American Music

[eschiss1]

Re Jackson Hill:
according to Wikipedia and the composer's website - Wikipedia and here respectively - he was born in 1941, and the Variations were composed in 1964.

According to Bio Andrew Rudin was born 1939 in Texas. (There does seem to be some sort of low-distribution cassette release of that performance of the Quintetto Energico of some kind - not sure what kind - but it's not a CD release. According to this playlist it's a private tape. Nothing on the site gives a year of composition.)

Bruce Saylor (1946), Paeans to Hyacinthus composed 1980. No mention anywhere of a commercial release of that recording either- it's been remastered recently for library use, I do see ("Stokowski Legacy Series" is mentioned in the catalog entry - name of the concert series it was part of, not a CD recording series, I gather.)

And thanks for the P Greeley Clapp 9th!

[eschiss1]

... wait, how many did  Clapp write again- 12? more? Ah right- "of his dozen" -
and "Symphony no. 12 : after "The rime of the ancient mariner" by Samuel Taylor Coleridge" (manuscript, not recording, reference).

NYPL likes "Fickénscher". This may help with some search engines if it's more accurate. Don't know.

[jowcol]

Re Jackson Hill:
etc

Thanks for the info-- I've hopefully updated the composition dates you've provided.

[vitelius]

According to Bio Andrew Rudin was born 1939 in Texas

He was living in New Jersey last I heard. He used to teach in Philadelphia. I know he has been featured on Philadelphia-area classical radio in recent years... I haven't heard him in a while, so I don't know if he still does that.

I remember hearing several performances of the Quintetto in the mid-1980's, if that helps any.

[lescamil]

Quintetto Energicio, by Andrew Rudin

Marshall Taylor, Alto Saxophone
Bill Zacagni, Baritone Saxophone
Anthony Orlando, Percussion
Donald Liuzzi, Percussion
Andrea Clearfield, Piano
Live performance, Date/Venue unknown

Private tape.  Am happy to remove link (or have Admin remove link) if someone determines otherwise.

http://www.mediafire.com/download.php?4c4l52y5cy5bq7y




From the collection of Karl Miller...

Hi, I don't think this is the correct recording. The instrumentation does not match. Can you please fix the link (and identify what is currently here)? Thank you!

[jowcol]

I think you're correct.  I must have set the parameters wrong when I did the rip.

I can re-rip and post a corrected link.  To be honest, I don't think I have the time to identify what is up there now.

Thanks for the catch! 

[jowcol]

Rhapsody for Piano and Saxophone by Tutti Camarata

Performers Unidentified
February 13, 1949
Radio Broadcast

From the Collection of Karl Miller

Okay, this is a case where I must admit I find the composer more interesting than the work.   I have to confess that I take a perverse pleasure in posting a work by a composer who has had artistic interactions with:

Jascha Heifetz



Benny Goodman



Annette Funicello


Van Halen:


and Kiss:


Who was this person? 

From the Space Age Music Maker site.

Salvatore "Tutti" Camarata
________________________________________
•   Born 11 May 1913, Glen Ridge, New Jersey
•   Died 20 April 2005, Burbank, California
________________________________________
Nicknamed by bandleader Jimmy Dorsey, "Tutti" Camarata was truly a jack of all musical trades--instrumentalist, orchestrator, arranger, composer, producer, and even record company executive.

Perhaps his drive had something to do with being born as the youngest in a family of eight children. He started studying the violin at the age of nine and switched to the trumpet at twelve. He managed not only to be heard above the noise of his siblings but to earn an invitation to attend the Juilliard School of Music in New York City. Working in stage and radio studio orchestras to pay the rent, he completed Juilliard and went on to study composition at Columbia University.

At 21, he was hired by Charlie Barnet, whose band was just starting to gain some fame. Known then as "Toots," he then worked briefly on Bing Crosby's radio show and as an arranger for bandleader Paul Whiteman when Jimmy Dorsey lured him in with the chance to work both as an arranger and as Dorsey's first-chair trumpet player.

Camarata's arrangements were one of the crucial ingredients in the Dorsey band's quick rise to success in 1939. The sponsor for Dorsey's radio spots wanted the last number of the show to showcase all of the band's top talents--singers Bob Eberle and Helen O'Connell, Dorsey and several other top instrumental soloists. Camarata came up with a three-part structure--a slow intro featuring Eberle, a mid-tempo section with O'Connell, and a finale with a full, upbeat swinging band. At least two of Dorsey's biggest hits--"Green Eyes" and "Maria Elena"--are direct results of this novelty.

