| | Sammy Kaye 22 Original Big Band Recordings (1941-1944) CD Sammy Kaye Discography of CDs
Nice songs for background music, not-so-great sound quality. ~ Ron Wynn
1941-1944. 22 Original Big Band Recordings (1941-1944) Music Sammy Kaye 22 Original Big Band Recordings (1941-1944) Songs | 1. | Daddy | $0.99 | |
| 2. | I Can't Begin to Tell You | |
| 3. | Please Don't Play That Old Song | |
| 4. | I'll Buy That Dream | |
| 5. | You've Got Me Crying Again | |
| 6. | Hut Sut Song, The | |
| 7. | Sunny Side of the Street | |
| 8. | Powder Your Face With Sunshine | |
| 9. | Sentimental Journey | |
| 10. | Candy | |
| 11. | Along the Navajo Trail | |
| 12. | Guess I'll Have to Dream | |
| 13. | Give Me the Simple Life | |
| 14. | Like Someone in Love | |
| 15. | Saturday Night Is the Loneliest Night of the Week | |
| 16. | Why Does It Get So Late So Early | |
| 17. | I Promise You | |
| 18. | I'll Be Walking With My Honey | |
| 19. | It's Only a Paper Moon | |
| 20. | This Is No Laughing Matter | |
| 21. | I'm Beginning to See the Light | |
| 22. | I'm Heading East | |
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22 Original Big Band Recordings (1941-1944) Review
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Vinyl LP version also available directly from the label at www.whatmusic.comThe tunes on this album were recorded live the night of November 3, 1970, thanks to the Tarsia Jazz Group at "Cricket", a large and pleasant musical bar in Olivos, on the outskirts of Buenos Aires."Tarsia Jazz Group" was the name used by Carlitos Tarsia to organize jazz concerts, to which he invited us frequently. Carlitos has been no doubt a unique character in the history of Argentinean jazz or even the World's jazz history. His home was open for more than two decades to all jazz musicians. If anyone needed a place to rehearse, a call to Carlitos would do. His door and his upright piano were always open to all.We used to get together at his place every Sunday and Wednesday for jam sessions that lasted until dawn. I'd better not quote names since the list would be too extensive and I would run the risk of forgetting some. I can tell you though, that at Tarsia's place there landed personalities like Count Basie, Milt Jackson, Eddie "Lockjaw" Davis, Percy Heath, Sam Jones, Gary Burton, The Double Six of Paris and many others. We had the pleasure of playing with them all.Furthermore it was there I met Fernando Gelbard, a fact that I consider of great importance from a musical and an affective point of view... So Carlitos, please receive through these words the recognition of all those that were your friends. (Fortunately, for the sake of his mental health, Carlitos also had friends that were not musicians).To tell you the truth, the night this album was recorded, Fernando, el Flaco [López Ruiz], Pocho and I unholstered our instruments for "just another concert". We had been playing together for a long time, and together we had already been breaking the rules a bit. Our rehearsals were always a quest, a hunt, but not a forced or artificial one. I always had in mind the words of Astor Piazzolla: "The worst failures (referring to music and art, generally) come from those who want to do something different. Nobody can become different. You are born different."So, in our case when composing a tune, we started by setting a rhythmic, harmonic, and sometimes a melodic base that often departed from be-bop without drifting too far from it. This music is, as you may understand, bordering on free-jazz or chance music. Personally, I never wanted to get into 'free' for formal reasons. I think that if you always play without limits, you cannot avoid repeating yourself in the end. That's how three of the four tunes that comprise this album were born."Blues con amague", ("Blues with a tease"), written by López Ruiz, has the same base as a twelve-bar blues, changing its harmonies at the second half of each chorus.Gelbard's "Minor Key", is based on minor mode chords, with a rhythmic ostinato repeating itself every now and then, and rhythm shifts found randomly while improvising."Africa", my own tune, starts with percussion which alludes in a veiled way to African tam-tams, joined by the bass and the piano. The outline of a melodic sequence by the piano is later repeated by the sax, when it begins improvising on a basis of thirteenth chords.The ...
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