There is little likelihood that many of us have ever heard these selections played in this
form - nor anything else, for that matter. There are violins, drums, saxophones,
trombones, and some other conventional instruments, but there are also many unusual
sound-producing devices. Some resemble the instruments we know, but appear to be
one or two octaves out of place, others are quite strange. Some parts sound as
though they might have been saved from bygone days of the theater organ, for they
have the tones we identify as the Tibia and the Kinura and the English Post Horn.
Heretofore the organ attempted to imitate the orchestra - this might be just the reverse.
Then, too, there is reverberation, an artificial echo produced electronically and
completely under the control of the recording engineer.
But in spite of the unique arrangement and
the unfamiliar instruments, there is
1. Reflections in the Water. An especially apt
arrangement in which we see the
2. Ti-Pi-Tin. Mexican in spirit, this reminds us
of a marimba in a Tia Juana cafe - warm
3. Blues in the Night. In the mood of the South,
with the melody coming to us over the
4. In the Still of the Night. More conventional,
with the principal melody from the
5. Makin' Whoopee. Dissonant at the start,
already living up to the title, then bright and
6. Lonely Guitar. An equally lonely cowboy
trudging down the trail at twilight on his
2. You're the Top. A kaleidoscope of tone colors, well fitting its complimentury title.
3. Whistle While You Work. This is one you can feel all the way - including the work.
4. A Foggy Day. Right for the mood, with the
foghorn in the background, an
5. Mood Indigo. Here we have a canvas that's
mainly in indigo, yet brightened up with
6. A Blues Serenade. Now the guitar is played in
a large, high-walled courtyard with
MARTIN GOLD, a native New Yorker, won recitals in Town
Hall when only 12 and has
SID RAMIN began life in Boston, and was started on a
musical career with the help