iOle`! to that!I also thought it was humorous to hear Herb getting the "friendship award" or whatever it was from the Mexican government. Today if a bunch of Italian and Jewish guys played mock-Mariachi music and shouted "Ole" for an hour on stage, they'd probably be called racists instead.
I would imagine a “reference recording“ in this case is simply an an audio document of the event, in case an incident occurs and the venue needs to prove or disprove something. If the event goes off without a hitch, it can be erased and recorded over, to prevent bootlegging. In this case, I’m glad the order was ignored.Wow! Definitely late to this party, but am eternally glad the door was open, I heard the music and came on in (thanks, Harry)!
Hearing this historical artifact for the first time is truly exciting…
Here are some takeaways:
- We finally get to hear Lou. He swings!
- It’s great to hear Nic open up. He is a very melodic drummer and truly the musical backbone of the combo.
- The group vocal harmonies (which were really decent) were a pleasant surprise.
- Three trumpeters? I didn’t notice any 3-part harmony from the trumpets, so Tonni and Art must be doubling up — (and quite well at that).
- Herb doesn’t ever stretch out (neither does Tonnie or Art for that matter): zilcho improv.
- !!Going Places!! was released MON/13SEP65.
- Only 3 songs were performed from WC&OD.
- The brass had a solid 4-year run as a major concert attraction.
- Who in the brass asked about his new cufflinks?
- Herb characterized the TjB as: "Tongue-in-cheek music…we’re not that serious…". I was unprepared for the overall the party band vibe, which is quite at odds with Mathis' heavier and emotive style. The brass also played very loose... If the brass always played like this I could see why no live concert recordings were issued. It's a night-and-day difference between what going on here and what Herb had in '75 on the The Midnight Special. (That said, most "live" 1960s LPs were either an amalgam of several dates and/or underwent serious post-production, or were in reality "live in studio" outings (like Cannonball Adderley’s famous Mercy, Mercy, Mercy! LP from 1966.)
- If this was a "reference recording" I’d like to know for what — how much distortion one can capture on tape??? For openers, Mathis often overmodulated and there were notable sonic issues with Pat's electric bass guitar...
iOle`! to that!
Got it! In my myopic audio world, I heretofore understood "reference recording" to mean a recording of superior quality (against which to sonically measure all others). I conjecture that many (if not "all") Hollywood Bowl performances were recorded... About ten-or-so years back one such recording of Bud & Travis (from 13AUG65) turned up first on their website as an mp3 download and then receiving a commercial release.I would imagine a “reference recording“ in this case is simply an an audio document of the event
Both from ‘65. I’m betting whoever was responsible that summer may have “forgotten” to erase more.Got it! In my myopic audio world, I heretofore understood "reference recording" to mean a recording of superior quality (against which to sonically measure all others). I conjecture that many (if not "all") Hollywood Bowl performances were recorded... About ten-or-so years back one such recording of Bud & Travis (from 13AUG65) turned up first on their website as an mp3 download and then receiving a commercial release.
Point taken, TjbBmb...but I was thinking more like Herb taking a full chorus where we get a new off-the-cuff melody. (Bob and Julius have major jazz chops so the talent was there to open up some solo space if Herb wanted to go that route with the Brass in concert
I'm sure there are a few ¼" reels now lost to time that were board feeds from this and other venues. (Man, if I was anywhere near the board I'd bribe one of the recording engineers to split a mono feed off to my portable RtR!)Both from ‘65. I’m betting whoever was responsible that summer may have “forgotten” to erase more.
God, what a great line-up of tunes!!Songs performed by Herb Alpert & The Tijuana Brass:
The Lonely Bull
All My Loving
Winds Of Barcelona
The Girl From Ipanema
Never On Sunday
I've Grown Accustomed To Her Face
Struttin' With Maria
A Taste Of Honey
Third Man Theme
Up Cherry Street
South Of The Border
This should satisfy all of the many fans over the years here who have expressed a desire for a Tijuana Brass live concert recording. This one's from the soundboard, sounds really good, has audience noise at a minumum, and features all of the in-between banter and antics.
Makes a great live CD!