The Official !!GOING PLACES!! comments thread and poll
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JOv2
Well-Known Member
Keenly aware of the recipe for public success – as measured by extraordinary Whipped Cream & Other Delights LP sales – Mr. Alpert’s next LP employed the same formula; for this excursion, however, he was obviously more critical of the choice material. The sales figures were similarly not lost on Messers. Coleman and Wechter both of whom had no recorded offerings on WCAOD and figured they’d like to go places as well...at least where royalties go.
The engineering quality on !!Going Places!! is nothing short of excellent. Deep robust fender bass, punchy drums (with a tuned kick drum!!), sizzling cymbals; and Mr. Alpert’s trumpet is at its most brilliant. Indeed, his TjB-era technical expertise plateaus with this LP as his trumpet tone is fully blessed with a shimmering metallic luster the likes of which us cornet players can only ogle at!
Although the recorded performance apparently marks the last TjB LP overtly utilizing studio musicians, the album enjoys an interesting cohesiveness – mostly the handiwork of Mr. Alpert’s rapidly maturing arranging and producing talents: for example, scoring for strings and reeds – devoid of combo instruments on two numbers, while incorporating non-musical voices ("chatter") to contribute to the overall dynamics on several others.
My ears tell me that there are two very different drummers on these sessions – the technical execution exhibited on 3rd Man Theme and Walk, Don’t Run is vastly different than most the other selections. Too, the electric 12-string on both these numbers is technically dissimilar to the 12-string on Felecia.
By day’s end, Mr. Alpert may have served up the finest TjB album, (perhaps...the finest LP of his career ~). It's a tough record to beat. Mike B. is correct in that it was customary in the '60s to front-load pop LPs with the premium material; given that GP is nearly devoid of clunkers, it can be reasonably argued that side two is actually stronger than side one.
Simply put, GP is a 5-star album, the kind of record that rightly so creates legendary status. Indeed, if there is an archetypal TjB LP, this is it. Furthermore, had Mr. Alpert never delivered another LP, I'm confident he’d be regarded as a pop music mastermind on the stature of GP alone.
Taxi. A very strong opener. The unique song structure [AABC with 10-, and 9-bar sections] and transitions keep this one exciting throughout. I particularly like the call and response vehicle preciously heard on El Garbanzo but done here with much more musical sagacity.
Sentimental. A measure of Mr. Alpert’s increased self-assurance is observed in his arrangement of this mildewed chestnut -- the Tommy Dorsey version of which makes me wanna take a swan dive into a vat of sodium hydroxide. Herb spritely re-tools this syrupy number into something heretofore unimaginable. I’m confident he alienated many big band fans with this one…their loss. Herb keeps the excitement of Taxi chugging along with this number. Note how the two trumpets go in and out of unison making it hard to tell which part is which. Dig, too, the “fool you” turnaround that changes keys yet ends up back at the initial key for Bob’s bone solo (done to sleighbells – ala Lollipops And Roses). That back-alley coda with the cymbal crashes is a crack up. Beautiful job! A+
Amor. If I may take a bit of personal liberty here… Sol Lake’s song is the epitome of pop genius. The recurring understated rhythm, the dreamy vibes, the mesmerizing cymbals, using the piano solely for fragment turnarounds...and all sewn into the perfect melodic tapestry via two slightly out-of-tune trumpets. The arrangement beautifully climaxes into a series of ascending 4ths and a gradual crescendo held on one mode over 8 bars – the tension released into a deep mist of cymbal sizzzzzle. This extraordinary journey ends with a similar 8-bar sustained note and the perfect Bud Coleman guitar tag. What imagination! Another progressive arrangement from Herb’s singular pen. A+ (and my all-time fav TjB performance.)
Flea. This one’s a bit monotonous; however, the unique turnarounds keep it from being a total swampdog. The song should have ended round about 1:35 but Herb decided to drive it around the block a third time – though even he certainly knew the song was wearing thin – given the out-of-nowhere instruments that take over the melody and the door slam ending. Yup, this is one of those where I would ask the question. What was Herb thinking? (It’s a good question to ask, actually. When I bought my first LP box set back in HS – the 9 Beethoven symphonies – I asked the question, "what was Ludwig thinking?" following the first movement of the second symphony…and I still do to this day. When I purchased Miles Davis / Bitches Brew, I asked the question, "What was Miles thinking?", as well.)
Mae. This is a lovely, warm trumpet feature. I like the triplet cymbal / harpsichord figure. Herb’s half-valve technique is a cute touch – as is that fragment in the B-section where the triplets actually take over the beat (taking the song from 4/4 to 12/8 ).
3RD Man. Dang! Herb pulverizes this undisruptive little ditty into permanent toxic submission! What a riot! Between the electric 12-string-guitar-on-overdrive and the fill-happy drummer this is basically rock music, circa 1965. Darn-tootin’ good as well. The addition of strategically placed voice “chatter” was a sly move to keep the song attractive.
Walk. The momentum from 3RD Man Theme continues – with probably the same drummer and guitarist. The fender bassist is killer and sounds like nothing heard on any TjB LPs before or after! This cover beats the original in my book. A+
Felicia. John Pisano’s first offering is a gem. A simple series of descending 2-5-1 changes that take us from major to minor keys. The addition of bongos and voices followed by a series of crescendos – during the middle guitar break – are the hallmarks of inventive arrangements. Songs like this keep me coming back for more. Excellent job. A+
Angels. This is gorgeous. Hands down the prettiest recorded TjB-era trumpet tone from Mr. Alpert; and, is arguably his finest TjB recording demonstrating the optimal unity of his technical chops with his unique style. His expert reading of this piece is only further enhanced by a stellar orchestral arrangement. Dig how the strings drop out in toto at one point leaving just Herb, the ultra cool drumming, and piano fragments. And, damn, all transitions and turnarounds are just too much!! A+, baby...all the way to heaven!
Cinco. This is a real dog – the El Garbanzo of GP. Like with Spanish Flea, Herb obviously recognized the relative inferiority relative to the other selections and added a funny voice (sounds like some fatass 8-year-old-spoiled-brat mamas boy) and punched in a very noticeable marimba overdub in an attempt to harness the tedium. I guess it got Chris Montez a lifetime of royalties and a 4-LP deal. Yea for Chris.
Forest. As we return to the world of sensible music it should be noted that once again the arrangement pen of Mr. Alpert nearly makes this cover his own -- this time via the use of tension and release. For instance, Herb’s phrasing is really interesting as he climbs the scale at each transition (nearly every note is played silghtly different). Observe, as well, how the bone kicks in to build the "tension" sections. This is one of the more memorable arrangements for the marimba – both in solo and ensemble passages and is clearly indicative of just how integral that instrument was to the TjB sound. The number also acts as the perfect foil to what’s about to happen.
Zorba. This is a much better novelty than anything that would qualify for such on WCAOD. It’s a decent marriage of novelty-party music that kids and animals would like -- though it's mood-dependent and can at times sounds akin to a jewish wedding band going through a wash cycle. Seriously, the arrangement is very good with well-placed voice chatter, hand claps, tympani and cymbal crashes all designed to sustain a heightened level of excitement. The long slow section was a daring move in the world of 1965 pop.
GP is a supreme recording achievement. Heightened attention to quality material, more audacious arrangements, and the contributions of at least two different rhythm sections had much to do with the LP’s musical attractiveness.
-James
The engineering quality on !!Going Places!! is nothing short of excellent. Deep robust fender bass, punchy drums (with a tuned kick drum!!), sizzling cymbals; and Mr. Alpert’s trumpet is at its most brilliant. Indeed, his TjB-era technical expertise plateaus with this LP as his trumpet tone is fully blessed with a shimmering metallic luster the likes of which us cornet players can only ogle at!
