THE LONELY BULL - Your Reviews

[martin]

As a remarkable lot of other musicians and record people that I know, I am not really all that interested in all the possible audio nuances that some take a strong interest in. I guess it comes from the experience, that when you work "on the other side" you know that the product you come up with will be listened to by (hopefully) a lot of people on equipment of very varying quality indeed. So, most of the time, you try to put out a product that will satisfy the larger part of the audience.
I have never cared much for "The Lonely Bull" album, because I always felt it sounded old fashioned and lacked the quality of the albums from SOTB and onwards both sound wise and in terms of material. With the re-issue, I think the re-mastering does justice to the original product,(as does SOTB). In my ears it sounds as good as could be expected. It appears that one has tried to get a sound from the CD that would be close to the experience of playing the original(Stereo) LP and has managed that quite successfully. To be honest, I don't think there is all that much more to pull out it.

- greetings from the north -
Martin

 

[JMK]

Well, I may get drummed off the Board for saying this (Mexican drums only, please ), but I had never heard Lonely Bull (the album) all the way through before I got this CD. I do definitely hear the distortion and the "sludge," but I have to agree with Martin in that the material itself, and (sorry to say this, but it's how I feel) some of the performances are definitely below par. Now those who know me from the Mendes Board know that I really was never a huge Alpert fan (at least compared to my love for Sergio's music), but I did love some of the later albums, notably Beat of the Brass and Warm. But I have to say I was really kind of shocked to hear some of the less than stellar playing on this album. I am just chalking it all up to it being the first album, recorded in 1962, people were less sophisticated then, etc., etc. But I am definitely enjoying SOTB and (especially) Lost Treasures much more than this one.

 

[DAN BOLTON]

I think that the mood of the album has a lot to do with the playing...it's a casual style. I agree that the overall sound is a lot different from the later albums...the only track that sounds like the TJB style we all know and love is DESIFINADO. It took time to develop the TJB sound...and it really wasn't until WHIPPED CREAM that it finally, really came together.

And, a lot of the musicians playing on TLB and other early albums kind of came and went, so there might not have been a lot of continuity, along with a lot of experimentation.

Some songs, like TIJUANA SAURKRAUT, for example, are "novelty" songs, too...the trombone is a little odd sounding to some, but it really captures the overall playful mood of the song. And remember that Bob Edmondson was the "comic relief" for the TJB[ I used to mimic him to the best of my ability...bumping my head on my music stand when I bowed as I was introduced in my high-school jazz band...].

Also, you have to remember the context in which this album was being recorded...Cuban missile crisis era...the album was an escape for many people, I think...even though the crisis was really over just as the album was released, it was an escape from everyday humdrum and even a little terror...who knew where the next flashpoint would be, and when? A party album from Mexico was just the ticket...

Think of TLB as a party album, a concept album, and the root of the beginning of a search for a new sound. It set the foundation for a record company and established a philosophy in the music world.

Less than stellar playing? To each his own, I guess...and it IS different from the other TJB albums; but froim a tiny acorn...



Dan

 

[Numero Cinco]

I think both JMK and Dan make valid points, especially Mr. Bolton's invitation to think of The Lonely Bull as a concept album in an uneasy time. It wasn't until "Mexican Shuffle" that the sound took off and acquired a life of its own.

Another thing to remember is how big a difference the studio and engineering made on TJB albums. I think Gold Star and Larry Levine both played critical roles in the quality of subsequent albums.

 

[BrassFan]

When I was a kid in the mid 60s, the TJB were the only band for whom I had multiple albums, other than the Beatles. I think I started with "Going Places", and then worked my way backwards and forwards.

Regardless, I never actually owned "Lonely Bull" or "Vol. 2". My collection wound up only going as far back as "South of the Border".

I am enjoying the re-issues and look forward to the rest. I agree with what seems to be the prevailing feeling throughout several of the threads: "Lonely Bull" is the lesser of the three releases thus far. Obvious explanations include the relatively primitive recording conditions, the rush to assemble the album in the wake of the success of the single, the not-yet-evolved sound.

As a general rule, I tend to like the 'novelty' tunes least and this one has more than its share. Personal favorites are "El Lobo", "Desafinado", "Never on Sunday", and "A Quiet Tear". Perhaps slow or melancholy tracks are least likely to be 'novelty' songs. (Having said that, I do have trouble staying 'connected' to the drum part on "Let It Be Me". Does anyone else have that experience? The accents throw me, but I'm not sure why.) I'm a trumpet player and I must say, that even at this early stage, Herb's horn is channeling a unique voice that comes through in every track.

