Studied by 4 people
Swings Shubert Alley date
1960
Producer and arranger
Marty Paich
Marty Paich also worked with…
Stan Kenton
The Album is considered an
homage to Broadway
Lonely Town was from the musical…
On the Town (1944)
Lonely Town follows a …. pattern
verse and refrain
Lonely Town refrain follows an … structure
AAB
Bernstein’s version of Lonely Town moved from … for the refrain
Tormé’s version of Lonely Town moves from … for the refrain
E major to E minor, F major to Eb minor
Tormé’s nickname
Velvet Fog
Lonely Town harmony
chord inversions, enharmonic shifts, frequent 7, 9, 11 maj/min chords, aug/dim chords, tritone chord and key shifts
Lonely Town saxophones
carry most of the harmonic work
Lonely Town piano
prominent role at the beginning, interjects a little in the early part of the refrain. Sounds improvisatory, mostly decorative. adds spice to harmony through dissonance mainly in the higher register
Lonely Town drums
very quiet, brushes
Lonely Town bass
steady beat under Tormé’s loose rhythms
Too Close for Comfort was from the musical…
Mr Wonderful
Too Close for Comfort is based on a…
32-bar song form but with a flexible structure to feature the virtuosic musicians
Too Close for Comfort alto sax solo
Art Pepper, virtuosic and colourful, wide array of rhythmic and modal embellishments
Too Close for Comfort begins with an … texture
antiphonal
Too Close for Comfort contains a … modulation during the link to the sax solo
chromatic mediant (C to Eb)
Too Close for Comfort harmony
chord substitutions, extended primary chords, oscillation between maj/min creates modal flavour
Too Close for Comfort pushing words
such temptation
Too Close for Comfort saxophones
syncopated stab chords, dissonant alto decoration at end
On the Street Where You Live was from the musical…
My Fair Lady
On the Street Where You Live trumpet solo
Al Porcino, reminiscent of New Orleans trad jazz with melodic, bright sound
On the Street Where You Live harmony
starts on a dominant pedal, bass part moves in step, lots of the complex harmony is implied
On the Street Where You Live vocals
extension of vocal range (I won’t care if I), yodel-like decoration in third phrase of bridge (the over-powering feeling), added syncopation, shortening and delaying notes
Saxes (alto, tenor, baritone)
Art Pepper, Bill Perkins, Bill Hood
French Horn
Vincent DeRosa
Trumpets
Al Porcino, Stu Williamson
Trombone
Frank Rosolino
Tuba
Red Callender
Piano
Marty Paich
Bass
Joe Mondragon
Drums
Mel Lewis, Mel Tormé
Mel Lewis played with…
Herbie Hancock
Red Callender was part of…
the Wrecking Crew (a group of virtuosic session musicians)
Too Darn Hot is from…
Kiss Me Kate (1948)
Too Darn Hot structure
originally AABA, frequent extensions, link passages and instrumental solos
Too Darn Hot trombone solo
Frank Rosolino, top of range, long notes before moving into virtuosic solo
Too Darn Hot abrupt modulations
Verse 1 to Verse 2 Eb to E minor, Link to Bridge E to F major, Bridge to Verse 3 F to Eb major
Too Darn Hot sax solo
Art Pepper, smears imitate trombone, variety of instrumental effects
Too Darn Hot harmony
lots of extensions and chromaticism, mainly repeating chord patterns of tonic, supertonic, dominant
On The Street Where You Live structure
AABA instrumental BA
Note 
Flashcard (105)