Discogs: Vinyl, The Carmen Leggio Group. リリースのクレジット、レビュー、トラックを確認し、購入。3/5. Label: Progressive Records (2) - PRO • Format: Vinyl LP, Album • Country: US • Genre: Jazz • Style: Contemporary Jazz Carmen Leggio Quartet - Smile (, Vinyl) | Discogs Explore. View credits, reviews, tracks and shop for the Vinyl release of Aerial View on Discogs. Label: Dreamstreet Records - DR • Format: Vinyl LP, Album • Country: US • Genre: Jazz • Carmen Leggio - Aerial View (, Vinyl) | Discogs5/5(2).
Something interesting to see is the price written on the top of the back cover. This could be an indication of the reception this album was met with upon its release in something.
Almost immediate obscurity. These labels are much greener in real life than these pictures show. I like the font and logo of Unique Records. Recorded beforethis album is in mono, but boy does it sound good. The sound is crisp, just a touch of fuzzy, with a cool bite to Album). This sounds more like a wine tasting than a sound description, but you get my point. And who was Unique Records, anyhow?
A Google search shows that they were a short-lived venture by RKO, the company most-known for radio and TV broadcasting. Inthey decided to try their hand LP the record industry and bought a record label named Unique Records.
While they released quite a few titles, including some rather interesting jazz titles, the label went under shortly after began. One of the great things about discovering the jazz vinyl community of Instagram has been connecting with so many awesome, friendly people.
One of those cool peoples that I got to know off of Instagram is a guy that goes by the name DJ Pari. I was already buying some records from him, so I decided to trust him and grab it too. I had never heard of this album or group, I like the chosen songs. I will look for it, although I doubt I can find a copy in Spain.
I loved the joke, it made me smile. Greetings and take care. You are commenting using your WordPress. You are commenting using your Google account. You are commenting using your Twitter account.
You are commenting using your Facebook account. Notify me of new comments via email. Notify me of new posts via email. Skip to content April 26, April 26, Tarik. Tape recording was done on Presto and Ampex Studio tape consoles.
Master acetates were cut with Grampion feedback cutters and Fairchild Stereo cutter. At the recording sessions, according to noted tuba virtuoso Harvey Phillips, Galehouse had an infallible ear for detecting wrong notes and was expert at balancing the correct sound levels before a session.
The floor is linoleum with a black and white square within a square pattern. There are two pianos baby grand style in the room. There are poles painted green and white. The lighting is overhead fluorescent lights. Of course there is a large glass window looking into the studio room. In the control room is a control board with 28 inputs with 8-track one-inch, 4-track half-inch and 2-track stereo. The mixing board permits mixing of 8-tracks down to 4. In the early s, Golden Crest — now a public corporation — made a serious push at the national singles market.
Their plaintive style at the turn of was reminiscent of fellow Long Islanders the Aquatones and also the then-hit sound of Kathy Young and the Innocents, and Rosie and the Originals.
On the teen front, there was superior girl group the Montells from Roosevelt Jr. The appointment of Wolfson coincided with the decision to wind down regular Golden Crest singles releases and concentrate on the more profitable long-playing albums.
It was also a time when the old-style independent distributors were starting to fade away. Occasional releases on 45 rpm were made, but served mainly as album promotional items.
Meanwhile the Shelley Products pressing plant was working around the clock pressing 45s and LPs for important client companies. ByGolden Crest was primarily an album label. The first time I recall meeting Clark was through [composer] Alec Wilder in He always delighted in taking me on a tour, and I always delighted in touring the pressing operation. He was pressing records for all the major record labels, working 24 hours a day, three eight-hour shifts … a remarkable man.
But I know that he could not have been the discerning recording engineer that he was without having had a very deep knowledge as a performer himself, and I have never known anyone more open to all kinds of music than Clark.
He understood them on an equal basis and was certainly able to communicate with the recording artists regardless of the particular discipline they embraced.
All of us embrace one discipline more than we do others; there are very few renaissance musicians who do it all equally well. The musical education element in many of these albums cannot be overstated, Album). William D. Revelli with the University of Michigan Symphonic Band. The Northwest comedy team of Doug Setterberg and Stan Boreson was popular within the tight-knit Scandinavian communities with a string of LP and cassette releases.
Dixieland historian Dr. Going back to his swing band years, Galehouse was delighted to record two albums by veteran jazz violinist Joe Venuti of music by George Gershwin and Jerome Kern. It was fun to be with him — he had a dedication to what he was doing. Strangely, Galehouse never repackaged the Golden Crest and Shelley singles into golden oldies album compilations. As the Baby Boomers attained adulthood, they started buying LPs containing many of their favorite 45 rpm records.
This market represented an unforeseen bonus for many original labels, but Galehouse missed out on it probably because he was preoccupied with other areas of his businesses. Lack of hits apart, this lost opportunity may explain why the singles were largely forgotten except by rabid record collectors until the CD reissues of Golden Crest masters in the s and s. He indicated that Galehouse was one of the pioneers in the use of the plastic molding injection system, which was primarily used for pressing 45 rpm singles.