In the early 1940s, Camarata quit Dorsey's band and went to work for Glen Gray as the lead arranger for his Casa Loma Orchestra, and then for Benny Goodman. His round of the best of the era's big bands came to an end in 1942, however, when he went to work as a civilian flight instructor for the U.S. Army Air Force, and later enlisted.

In 1944, Jack Kapp of Decca Records hired him as a musical director, and Camarata arranged and orchestrated for a number of Decca's biggest acts, including Crosby, Mary Martin, and Louis Armstrong. During this period, he arranged and conducted Billie Holiday's first sessions backed with a studio orchestra.

Within a year of hiring him, Kapp dispatched Camarata to the U.K., where he scored the film, "London Town," starring Sid Field, Kay Kendall, and a very young Petula Clark. The big band Camarata put together for this film later became the core of Ted Heath's band. He became close friends with Sir Edward Lewis, CEO of the U.K. arm of Decca, and together, the two founded London Records with the aim of distributing classical music from the U.K. in the U.S. market.

While London did become a major classical label, both in the U.S. and internationally, it also went on to become one of the U.K.'s most prominent record companies, with artists ranging from Edmundo Ros to the Rolling Stones. Camarata himself recorded for London as a classical performer, usually preparing original settings for full orchestra of pieces ranging from Erik Satie's solo piano works to chamber pieces by Bach and opera overtures and airas by Verdi, Puccine, and Rossini.

His stay in the U.K. was short, however, and he returned to the U.S. in 1950, where he rejoined Decca. He set up a studio big band, dubbed the Commanders, which had good sales with a series of albums such as Meet The Commanders. He also began working in television, arranging and conducting a number of the medium's more spectacular musical productions, including "Together With Music," which featured Mary Martin and Noel Coward.

These shows brought his name to the attention of Charles Hansen, an executive working with Walt Disney, who had been looking for someone to run a record label that could release soundtracks of his movies on the then-new LP format. Camarata moved to southern California, where he established and ran Disneyland Records for nearly twenty years. Soon after the label's formation, Disney stumbled into a huge popular hit with its "Mickey Mouse Club" television series. Camarata was soon busy producing singles by most of the show's featured performers, including the young Annette Funicello.
Funicello had a fairly thin voice and was something of a reluctant performer at first. But then Camarata experimented with a new echo effect device Disneyland Records had bought, and he was able to develop a richer, rounder sound that convinced Disney to push her as a full-fledged recording star.
Camarata was more than just a record maker for Disney. He played an important role in building up the studio's already well-known library of original music and provided some significant additions to the studio's casts. He introduced Sterling Holloway, who became the voice of Winnie the Pooh, and helped convince Louis Prima and Phil Harris to provide the voices for King Louie the Ape and Baloo the Bear in "The Jungle Book." He also expanded the label's repertoire to works outside the Disney oeuvre, including a series of Broadway musical songtrack albums he recorded with the Mike Sammes Singers. Over the course of his time with Disney, Camarata's recordings earned a total of eight Grammy Award nominations.

Even with his hectic schedule of work as an executive and musical director with Disney, Camarata managed to return on occasion to his big band roots. Of particular note are the two albums, Tutti's Trumpets and Tutti's Trombones. Trumpets dates from 1957 and features a trumpet choir manned by some of the best jazz and studio musicians in Hollywood: Mannie Klein, Uan Rasey, Pete Candoli, Conrad Gozzo, Joe Triscari, and Shorty Sherock. In 1970, he reprised the approach with Trombones, using a stellar ensemble that included Dick Nash, Joe Howard, Tommy Pederson, Ernie Tack, Kenny Shroyer, Frank Rosolino, Hoyt Bohannon, Herbie Harper, Gil Falco, and Lloyd Ulyate, plus Tommy Tedesco on guitar, Red Mitchell on bass, and Hal Blaine on drums. Despite the solid jazz credentials of most of the players, the two albums stay on the easy listening end of the Space Age Pop spectrum.

In the early days of Disneyland Records, Camarata relied on recording studios rented from other firms in the L.A. area, and he kept pressing Disney to invest in its own studio to reduce costs and provide a consistent quality of recordings. "Why would I want to own a studio," Walt Disney responded to the suggestion of his company's director of recording Tutti Camarata. "I'd rather be a client." After Disney rejected the idea several times, Camarata decided to take action himself. He bought an old auto repair shop on Sunset Boulevard in Hollywood, built and equipped several studios, and, in 1960, opened Sunset Sound Recorders.

Although Disneyland Records was the studio's principle customer at first, it quickly became known, along with Gold Star, as one of the best independent studios in Hollywood. Soon a wide range of artists began to pass through the space. Sunset Sound was an early adopter of the more sophisticated mixing technology used as rock shifted its focus from singles to albums, and some of rock's biggest names, including the Rolling Stones, the Beach Boys, Prince, and Van Halen, became regular customers.

