Skip Martin - 8 Brass 5 Sax 4 Rhythm

Skip Martin - 8 Brass 5 Sax 4 Rhythm

Musician: Skip Martin
Album title: 8 Brass 5 Sax 4 Rhythm
Size MP3 version: 1334 mb
Size APE version: 1803 mb
Label: MGM Records ‎– SE3743
Type: Vinyl, LP, Stereo
Country: US
Date of released: 1959
Category: Jazz
Style: Big Band, Swing, Space-Age
Rating ✫: 4.8
Votes: 407
Format: DXD AAC AA AHX DMF ASF MP4
Genre: Jazz

Skip Martin - 8 Brass 5 Sax 4 Rhythm


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Skip Martin - 8 Brass 5 Sax 4 Rhythm
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Tracklist Hide Credits

A1 (It Will Have To Do) Until The Real Thing Comes Along
Written-By – Nichols*, Freeman*, Holiner*, Cahn*, Chaplin*
2:50
A2 Truckin'
Written-By – Bloom*, Koehler*
2:24
A3 East Of The Sun (And West Of The Moon)
Written-By – Bowman*
2:41
A4 Bye Bye Blackbird
Written-By – Dixon*, Henderson*
2:49
A5 Bidin' My Time
Written-By – G. & I. Gershwin*
2:47
A6 The Best Things In Life Are Free
Written-By – De Sylva*, Brown*, Henderson*
2:20
B1 Do-Do-Do
Written-By – G. & I. Gershwin*
2:15
B2 Drivin' Home
Written-By – Martin*
2:08
B3 You Turned The Tables On Me
Written-By – Alter*, Mitchell*
3:18
B4 There's Danger In Your Eyes, Cherie
Written-By – Richman*, Meskill*, Wendling*
3:20
B5 I Concentrate On You
Written-By – Porter*
2:54
B6 Vilia
Arranged By – Martin*Written-By – Lehar*
2:59

Credits

  • Arranged By – Skip Martin
  • Bass – Artie Shapiro
  • Conductor – Skip Martin
  • Drums – Frank Carlson
  • Guitar – George Van Eps
  • Liner Notes – Johnny Mercer
  • Piano – Jimmy Rowles, Milt Raskin
  • Saxophone – Babe Russin, Chuck Gentry, Jack Dumont, Justin Gordon, Ronny Lang
  • Trombone – Milt Bernhart, Ray Klein, Stumpy Brown, Tommy Pederson
  • Trumpet – Conrad Gozzo, Ed Leddy, Frank Black , Pete Candoli

Notes

Back cover liner notes:

["Here's solid dancing pleasure from the fabulous Skip Martin and his great band - an inviting collection of favorites that your dancing feet won't be able to resist. And, if you're a member of the 'sit-this-one-out' set, you'll find plenty of sumptuous listening delight here. One of the truly knowing arranger-conductors around these days, Skip reveals in this album again the genius that has made him one of the most successful figures in American pop music today. And, to tell you how he got that way, we turn you over to a long-time friend of Skip's, who writes here unabashedly as a real Martin fan:

LLOYD 'SKIP' MARTIN, whose friends think of him as a roly-poly Santa Claus type and whose enemies may describe him as having the shape of a cello, was born in Indianapolis, Indiana. He immediately began arranging for big bands.
Seriously, according to his mother, at the age of one and a half he toddled over to the piano and sounded middle C. After spending the required amount of years getting an education, he headed for his objective.* Almost before he was out of short pants (he had heard about Benny Goodman going to work at the age of eleven), he began to climb to the musical heights (none of them Horace). While he was in high school he was a well-known clarinet player in a junior symphony, and played all through his curriculum at Indiana University, then went on to work at the famous WLW radio station in Cincinnati.
Around 1936 he began his career as a side man and arranger with the Gus Arnheim Orchestra, also arranging for Count Basie which he has continued to do up until the present day. Following this he went on to join and contribute arrangements to the swinging bands of Charlie Barnet, Jan Savitt, and Benny Goodman. Although he did not act in that capacity with Glenn Miller, he *did& play with that organization for some time before he joined th staffs of NBC and CBS in New York.
A three year sabbatical in the U.S. Army followed, where he learned to become, so I understand, a 'hot pilot.' He still flies occasionally.
His most prominent accomplishment, in the eyes of the general public, is undoubtedly as an arranger for Les Brown. I doubt if there is anyone extant who does not know, practically by heart, his tremendous version of 'I'VE GOT MY LOVE TO KEEP ME WARM.' He now spends most of his time arranging for motion pictures, and this album is kind of a 'busman's holiday': during his spare time he's busy arranging musicals for 20th Century-Fox and MGM, Astaire, Kelly, etc.
He is most interesting to talk to; alert, fun, and a tenacious questioner. He wants to know exactly what you mean, and has no hesitancy in telling you what *he* means. But he can be wrong, as is borne out by the fact that he has been married twice and is now living with his dog. However, he bears this stoically. His personality is sort of a cross between Rabelais and Tom, the fun loving Rover. Being a real family sized gourmet, he insists on the best food and plenty of it - not only for himself but for everyone present.
While he was growing up in Indianapolis he used to hang around the speedways and formed an affectionate attachment for racing cars - calling them by their first names. He is still a rotund, aging pit boy and may be seen at any of the meets, changing tires, filling up the tanks, and generally being useful. He is available at all times for these events; also arrangements or anything connected with any kind of a party, where he will have a swinging time and consume an enormous amount of groceries and beverages, then get up and do a prodigious amount of musical writing - the results of which can be heard in this album. I am sure you will find the work musical, meticulous, and original. They are pure 'Skip.'
Now about the album: I don't set myself up as being any kind of expert when it comes to discussing jazz, but my personal favorites are 'EAST OF THE SUN,' 'BIDING MY TIME,' 'THE BEST THINGS IN LIFE ARE FREE,' DO-DO-DO,' 'THERE'S DANGER IN YOUR EYES, CHERIE,' and 'VILIA.' The obviously fine solo work is done by Justin Gordon, Milt Bernhart, Pete Candoli, Frank Beach, Jimmy Rowles, and Milton Raskin. I hope you will find as much pleasure in listening to them as I do.

Johnny Mercer"]



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