Showing posts with label Julius Wechter. Show all posts
Showing posts with label Julius Wechter. Show all posts

Tuesday, February 3, 2026

Tommy Tedesco • The Guitars Of Tom Tedesco

 



Tommy Tedesco Biography
Billed as "the most recorded guitarist in history," Tommy Tedesco was certainly one of the top session guitarists of all time, able to play convincingly in virtually every style of music, but concentrating on pop/rock, jazz, and soundtrack work. Tedesco was born July 3, 1930, in Niagara Falls, NY; after moving to Los Angeles, he carved out a career as one of the area's most in-demand session musicians, appearing on his first recording in the late '50s. Tedesco's notable associations during the '60s included the Beach Boys, Jan & Dean, Phil Spector, Van Dyke Parks, the 5th Dimension, the Monkees, and Elvis Presley. He also did some of his most acclaimed work in 1968 on Frank Zappa's Lumpy Gravy; according to legend, Tedesco and some of the other session men caught wind of Zappa's freaky reputation, and showed up for the session dressed in wacky costumes, not realizing Zappa's music would turn out to be too complicated for them to play the first time through.

In the '70s, Tedesco appeared on Partridge Family recordings and also worked with Herb Alpert, adding to his list of more traditional pop and jazz credits which already included work with Frank Sinatra, Ella Fitzgerald, Barbra Streisand, and Sarah Vaughan. With the advent of the fusion era, jazz became Tedesco's primary focus for a time; he began leading his own combo and (finally) releasing albums under his own name, beginning with 1978's Autumn and When Do We Start. Alone at Last followed in 1979, as did the quintet album My Desiree in 1981. Two more albums appeared in 1983: the live trio set Carnival Time, and Thomas and Ocean Tedesco. However, they essentially marked the end of Tedesco's flurry of activity as a leader; the 1986 trio album Hollywood Gypsy would be his last for several years.

From the outset of his career, Tedesco also worked extensively in the film and television industries. He lent his guitar to the opening theme songs of shows like The Mickey Mouse Club, The Ozzie & Harriet Show, The Twilight Zone, Bonanza, Green Acres, Gilligan's Island, The Munsters, Happy Days, M*A*S*H*, and Dallas, among others. As for his film work, just some of his credits include the soundtracks toCool Hand Luke, The French Connection, The Exorcist, The Deer Hunter, The Godfather, Jaws, E.T., Blade Runner, and Field of Dreams.

In addition to his recorded work, Tedesco gave guitar lessons and clinics around the country, and authored several instructional books; he also wrote a regular column in Guitar Player magazine. In 1992, he returned to solo work with the albums Fine Fretted Friend and the symphonic Tommy Tedesco Performs Roumanis' Jazz Rhapsody. However, that same year, he also suffered a stroke. Within a year, Tedesco rebounded to write an autobiography, -Confessions of a Guitar Player, which was filled with behind-the-scenes details of various sessions he had been involved in. Tedesco was able to continue his teaching activities for a time, even after he was diagnosed with lung cancer not too long afterwards. On November 10, 1997, Tedesco succumbed to the disease at his home in Northridge, CA, at the age of 67. ~ Steve Huey, All Music Guide

Thomas J. Tedesco (July 3, 1930 – November 10, 1997) was an American  master session musician and renowned jazz and bebop guitarist.

Tedesco's credits, to name a few, include the themes to television's Bonanza, The Twilight Zone, Green Acres, M*A*S*H, Batman, and Elvis Presley's '68 Comeback Special. He was shown on-camera for a number of game and comedy shows, and played ex-con guitarist Tommy Marinucci, a member of Happy Kyne's Mirth-Makers, in the talk-show spoof Fernwood 2 Night.

Born in Niagara Falls, New York, Tedesco made his way to the U.S. West Coast where he became one of the most-sought-after studio guitarists between the 1960s and 1980s. Although Tedesco was primarily a guitar player, he was also qualified on the mandolin, ukulele, and the sitar as well as 28 other stringed instruments (though he played all of them in guitar tuning).

Tedesco was described by Guitar Player magazine as the most recorded guitarist in history, having played on thousands of recordings. He recorded with most of the top musicians working in the Los Angeles area including The Beach Boys, The Mamas & the Papas, the Everly Brothers, The Association, Barbra Streisand, Elvis Presley, Ella Fitzgerald, Frank Zappa, Sam Cooke, Cher, and Nancy and Frank Sinatra. For Guitar Player, Tedesco wrote a regular column called "Studio Log" in which he would describe a day's work recording a movie, TV show or album, the special challenges each job posed and how he solved them, what instruments he used, and how much money he made on the job.