As Sunset's success increased, Camarata found it increasingly difficult to juggle its demands with those of Disney, and in 1972, he decided to leave Disney to concentrate on his own company. He continued to arrange and conduct accompanying groups as part of his work at Sunset Sound, but his energies returned to his earliest interest, classical music.

One of his last creative endeavors was the orchestration of a number of the most popular numbers from the Church of Latter Day Saints' hymnal. Camarata then traveled to London, where he recruited and conducted an ensemble including a 100-piece orchestra, a choir of 180 adults, a children's choir, a pipe organ, and a brass section for the resulting recording, The Power and the Glory. "This is the most important album I have ever done," he said of the work when it was completed.

Camarata continued to work on classical recordings into the mid-1990s. He eventually turned over the control of Sunset Sound to his son, Paul, who still heads the studio today.


Wiki Bio
Tutti Camarata
Salvador "Tutti" Camarata (May 11, 1913 - April 13, 2005) was a composer, arranger and trumpeter.

Early life and career
Born in Glen Ridge, New Jersey, Camarata studied music at Juilliard School in New York - a student of Bernard Wagenaar, Joseph Littau, Cesare Sodero, and Jan Meyerowitz. His early career was as a trumpet player for bands such as Jimmy and Tommy Dorsey, Benny Goodman and others, eventually becoming the lead trumpet and arranger for Jimmy Dorsey (arranging such hits as Tangerine, Green Eyes and Yours). He also did arranging for Glen Gray and the Casa Loma Orchestra, Benny Goodman, Louis Armstrong, Bing Crosby, Billie Holiday, Ella Fitzgerald, Duke Ellington and many others. He conducted and orchestrated a recording of Jascha Heifetz, the legendary violinist.

During World War II, he served as a flight instructor in the Army Air Forces.

London Records
In 1944, J. Arthur Rank summoned him to London, England, to write a musical score for the film London Town. He became good friends with Sir Edward Lewis, CEO of the U.K. arm of British Decca, and often visited Bridge House in Felsted (this was Sir Edward And Lady Lewis' summer home) and the two founded London Records with the aim of distributing classical music from the U.K. in the U.S. market.[1] One of his assignments was to see that London Records maintained the best classical catalog in the industry. In addition to his "administrative" duties at London Records he also served as a classical artist orchestrating and conducting a number of classical albums including the works of Puccini, Verdi, Bach, Bizet, Tchaikovsky, and Rachmaninoff.

Joining the American Society of Composers, Authors and Publishers (ASCAP) in 1948, his popular songs and instrumentals include Mutiny in the Brass Section, Story of the Stars, Hollywood Pastime, Dixieland Detour, Moonlight Masquerade, Louis, and No More. He also composed the work Verdiana Suite.
He also recorded other albums, including the popular Tutti's Trumpets (1957) and Tutti's Trombones, titles which featured his compositions and arrangements and are considered classics of the genre.

Sunset Sound Recorders
In 1956 Walt Disney hired him to form Disneyland Records and to be Music Director and producer for the label. Camarata had suggested Disney build his own recording studio, but Disney declined and instead encouraged Camarata to build his own. In 1958 Camarata purchased the first building, an old auto repair shop on Sunset Boulevard in Hollywood, California, that would become the location of Sunset Sound Recorders. He produced over three-hundred albums there during his 16-year association with Disney. He scored several albums at Disney to help children gain a knowledge of, and love for, classical music.

By the early 1960s, Sunset Sound Recorders became an independent recording studio - and remains so to this day - one of the largest independents in the industry. Clients over the years have included: Rolling Stones, Van Halen, Miles Davis, Carly Simon, The Doors, Herb Alpert, Jackie DeShannon, Brazil '66, Ricky Nelson, Paul McCartney, James Taylor, Macy Gray, Bee Gees, the Doobie Brothers, Whitney Houston, Barry Manilow, Dave Grusin, Crosby, Stills, and Nash, Lee Ritenour, Fourplay, Richard Thompson, Yes, Brian Wilson, Beach Boys, Annette Funicello, Louis Armstrong, The Bangles, Fishbone, Randy Newman, Sly and The Family Stone, Tom Petty, Sheena Easton, Patti Austin, Aaron Neville, Sam Cooke, The Turtles, Lovin' Spoonful, Buffalo Springfield, Janis Joplin, Genesis, Kenny Loggins, Jackson Browne, Led Zeppelin, Smashing Pumpkins, Ringo Starr, Elton John, Celine Dion, Earl Klugh, Alanis Morissette, Toto, Robert Palmer, Aretha Franklin, Tom Waits, Neil Young, Bob Dylan, Jennifer Holliday, Olivia Newton-John, Melissa Manchester, Barbra Streisand, Roberta Flack, Rick James, Andy Williams, and many, many more.

