc.) in order, many times on the first day of release. In fact, I do remember buying S.R.O. on its release date, the day after Thanksgiving in '66, which a little calculation in Excel shows it was November 25th. Obviously this was long before "street date" was usually a Tuesday.

Even though the TJB was supposed to be more straight-laced, than say, the Baja Marimba Band, Herb used Bill Dana to put some comedy into the act. Ever see Bob Edmondson taking a bow, whacking his forehead on his microphone or his Struttin' With Maria routine with the cymbals? Herb knew that he had to deliver more than just music. He would provide the patter between the songs and would tell an occasional joke or talk about how the TJB came together.

So while I can't reply to you in the technical language of music, I can tell you of my many experiences with these artists and their music that I have loved for so many years!

Steve

 

[Mike Blakesley]

Unrelated to SRO, but ... about 'antics' at shows -- my uncle saw the Baja Marimba Band in concert and said they entered the stage dragging their instruments on the floor. That hilarious image has always stayed with me whenever I listen to those guys.

 

[Harry]

Unrelated to SRO, but ... about 'antics' at shows -- my uncle saw the Baja Marimba Band in concert and said they entered the stage dragging their instruments on the floor. That hilarious image has always stayed with me whenever I listen to those guys.

You can see them doing just that on that Hollywood Palace appearance. The color one is much better, but this black & white clip was just posted in another thread:

http://www.youtube.com/watch?v=nE6Q-OGeJSc

Harry

 

[Moritat]

This is the perfect TJB lp. In my opinion, the best album they did. There isn't a bad tune on this lp. Even though I think Flamingo might be the best hit they ever had, I'll choose For Carlos as my sentimental favorite here. Its good to see people complimenting this underrated song. Mexican Road Race and Blue Sunday are also great tunes. As I said before, the entire album is great!

If you like For Carlos, check out Wes Montgomery's version (called Wind Song) on his Down Here On The Ground lp.

 

[Mr Bill]

Great clip! The one for "Brasilia is still my fave, though...

--Mr Bill

 

[toeknee4bz]

If you like For Carlos, check out Wes Montgomery's version (called Wind Song) on his Down Here On The Ground lp.

Thank you IMMENSELY!!! This explains why, for years, I have visually scanned the track lists of Wes' albums looking for "For Carlos", and never could find it. I heard it on the Muzak system in my store and wanted a copy from the first time I heard it.

Tony

 

[rickster]

SRO is a fine album, content and playing wise, but I will never forget the feeling of disappointment when I bought the album, cranked it up, and did not hear the usual "big" sound I was accustomed to hearing with the TJB. Something happened between "South Of The Border" and "SRO" to the engineering of the albums, and, with all due respect to Larry Levine, to my ears it wasn't all good. I have often wondered what SRO would have sounded like with a "Going Places " type mix. THAT would have been something to hear. I remember buying the singles of "Work Song" and "Flamingo" (a GREAT arrangement) and LOVING their hot mix --- then buying the album and thinking --what happened ??? SO flat sounding. So in summary, yeah, SRO is a great album, just too bad it doesn't sound way better.

 

[Moritat]

Tony... glad I could be of assistance. I'd like to add that in addition to getting Wes' version of For Carlos, Down Here On The Ground is a great lp. It's the best Wes lp on A&M, and one of the best lps A&M ever released. I'd be interested to hear if anyone knows of any other covers of For Carlos (under any name) by any other artists

 

[JOv2]

...Something happened between "South Of The Border" and "SRO" to the engineering of the albums, and, with all due respect to Larry Levine, to my ears it wasn't all good. I have often wondered what SRO would have sounded like with a "Going Places " type mix...

I agree, rickster.

South Of The Border exhibits a full-bodied electric bass guitar and the three horns carry a strong sonic envelope, while !!Going Places!! shows off the most accurate drum kit sound on any '60s TJB LP: the cymbals shimmer and sizzle...and check out that tuned kick drum! I get the feeling that as Herb started putting less air through the horn, they started miking him closer (ala Ninth) -- and, consequently, replacing the natural studio ambiance with more reverb. As far as I can tell, the period South Of The Border thought to at least Beat Of The Brass were recorded at Gold Star with Levine engineering -- which would then suggest Herb, as producer, pushed for the altered sonics.

 

[alpertfan]

A question: Who is the "Carlos" of the tune "For Carlos"? Would that be Carlos Arruzo?

 

[Steve Sidoruk]

Carlos Arruza
From Wikipedia, the free encyclopedia
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Carlos Arruza (born Carlos Ruiz Camino, February 17, 1920, Mexico City; died May 20, 1966, near Mexico City) was one of the most prominent bullfighters of the 20th century. He was known as "El Ciclón" ("the cyclone").

Arruza was born in Mexico to Spanish parents. He began fighting bulls at age 14 in Mexico City, and moved to Spain in 1944. He and Manolete were Spain's top matadors of the 1940s.

