I have not heard this arrangement before. I knew Conniff was a writer, but was certainly not aware he had the chops to write anything of even limited value (judging from his own recordings), much less something this profound. What a truly exciting arrangement!! I just love all of the unfolding textural expansions (which unfold in some very unique ways, like that b9 that only resolves once the chord of resolution has already passed on--which Conniff relaxes on as long as he can), and how they are explored both in the saxes and brass. Also, there is some really nice color choices in the various trpt. mutes. Also, all of the clean textural changes. (Yes, I am also a writer). And geeze, what a brilliant performance! This is as good as big band music gets . . . Chuck, you are a master for posting this! Thanks greatly.
@@callmeBe I have a complete list of arrangements that Ray Conniff wrote for big bands from 1938-1958. He was Harry's primary arranger from 1946-1954. They eventually parted ways over writing "bop charts." Ray hates bebop! Thanks for the kind words!
@@ChuckParDue1953 Oh boy, thanks! I did not know any of that. For me, the 1950's were some of Harry's finest output. Then that means, "Ultra" and some of those other early 50's arrangements were Conniff's. Wow, I am so glad you wrote that! Yea, for me the big band arrangements that were bop oriented written for Woody, Charlie B., Stan Kenton. Artie Shaw. Goodman, Krupa, and Ted Heath, like this arrangement, are some of the most fun to listen to. I worked with Rex Allen when he lead the New Tommy Dorsey Orchestra, and had a chance to review Billy Finnegan's work. Geeze, what a fantastic writer he was. Again, Chuck, thanks for that information--that gives me some new insight.
I love it. Thank You Chuck would of loved to of been in that audience
I have not heard this arrangement before. I knew Conniff was a writer, but was certainly not aware he had the chops to write anything of even limited value (judging from his own recordings), much less something this profound. What a truly exciting arrangement!! I just love all of the unfolding textural expansions (which unfold in some very unique ways, like that b9 that only resolves once the chord of resolution has already passed on--which Conniff relaxes on as long as he can), and how they are explored both in the saxes and brass. Also, there is some really nice color choices in the various trpt. mutes. Also, all of the clean textural changes. (Yes, I am also a writer). And geeze, what a brilliant performance! This is as good as big band music gets . . . Chuck, you are a master for posting this! Thanks greatly.
@@callmeBe I have a complete list of arrangements that Ray Conniff wrote for big bands from 1938-1958. He was Harry's primary arranger from 1946-1954. They eventually parted ways over writing "bop charts." Ray hates bebop!
Thanks for the kind words!
@@ChuckParDue1953 Oh boy, thanks! I did not know any of that. For me, the 1950's were some of Harry's finest output. Then that means, "Ultra" and some of those other early 50's arrangements were Conniff's. Wow, I am so glad you wrote that! Yea, for me the big band arrangements that were bop oriented written for Woody, Charlie B., Stan Kenton. Artie Shaw. Goodman, Krupa, and Ted Heath, like this arrangement, are some of the most fun to listen to. I worked with Rex Allen when he lead the New Tommy Dorsey Orchestra, and had a chance to review Billy Finnegan's work. Geeze, what a fantastic writer he was. Again, Chuck, thanks for that information--that gives me some new insight.
@@callmeBe Jimmy Mundy wrote Ultra. Ray Conniff wrote the majority of charts for Harry's Columbia output from 1950-54.
Merci harry, vous êtes le compagnon musical de toute ma vie', mon premier disque', wahou
Fantastic! Thank you, Chuck, and happy new year!
That lead trombone😩😩
B-full but its december but ok😄