Robin Hood Band - David Baskerville COLORED VINYL MISTAKE

$

30

Spectacular Sounds The Incomparable Robin Hood Band - David Baskerville

COLORED VINYL MISTAKE

The album cover clearly states that this record is pressed on 'Pure Golden Vinyl', yet the vinyl itself is transparent Orange and Black marbled.

Sleeve: Excellent 

Vinyl: Very Good Plus 

Label: Venise ?– 10016

Format: Vinyl, LP, Album, Stereo, Colored Vinyl

Country: US
 
Genre: Jazz, Brass & Military

Style: Marches, Swing

Tracklist Credits
A1    Grand Entry Swing March
    Songwriter – David Baskerville
A2    Western One-Step
    Songwriter – Robert Russell Bennett
A3    Malaguena
    Songwriter – Ernesto Lecuona
A4    Dizzy Fingers
    Songwriter – Zez Confrey
A5    Moonride
    Songwriter – David Baskerville
A6    St. Louis Blues
    Songwriter – W. C. Handy
B1    Great Day
    Songwriter – Vincent Youmans
B2    Deep River
    Score Editor – David Baskerville
B3    Western Hoe-Down (medley)    
B4    Black Is The Color Of My True Love's Hair
    Lead Vocals – Anne Turner
B5    Blue Skies
    Songwriter – Irving Berlin
    Trumpet – Jack Groban
B6    El Capitan
    Songwriter – John Philip Sousa

Credits
Arranged By – David Baskerville
Directed By – David Baskerville
Engineer – Dayton Burr Howe a.k.a. "Bones" Howe**
Producer – Leetate Smith

Notes
The album cover clearly states that this record is pressed on 'Pure Golden Vinyl', yet the vinyl itself is a transparent Orange and Black marbled.

Barcode and Other Identifiers
Matrix / Runout: (Etched Side A) 10016-A
Matrix / Runout: (Etched Side B) 10016-B
Other: Orange and Black marbled transparent vinyl

FROM THE BACK OF THE RECORD:

The original Robin Hood Band - a band of middle-aged yeomen - lived in the 12th century in Sherwood Forest. Legend has it they robbed the rich to help the poor. The contemporary Robin Hood Band - a band of young musicians lives in the 20th century, in Hollywood. But theirs is quite a different kind of larceny. Today’s musical Robin Hood Band robs the rich repertoire of music and shares the treasure with you on this record.

Now, of course, everyone knows what a good band sounds like - but wait just a minute, friend. Better forget all your prior conceptions about a “band,” for there never was caught on a disc before such a spectacular adventure in sound as you will hear when you lay that stylus down on side one.

When the experts in the Hollywood recording booth heard this 57-piece band of young virtuosos cut loose, the big concern was that no one would believe the average age of the Robin Hood Band musicians is well under 20 summers.

How does it happen that such glorious sound comes from so young a crew? There are several reasons. First. Hollywood is over?owing with brilliant musicians, and that Southern California sunshine seems to mature young talents early. Another reason for the fantastic sonority of sound on this record is the band’s luxurious INSTRUMENTATION - Piccolo, 4 Flutes, Alto Flute, 2 Oboes (English Horn), 9 Clarinets, Bass Clarinet, Contra-Bass Clarinet, 2 Alto Saxophones, 2 Tenor Saxophones, Baritone Sax, Bass Sax, 4 Horns, 9 Trumpets, 4 Trombones, 2 Bass Trombones, 8 Baritones, 8 Tubas, 2 String Basses, Electric Accordion, Harp and 6 Percussionists playing the usual drums plus Latin American rhythm instruments, orchestra bells, Glockenspiel, Vibraphone, Xylophone. Oh, yes! Add one gorgeous soprano, Anne Turner.

Although spelled differently. “Robin Hood Band" and “David Baskerville" are synonymous. Say the one, and you say the other — for Baskerville started the group and, in a short time, built this young crew into what is probably the outstanding young band anywhere today.

The Robin Hood Band is at home in any style, probably because director Baskerville’s background, even before his Master’s degree in music, was broad indeed, including association with NBC Hollywood, 20th Century Fox, UCLA, assorted name bands and the Los Angeles Philharmonic.

David Baskerville has a fantastic way of getting young musicians to sound like top professionals. To account for this neat feat, we must turn to the scores Dave prepared for this album. Maestro Baskerville has arranged nearly all the music the band plays here (on this record sharing the honors only with Robert Russell Bennett and John Philip Sousa). But Baskerville updates his illustrious colleagues with such a distinctive ?air, that modern band music can never again be quite the same. David Baskerville’s pen and baton have hurled band music right into the
space age with this album.

THE INDEPENDENT ORDER OF FORESTERS, largest and strongest family fraternal benefit society in the world, is proud to include the sponsorship of the Robin Hood Band as one of its community and youth services. "The IOF is non-sectarian, non-political in nature and has nearly 500,000 members throughout the English-speaking world.

