George Braith – Musart https://youtu.be/ODJhQRIaZsA Original Liner Notes: My love for sounds has led me to improvisational music. Many players are searching for instruments with varied temperaments. The search is justifiable since a definite number of sound vibrations striking one's ears will always produce a tone of a certain pitch. In so-called dissonance there is much beauty untold. Spontaneous music fires the imagination, provokes thought, and provides a keen sense of enjoyment.
Musart is a concert in miniature. Each tune was selected to relay a message of love, peace, and tranquility. Three of the five original tunes, Musart. Splashes of Love and Evelyn Anita were inspired by beautiful sights as I crossed the United States. Of the other two original tunes, Our Blessings was inspired by my brother, David, and Del's Theme by Del Shields. Choosing the instruments for Musart, A&R man Cal Lampley and I decided that I should use whatever instruments necessary to portray the
desired effect for each tune. Employing rhythm and melody as a base, many spaces of silence and repetition of ideas allow your mind to absorb, contribute, and participate in the happenings we enjoyed while recording.
Musart, the title tune, begins with the application of a bass note and its first overtone stated in the melody voice. The destination of the tune is infinity; thus, Musart is not only a tune but also a new concept in improvisational music. The instru mentation includes soprano and alto sax, piano, bass, and rhythm.
The straight alto plays the melody on the ballad, Embraceable You. The only accompaniment is the baritone guitar and the upright bass. (Photographer Don Schlitten tells me that this type of guitar tuning was used some years ago by Jimmy Raney.) At the end, the soprano enters to accompany the alto with an authentic cadence.
Our Blessings is a classical melody played on straight alto with organ, piano, guitar, Fender bass, and rhythm as accompaniment.
Evelyn Anita, named for my sister, came to mind as I stopped to play my horns somewhere in the Southwest on my way to L.A. Since Evelyn loves to dance, thinking of her made this dance tune pop into my mind.
Laura, playing on straight alto, is accompanied by bass and rhythm until Jane Getz enters, playing a very beautiful piano solo. She portrays a superb talent for picking out pretty lines and chords.
One hot summer day in Pasadena, I came across an antique shop with a couple of C-melody saxophones lying around. I purchased one and used it on my first Prestige album, Laughing Soul (PR 7474). Before Coleman Hawkins made his famous Body and Soul solo, every saxophonist included in his collection the C-melody saxophone, which is bigger than an alto and smaller than a tenor. After Cole man's solo, every saxophonist excluded the C-mel-ody to replace it with the popular tenor. I like the C-melody's sound and used it on the Musart solo and on Del's Theme.
When Birdland closed, New York became a very cold place for modern sounds. With discotheques
Becoming overbearingly popular, there seemed to be a movement to kill all that was started by the older cats like Bird. Bud, Diz, Monk, etc., etc. Pianist D. J. Billy Taylor had been put off popular radio station WNEW for refusing to program more commercial music on his jazz show. At radio station WADO, Symphony Sid turned to Latin music, and Mort Fega left radio. Since club owners wanted rock type tunes, I decided to disband my organ group. The scene was taking on the appearance of a tired old cow until station WLIB expanded to FM and imported Del Shields, a noted Philadelphia disc spinner, to the New York set. Del's energetic drive and dedication to jazz programming inspired me to write Del's Theme for him. The instrumentation includes voices to state the theme, and Jane Getz again demonstrates her love of pretty tones during her solo choruses. Bill Salter maintains an excellent beat on bass. The percussion section consists of four congas, bongos, a shaker, and a cowbell.
Splashes of Love, the final tune of this concert, came to mind as Freddie Hubbard and I traveled from Los Angeles to a gig in San Francisco. We were hurrying to catch Trane's opening at the Workshop a day before ours at the Both-And. As Freddie took over the wheel of the car, I blew my soprano sax, and a melody came to mind. Splashes suggests a certain mood and feeling, and after returning home several months later, my little daughter wrote a set of words.
The breeze is blowing just as you are by my side. The mountains and rivers are the shapes of nature's tides.
An ocean breeze blew sand right in our eyes that day.
As I tried to tell you the story of love.
The breeze just kept on blowing as the rain fell from the sky on us
To feel the quiet splash of nature's little puddles Secret storms of thunder bring us a message true.
Notes: George Braith (April 1967)
Recording: Rudy Van Gelder
Produced by Cal Lampley
For a free catalog, send to PRESTIGE RECORDS INC., 203 SO. WASHINGTON AVE., BERGENFIELD, N. J.
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George Braith – Musart
https://youtu.be/ODJhQRIaZsA
Original Liner Notes:
My love for sounds has led me to improvisational music. Many players are searching for instruments with varied temperaments. The search is justifiable since a definite number of sound vibrations striking one's ears will always produce a tone of a certain pitch. In so-called dissonance there is much beauty untold. Spontaneous music fires the imagination, provokes thought, and provides a keen sense of enjoyment.
Musart is a concert in miniature. Each tune was selected to relay a message of love, peace, and tranquility. Three of the five original tunes, Musart. Splashes of Love and Evelyn Anita were inspired by beautiful sights as I crossed the United States. Of the other two original tunes, Our Blessings was inspired by my brother, David, and Del's Theme by Del Shields. Choosing the instruments for Musart, A&R man Cal Lampley and I decided that I should use whatever instruments necessary to portray the
desired effect for each tune. Employing rhythm and melody as a base, many spaces of silence and repetition of ideas allow your mind to absorb, contribute, and participate in the happenings we enjoyed while recording.
Musart, the title tune, begins with the application of a bass note and its first overtone stated in the melody voice. The destination of the tune is infinity; thus, Musart is not only a tune but also a new concept in improvisational music. The instru mentation includes soprano and alto sax, piano, bass, and rhythm.
The straight alto plays the melody on the ballad, Embraceable You. The only accompaniment is the baritone guitar and the upright bass. (Photographer Don Schlitten tells me that this type of guitar tuning was used some years ago by Jimmy Raney.) At the end, the soprano enters to accompany the alto with an authentic cadence.
Our Blessings is a classical melody played on straight alto with organ, piano, guitar, Fender bass, and rhythm as accompaniment.
Evelyn Anita, named for my sister, came to mind as I stopped to play my horns somewhere in the Southwest on my way to L.A. Since Evelyn loves to dance, thinking of her made this dance tune pop into my mind.
Laura, playing on straight alto, is accompanied by bass and rhythm until Jane Getz enters, playing a very beautiful piano solo. She portrays a superb talent for picking out pretty lines and chords.
One hot summer day in Pasadena, I came across an antique shop with a couple of C-melody saxophones lying around. I purchased one and used it on my first Prestige album, Laughing Soul (PR 7474). Before Coleman Hawkins made his famous Body and Soul solo, every saxophonist included in his collection the C-melody saxophone, which is bigger than an alto and smaller than a tenor. After Cole man's solo, every saxophonist excluded the C-mel-ody to replace it with the popular tenor. I like the C-melody's sound and used it on the Musart solo and on Del's Theme.
When Birdland closed, New York became a very cold place for modern sounds. With discotheques
Becoming overbearingly popular, there seemed to be a movement to kill all that was started by the older cats like Bird. Bud, Diz, Monk, etc., etc. Pianist D. J. Billy Taylor had been put off popular radio station WNEW for refusing to program more commercial music on his jazz show. At radio station WADO, Symphony Sid turned to Latin music, and Mort Fega left radio. Since club owners wanted rock type tunes, I decided to disband my organ group. The scene was taking on the appearance of a tired old cow until station WLIB expanded to FM and imported Del Shields, a noted Philadelphia disc spinner, to the New York set. Del's energetic drive and dedication to jazz programming inspired me to write Del's Theme for him. The instrumentation includes voices to state the theme, and Jane Getz again demonstrates her love of pretty tones during her solo choruses. Bill Salter maintains an excellent beat on bass. The percussion section consists of four congas, bongos, a shaker, and a cowbell.
Splashes of Love, the final tune of this concert, came to mind as Freddie Hubbard and I traveled from Los Angeles to a gig in San Francisco. We were hurrying to catch Trane's opening at the Workshop a day before ours at the Both-And. As Freddie took over the wheel of the car, I blew my soprano sax, and a melody came to mind. Splashes suggests a certain mood and feeling, and after returning home several months later, my little daughter wrote a set of words.
The breeze is blowing just as you are by my side. The mountains and rivers are the shapes of nature's tides.
An ocean breeze blew sand right in our eyes that day.
As I tried to tell you the story of love.
The breeze just kept on blowing as the rain fell from the sky on us
To feel the quiet splash of nature's little puddles Secret storms of thunder bring us a message true.
Notes: George Braith (April 1967)
Recording: Rudy Van Gelder
Produced by Cal Lampley
For a free catalog, send to PRESTIGE RECORDS INC., 203 SO. WASHINGTON AVE., BERGENFIELD, N. J.
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