Les Brown And His Band Of Renown - Revolution In Sound (1962)

01. This Could Be The Start Of Something (1:27)
02. Patricia (2:30)
03. The Man With The Golden Arm (2:02)
04. Unchained Melody (2:51)
05. Stompin' At The Savoy (2:35)
06. Lisbon Antigua (2:47)
07. Peter Gunn (2:42)
08. One O'Clock Jump (2:35)
09. Man With A Horn (3:03)
10. Calcutta (2:32)
11. Music Makers (2:54)
12. The Song From Moulin Rouge (2:21)
13. Tea For Two Cha Cha (2:34)
14. Little Brown Jug (2:26)

Alto Saxophone [1st] – Fred Haller
Alto Saxophone [3rd] – Frank Perry
Baritone Saxophone – Butch Stone
Bass – Don Bagley
Bass Trombone – Stumpy Brown
Celesta – Terry Trotter
Cello – Eleanor Slatkin, Jesse Ehrlich 
Drums – Bob Neel
Flute – Fred Haller
Guitar – Herb Elli), Tony Rizzi
Percussion – Gene Estes 
Piano – Terry Trotter
Tenor Saxophone [1st] – Johnny Newsome
Tenor Saxophone [2nd] – Abe Aaron
Timbales – Leobardo O. Acosta 
Trombone [1st] – Roy Main
Trombone [2nd] – John Wanner
Trombone [3rd] – J. Hill
Trumpet – Bill Mattison, Bobby Clark, Dick Collins, John Audino,
 Mickey McMahon, Ollie Mitchell, Uan Rasey
Tuba – Stumpy Brown
Viola – Alexander Neiman, Stan Harris
Violin – Amerigo R. Marino, Darrel Terwilliger, Felix Slatkin, Gerald Vinci,
 Jacques Gasselin, James Getzoff, John P. De Voogdt, Lou Klass, Mischa Russell

This was an interesting (if not wholly successful) concept album in its time -- utilizing stereo and some studio trickery, Les Brown and his band essentially emulate the kind of dance band showcase that one would have experienced in the 1930s, with a revolving bandstand. The result is that a piece fades as the platform "revolves" and the next outfit comes up, with its selection. It's hokey and silly, but it was something different in the use of stereo circa 1962, when such details mattered to a lot of potential record buyers. And the juxtaposing of pieces such as "The Man with the Golden Arm," "Unchained Melody," "Stompin' at the Savoy," and "One O'Clock Jump" allows Brown and company to show off their range (and that of the arrangers) to great effect, and the hi-fi sound is still mighty impressive. --- Bruce Eder, AllMusic Review

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1 	I've Got My Love To Keep Me Warm 	
2 	On The Alamo 	
3 	Perfidia 	
4 	Moonlight In VBermont 	
5 	The Continental 	
6 	Midnight Sun 	
7 	Lover 	
8 	Harlem Nocturne 	
9 	The Piccolino 	
10 	Shine On Harvest Moon 	
11 	Tangerine 	
12 	Ridin' High 	
13 	Nina Never Knew 	
14 	My Blue Heaven 	
15 	Stardust 	
16 	Tea For Two 	
17 	Swingin' Down The Line 	
18 	Younger Than Spring Time 	
19 	This Nearly Was Mine 	
20 	Invitation 	
21 	The Sweetheart Of Sigma Chi 	
22 	Frenesi 	
23 	Just You, Just Me 	
24 	Leap Frog 	
25 	Goodnight Sweetheart

Arranged By:
Frank Comstock (tracks: 2 to 4, 6 to 8, 11 to 13, 17, 19 to 25), 
J. Hill (3) (tracks: 10, 14 to 16), 
Les Brown (tracks: 18), 
Skip Martin (tracks: 1, 5, 9), 
Sonny Burke (tracks: 18).