The Foresters fraternity is headed by one of North America’s most public spirited citizens, Lou Probst, who has not only led the IOF to great heights, but also conceived the idea of sending the Robin Hood Band on a goodwill tour of Europe in 1961. This ambitious undertaking received the endorsement of the U.S. State Department, ANTA and the President's Music Committee. For this tour, the band was expanded to include a complete stage revue called “Musical Americana," and appearances scheduled included the leading cities of Canada, Europe, the United Kingdom and the U.S.A.

The affairs of the Robin Hood Band and Musical Revue are guided by the IOF Band Commission, with ASCR Leetate Smith as chairman, Robert Bigelow, Q.C. and David Baskerville. Mr. Smith founded the band, produced “Musical Americana” and is also producing a motion picture of the same name which will feature the band and revue on their world tour.

SIDE ONE-
GRAND ENTRY SWING MARCH: composed for the Robin Hood Band by its director, David Baskerville, and played (in another arrangement) by bands all over the world. This rousing opener demonstrates the modern ?air maestro Baskerville has brought to contemporary band music.

WESTERN ONE-STEP: This is_an excerpt from Robert Russell Bennett’s Suite of Old American Dances, and establishes that the Robin Hood Band can not only swing modern jazz, but render a ?awless performance of the most advanced symphonic band literature.

MALAGUENA : Ernesto Lecuona wrote this famous piece for virtuoso piano players. Arranger David Baskerville has scored this hot-blooded Latin~American composition for his symphonic woodwinds, brass and percussion. Can your sound sytem handle the 30 to 20,000 cycles we pressed on this vinyl?

DIZZY FINGERS: The old Zez Confrey jazz-age hit barrels along at a new jet-age tempo. For skeptics, the woodwind players in the Robin Hood Band use only 10 ?ngers (each) in this number.

MOONRIDE: Ever since Sousa, composers have been seeking a new form worthy to succeed the tried and true marches of the “March King.” If the old master were alive today, we suspect he would add this David Baskerville original to his repertoire. Perhaps in this new conception we may be hearing a preview of band music of tomorrow.

ST. LOUIS BLUES: A brand new arrangement of a standard that refuses to die. This Robin Hood Band plays every style. Ever hear 57 pieces swing?

SIDE TWO—
GREAT DAY: David Baskerville’s new arrangement includes the verse to this song, which is just as distinctive as the famous chorus. Vincent Youman’s great song, a great band.

DEEP RIVER: The beloved spiritual, scored anew by director Baskerville for symphonic winds. When oboe soloist John Craig's teacher heard this record, he inquired of 17 year old John if maybe he could take lessons from him.

WESTERN HOE-DOWN: Even if you don’t dig square dancing, you’ll have a lot of fun hearing this all-American hoe-down music, including “Oh, Dem Golden Slippers,” Jubilo, L’il’ Liza Jane, Skip
to My Lou—and the Whole rousing affair ends with a tongue-in-cheek treatment of the famous “Chicken Reel.”

BLACK IS THE COLOR OF MY TRUE LOVE’S HAIR: This most beloved of American folk songs was probably ?rst sung in the Appalachian mountain country. It is sung here by the exquisite voice of Anne Turner, a featured artist with the Robin Hood Band and Revue.

BLUE SKIES: Irving Berlin’s ever-green standard is scored by arranger Baskerville in a new conception which passes from symphonic to progressive style. Featured throughout is trumpeter Jack
Groban, whose tender age you wouldn’t believe, so we won't even mention it.

EL CAPITAN: One of Sousa’s greatest marches performed here in the solid tradition of the master.

**Dayton Burr "Bones" Howe (born March 18, 1933) is an American record producer and recording engineer associated with 1960s and 1970s hits, mostly of the sunshine pop genre, including most of the hits of the 5th Dimension and the Association, as well as music supervision of several films. He was one of the first industry members to serve as both producer and engineer of the hit records on which he worked. In addition, he was occasionally credited as a musician on recordings as "Dayton Howe".

Early life and education
Howe was born in Minneapolis, Minnesota and moved to Sarasota, Florida in 1941. He attended Sarasota High School in 1951, becoming a drummer with a dance band and a jazz quintet. He received a bachelor's degree in Electronics and Communication in 1956 from Georgia Tech.

Career
While at Georgia Tech he played with many local bands, and after graduation decided to combine his love of music and his Electronics degree, moving to Hollywood to start a career as an audio engineer at Radio Recorders. From 1956 to 1962 he became well known within the industry and helped develop multi-track and multi-microphone techniques for studio recording.

As a recording engineer, he recorded hits including the Mamas & the Papas' "California Dreamin'" and "Monday, Monday". Johnny Rivers' classic hits were recorded remotely by Bones at Whisky a Go Go. After working with musicians such as Jerry Lee Lewis, Elvis Presley and Juice Newton, gaining 20 Gold and Platinum awards from the RIAA, he became interested in promoting the use of rock and pop in films, and worked as the music supervisor for several high grossing films such as Back to the Future and Serial Mom.

In 1986 he was offered the position of Vice President (and head of the Music Department) at Columbia Pictures and was promoted to Executive Vice President in 1989 when the studio was bought by the Sony Corporation. In 1992 he left, and returned to recording independent music and film scores.

dewabit