Jam session at Henry Mancini's home, Fernando
Gelbard (at left), Henry Mancini (holding his flute) and Hal Linden
(holding his clarinet). The piano player (not seen here) was Mel
Torme (actually, the top of his head is seen in the lower right
portion of the photo!)
"Henry Mancini and I were good friends. I
played with him a few times (he and I play flute) and we served on
the board of the Foundation for New American Music for many years.
His death was a great loss. He was a great, down to earth
man."--Fernando Gelbard
Henry Mancini:
Audio Fidelity
[Original LP labels]
Peter Appleyard and Orchestra, "Percussive Jazz - Doctored for Super-Sound", Audio Fidelity #DFS-7002 (1960).[LP]
Peter Appleyard and Orchestra, "Percussive Jazz - Doctored for Super-Sound", Audio Fidelity #DFST-7002 (1960).[Reel-to-Reel Tape]
Mancini's "Peter Gunn" is featured on this album.
Peter Appleyard and Orchestra, "Percussive Jazz - Doctored for Super-Sound", Audio Fidelity #DFST-7002 (1960).[Reel-to-Reel Tape]
Mancini's "Peter Gunn" is featured on this album.
Tracklist:
1. The Man with the Golden Arm
2. The Man That Got Away
3. Dragnet
4. Witchcraft
5. Harlem Nocturne
6. There Will Never Be Another You
7. Peter Gunn (Mancini)
8. Mack the Knife
9. Why Don't You Do Right
10. Tenderly
11. Mambo Inn
12. Undecided
2. The Man That Got Away
3. Dragnet
4. Witchcraft
5. Harlem Nocturne
6. There Will Never Be Another You
7. Peter Gunn (Mancini)
8. Mack the Knife
9. Why Don't You Do Right
10. Tenderly
11. Mambo Inn
12. Undecided
Percussion, according to Merriam-Webster, is a striking or beating
of sound on the ear. Percussion, according to Peter Appleyard and Sid
Cooper, is the vital fundamental of creative jazz. They embellish it
with new tonal essences and record it with a perspicacious ear for the
vagaries of stereophonia. Their interpretation of the jazz beat goes a
step further than just the feel of a swinging tempo. They add a variety
of percussive colors, sometimes subtle tints, sometimes brash hues.
Twelve of New York's top recording jazz artists walked into a 24th
Street recording studio on an incogruously cool August evening and sat
down behind these Cooper arrangements. Telefunken microphones were hung
strategically to pick up every last overtone and nuance. On cue from
Peter Appleyard, Bobby Rosengarden counted off an integrated swinging
beat. In the control room, amid the usual, partially-drained coffee
containers, Sid Frey, young company President of Audio Fidelity, now
wearing his Artist and Repertoire 'hat', hovered over audio engineer
Ernie Oelrich who set his myriad dials with an inimitably deft touch.
In the subsequent paroxysms that rent the studio air, every last note
was brought to account for volume, position, dynamics, presence and
tonal quality. The result is an audiophile's dream-the happy blend of
superlative jazz in the modern idiom with percussive treatments,
brilliant virtuosity and engineering wizardry. On a competent play-back
system, the dynamics of the 1812 Overture are bland by comparision.
Just listen!
(from the original liner notes)
LP produced by Sidney Frey.
(from the original liner notes)
LP produced by Sidney Frey.