Tedesco also performed for film soundtracks such as The French Connection, The Godfather, Jaws, The Deer Hunter, Field of Dreams, plus several Elvis Presley films. He was also the guitarist for the Original Roxy cast of The Rocky Horror Show. Additionally, he performed the opening guitar solo for the Howard Hawkes & John Wayne film Rio Lobo. He was one of the very few sidemen credited for work on animated cartoons for the The Ant and the Aardvark cartoons (1968-1971).

On his own, Tedesco recorded a number of jazz guitar albums but his musical career ended in 1992 when he suffered a stroke that resulted in partial paralysis. The following year he published his autobiography titled "Confessions of a Guitar Player".

Tommy Tedesco died in Northridge, California in 1997, aged 67, from lung cancer

Tedesco, along with many of his fellow studio musicians, was featured in the 95-minute 2008 film The Wrecking Crew by his son, Denny Tedesco. The film has screened at several festivals, but has not yet been commercially released.


Friday, April 4, 2025

Martin Denny • Primitiva




Review by Richie Unterberger
With an assortment of titles like "Burma Train," "M'Gambo Mambo," "Bangkok Cockfight," "Dites Moi," "Jamaica Farwell," "Flamingo," and "M'Bira," it's apparent that Denny was trying to be all things to all people here. It is one of his more diverse outings, though, if only for the sheer variety of instruments employed. Say what you will about the cheesiness of this pseudo-world music, Denny deserves some sort of credit for bringing instruments like the m'bira, Burmese gongs, koto, Buddhist prayer bowls, and "primitive log from New Guinea" into the mainstream. They can all be heard on this album, and some of the cuts are among the artist's most rhythmic efforts.

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Reseña de Richie Unterberger
Con una variedad de títulos como «Burma Train», «M'Gambo Mambo», «Bangkok Cockfight», «Dites Moi», «Jamaica Farwell», «Flamingo» y «M'Bira», es evidente que Denny intentaba ser todo para todos. Es uno de sus trabajos más diversos, aunque sólo sea por la variedad de instrumentos empleados. Digan lo que digan sobre la cursilería de esta pseudo-música del mundo, Denny merece algún tipo de crédito por traer instrumentos como la m'bira, los gongs birmanos, el koto, los cuencos de oración budistas y el «tronco primitivo de Nueva Guinea» a la corriente principal. Todos ellos se pueden escuchar en este álbum, y algunos de los cortes se encuentran entre los esfuerzos más rítmicos del artista.


Sunday, March 30, 2025

Martin Denny • A Taste Of Honey



Review by Stephen Cook
Taking a tip from George Shearing, Martin Denny cruised through most of the '60s with a slew of bossa nova and jazz cocktail albums. Denny's late-'50s exotica records had established him as a name to reckon with in bachelor pad circles, but were only good for a limited stretch. Denny didn't forsake this period completely, though, when he turned to jazz; on this release at least, one hears bits of his earlier South Seas and Hawaiian backdrops in the bongo accompaniment and occasional leftfield percussion accent. Other factors to consider are Cal Tjader and Dave Brubeck, both of whom Denny pays homage to by covering their respective numbers "Black Orchid" and "Take Five." As both Tjader and Shearing did on many recordings, Denny and company raise these cuts and their version of "A Taste of Honey" beyond the confines of kitsch by way of some top-notch ensemble playing. The whole album, for that matter, is well played, but things do go south a bit towards the end as the band slips into background music mode. This is not to say that versions of war horses like "Exodus" and "Claire de Lune" aren't enjoyable, or even tailored made for entertaining guests, but they don't offer much in the way of exotic thrills or rarefied touches. Still, A Taste of Honey should resonate with dedicated Denny fans; and since there has to be at least a few gems on each of the several lounge jazz records Denny released, someone should put together a compilation covering this period as a compliment to Rhino's exotica-era collection.

