Thanks Steve, I'll buy this. I wonder why they did include the mono 'Melancholy Seranade' from 1953 on this disc. Fabulous Instrumentals by Jackie Gleason Fabulous! Doug, Capitol wanted to sell stereo versions for a dollar more of the pre 1956 Gleason albums so they just did them over. I don't know of any artist that recorded stereo before this, with the possible exception of some film soundtracks. No one noticed that the stereo versions were not exactly the same as the monos.
I play it in my car as well as at home, just love it! I don't know of any artist that recorded stereo before this, with the possible exception of some film soundtracks. Arrangers included at the outset Pete King. Don't think twice about purchasing this C. In fact, the earliest songs I can remember with the exception of the early Gleason stuff was Judy Garland from 'A Star is Born', which was 1954. .
Days of Wine and Roses, 15. D, I guarantee you wont be disappointed. And of course, had there been stereo recordings made in 1952, hardly anybody would have been able to hear them outside of the studio. I always thought the 1954 Fritz Reiner 'Also Spracht Zarathustra' was among the first of those. It is very romantic, great background music if doing a crossword, Suduko etc. From Russia With Love, 9. From what I've gathered, he was a playboy who loved music and merely put these bands orchestras together.
If He Walked Into My Life, 12. For All We Know, 20. Mad About the Boy, 19. I was way too young feels good to say that to have ever paid any attention to Jackie Gleason's music until about 10 years ago, so I know nothing about the real history. Jackie seems to have been very advanced in his use of stereo in the early days. Usually I can identify the era a record was recorded in pretty closely. I though it rather odd that there could be stereo from that era, but on the other hand the sonic signature sounded like that vintage to me.
Interesting, now I'll have to relisten to that one. I was quite shocked to discover this disc. But Not For Me, 12. I don't think he was a musician, nor a producer. It is different to any other music that is called romantic. Jackie seems to have been very advanced in his use of stereo in the early days. I don't mind my bubble being bursted at all.
It just does not get much better than this. You Oughta Be in Pictures, 11. I don't think there were any prerecorded reel to reel stereo tapes prior to 1954, but I could be wrong on this as well. I never knew just how gifted Jackie Gleason was. You and the Night and the Music, 17. I'm pretty sure that I've heard a rerecorded version of that as well, but I think it was also in mono. This is a fine compilation of 's output for Columbia.
The Best Is Yet to Come, 3. His arrangements standout as the best in romantic music. And as Willliam Henry's 1992 bio of Gleason noted, he may not have even written or, for that matter, co-written songs credited to him, his only involvement usually consisting of humming a few notes and his arranger taking care of the rest. I just want the truth whatever it turns out to be. It takes me to very soft clouds floating in the sky. The Girl From Ipanema, 20.
When Your Lover Has Gone, 5. At first I though the 1952 stereo example was some sort of fake stereo, but I am no longer sure that is the case. There are plenty of other stereo recordings here from a bit later which are clearly true stereo, and they seem to be way advanced in this regard. What I never could understand was what his role was in these recordings. He was not musically literate, but never had a problem articulating what he wanted to hear from his orchestra. I had no idea that Jackie was so advanced in many ways.
He was obviously much more than the bafoon most of us got to know and love from his tv and movie performances. There are plenty of other stereo recordings here from a bit later which are clearly true stereo, and they seem to be way advanced in this regard. The music here is quiet, melancholy, and often somber, played at mostly moderate to slow tempos. In fact, the earliest songs I can remember with the exception of the early Gleason stuff was Judy Garland from 'A Star is Born', which was 1954. Each selection seems to flow into the next, achieving 's goal of unobtrusiveness. If you can find a copy of the original Capitol release of Velvet Brass, I'd say buy it.