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Serres 2000

52025

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GLOW WORM. 2 ieee ee 2:18 CLARINET, BASS CLARINET,

MACK THE RIFE ee 988 080, ENGLISH HORN | ALTO FLUTE,

Ce 2:22 PICCOLO, ALTO

| d BARITONE SAXOPHONES BAIA ee ee ee he pe eee, ere ee 2:56 Phil Bodner

Benn RA. ee deis GUITAR

Al Caiola

HAWAIIAN WAR CHANT 2:15 saan ue teas

BABALU a 2:15 ~ Nick Tagg

eee a ee 2:06 ae

ee een hd 2:00 icine

YANKEE DOODLE BONGO...” 7 2:04 ta: oP

we 2:14 2 CONGA DRUMS, VIBRAPHONE, XYLOPHONE, MARIMBA, TIMBALES, CHINESE BELL TREE, JAWBONE, COW BELL, SCRATCHER, TAMBOURINE (BANDIERO),

CONCEIVED AND ARRANGED BY BOB ROSENGARDEN

and PHIL KRAUS MARACCAS

Steve Berrios

Artigtamd Repertoire ....................0...0n ee. Bob Shad Phil Kraus

Original Recording Engineer ............0.....000... John Cue John Pacheco

Re-recording enpineer es John Cue Alvin Rogers

Mastering ....... EE Rudy Cotman Boh Rosengarden

bine: Noles ee Mark Reilly -Albuny Coordination 3c. se OI Arpena Spargo Album Design 0.73.0 a2. Pi as eee Murray Stein

Typography .............. ee eee The Composing Room, inc.

Printed in U.S.A.

The tremendous interest in percussion that has been stimulated by TIME’s brilliantly recorded SERIES 2000 has focused special attention on a pair of the smallest and most versatile members of the drum family—the bongos. |

These two little drums, usually held between the knees and whacked with the tips of the fingers and thumbs, produce some of the most exciting rhythms that come out of any of the percussive instruments—bright, crisp, compelling spurts of sound. And they are so flexible that, under the fingers of the real bongo virtuosi, they

can even suggest the outlines of a melody.

But undoubtedly the most important element in cre- ating the sudden overwhelming popularity of bongos is the fact that almost anyone can get immediate satisfaction out of playing them. The essential rhythm that we respond to in music, the rhythm that throbs through all of us, can be expressed on bongos by prac- tically anyone—crudely at first, of course, but, with a little application and practice, even a neophyte can quickly become sufficiently proficient to add a helpful

bit of rhythm to any group.

The bongos have provided one solution to the desire of the average person to take part in musical activities, a desire that has been increasingly frustrated by the development of the phonograph, radio and television, all of which encourage the listener to play a passive role. But self-expression cannot be bottled-up forever. Bongos have provided an outlet for every man’s

expression. ;

It is an outlet, it should be emphasized, that is not so simple that it soon loses its appeal to those who want to continue to improve their skills. For bongos are not toys. They are musical instruments capable of a fas- cinating complex of sounds and sound pattern as the performances by this unique octet, featuring four bril-

liant percussionists, show.

The group is led jointly by Bob Rosengarden and Phil

Kraus, both of whom are among the top free-lance percussionists in New York. During a nine-year stretch

on the National Broadcasting Company staff, Rosen- garden was seen regularly on the Steve Allen and Ernie Kovacs shows among many others. He does most of the solo bongo work in this set. Kraus, who also served

a long apprenticeship in radio and television before going out on his own, plays all the instruments in- volving mallets—vibes, marimba and xylophone as well as bongos. Handling the other percussive sounds are Johnny Pacheco, who specializes in both bongo and conga and Steve Berrios, an expert in all types of Latin American drumming who concentrates on tim- bales in these numbers. Another essential member of the group is versatile Phil Bodner, who switches with ‘remarkable rapidity from oboe to flute to piccolo to

alto and baritone sax.

If you have a set of bongos, try joining in with the octet. And if you’re feeling really ambitious, see if you can keep up with the rapid-fire exchanges when these percussion virtuosi take off on their most exciting and

complex patterns.

The mood for TABOO is established by a conga drum followed by bongos and a second conga. Phil

Bodner’s oboe picks up the sensuous melody with guitar fills by Al Caiola. A fascinating exchange be- tween two sets of bongos follows the first chorus and later, as the oboe melody fades out, a more subtle

aspect of these two bongos is heard as they trade

short breaks.

Bodner shifts to piccolo for GLOW WORM, piping out the beginning of each phrase which is completed by conga drum. After a unison chorus by vibes and guitar, this broken phrase returns, with bass clarinet (Bodner) and xylophone playing the first part in uni-

son and the bongos completing each phrase. Bodner winds it up with a bit of wild piccolo piping.