Although the recorded performance apparently marks the last TjB LP overtly utilizing studio musicians, the album enjoys an interesting cohesiveness – mostly the handiwork of Mr. Alpert’s rapidly maturing arranging and producing talents: for example, scoring for strings and reeds – devoid of combo instruments on two numbers, while incorporating non-musical voices ("chatter") to contribute to the overall dynamics on several others.
My ears tell me that there are two very different drummers on these sessions – the technical execution exhibited on 3rd Man Theme and Walk, Don’t Run is vastly different than most the other selections. Too, the electric 12-string on both these numbers is technically dissimilar to the 12-string on Felecia.
By day’s end, Mr. Alpert may have served up the finest TjB album, (perhaps...the finest LP of his career ~). It's a tough record to beat. Mike B. is correct in that it was customary in the '60s to front-load pop LPs with the premium material; given that GP is nearly devoid of clunkers, it can be reasonably argued that side two is actually stronger than side one.
Simply put, GP is a 5-star album, the kind of record that rightly so creates legendary status. Indeed, if there is an archetypal TjB LP, this is it. Furthermore, had Mr. Alpert never delivered another LP, I'm confident he’d be regarded as a pop music mastermind on the stature of GP alone.
Taxi. A very strong opener. The unique song structure [AABC with 10-, and 9-bar sections] and transitions keep this one exciting throughout. I particularly like the call and response vehicle preciously heard on El Garbanzo but done here with much more musical sagacity.
Sentimental. A measure of Mr. Alpert’s increased self-assurance is observed in his arrangement of this mildewed chestnut -- the Tommy Dorsey version of which makes me wanna take a swan dive into a vat of sodium hydroxide. Herb spritely re-tools this syrupy number into something heretofore unimaginable. I’m confident he alienated many big band fans with this one…their loss. Herb keeps the excitement of Taxi chugging along with this number. Note how the two trumpets go in and out of unison making it hard to tell which part is which. Dig, too, the “fool you” turnaround that changes keys yet ends up back at the initial key for Bob’s bone solo (done to sleighbells – ala Lollipops And Roses). That back-alley coda with the cymbal crashes is a crack up. Beautiful job! A+
Amor. If I may take a bit of personal liberty here… Sol Lake’s song is the epitome of pop genius. The recurring understated rhythm, the dreamy vibes, the mesmerizing cymbals, using the piano solely for fragment turnarounds...and all sewn into the perfect melodic tapestry via two slightly out-of-tune trumpets. The arrangement beautifully climaxes into a series of ascending 4ths and a gradual crescendo held on one mode over 8 bars – the tension released into a deep mist of cymbal sizzzzzle. This extraordinary journey ends with a similar 8-bar sustained note and the perfect Bud Coleman guitar tag. What imagination! Another progressive arrangement from Herb’s singular pen. A+ (and my all-time fav TjB performance.)
Flea. This one’s a bit monotonous; however, the unique turnarounds keep it from being a total swampdog. The song should have ended round about 1:35 but Herb decided to drive it around the block a third time – though even he certainly knew the song was wearing thin – given the out-of-nowhere instruments that take over the melody and the door slam ending. Yup, this is one of those where I would ask the question. What was Herb thinking? (It’s a good question to ask, actually. When I bought my first LP box set back in HS – the 9 Beethoven symphonies – I asked the question, "what was Ludwig thinking?" following the first movement of the second symphony…and I still do to this day. When I purchased Miles Davis / Bitches Brew, I asked the question, "What was Miles thinking?", as well.)
Mae. This is a lovely, warm trumpet feature. I like the triplet cymbal / harpsichord figure. Herb’s half-valve technique is a cute touch – as is that fragment in the B-section where the triplets actually take over the beat (taking the song from 4/4 to 12/8 ).
3RD Man. Dang! Herb pulverizes this undisruptive little ditty into permanent toxic submission! What a riot! Between the electric 12-string-guitar-on-overdrive and the fill-happy drummer this is basically rock music, circa 1965. Darn-tootin’ good as well. The addition of strategically placed voice “chatter” was a sly move to keep the song attractive.