I am a relatively new member here. I would like to suggest to some of my colleagues that the experience here will be all the more rewarding when we ensure that it is OK to post a serious criticism. It doesn't mean we don't love the TJB. I love the TJB but part of the fun of listening to something as seriously or as often as many of us here obviously do, is being able to take issue with something from time to time. Maybe there's a different site I should go to for that level of discussion; if you know of it, please tell me and I'll check it out. It is not my intention to disrupt anyone else's experience of TJB in general or these re-issues in particular, and if it is important to some that this be a site for fan worship only, I will respect that and move on. But please consider not being so defensive about the TJB that anything less than unconditional praise requires you to stamp it out or return with that all-too-often-used rejoinder, "I'm sure Herb knows best." You can say that about virtually everything connected to the TJB.

When some of us opine, "Gee, since these albums only last around 30 minutes, I wish they had put these out on CD as 'two-fers', or added on bonus tracks instead of putting them on a separate CD, or given both the stereo and mono mixes on that 65% unused space" or "Jewel boxes would have lasted longer" or "Liner notes with basic personnel and recording info would have been nice" or "Liner notes should have been proofread so the same sentences didn't wind up being placed with more than one package" (and I hold all of these opinions) we STILL LOVE THESE RELEASES and the TJB.

One last criticism: No lyric sheet.
Just kidding. See, it was a joke. Just a joke!

Thanks to Herb and the Gang.

From a loving fan (who even mailed a hand written note to the official fan club back in the 60's, I'm not kidding!)

PS
I love this site, I just wish the threads were a little more tolerant of criticism, but ultimately that may just be human nature.

 

[Captaindave]

This just about describes my experience as well, except I do have the albums mentioned in the form of the Longines Symphonette Society's release of the "Treasury of the Award Winning Herb Alpert and the Tijuana Brass." This "box set" of albums, for those who may not know, contains the albums Lonely Bull through Whipped Cream, plus a Baja Marimba Band album of various songs. Total of five albums in the set. I acquired this collection back about 1966 or so, I think(long time ago to have an exact recollection).

I, also, am a trumpet playing veteran of about 40 years. Herb Alpert represented a new and unique direction in instrumental music in general, and trumpet style and sound in particular. I have absolutely no problem musically or otherwise with the Lonely Bull album. IMO, these albums are what the artist intended and conceived at the time, and they are, from my point of view, where the artist was musically, artistically, commercially, etc, at the point in time of the recording.

Quite often times, I think there is a fine line between complaining, criticism, and just plain discussion. I prefer the latter type of conversation, but not particularly the former aspects.

I will say it again...I am very happy that these recordings are now available and going to be available on CD. Perhaps audio purists/audiophiles own turntables, etc, etc, and are knowledgeable and interested in the finer points of mono/stereo and recording techniques, etc. I, for one, couldn't care less about any of that. I'm happy that I can play these recordings again on technology that I have or am likely to have in my home and car. And, outside of the audiophile market, IMO(I have no supporting data) most people play CDs today; not vinyl.

I am also thankful for the reissuing of these recordings.

I grew in the sixties listening to all these recordings on a Magnavox Home Entertainment system, complete with black and white TV, AM/FM tuner, and record player. This whole system was "cave man primitive," but I listened happily and contentedly, and grew to love this music on that kind of playback equipment. In my girlfriend's home back then - 1969 - (she is now MY WIFE ), there was a stereo system that doubled as a coffee table! So, ANYTHING I hear today is light years ahead of that...to each his own, however...

I like discussion...I do believe this is more of less of a fan site...I do not like complaining, whining, etc. If that is what is meant by "criticism," then I don't much like it.

 

[Harry]

Honest and intelligent critiques are always welcomed here. Many here in this thread have mentioned their honest dissatisfaction with the technical aspects of THE LONELY BULL recording - and just as many are quite happy to have an honest attempt by SHOUT! to duplicate the original listening experience.

This Forum is designed for discussion. If we all agreed on everything - there'd be very few threads.

Harry

 

[Numero Cinco]

Captaindave: This just about describes my experience as well, except I do have the albums mentioned in the form of the Longines Symphonette Society's release of the "Treasury of the Award Winning Herb Alpert and the Tijuana Brass." This "box set" of albums, for those who may not know, contains the albums Lonely Bull through Whipped Cream, plus a Baja Marimba Band album of various songs. Total of five albums in the set. I acquired this collection back about 1966 or so, I think(long time ago to have an exact recollection).