Bodner is on oboe again on MACK THE KNIFE, playing a bright solo, that is supplemented toward the end by the lifting propulsion of bongo rolls. Nick

Tagg’s organ gives the second chorus a heavier beat as Bodner noodles under him on bass clarinet before the mixture of oboe and bongos returns from a gradual

fadeout. Duke Ellington’s CARAVAN is a natural for bongo-driven rhythm. All four percussionists challenge

each other furiously after the first chorus with bongos

and maraccas predominant.

Conga, scratcher and bongos introduce the com- bination of deep, low guitar and equally deep organ which forms the atmospheric background for Bodner’s flute on BAIA. Notice the sharp reports of the bongos

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when they take breaks during the short organ solo and notice, too, how this sharpness is intensified even more in the bongo bites that appear under the xylo-

phone solo.

The bright BONGO FRAILICH begins with a tor- rent of rhythm by conga, bongo and tambourine whip- ping up a festive feeling that is carried on by Bodner’s merry piccolo. This buoyancy is transferred in the second chorus to the supporting instruments—Bod- ner’s flying piccolo under the piano and a glittering

xylophone under Al Caiola’s guitar.

HAWAIIAN WAR CHANT, which starts the second side, offers another opportunity for a whirlwind bongo exchange after the first chorus which is shared by Bodner, playing alto sax and Nick Tagg’s organ.

Miguelito Valdes’ old war cry, BABALU, is opened by some flute statements by Bodner with answers from Caiola’s guitar. Then, with a roll of bongos, the flute lines out the melody as the bongos continue under- neath and guitar, scratcher and timbales agitate furi-

ously.

An unusually strong rhythmic foundation is laid down for MONTERREY by a lineup of bongos, cowbell and maraccas all throbbing propulsively under the pic- colo. After the exchange between bongos there Is an interesting example of the percussive use of the whole

ensemble as seven-eighths of the octet trade off short phrases of the melody with piccolo.

A building, cumulative rhythmic foray, starting with conga then adding muted cowbell, cymbal, bon- gos and more bongos, launches the torrid BONGO- LINA on which the organ and alto sax (Phil Bodner again) develop the melody. Bodner returns to piccolo for the brightly dancing YANKEE DOODLE BONGO, teaming with conga and maraccas in an introduction

that is shared with tambourine and guitar. The old folk tune comes out fresh as a daisy in this sprightly,

bongo-driven treatment.

The melody of TONY’S WIFE is actually a succes- sion of percussive stabs, a fact that is emphasized by the way the melody is traded back and forth between piccolo, guitar, organ and marimba with bongos, con- ga, cowbell and maraccas making the sharp bite of the

rhythm even more positive.

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SERIES 2000 by TIME Records, Inc. is produced by

the foremost artists and technicians in the world

of music and sound. The last decade has become

an era of intense specialization, no matter what

the field. Time Records recognizes this and has

applied this in force to its SERIES 2000.

The creed of SERIES 2000 is craftsmanship. This

product originates through multi-channel recording.

No monaural recordings are made at initial sessions.

It is our feeling that simultaneous stereophonic and

monaural recording produces a compromise. How-

ever, when concentrating on recording only three

track stereo, one achieves the best possible results.

The end product is mixed down from the original

multi-channel recording. This enables SERIES 2000

to reach the maximum peak of recording efficiency.

SERIES 2000 aims to prove that people interested in

increasing their intellectual and instinctive knowl-

edge towards music and sound respond readily when

confronted with new dimensions...SERIES 2000.

TECHNICAL INFORMATION:

This record represents the finest quality of multi-channel recording that can be achieved through the finest equip- ment available today.

All of our material is recorded on Ampex tape machines using a multiple microphone technique, so that a micro- phone whose qualities best suit the instrument being re- corded can be used to give the optimum in sound repro- duction. Microphones used are: Telefunken U-47, U-48, KM-54, KM-56; Western Electric 639A, RCA-44-BX; Beyer

M-160 and Sony C37A.

The master tapes are recored to a master disc on a Sculley Lathe using custom built amplifiers driving a specially de- signed feedback cutting head. The Sculley Lathe is equipped with a fully automatic variable pitch control so that groove spacing is always maintained in an ideal relationship to the modulation on the record, assuring best tracking results.

Check that your pickup is balanced and adjusted to the weight specified by the manufacturer.

Not even a diamond stylus is immune to wear. Many dealers who handle high quality stili are equipped to shadowgraph your stylus and determine its condition. Take advantage of this service and protect your valuable record collection. This record should be played using RIAA reproducing equalization.