Walk. The momentum from 3RD Man Theme continues – with probably the same drummer and guitarist. The fender bassist is killer and sounds like nothing heard on any TjB LPs before or after! This cover beats the original in my book. A+
Felicia. John Pisano’s first offering is a gem. A simple series of descending 2-5-1 changes that take us from major to minor keys. The addition of bongos and voices followed by a series of crescendos – during the middle guitar break – are the hallmarks of inventive arrangements. Songs like this keep me coming back for more. Excellent job. A+
Angels. This is gorgeous. Hands down the prettiest recorded TjB-era trumpet tone from Mr. Alpert; and, is arguably his finest TjB recording demonstrating the optimal unity of his technical chops with his unique style. His expert reading of this piece is only further enhanced by a stellar orchestral arrangement. Dig how the strings drop out in toto at one point leaving just Herb, the ultra cool drumming, and piano fragments. And, damn, all transitions and turnarounds are just too much!! A+, baby...all the way to heaven!
Cinco. This is a real dog – the El Garbanzo of GP. Like with Spanish Flea, Herb obviously recognized the relative inferiority relative to the other selections and added a funny voice (sounds like some fatass 8-year-old-spoiled-brat mamas boy) and punched in a very noticeable marimba overdub in an attempt to harness the tedium. I guess it got Chris Montez a lifetime of royalties and a 4-LP deal. Yea for Chris.
Forest. As we return to the world of sensible music it should be noted that once again the arrangement pen of Mr. Alpert nearly makes this cover his own -- this time via the use of tension and release. For instance, Herb’s phrasing is really interesting as he climbs the scale at each transition (nearly every note is played silghtly different). Observe, as well, how the bone kicks in to build the "tension" sections. This is one of the more memorable arrangements for the marimba – both in solo and ensemble passages and is clearly indicative of just how integral that instrument was to the TjB sound. The number also acts as the perfect foil to what’s about to happen.
Zorba. This is a much better novelty than anything that would qualify for such on WCAOD. It’s a decent marriage of novelty-party music that kids and animals would like -- though it's mood-dependent and can at times sounds akin to a jewish wedding band going through a wash cycle. Seriously, the arrangement is very good with well-placed voice chatter, hand claps, tympani and cymbal crashes all designed to sustain a heightened level of excitement. The long slow section was a daring move in the world of 1965 pop.
GP is a supreme recording achievement. Heightened attention to quality material, more audacious arrangements, and the contributions of at least two different rhythm sections had much to do with the LP’s musical attractiveness.
-James
While I don't dislike "Cinco De Mayo" as much as you do, I agree with you about the voice in it. I've always hated that. It's probably my least favorite "bit" on the whole album.
About "Spanish Flea" - it's not so musically sophisiticated, but it has a great hook. On any great pop album you need a couple of songs with great hooks - sophistication or no. Other songs on the album are fine to be sure, but they don't all have that one little bit of melody that keeps playing over and over in your head. "Spanish Flea" and "Tijuana Taxi" have those bits...which is why they were great singles.
On the guitarist for "Third Man Theme" - Herb has said that he used multiple guitarists (and drummers) to achieve the "wall of sound" effect on that song. So I'm sure Pisano is in there, maybe multi-tracked or playing with some other studio cat or cats.
About "Spanish Flea" - it's not so musically sophisiticated, but it has a great hook. On any great pop album you need a couple of songs with great hooks - sophistication or no. Other songs on the album are fine to be sure, but they don't all have that one little bit of melody that keeps playing over and over in your head. "Spanish Flea" and "Tijuana Taxi" have those bits...which is why they were great singles.