You know, I vaguely remember a friend, c. 1968, showing me a boxed set that answers to that desctiption. As I recall, (1) the cover of the box reproduced Herb and La Gatita from the cover of South of the Border, and (2) he said his parents had acquired it through a special offer from Reader's Digest. The latter seems too weird for words; then again, maybe not.

BrassFan: . . . Maybe there's a different site I should go to for that level of discussion; if you know of it, please tell me and I'll check it out. It is not my intention to disrupt anyone else's experience of TJB in general or these re-issues in particular, and if it is important to some that this be a site for fan worship only, I will respect that and move on. But please consider not being so defensive about the TJB that anything less than unconditional praise requires you to stamp it out . . .

I hope you'll stick with this site, because you make some very intelligent points, including your criticisms. Nor do you have to signal to me, or for that matter anyone else, your bona fides as an admirer of Herb and the TJB. I doubt that Mr. Alpert needs hero-worship.

In the matter of criticism, I think Roger Ebert once made an astute point that we all might consider. Regarding criticism, said Mr. Ebert, he is but one person in the audience. He can speak only for what he sees and hears. If he is to be an honest critic, he must assume responsibility for reporting, with accuracy and fairness, exactly what he sees and hears. And he expects others, from their different seats in the audience, to do the same.

 

[Dave]

Well, with CD's you hear what you wanna hear...and what you DON'T in the way of recording "flaws"... I'm pretty fussy over vinyl with its clicks 'N' pops... I don't think you can overcome the "lack of technology" you "suddenly hear", because Technology is TOO GOOD!

It's a "newer product", there are "newer problems", that's all... Herb, his band (be it the TjB he has "now" or studio-musicians) and his tireless engineer, Larry Levine, did all they could "back then" so we could still enjoy it now...

It was probably not meant for "real audio-phile" enthusiasts, and unless it gets some sort'a Gold Disc treatment, or real "Super-Duper 180g Vinyl", some things never change...

We wanted a replacement product and so we got, so...

"Hail, Herb!!"


Dave

 

[DAN BOLTON]

Geez...I said,"...To each his own..."...if you think that the performances on TLB were "less than stellar", you're certainly entitled to that opinion. But, if you listen to the album a few times, and compare it to the others in the context that it was the first one, and that the TJB sound we're all familiar with didn't really exist yet, well...it comes off as a much better effort than it's getting credit for. And, if you compare it to a lot of the other stuff that was on the market at that time, well...it comes off even better.

One of the reasons that I have a tendency to say that "Herb knows best", is because , in hindsight, he usually does. I never liked NORTH ON SOUTH STREET...in fact, I took it back to the store after listening to it once; but, after reading a few threads concerning the album and downloading a couple of tracks, I've changed my mind...

I'm just one guy with one opinion. I've been listening to the TJB for 40 years, and I really love the music. This is the music I keep coming back to...the one act that hit the fewest wrong notes[but there were a few...we just haven't gotten to the stuff I didn't really care for yet...]. Herb has taught me more about the music industry as a whole than everybody else I've listened to put together, so...maybe I'm a little defensive.

The sound quality might not be the best on TLB, but it was recorded in 1962. The musicians played their hearts out, that's plainly evident to me. How does TLB stack up to say, GOING PLACES! ? It really isn't a fair comparison, because the two albums are light years apart from both a technical and artistic standpoint. But, TLB was on the album charts for a long, long time. And remember, an artist is only as good as his material...if you play standards and cover popular music, you have to play what's out there currently...and what you can get the rights to. Herb's name carried a lot more weight by 1965 than it did in 1962...

I really believe that after you listen to TLB a few more times, it'll grow on you. And, remember that I'm a rabid fan, and you might not be...and that's okay, too. I don't mean to bite your posterior, or anything like that...


I'll get off my soapbox, now...

Dan

 

[JMK]

Dan, I'm not sure if you meant your reply to me, since I'm the one who said "less than stellar". I never responded to your initial response, so I'm a little confused why you would respond again as if I had, but perhaps you're responding to BrassFan or someone else, and thinking that they're the one who said "less than stellar".