By the time that Les Brown signed with Capitol Records in the mid-'50s he had already become an internationally acclaimed clarinet and sax player as well as bandleader for nearly two decades. This single CD compilation gathers over two dozen tracks cut during the brief three-year stint (1955-1958) that Brown and his Band of Renown spent recording for Capitol Records. Although primarily known as a big band dance combo, Brown and company were much more jazz-oriented and improvisational than their swing contemporaries. However, they never lost their ability to keep dancers on their feet, as evidenced by their innumerable accolades from the popularity polls in Downbeat and Metronome magazines as well as the coveted Ballroom Operators Association. Much of the unqualified success that Brown retained during the burgeoning days of the rock & roll revolution was due to his association with arrangers such as Ben Homer, Wes Hensel, Skip Martin, and his primary collaborator, Frank Comstock. They keep the arrangements of pop standards "My Blue Heaven," "Tangerine," "Moonlight in Vermont," and "Shine on Harvest Moon," as well as the show tune "This Was Nearly Mine" -- from South Pacific -- light, easy, and deceptively unencumbered. The prowess of the various incarnations of the Band of Renown should not be underestimated either. The laid-back solo styles of Donn Trenner (piano) and Brown (clarinet) carry the combo with a sophisticated air borne in the spirit of the big bands. For example, "Frenesi" retains the large, elegant orchestration while simultaneously bearing the loose, metronomic quality of a jazz band. The same can be said of Comstock's tight brass arrangements, most specifically on "Just You, Just Me" and the definitive reading of "Harlem Nocturne." Also notable is the crystalline sound quality throughout the package, which is the first in the CD realm to have accessed the original session tapes and remastered them with an ear for the audiophile's attention to detail and nuance. ---Lindsay Planer, Rovi

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Side 1:
01) Honey Bun
02) Happy Talk
03) Some Enchanted Evening
04) The Lonliness Of Evening
05) A Wonderful Guy
06) Bloody Mary

Side 2:
01) Bali Hai
02) Dites-Moi
03) Younger Than Springtime
04) This Nearly Was Mine 
05) There Is Nothin' Like A Dame
06) I'm Gonna Wash That Man Right Outa My Hair

Arranged By:
Les Brown, Sonny Burke, Don Bugley, J.Hill,
Frank Comstock, Billy May, Wes Hensel.

Les was born on March 14, 1912 and was raised in Tower City, PA, the son of R.W. Brown, a baker and musician. (Quoting Les' own words) "My father's love was music, but he was a baker so we could eat." R.W. played soprano sax in a sax quartet that performed the popular music of the day, the marches of John Phillip Sousa. Since Sousa was known as 'The March King', R.W earned the sobriquet, 'March Prince'. As the son of the March Prince, Les Brown was playing music almost as soon as he could walk. By the age of nine, Les joined his first pro band playing using R.W.'s soprano sax, but was hindered by his lack of proper attire: "The only problem was that I didn't have any long pants at the time. A guy lived next door to us who was 16 and very short. I borrowed his pants so I didn't have to play in shorts."

By 14, Les Brown was already a seasoned professional, and he started what would be the first of many bands; 'The Royal Serertadore'. Although the sax remained his main interest, Les also studied and mastered the classical clarinet while at Ithaca Conservatory of Music. (Years later, Les said he ended his solo clarinet playing career after listening to Benny Goodman, Artie Shaw, Jimmy Dorsey, and Woody Herman, and decided that he "wasn't in their class as a soloist and never would be.") After Ithaca Conservatory, he enrolled at Duke University and performed with the 'Blue Devils' for four years, taking over as leader in his junior year. The final performance of Les, and the Blue Devils, was in 1936 at Budd Lake, NJ, the hometown of Georgia Claire De Wolfe. Two years later, in September of 1938, Claire and Les became husband and wife.

Les took jobs arranging for the bands of Isham Jones, Larry Clinton and others, but he was keen to lead his own band again, and with the help of two 'angels', a new Les Brown band was born. His first big hit was a novelty tune written by Ben Homer and "deejay" Alan Courtney. It was "Joltin' Joe DiMaggio" based on Joe DiMaggio's amazing 56-game hitting streak that had the entire U.S.A. talking that summer of 1941. Les wasn't able to record the song for two years, however, due to a musician's union recording ban imposed in 1942.

As soon as the recording ban was lifted, Les and the band great vocals by Henry "Butch" Stone (sax and vocals), and Doris Day, whose recording of "Sentimental Journey" became the perfect theme song for all the young men returning home from the war. It remained the number one song in the country for sixteen weeks, stayed on the Hit Parade for months, and has since become an undeniable standard in the lexicon of what composer Alec Wilder called 'American Popular Song'.

By this time, the band was known as "Les Brown and the Band of Renown", a name born on the spot when the band was about to perform live one night on the radio from the Palladium. Since the 60s, Les and his band have never stopped performing. They have continued making records and still perform about 60 dates a year making them the oldest existing band in America. In April of 1996, the Guiness Book of World Records awarded Les with the distinction of being the leader of the longest lasting musical organization in the history of popular music. Les' band is also very well remembered for the amount of traveling and radio shows they did with famed comedian Bob Hope. ---bigbands.org

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