On the guitarist for "Third Man Theme" - Herb has said that he used multiple guitarists (and drummers) to achieve the "wall of sound" effect on that song. So I'm sure Pisano is in there, maybe multi-tracked or playing with some other studio cat or cats.
thetijuanataxi
Well-Known Member
I agree with most of your review on this one, except that I too love Spanish Flea and Cinco De Mayo and can't imagine this album without them. Interestingly, I was introduced to GP when I was 7 years old, and Taxi, Flea and Cinco were the three songs that immediately married me to the album. So maybe the kid-friendly description you suggest isn't entirely out in left field, but 40 years later I have not outgrown the love for these songs and I doubt I ever will. One thing you failed to mention on Zorba is that it is perhaps the most technically challenging song that Herb would do with the Brass. Overall, a much more accurate and less bashing review of the greatest album in the Alpert portfolio, IMHO.
David
David
Jay Maynes/Juan Oskar
Member
Good job James. 
You described it well.
"Cinco de Mayo" always reminded me of the "Mexican Corridos" I grew up listening to.
And "Spanish Flea" could have taken another chorus and it would have been fine with me. I can't help but smile when I hear it.
Maybe one day soon Mr. Alpert could make one more great party CD.
Merry Xmas.................Jay
You described it well. "Cinco de Mayo" always reminded me of the "Mexican Corridos" I grew up listening to.
And "Spanish Flea" could have taken another chorus and it would have been fine with me. I can't help but smile when I hear it.
Maybe one day soon Mr. Alpert could make one more great party CD.
Merry Xmas.................Jay
JOv2
Well-Known Member
thetijuanataxi said:
Actually, Zorba The Greek is not as technically challenging it is appears. It's more accurate to refer to it as a "deceptively-difficult" show-stopper. Speaking as a veteran cornet player I can state that the greatest challenge to cornet/trumpet playing is configuring the breathing while controlling lip muscle (embouchure) movement such that one can manage articulation, phrasing, volume, pitch, and tone quality.
(Since the trumpet has no "traditional" visual guide for playing [there are no keys like a sax, or no strings like a viola -- to visually aid the player] a trumpeter has to image the note and then "aim for it!" -- a combination of air flow, lip muscle, and the ability to actually hear notes before one plays them! And yes, many times trumpeters miss their notes -- just pull out any Kenton record and listen to all the flubs of his high-note acrobatics team screeching and reaching for double As and such.)
A song like Zorba primarily emphasizes articulation and little else. The principal challenge is aligning double tonguing with (valve) fingering. The melody itself is simply a series of short, similar fragments repeated over and over. It's basically a technical workout not unlike the stuff I do everyday in my Arban's or Clarke's technical studies books. (And, of course, if there ever was a time to overdub one trumpeter -- this was it: it's doubtful two trumpeters could align articulation and phrasing precisely the same way every time... Indeed, this is part of the unique charm of the performance [note how in the slow section the vibrato depth and rate always aligns -- no two trumpeters could ever do that!!]. Aside from an opening flubbed articulation, Herb makes no obvious "technical" mistakes.)
On the other hand, a melody and arrangement like And The Angels Sing is far more difficult: The dynamic approach to articulation, phrasing and volume is much more technically (and stylistically) driven -- in an overt musical sense -- than Zorba.
In short, many trumpet players can successfully play Zorba just like Herb, however, few can pull off And The Angles Sing the way Herb did. I'm confident Herb learned and polished the Zorba part in a few days, whereas And The Angels Sing, I'm quite sure, took far more thought and study to work up.
Cap'n D is a trumpeter...I'm sure he has a contributory perspective.
-James
Captain Bacardi
Well-Known Member
JO said:
As mentioned numerous times in the past, Hal Blaine did about half of this album, with Nick Ceroli doing the rest.
Capt. Bacardi
As I grow older I have come to appreciate the two songs Mae and The Angles Sing more than I did as a young teenager. IMHO these songs truly reflect Herbs amazing abilities as an arranger and trumpet player. Yet when I first heard And the Angles Sing at the age of 13 I had no idea it was a hit from the forties (?) along the big band era. The start of the song; with the drumming is unique, a bit of a swing or rock flavor to it perhaps? It is difficult for me to describe in words it simply pulsates. And Mae demonstrates Herbs power with the trumpet, something I wish I had heard more of -frankly after this album his style increasingly seemed more submissive, I wanted more songs like the above mentioned, rather than smooth west coast lullabies. All this said - I am grateful to Mr. Alpert for giving all of us something to enjoy and talk about over 40 years later!