As I've stated, I always *liked* the Brass, I just never *loved* them the way I did Brasil '66. Plus, I never really had any of their albums until later in their career, circa Beat of the Brass, Warm and Brass Are (is?) Comin'. Part of my response to Lonely Bull is directly related to my personal experience as a musician, especially playing with jazz guys on tunes like Desafinado, where the soloists just rip into the changes and play their hearts out. I know jazz soloing was never Herb's strong suit (he's said so himself in many interviews), but I found that song, among others, to be a little lackluster.

I am enjoying SOTB and especially Lost Treasures much more (but even on Lost Treasures, isn't it Chuck Findley who takes the really challenging trumpet parts, like the opening to Promises, Promises)?

 

[Mike Blakesley]

These past few posts have been interesting.

I've never liked THE LONELY BULL much because it is too different from my "favorite" TJB records, which are pretty much everything from WHIPPED CREAM on. TLB is less peppy, more simplistic and just doesn't sound as good as those later records -- TO ME. To someone else it would be different.

When the new CD came out I decided to listen to the album again because I haven't heard it all the way through in at least 20 years. While a few songs (notably "Let it Be Me" and "Desafinado") sounded better to me than they had in the past, my final opinion was still about the same: I love "Lonely Bull" and "A Quiet Tear," but it took real effort to keep my finger off the FF button during "Struttin' With Maria" and "Never On Sunday." They just don't have the TJB sound that I love, which really didn't come along until SOUTH OF THE BORDER and WHIPPED CREAM.

BTW - There's nothing wrong with saying you don't like this or that. The way to keep the members from flaming you for a low opinion of something is to explain your opinion -- like JMK does in his post above. But don't shy away from a good argument -- that's what makes the forum fun!

 

[DAN BOLTON]

I agree with Mikes last paragraph. I was in a quandary about the comments on the level of musicianship and song selection on the album. It's sort of like comparing a 1953 and a 2005 Corvette...the '53 is nowhere near the car that the '05 is, but it has significance because it's the first one, and because it created a legacy. Which would I prefer to take a long-distance trip in? Well, that depends on my mood. I'd usually prefer the newer model, for sure...but, as a purist; I'd love to have both.

I just thought that some of the comments were not exactly unfair, but that they may have not have taken into consideration all the facts. If you dismiss a 1953 Corvette out of hand because it's just an old car, you miss out on a fascinating piece of history and a great cultural icon. It's the same with TLB...

I can see more of where JMK is coming from, now...and there are some valid points to what he says. But, I don't think that the musicianship was all that lackluster...we could go on and on about this, couldn't we?


Dan

 

[thetijuanataxi]

I don't see any lackluster musicianship on TLB. I'll admit that the arrangements are not quite as plush or varied as on later albums, but I don't see where the musicianship is "lackluster". As for Herb's version of "Desifinado", while his version may not be as solo laden or "jazzy" as Stan Getz' version, it is still very classy, well articulated and Herb does plenty of ad-libbing. The TJB never claimed to be solid jazz. Herb did a jazzy pop arrangement which is what he shines at. TLB may not be everyone's favorite TJB album, myself included, but it is hardly lackluster. I don't think there's a weak track on the album. Listen to the emotion in Herb's trumpet on "Quiet Tear" and "Let It Be Me". Listen to how he uses the trumpet to voice wolf howls on "El Lobo". And Herb still has the most swinging arrangement of "Never On Sunday". I don't have a problem with explained criticism. I do have a problem with labeling a whole album as lackluster when there's nothing to justify it. I have no problem with someone saying TLB is their least favorite TJB album, but unduly attacking Herb's musicianship on the record does kinda bother me. We don't have to worship Herb like a god, but we can keep all criticisms in perspective and at least reasonably elaborate on what we don't care for rather than label a classic album as "lackluster".

David,
getting of his soapbox now......

 

[daveK]

I've enjoyed "Lost Treasures" but keep going back to "The Lonely Bull". I've been listening to it almost constantly since I got it. I take back every negative thing I said earlier about this reissue. I still would love to have both the mono and stereo versions on one CD, but the more I listen to this disc, the more I'm impressed with the sound quality. I've compared it to the A&M disc and where I thought certain songs sounded better on the A&M version, I was dead wrong! I just wasn't used to the clarity of the instrumentation that's present on the Shout Factory version. A good example is "Acapulco 1922" where the trumpet is so crystal clear you can practically hear Herb's spit valve being filled. I mistakenly thought some of this was tape noise or a defect of some sort.
Everytime I listen to the disc through now, something jumps out at me that I didn't notice before. I now count TLB among my favorite albums of all time. For an album that was rushed out to capitalize on a hit single, it is a remarkable achievement.

