Album: Charlie Barnet Presents A Salute To Harry James
Catalog Number: CST-160
Artist: Charlie Barnet
Genre: Big Band
Format: LP, Stereo, Red Vinyl
Year: 1959
Record Label: Crown Records
TRACKLISTING
A1. (02:40) - Sleepy Lagoon
A2. (02:39) - Easter Parade
A3. (04:19) - One On The House
A4. (03:18) - Flatbush Flanagan
B1. (03:10) - Music Makers
B2. (03:59) - Back Beat Boogie
B3. (02:25) - The Mole
B4. (04:20) - Blues For Sale
Playing Time: 00:26:53
MATRIX NUMBERS
A Side Center Label: CST 160-1
B Side Center Label: CST 160-2
A Side Run Out Etching: CST-160-1 Δ 1629
B Side Run Out Etching: CST-160-2 Δ 1628
CREDITS
Photography: Steve Sokol
Recorded: Hollyiwood, Calif.
Cover Design: Rosentswieg
ADDITIONAL NOTES
(From the back of the album jacket)
Charlie Barnet Presents A Salute to Harry James
The man who has done so much for so many people in the music business . . . the "mad Mab of the Mill Pond' ... a title given him in Sandusky, Ohio, many years ago . . . Mr. Charlie Barnet . . . continues his giving ways as here he salutes the talents of one of the greatest jazz trumpet players alive . . . Mr. Harry James.
Harry James . . . owner of a stable of racing horses . . . married to a lovely movie star ... is still one of the greats in the music world. Why? Because of his lyrical and at times driving trumpet.
A salute to Harry James.
Who can forget the memorable night in December of 1 938 when the Benny Goodman Band played their first concert in Carnegie Hall in New York City. And who was the star sideman . . . Harry James. For it was only a matter of weeks later that Harry James went on the road with his own band.
Perhaps it has been forgotten but it was Harry James who hired a young and thin singer from the "log cabin" in New Jersey to sing with the band. His name . . . Frank Sinatra. So it was Harry James who started Frankie on his way to stardom.
But throughout all of the years it has been the golden tones of the Harry James trumpet that have kept him on top of the heap. Other bands have come and gone . . . but still Harry James is the one musician who has stayed on top. And musician is used carefully in this case . . . for he is indeed a consumate musician. His tone and his knowledge of music have not faltered through all of the years.
And so this is one musician's salute to another as Charlie Barnet offers a salute to Harry James.
FRANK EVANS
CROWN RECORDS STEREODISCS
9317 W. Washington Blvd.,
Culver City, Calif.
Made in Hollywood, U.S.A.
THIS IS STEREO
THE FULFILLMENT OF STEREO
Stereophonic sound is almost exactly "true" sound. Always before, you have heard the music as it was recorded—not as it was played. Now, in Stereo, you can hear music just as it is played. And you have more than a coveted front row seat—you are practically in the orchestra! If this is your first experience with Stereo, you're in for a thrill I
HOW DOES STEREO WORK?
Instead of one central sound that is the same no matter how many speakers you use, Stereo sound adds "left" and "right." This gives Stereo depth, dimension, and exciting realism—just as your two eyes and two ears provide depth in both seeing and hearing. Depth is achieved by recording separate "left" and "right" versions of the same music at the same time, and putting the different versions into the same groove.
STEREO VS. MONAURAL
In your old monaural records, the same sound was on both sides of the groove, and the needle wiggled sideways slightly, but picked up the same sound on both sides. In Stereo, the needle is actually two needles in one, and wiggles both sideways and up-an-down. With a different pick-up, preamp, amplifier and speaker for each separate side of the groove, your ears pick up the two sides of the sound and combine the differences for stereo "depth."
MORE THAN CONCERT FIDELITY
In listening to a concert you hear different instruments at the extreme left and right, but much of the music comes right down the middle. In Stereo, too, the recording mikes each pick up part of the middle section of the sound. So in hearing this Stereo record you will find that you not only hear left and right, you also hear part of the sound right between the speakers. The sound surrounds you and you almost become part of it. In hearing a concert you are never as close as the recording mikes. So when the mikes are expertly placed you get more total sound from Stereo than you do at an actual concert!
TUNING THE SPEAKERS
You may find that the left speaker has slightly less volume than the right. This has been done so you can tune the speakers to an exact balance. The effect will vary according to the room, the placement of the speakers, and the position of the listener. The speakers must be placed at least 36 inches apart to achieve the bare minimum Stereo sound. Two speakers alone do not make Stereo. You must have Stereo pickup needles and heads. It is possible (but not advisable) to play this Stereo record on a monaural set. The sound will not be Stereo, and the pickup may not be compatible. We recommend playing this disc only with Stereo pickups.
TECHNICAL DATA
This disc was recorded on an Ampex stereo tape recorder from 15 CPS bottom to 25,000 CPS top; transferred to disc with Scully lathe plus a Westrex 3A cutting head, and utilizes the standard 'RIAA' playback curve. The disc was pressed from the finest virgin vinyl, in a process that removes surface noise and distortion. A microgroove-stereo pickup with a .0007 tip radius +.0001 is recommended for finest results, with a stylus weight of not more than 4 grams. Handle this disc with great care, especially avoiding touching the playing surface with fingers (skin oils damage the vinyl). Use a soft, damp cloth to clean the disc, and store it carefully in this jacket at moderate temperature. With proper care this high fidelity stereophonic disc should last indefinitely.
