voices. ‘song

percussion ROO ae TenipGes 2 maak

SING-SING SING 2 RODOMIS Sg... 4:24

SOFTLY AS IN A MORNING SUNRISE. Harms, Inc... .......2:08

CHINATOWN MY CHINATOWN ........... Rem ee 1:19:

BUR POU Witter sso... 2:28

SHUFFLE OFF TO BUFFALO .............. Wb ee 1:48

LULLABYE OF BIRDLAND ................. Paticiae = a ts 2:17

DONKEY SERENADE... SCHIP MER ae <2 ee 2:10

SOMETIMES I’M HAPPY ................ Haris, ICs 2:40

GARR eR American Academy ....3:13

Bide EN... Feiss ae 2:09

Ce eS Sse eee MannS ANG. «a4. Y 2:05

ARRANGED

AND CONDUCTED

BY

HAL MOONEY WITH VOCAL CHORUS

| PrN Sloe MeperlOie oe Bob Shad

Original Recording Engineers Se eae Earle Brown, John Cue

Re-Recording Engineer ....................... ee Earle Brown

MIAGUCT IM tec ee eg Charles McLoughlin

EINGE INGUGS=ac ee ee a Nat Hentoff

Album Coordination ...... ae ee ae Arpena Spargo

ecAlbum DeSION ooo. wee Murray Stein

So DORIS i Se The Composing Room, Inc.

, Recorded rene ie Re EO ae July 5, 11, 1960

200 Printed in U.S.A.

: the exclusive sound extra

bt tM) Ee

SERIES 2000 by TIME Records, Inc. is produced by the foremost artists and technicians in the world of music and sound. The last

decade has become an era of intense specialization, no matter

what the field. Time Records recognizes this and has applied this in force to its SERIES 2000.

The creed of SERIES 2000 is craftsmanship. This product origi-

nates through multi-channel recording. No monaural record-

ings are made at initial sessions. It is our feeling that simulta-

neous stereophonic and monaural recording produces a com-

promise. However, when concentrating on recording only three track stereo, one achieves the best possible results. The end product is mixed down from the original multi-channel record- ing. This enables SERIES 2000 to reach the maximum peak of recording efficiency.

SERIES 2000 aims to prove that people interested in increasing | their intellectual and instinctive knowledge towards music and sound respond readily when confronted with new dimensions ...- SERIES 2000.

TECHNICAL INFORMATION:

This record represents the finest quality of multi-channel re-

cording that can be achieved through the finest equipment

available today.

All of our material is recorded on Ampex tape machines using

a multiple microphone technique, so that a microphone whose

qualities best suit the instrument being recorded can be used

to give the optimum in sound reproduction. Microphones used

are: Telefunken U-47, U-48, KM-54, KM-56; Western Electric

639A, RCA-44-BX; Beyer M-160 and Sony C37A.

The master tapes are recorded to a master disc on a Sculley

Lathe using custom built amplifiers driving a specially designed

feedback cutting head. The Sculley Lathe is equipped with a

fully automatic viariable pitch control so that groove spacing

is always maintained in an ideal relationship to the modulation

on the record, assuring best tracking results.

Check that your pickup is balanced and adjusted to the weight

specified by the manufacturer.

Not even a diamond stylus is immune to wear. Many dealers

who handle high quality styli are equipped to shadowgraph

your stylus and determine its condition. Take advantage of

this service and protect your valuable record collection.

This record should be played using RIAA reproducing equali-

zation.

AUG,

Hal Mooney’s previous contributions to TIME’s vividly immediate SERIES 2000 have been VOICES IN SONG, a panoramic view of the American musical theatre; and THE PASSION OF PARIS, an expansively romantic tour

of French popular song. In VOICES IN SONG AND PER- CUSSION, Mooney has again arranged a set of stand- ards specifically for high fidelity reproduction. The engineering remains equal to the exacting standards of SERIES 2000.

Mooney, who has arranged for nearly all the major American popular vocalists and a number of the lead- ing jazz interpreters, has integrated the Gene Lowell Singers with the band in consistently tasteful blend- ings while the expert percussion section punctuates and intensifies the arrangements.

The girls and the boys are used to etch the lyrics against the orchestral texture. In other sections, they function as a wordless, additional part of the orches-

tra. The opening PERDIDO, one of the most widely known jazz standards, is interpreted buoyantly, open- ing with the male voices complementing the girls.

There are cross-conversations between the two groups of voices as well as between reeds and brass. Con- Stantly pinpointing the arrangement are the bongos and drums.