 

[JMK]

Look, everyone has the right to their opinion. The only difference is some people evidently believe their opinion is "fact" or "the truth." I personally find Lonely Bull to have lackluster moments. It's my opinion. And my opinion, for me, is just as "factual" or "truthful" as yours is for you. DesAfinado may be your favorite track--and you have the right to that. I find it less than satisfying. Those from the Mendes board know I'm a fairly knowledgeable afficianado of "real" Brasilian music (i.e., made by Brasilians themselves), and I find the TJB's arrangement to be, yes, lackluster in several respects. Again, my opinion. You are certainly well within your rights to disagree, but please don't try to tell me I'm "wrong" and you're "right." As a friend of mine on another Board said once, "It's OK to say you don't like apple pie, but isn't it misleading to say 'Apple pie is bad'"? I think we need to all realize we come from different backgrounds and different listening experiences and, as another poster above articulated very well, accept everyone's feedback in an open manner, realizing that, bottom line, it is nothing more than--opinion.

Now, let me move on to the mis-tuned drums on--oh, never mind.

 

[thetijuanataxi]

Once again, there's that "lackluster" business without any explanation of what makes the song lackluster. If you're going to harp on the "not pure Brazilian" music thing, Sir, that is just as rediculous as saying that Brasil '66's versions of "With A little Help From My Friends" and "Daytripper" are "lackluster because Mendes doesn't sound like a British rock group. Herb did the song within the context of what he was trying to say at the time. He was giving it a Mexican flavor. Most of Herb's finest moments are when he takes a tune we are used to hearing a certain way and giving it a makeover. And your comment about BOB Findley handling the "Challenging" trumpet parts, first of all Bob Findley wasn't even associated with the TJB until "You Smile, The Song Begins" LP was recorded. Herb played all the trumpet parts on the original TJB albums except for when the TJB had orchestral backing such as "Casino Royale". If you mean the extreme high notes on the 70's TJB records, yes Bob did play most of those. Herb has never been a screamer and he knows that that's not where his strengths lie, so he's smart enough to have someone like Bob in the band for those moments. Bob, however, will be the first to tell you he's not Herb Alpert as well. Herb has a unique way with the trumpet. It takes finesse and expertise to be able to make your horn "talk" and draw all the emotion out of a song and Herb is almost unequaled these days in his ability to do that. That's why he sold 100 million records. Many trumpeters who can play octaves higher than Herb can't do this. Doc Severinsen is a perfect example. Technically, he's a lot more "acomplished' than Herb, but if you compare his version of "I Will Wait For You" to Herb's version, you'll see what I'm talking about. There is nothing "below par" about Herb's playing" on TLB. If the style of the music there doesn't do it for you, that's one thing. I'm sure there are certain Brasil '66 albums that I could say the same thing about. And that's honest. But don't say below par unless you can tell me what Herb is below par on. I think there are many examples on that album where even though it's his first LP at 25 yrs. old, Herb shows more musicality than many of the acts that were established at that time.

David,
NP- The Lonely Bull

 

[thetijuanataxi]

Atta boy, Dave K., I knew you'd see the light! Welcome to the "LONELY BULL" aficionado's club

David, welcoming Brother Dave into the circle......

 

[JMK]

You seem to be getting very exercised simply because I don't like something as much as you do. Sorry, like I said, it's just my opinion. But if you want specific examples, OK, here goes:

1. The rim shots are uniformly on 1, 2 and, 4 (first measure), 2, 4 (second measure) for the whole song--definitely NOT Bossa Nova, but even allowing that this is not a Bossa Nova arrangement (which I would argue it is, but we'll let that go), it's simply boring after a while, especially with the stilted guitar echoing the rim shots exactly and not giving a rhythmic counterpoint.

2. Herb's faltering (again, my opinion, nothing more or less) attempts at a solo starting at about 56 seconds in including what is obviously (again, my opinion) a clam at 1:03. Herb's second clam (again, my opinion) occurs at around 1:31, when he is again haltingly attempting (opinion) to develop some sort of solo.

3. The kind of funny (maybe they meant it that way) cha-cha-cha rimshots at around 1:47.

4. And lest you think I'm singling out Herb, the whole "trading 4s" between Julius and Herb is simply not up to their later interplay (opinion again).