Arruza retired to a ranch outside Mexico City in 1953, but made a comeback as a rejoneador, fighting bulls from horseback. He appeared in two Mexican films about bullfighting, and had a part in the 1960 John Wayne film The Alamo. He was the subject of the 1971 documentary Arruza, directed by Budd Boetticher. Arruza's sons, Manolo and Carlos Jr., also became prominent toreros.

Carlos Arruza died on May 20, 1966 in an automobile accident while on the road from Toluca, Mexico to Mexico City.

 

[DAN BOLTON]

A question: Who is the "Carlos" of the tune "For Carlos"? Would that be Carlos Arruzo?

Yes, it was. Herb has referred to him many times in liner notes and in interviews. Arruza was the bullfighter Herb used to watch in Tijuana at the bullring when he needed to escape from the pressures of the music business before he formed the TJB. Arruza's death greatly moved Herb; it occurred at roughly the same time that SRO was being recorded, and so the song came about.

Dan

 

[bob knack]

I voted for Mexican Road Race cause that's the one I always play first when I put on the LP or now CD. The one I always skip is Freight Train Joe. Herb made his trumpets sound like car horns on What Now, My Love and here he tries train whistles. Doesn't work for me. Otherwise everything on this record is great. I have many fond memories around the time it came out.

 

[JOv2]

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

Mike, I was perusing the Jo-Ral mute maker (one of America's finest!) website and thought you and other interested parties may like to visually check out some of their offerings to see the different types.

www.jo-ral.com

(Note, Jo-Ral does not use the term "Harmon" -- instead they call the famous mute a "bubble" mute; other manufacturers refer to the "Harmon" mute as a "wah-wah" or "extending tube" mute. I believe this is so because "Harmon" was the original manufacturer of this type of mute and they may still have a legal lock on the name...)

Here are some exerpts from a nice essay couresy of our old friends at Wikipedia:

• A variety of mutes have been used on brass instruments, all of which either squeeze inside the bell of the instrument, or are hung or clipped to the outside of the bell. These mutes are typically made out of aluminum, brass, or copper metal, but more economical plaster, cardboard, and plastic versions exist. Each material produces a distinctive sound.
  
  The most common type is the straight mute, a hollow, cone-shaped mute that fits into the bell of the instrument. This results in a more metallic, sometimes nasal sound, and when played at loud volumes can result in a very piercing note. Straight mutes have small pieces of cork attached to the end that squeeze against the inside of the bell and hold the mute in place. Straight mutes are available for most brass instruments, including the tuba.
  
  The second common brass mute is the cup mute. Cup mutes are similar to straight mutes, but attached to the end of the mute's cone is a large lip that forms a cup over the bell. The result is removal of the upper and lower frequencies and a rounder, more muffled tone.
  
  The Wah-wah mute (also known by the brand name Harmon), is a hollow, bulbous mute in two parts. Unlike the more common straight or cup mutes, the Harmon mute has a solid ring of cork that completely blocks all of the air leaving the bell, and forces all of the instrument's air column into the mute. In a hole on the front of the mute there is a cup on a tube that can be slid in or out, or removed completely, depending on the composer's direction or the player's preference. The mute produces a sound perhaps best described as a highish-pitched 'buzz'. Harmon mutes are available for many brass instruments, but are only commonly used by trumpets and trombones. Miles Davis often played through a Harmon mute without the stem; this greatly shaped the character of his sound, and greatly influenced the jazz community in such classic tracks as "All Blues". A famous example of Harmon mute coupled with hand muting on trombone are the adults' voices in the animated Peanuts cartoons.
  
  Bucket mutes attach to the rim of the bell with springs and contain cotton or a similar substance. The effect is removal of high frequencies and a soft, muffled tone. Some modern bucket mutes (by JoRal for example) are designed as over sized straight mutes filled with batting, with large holes in along the side. These are held in the bell of the instrument with strips of cork, like straight and cup mutes, to make their use more convenient; players often find the spring-style mutes awkward for quick passages.
  
  Derby Mutes or hat mutes (also known as Bowler Hats, and also confusingly called Wah-wah mutes) were common in jazz from the 1920s when King Oliver played and others wrote for them. These mutes were originally actual bowler hats. In the 1920s with the advent of aluminum as an art metal, derby mutes were stamped out of metal by companies such as Meta-Lite, Elton, and Harmon. These replaced the use of the actual bowler derbies. From the 1950s to the present derby mutes were made of fibre (a resin impregnated cardboard). They are still available form the Humes & Berg Company. Derby mutes are typically mounted on stands in front of the trumpet and trombone players, to permit quick movement of the bell in and out of the hat quickly, although they can be opened and closed over the bell of the instrument by hand. These mutes have fallen somewhat out of favor in recent years, as bucket mutes or playing in to the music stand can give a somewhat similar sound.