Captaindave
Well-Known Member
Yes, Zorba the Greek was a great crowd pleaser song, and the TJB closed their concerts with it. Bob Edmondson was on the tympani.
It requires a good level of coordination between the air flow, fingering the notes, and double tonguing. The goal is to play it fast and cleanly - just like the recording.
Songs such as Mae, And The Angels Sing, Tangerine, The Shadow of Your Smile, etc, require a somewhat different set of skills as a player. These songs are melodies where the player exhibits tone, phrasing, styling, and control.
I have always admired Herb Alpert's concept of trumpet playing. Instead of being a "muscle" player or trumpet "athlete", he plays with great finesse, control, great tone, and unique musical style. These things, IMO, make him standout among all the other players who play the instrument. That is not to take anything away from the many, many great players of yesterday and today. But, again IMHO, none are quite like Herb. He has originality, style, and sound that are unique to him.
If you don't have it, get the DVD of Herb and the Jeff Lorber Band at the 1996 Montreux Jazz Festival. Mostly songs from Second Wind, but an updated Lonely Bull, Spanish Flea, and This Guys..., are in there also. There you will see Herb play as none other - super tone and sound, great stylings, nice jazz riffs and licks. Smooth and confident. He makes it all look so easy.
It requires a good level of coordination between the air flow, fingering the notes, and double tonguing. The goal is to play it fast and cleanly - just like the recording.
Songs such as Mae, And The Angels Sing, Tangerine, The Shadow of Your Smile, etc, require a somewhat different set of skills as a player. These songs are melodies where the player exhibits tone, phrasing, styling, and control.
I have always admired Herb Alpert's concept of trumpet playing. Instead of being a "muscle" player or trumpet "athlete", he plays with great finesse, control, great tone, and unique musical style. These things, IMO, make him standout among all the other players who play the instrument. That is not to take anything away from the many, many great players of yesterday and today. But, again IMHO, none are quite like Herb. He has originality, style, and sound that are unique to him.
If you don't have it, get the DVD of Herb and the Jeff Lorber Band at the 1996 Montreux Jazz Festival. Mostly songs from Second Wind, but an updated Lonely Bull, Spanish Flea, and This Guys..., are in there also. There you will see Herb play as none other - super tone and sound, great stylings, nice jazz riffs and licks. Smooth and confident. He makes it all look so easy.
nightcat
Member
I voted for More And More Amor as my favorite cut. GOING PLACES is probably my third favorite TJB album. In 1970 it used to be my favorite. What happened over the years is several big hits from this LP just didn't age well. I got so tired of hearing Tijuana Taxi and Spanish Flea, the lp fell from the top of my list. On the other hand, over the last 40 years, More And More Amor grew on me. I now consider it to be one of the best 5 songs they ever did.
I'm glad to see "Sentimental" tking the lead in the voting! Once again proving the strength of even the "album tracks" on this record.
The "big three" tunes will always be favorites of mine, but lately I've come to appreciate "Sentimental" more. I think a good jazz band could really take this arrangement to town (solos and such).
The other tune I've come to appreciate more as I've gotten older is "Felicia." Especially hearing the story in Herb's interviews on how the song came to be recorded by the Brass. The Pisano guitar solo on this song is great!
The "big three" tunes will always be favorites of mine, but lately I've come to appreciate "Sentimental" more. I think a good jazz band could really take this arrangement to town (solos and such).
The other tune I've come to appreciate more as I've gotten older is "Felicia." Especially hearing the story in Herb's interviews on how the song came to be recorded by the Brass. The Pisano guitar solo on this song is great!
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