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Reseña de Stephen Cook
Siguiendo el consejo de George Shearing, Martin Denny recorrió la mayor parte de los años 60 con un montón de álbumes de bossa nova y jazz. Los discos exóticos de Denny a finales de los 50 lo habían establecido como un nombre a tener en cuenta en los círculos de solteros, pero sólo eran buenos por un tiempo limitado. Denny no abandonó este período por completo, sin embargo, cuando se convirtió al jazz; al menos en este lanzamiento, se escuchan trozos de sus anteriores discos de los Mares del Sur y de Hawai en el acompañamiento de bongó y ocasionalmente en el acento de la percusión del campo izquierdo. Otros factores a tener en cuenta son Cal Tjader y Dave Brubeck, a quienes Denny rinde homenaje cubriendo sus respectivos números "Black Orchid" y "Take Five". Como lo hicieron Tjader y Shearing en muchas grabaciones, Denny y compañía llevan estos cortes y su versión de "A Taste of Honey" más allá de los confines de lo kitsch por medio de algún conjunto de primera categoría. El álbum entero, por cierto, está bien tocado, pero las cosas van un poco mal hacia el final mientras la banda se desliza al modo de música de fondo. Esto no quiere decir que las versiones de caballos de guerra como "Exodus" y "Claire de Lune" no sean agradables, o incluso hechas a medida para entretener a los invitados, pero no ofrecen muchas emociones exóticas o toques raros. Aún así, A Taste of Honey debería resonar entre los dedicados fans de Denny; y ya que tiene que haber al menos algunas gemas en cada uno de los varios discos de jazz lounge que Denny lanzó, alguien debería hacer una compilación que cubra este período como un cumplido a la colección de la era exótica de Rhino.




Thursday, January 23, 2025

Martin Denny ‎• Exotic Percussion



Martin Denny (n. en Nueva York el 10 de abril de 1911 – f. en Honolulu el 2 de marzo de 2005) fue un músico estadounidense, intérprete de piano y compositor, mejor conocido como el "padre de la música exótica". Su trayectoria artística se prolongó hasta la década de 1980, viajó por casi todo el mundo, popularizando su estilo musical el cual estaba enriquecido por percusiones especiales (exóticas, al menos para el escucha norteamericano) y arreglos imaginativos para canciones populares de su época. Dichos temas fueron el inicio de la llamada Cultura Tiki. De las filas de su agrupación surgieron dos geniales instrumentalistas con una acentuada influencia de Denny: Julius Wechter de Baja Marimba Band y el notable percusionista y músico Arthur Lyman.
Bio completa ... https://es.wikipedia.org/wiki/Martin_Denny

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Martin Denny (April 10, 1911 ‒ March 2, 2005) was an American piano-player and composer best known as the "father of exotica."[1] In a long career that saw him performing well into the 1980s, he toured the world popularizing his brand of lounge music which included exotic percussion, imaginative rearrangements of popular songs, and original songs that celebrated Tiki culture.
Complete bio ... https://en.wikipedia.org/wiki/Martin_Denny

  

https://www.youtube.com/watch?v=p5owZr9vP7c


Thursday, December 19, 2024

Billy May • Today

 



Review
by Tony Wilds
Billy May's great mod album Today! packs some incredible punches. The horns and big beat of "Michelle" are supplemented with an eerie electronic "space" effect, as if Michelle is a swank, green-skinned alien in go-go boots stepping out of a saucer decorated by Pucci. "Strangers in the Night" has some dubiously cheesy "doobie-doobie-doo" vocalizing and marimba, but is of a piece with the album's overall sound, while vibes (probably by Julius Wechter) soften the horns of "Rain Sometimes." Mays' take on "Spanish Flea" may be the ultimate version, but the fantastic original "Compatibility" captures the raunchy mod sound as well as any tune. "The Shadow of Your Smile" ends the album in triumph, and still-hip Billy May can roar off in his sports car knowing he's nailed the "today" sound of June 1966.
https://www.allmusic.com/album/billy-may-today%21-mw0001119218

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Reseña
por Tony Wilds
El estupendo álbum mod Today! de Billy May tiene unos golpes increíbles. Las trompas y el gran ritmo de "Michelle" se complementan con un inquietante efecto electrónico "espacial", como si Michelle fuera una elegante extraterrestre de piel verde con botas go-go que sale de un platillo decorado por Pucci. "Strangers in the Night" tiene una vocalización "doobie-doobie-doo" dudosamente cursi y marimba, pero está en consonancia con el sonido general del álbum, mientras que las vibraciones (probablemente de Julius Wechter) suavizan las trompas de "Rain Sometimes". La versión de Mays de "Spanish Flea" puede que sea la definitiva, pero la fantástica original "Compatibility" captura el sonido raunchy mod tan bien como cualquier otra melodía. "The Shadow of Your Smile" termina el álbum en triunfo, y Billy May, todavía en forma, puede salir rugiendo en su coche deportivo sabiendo que ha clavado el sonido "actual" de junio de 1966.
https://www.allmusic.com/album/billy-may-today%21-mw0001119218