The tour-de-force score of the album is Hal Mooney’s adaptation of the Benny Goodman version of SING SING SING for this combination of resources. After the opening tom tom and drum dialogue between Osie Johnson and Bob Rosengarden, they are joined by the trombones and trumpets, followed by the boys and the girls. The voices, acting as_another section of

the band, help build a‘series of climaxes; and in one passage, Mooney has effectively arranged a wordless three-ply discussion between reeds, voices and brass.

| SOFTLY AS IN A MORNING SUNRISE, written by Sigmund Romberg and Oscar Hammerstein, is a light-

hearted romp with boys and girls alternately answering

each other and joining voices. The piece moves along in a steadily relaxed pace.

CHINATOWN MY CHINATOWN, one of the big- gest hits of the early 1900’s, begins with a quasi- Oriental sound in the brass followed by crisp stacatto- like answers from the temple blocks and xylophone. Note the precision brass playing and subtle rhythmic lines throughout the number. :

FOR YOU, written by Al Dubin and Joe Burke in 1930, begins with the girls singing a capella joined by the boys, continuing in a relaxed beat. Mooney ac- complishes a beautifully interwoven blend of the voices, crisply set off by bongos and drums. The ar- rangement gathers momentum, but retains its soaring quality as it comes to a rocking conclusion.

SHUFFLE OFF TO BUFFALO, one of Harry War- ren’s earliest successes, is aptly set in shuffle tempo, and once more, Mooney’s skillful feeling for colors is delightfully evident. Here, as throughout the album,

the voices are consistently clear when they sing the lyrics and are equally effective in their wordless, in- strumentalized roles. One particularly attractive pas- Sage has the flutes and the scat-singing boys inter- weaving with muted brass and girls.

LULLABYE OF BIRDLAND, a George Shearing Original, has become a remarkably durable interna- tional standard. In this euphoric version, the boys and girls answer each other and then intertwine with crisp underpinning provided by bongos and drums. Even in strongly pulsating numbers like this one, Mooney has been able to achieve vigor without either orchestra or singers showing any evidence of strain.

One of Rudolph Friml’s: most successful shows was FIREFLY, which contained DONKEY SERENADE. The rhythmic substructure of this song connotes an ambling ride. Starting off in a rapid tempo with the trumpets supported by the woodwinds and xylophones,

a further feeling of motion is supplied by the temple blocks. Worth paying attention to is the clarity of balance and the wide-range accuracy of the recording. The song builds to a breathless, seemingly inevitable climax.

SOMETIMES I’M HAPPY from Vincent Youmans HIT THE DECK, is taken in an infectiously easy-going groove with bongos and drums rattling against brass and vibes, while male voices are counterposed against girls.

CARAVAN by Duke Ellington begins with wood- winds against trombones. The voices then start the

chorus and the brass section supplies the dynamic fill-ins. The second chorus starts with the tom tom and bongos. The voices then chant the melody using sharp loud and soft nuances with seasonings by the tambourine.

MY BLUE HEAVEN, a song widely popularized by both Gene Austin and the Jimmie Lunceford band and written by Walter Donaldson, is propelled at a smooth- ly pulsating tempo with, among other contrasts, boys supported by flutes encountering resilient brass.

Cole Porter’s exciting LOVE FOR SALE, opens with the verse sung a capella by the girls as the boys support the girls harmonically. The chorus breaks into a driving beat supplied by the brass, bongos, bass and drums, then the voices enter with saxophones han-

dling the initial brass phrase competing in an incisive series of climaxes.

Hal Mooney has again indicated how thoroughly mu- sical a program he can devise that is also designed specifically to make the best and fullest use of con- temporary reproduction equipment. The songs are played with expert skill and the arrangements are clear, swinging and don’t succumb to the temptation of gimmicks. The result is a fresh, brilliantly recorded re-examination of a dozen vintage standards.

PERSONNEL AND INSTRUMENTATION: Woodwinds

piccolo, flutes, oboe, alto tenor and baritone saxophone, clarinet Stan Webb Walter Levinsky Romeo Penque Abraham Richman Phil Bodner

Trumpets Melvin Davis Ernie Royal Clark Terry Irv Markowitz Bernard Glow James Nottingham Carl Severinsen

Trombones Chauncey Welsch Mervin Gold Charles Small Dick Hixon

Guitar Barry Galbraith

Bass | Milt Hinton

Drums and Percussion vibraphones, xylophones, bongos, tympani, tambourine, bells, temple blocks, scratchers Osie Johnson Bob Rosengarden George Devens Eddie Costa

THE GENE LOWELL SINGERS Peggy Powers Miriam Workman Gretchen Rhoads Marilyn Jackson Elise Bretton Lillian Clark Jerry Duane Steve Steck Gene Steck Alan Sokoloff Dick Williams Ed Lindstrom David Vogel Gene Lowell