Television and cinema work
Camarata was the musical conductor for several TV series, including Startime, The Vic Damone Show and The Alcoa Hour. He was also the vocal supervisor for the 1963 movie Summer Magic, which included musical performances by Hayley Mills and Burl Ives. A great many Disney movie sound tracks were also made at Sunset.

Sound Factory
In November 1981, Camarata would also purchase The Sound Factory, previously owned by David Hassinger. Like the Sunset Sound studios, the Sound Factory is one of the top recording studios in Hollywood, and has been used by many top music artists including Jackson Browne, The Flying Burrito Brothers, Linda Ronstadt, Ringo Starr, T Bone Burnett, Bette Midler, Richie Furay, Warren Zevon, Dolly Parton, Elvis Costello, Sam Phillips, Tonio K., Neil Diamond, Cher, Los Lobos, The Wallflowers, KISS, Kenny Rogers, Beck, Brian Wilson, Victoria Williams, Ben Folds Five, Red Hot Chili Peppers, Danny Elfman and many others..

Final work
Camarata's last album was The Power and the Glory on which he worked for four years. Once completing the arrangements, Camarata returned to England (St. John's Smith Square) to conduct a large orchestra and choir for the recording of the album which he had noted in one of his last interviews to be one of his most important works.

[Dundonnell]

Latvian has just uploaded Henry Cowell's 'Ancient Desert Drone' in the performance by the Janssen Symphony Orchestra. This was uploaded by shamokin on 20 March of this year in the same performance.

Gentlemen...this is why I catalogued all American uploads and keep the catalogue updated on a daily basis

It is, of course, perfectly appropriate to upload the same piece in the same performance if the recording is markedly superior but it would be helpful if that is explicitly stated.

As the compiler of the American Downloads Index can I respectfully ask members to check the Index before posting new upload links

[Mark Thomas]

Winding back the clock three quarters of a century, I've uploaded an orchestral work by John Knowles Paine: his Symphonic Poem The Tempest. It's four connected sections should last about 25 minutes according to the score, but in this performance the work has a duration of only 16 minutes and so I assume that it has had a hatchet taken to it. Still, I know of no other recording.

[eschiss1]

Hrm. Was the American Symphony/Botstein performance in 1993 of Paine's The Tempest broadcast (are any of theirs?)

[Mark Thomas]

It doesn't seem to be available for download unfortunately.

[Latvian]

Latvian has just uploaded Henry Cowell's 'Ancient Desert Drone' in the performance by the Janssen Symphony Orchestra. This was uploaded by shamokin on 20 March of this year in the same performance.

Gentlemen...this is why I catalogued all American uploads and keep the catalogue updated on a daily basis

It is, of course, perfectly appropriate to upload the same piece in the same performance if the recording is markedly superior but it would be helpful if that is explicitly stated.

As the compiler of the American Downloads Index can I respectfully ask members to check the Index before posting new upload links

My apologies!!! I didn't realize the upload had occurred -- somehow I missed it. I remember shamokin88's post stating he couldn't find the disc, and in the spirit of helpfulness I thought I would upload my copy. I didn't realize he had subsequently downloaded it. Makes me wonder what else I've missed!

[Latvian]

My apologies!!! I didn't realize the upload had occurred -- somehow I missed it. I remember shamokin88's post stating he couldn't find the disc, and in the spirit of helpfulness I thought I would upload my copy. I didn't realize he had subsequently downloaded it. Makes me wonder what else I've missed!

Oh, drat! In looking back over the American downloads folder I just realized I uploaded the wrong piece! I should have uploaded H. F. B. Gilbert's Dance in Place Congo! I will do so later, once I find my copy. I'll be happy to remove my post of the Cowell, if you like, Colin!

Sorry for the confusion! 

[Dundonnell]

That is entirely for you to decide, Maris

All I am trying to do is to help members to avoid using up their valuable time uploading a performance which has already been made available

[Ser Amantio di Nicolao]

Oh, drat! In looking back over the American downloads folder I just realized I uploaded the wrong piece! I should have uploaded H. F. B. Gilbert's Dance in Place Congo! I will do so later, once I find my copy. I'll be happy to remove my post of the Cowell, if you like, Colin!

Oh, drool.  I've been wanting to hear this for ages.  It's almost impossible to find any Gilbert to listen to - I have a string serenade on CD, but that's it.  Funny for someone who was once so well-respected as he.

(Well, maybe not really "funny", but still...)