5. Herb again clams at the closing measures (at about 3:32).

Now before you get too upset that I have the audacity not to agree with you, I'd like to just state for the record that I think I'm one of only two or three people on any of the A&M Boards that makes his living from music, and that (as some of the longtimers know) I've had the extreme pleasure of not only knowing but performing and even recording with some great former A&M acts or those with tangential relationships with A&M acts. I also highly value my friendships with the late Julius Wechter, not to mention Cissy and David, as well as the fabulous Dave Frishberg (who lives here in my hometown of Portland). So I think I'm at least pretty well qualified to have an opinion of my own. Again, I'm really sorry you seem to not be able to accept the fact that it doesn't jibe with yours.

 

[JMK]

P.S. Re: Promises, Promises. Wasn't that recorded during the YSTSB era? That's why I was thinking of Findley.

 

[thetijuanataxi]

Ok, JMK, I'll take this by the numbers. At least you're describing what you don't like this time. At least now I can validate your opinion whether or not I agree with it. Point #1: Herb's versions are usually hybrids in terms of flavor. So while it has a Bossa Nova feel, I agree it is not authentic bossa nova. Probably intentional. Point #2: Have you ever listened to Louis Armstrong? He did this sort of thing way more than Herb does and he's considered the father of jazz trumpeters. As for faltering attempts at a solo? This is Tijuana Brass 1962 aimed at pop music listeners. The plan was keep it simple and catchy. Jazz purists sometimes call that "boring". Point 3: Herb had complete contol of recording and arrangement therefore it was probably meant that way. Point 4: I will agree that Herb's later exchanges with Julius get better and better. This exchange was the genesis of the "dynamic duo". Therefore it lacks the color of some of the later arrangements and sonically is somewhat distorted. Point 5: Again, my answer in Point 1. All jazz trumpeters do it at times. It's called flubbing a note. I'm sure if Herb didn't think it sounded good within the context of what he was trying to say, he would have re-recorded it. As for your opinions, you ARE entitled 100%, all I ask is that when you slam an artist, especially Herb, you explain your dissatisfaction rather than making a blanket statement. My goal is not to make you love this record, but rather protect it unless the attacker has an argument of substance to back up his pontifications. We can agree to disagree on whether this album is a favorite or not. But I will attack anyone who makes negative blanket statements about Herb or one of his albums etc. without explaining him or herself. Other than that, I'm a pretty friendly guy!

David,
not expecting to convert JMK............

 

[thetijuanataxi]

Yes, Promises, Promises was recorded in 1974. However, I don't recall Bob Findley having any big prescence on that recording except maybe a few blats here and there.

David

 

[JMK]

I *never* slammed or *attacked* anyone. You should go back and read what I wrote. I said I thought it was "less than stellar" and had "lackluster moments." If you think that's a slam, don't get me started on Josh Groban.

 

[thetijuanataxi]

Okay, perhaps "slam" is a bit harsher than you deservred. My apologies. Josh who? .......

David,
with a little slam of his own ......

 

[Captaindave]

I'll be happy anytime to engage in the "joust" as to the technical or other miscellaneous details of trumpet playing. I've been blowing that piece of brass plumbing for over forty years now, with several years of formal training in the past by various professional teacher/player types of individuals.

I have played in just about any and all situations where there was anyone there to listen. I do not make my present living at music, but that has no bearing as to ability on the horn, or my ability to know what amounts to good trumpet playing, and what it takes to be a good trumpet player. I simply choose to make my living in other fields of endeavor.

So, I am going to say that Herb Alpert is a trumpet "stylist," not a trumpet "technician." A "technician" is, in my definition, someone who uses technical mastery of some aspect of physical performance to accomplish that performance. Example - high note playing. Other than the trumpet lines in Zorba the Greek, I don't recall any trumpet playing on TJB recordings that is TECHNICALLY beyond the ability of a good high school player. Did I say that a good high school player SOUNDS like Herb? NO! But, the technical demands of TJB music are not higher than such a player could reproduce. Heck, I played all the TJB stuff when I was in high school. I played stuff quite a bit more technically challeging than than also.

Herb Alpert is an instrumental pop stylist. And, a very, very good one. Is he the best trumpet "technician?" No. Is he the best jazz soloist? No. BUT, what he does, he does better than anyone else - he is unequaled at being Herb Alpert...

As far as I am concerned, the Lonely Bull is a good album. It is the beginning of the growth and development of an original style and sound in instrumental pop music that blossomed and grew and developed throughout the decade of the sixties. It represented a new direction in pop music. In that regard, it is a worthy, trendsetting, and important album.