According to Dreyhaupt, injection plastic molding resulted in quicker production and a better sound reproduction as opposed to the standard vinyl compression method. The plant, apart from doing continuous work for the big independent labels, was being used by the majors as an overspill at periods of peak demand.
One memorable occasion occurred in after Elvis Presley died. But the Presley profits were soon wiped out at Shelley by a massive bad debt incurred when the disco market tanked almost overnight. In the s Clark Galehouse, a workaholic, was still engineering most of the sessions at the Golden Crest studios. But he was beginning to suffer health problems: the stress of running Shelley Products and Golden Crest Records was enormous, not helped by being answerable to a board of directors and stockholders.
Just around the corner was the technological change to compact disc that would make vinyl a virtually extinct Album). Even after his first heart attack, Galehouse was already conducting preliminary technical discussions for CD production with Sony of Japan, according to his secretary Madeleine Pfister, of East Northport.
Through it all, the Huntington Station record man was still traveling around the United States recording college bands at conventions. But after a second attack, he died on the road in Jacksonville, Florida, on January 3,at the age of The most valuable asset was the real estate, not the wealth of recorded masters.
Subsequently the operation was moved to Ancora in deepest New Jersey, but was a mere shadow of its former self. Figure 25 : Shelley Galehouse in studio, with recording artist Angela Martin, Shelley Galehouse on left. Ironically, these recordings, with attendant publishing, are earning more today than on initial release a half-century ago.
But something is surely missing from a time when a budding musician like Paul Hotchkiss could knock on a record company door, be summoned to the studio for a recording session and within a few hours would have a professional demo to hand to disc jockeys for radio airplay. Classical records are not a mass medium and they never will be. Golden Crest Records and Shelley Products show how a national industry can be viewed through a local lens.
Indeed, Clark Galehouse and his businesses were valuable contributors to the stimulating independent record era of the s and s.
Galehouse himself was a selfless visionary with LP love of music in all its guises, which he was able to promote due to his entrepreneurial instincts as a record man, record presser and recording engineer.
Jun 17, · This LP is probably known only among enthusiastic jazz lovers. Although he is not as famous as Sonny Rollins, his tenor is very similar to Rollins. I don't mean that just a copy of Rollins but his. A fine soloist on both tenor and alto who is able to play mainstream, bop and hard bop with equal facility, Carmen Leggio was always quite reliable no matter what the setting. He started on clarinet when Read Full Biography. Biography ↓ Discography ↓ Songs ↓ Credits ↓. Discover releases, reviews, credits, songs, and more about Carmen Leggio Quartet - Smile at Discogs. Complete your Carmen Leggio Quartet collection.
Oct 30, · Tenor saxophonist Carmen Leggio has been in the major-league jazz scene since the s. On his résumé are associations with Gene Krupa, Woody Herman, Benny Goodman, Maynard Ferguson, Buddy Rich, the Thad Jones-Mel Lewis Orchestra, and many faharderimarneusobisecocontge.co of the last exponents of the Four Brothers tenor sound, Leggio's tone is lived in, flexible, and still full of enthusiasm.
Apr 23, · New York tenor saxophonist Carmen Leggio has performed with the likes of Gene Krupa, Woody Herman, Benny Goodman and Maynard Ferguson. This self-titled quartet recording finds the veteran reedman swinging hard on eleven standards done in a no-nonsense, straight-ahead manner. Sep 18, · Here we have Carmen ripping it up sometime in the 's. This guy was a total monster. The title of this Rhythm Changes tune is is Club 6. Chew on this Sonny Stitt. ENJOY.
Carmen Leggio is a member of that neglected cadre of jazz musicians who are very good but, for one reason or another, have never gained the public notice they deserve as talented individual performers. Leggio has had plenty of critical acclaim, but he has never occupied much room in the mind's eye of the average jazz fan. It's too bad because he is a very accomplished bop/hard bop alto and.
Oct 30, · Tenor saxophonist Carmen Leggio has been in the major-league jazz scene since the s. On his résumé are associations with Gene Krupa, Woody Herman, Benny Goodman, Maynard Ferguson, Buddy Rich, the Thad Jones-Mel Lewis Orchestra, and many faharderimarneusobisecocontge.co of the last exponents of the Four Brothers tenor sound, Leggio's tone is lived in, flexible, and still full of enthusiasm. Carmen Leggio is a member of that neglected cadre of jazz musicians who are very good but, for one reason or another, have never gained the public notice they deserve as talented individual performers. Leggio has had plenty of critical acclaim, but he has never occupied much room in the mind's eye of the average jazz fan. It's too bad because he is a very accomplished bop/hard bop alto and.
Find album reviews, stream songs, credits and award information for Cocktails for Three - Carmen Leggio on AllMusic -
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