Bell Telephone Labs “Music From Mathematics” (1960) This is a piece of computer music history, with early examples of music generated by and performed on computers 50 years ago. Composers include Max Mathews, John Robinson Pierce, Newman Guttman, David Lewin, Lejaren Hilller, and S.D. Speeth. Booklet includes extensive notes, diagrams, photos, and score excerpts. NOTE: there is some overlap in content with the Decca records LP “Music from Mathematics,” (also posted here) but the two issues are not identical.
You are currently browsing the archive for the Music for… category.
We must have been daydreaming ourselves! This cover was our first post on November 23, 2006 – now just more than 5 years ago! Some stats: 4,000 posts / 8,000 comments /2.2 million visits /1.5 million unique visitors from 225 countries, territories / 7 million page views. Thanks to everyone that has stopped in for a look, hung around for some laughs, followed us on Facebook, Tumblr and Twitter, joined the conversation and become friends over the years. Here’s to more LP cover appreciation to come in 2012 and beyond!!
Harry Carney and his Orchestra “Moods For Girl and Boy” Verve Records (1956) Reissue of Clef MGC 640 entitled “Harry Carney With Strings” (1954) Ray Nance (tp, violin) Tony Miranda (frh) Jimmy Hamilton (cl, ts) Harry Carney (bars, bcl) Leroy Lovett (p) Billy Bauer (g) Wendell Marshall (b) Louis Bellson (d) unidentified strings
Harry Carney (1910 -1974) began his professional musical career at the age of 13, playing clarinet and later the alto and baritone saxophone in Boston bands. Among his childhood friends were Johnny Hodges and Charlie Holmes, with whom he visited New York in 1927. Carney played at the Savoy Ballroom with Fess Williams before joining Duke Ellington, who was about to play in the young musician’s home town. When this engagement was over Carney left for a tour with Ellington, who had taken on the role of guardian. The job with Ellington lasted until Duke’s death 47 years later. Shortly after joining Ellington, Carney was persuaded to play alto saxophone, but soon gravitated to the baritone, an instrument he proceeded to make his own. Carney’s rich sonority became an essential element in Ellington’s tonal palette and for decades listeners gloried in the full-throated lower register which, in a band brimming with individualists, had a character all its own.
Nevertheless, despite his virtuosity on the baritone, Carney would take up the clarinet on frequent occasions to show he was truly a master of the reed instruments. Carney’s relationship with Ellington transcended that of musician and leader; he was Ellington’s confidante and for decades he drove the Duke from gig to gig. The closeness of their relationship was underlined by Carney when he said: ‘It’s not only been an education being with him, but also a great pleasure. At times I’ve been ashamed to take the money.’ After Ellington’s death, at the end of May 1974, Carney said, ‘Without Duke I have nothing to live for.’ He died a little over four months later. – Verve Records Bio
Here’s a Jim Flora drawing from 1995 of The Duke and Harry Carney: