wimpel69
06-26-2013, 10:08 AM
This arrangement of two of Lloyd-Webber's most popular musicals, Jesus Christ Superstar and the
then-new The Phantom of the Opera, into "symphonic pictures" - prepared by veteran, award winning Broadway
and Duke Ellington arranger Luther Henderson and recorded under American Theatre Hall of Fame-inductee
Paul Gemignani with the pops section of London's Royal Philharmonic Orchestra in 1988 - does not
appear to be on SCS yet (at least not if you search for Gemignani). It was released by MCA in the US and by
IMP Pickwick in England.
Although I'm not a big fan of orchestral arrangements that replace voices with instrumental solos, thus
depriving the listener of the added dimension of the lyrics, I must confess that Henderson's version is
expertly done, and I've never seen it bettered by a rival recording of this kind. Henderson and the producers
wisely avoided the temptation to "pump up" the orchestration to make the music seem more operatic, and
recorded it with a medium-sized orchestra. Jesus Christ Superstar somehow manages to preserve its
"funky" qualities in the transformation, but, naturally, The Phantom of the Opera lends itself more to
this kind of orchestral arrangement. Conductor Gemignani, one of the most experienced Broadway
musicians of his era, keeps things zippy.
The sharing period of this album in FLAC has ended. Please do not make further requests.
Music Composed by Andrew Lloyd-Webber
Orchestral Arrangements by Luther Henderson
Played by the Royal Philharmonic Pops Orchestra
With The Ambrosian Singers
And Barry Griffiths (violin), Jeffrey Bryant (English horn) & Francois Rive (cello)
Conducted by Paul Gemignani
"Of no relation to Fletcher Henderson, Luther Henderson's long career ranks as one of
the most diverse among classic jazz performers who originated on the Kansas City jazz scene,
branching into film and television soundtrack scores and Broadway shows. A series of brilliant
collaborations with both the Canadian Brass and conductor Sir Simon Rattle brought the circle
back around, presenting vintage jazz material in classical contexts such as chamber ensembles
and symphony orchestras.
His father an actor as well as a school teacher,Henderson's music career began auspiciously
enough with studies at Julliard. While he became best known as an arranger, Henderson was also
a crack pianist in his youth, triumphing over many other fine players at a Harlem amateur
contest in 1934. From the late '30s through 1944 he worked with innovative electric guitarist
Leonard Ware, then spent several years in a Navy band. By 1947 he had established his own
studio and was also gigging in a group fronted by trumpeter Mercer Ellington, just part of a
relationship with the Ellington clan that apart from artistic achievements was apparently not
always satisfying.
Henderson developed into one of the main so-called "classical arms" of Duke Ellington, stepping
in to score and arrange orchestrations that went beyond the big-band format. According to
various biographical sources Henderson was not consistently satisfied with the credit he received
for these contributions to the Ellington canon, a reoccurring theme in the story of one of the
greatest jazz composers in which many sidemen, particularly horn players, claimed to have
improvised riffs that were later copyrighted by the bandleader.
The inevitable career result is best described by Henderson biographer Devra DoWrite: "Luther
Henderson is not a household name, not even a B-list celebrity in the eyes of the general public.
Finding a publisher for his biography has been a lengthy and difficult process, but I am pleased to
say that I have been offered a contract, am in negotiations right now, and hope to announce
the signing very soon. Meanwhile, people are asking me 'Luther who?' and 'Why him?'"
From the '50s onward Henderson kept his own studios going for various arranging and conducting
assignments. He worked with vocalists Eartha Kitt and Carmen McRae as well as performers from
the world of musical comedy including the lovely Polly Bergen and the hilarious Victor Borge.
Much of this work was done for the expanding television industry; Henderson contributed to the
Playhouse 90 series and The Ed Sullivan Show, among other boob tube offerings. On Broadway
he was associated with many hits: Flower Drum Song, Funny Girl, No No Nanette, Ain't Misbehavin',
and Jelly's Last Jam among them. Shortly before his death Henderson was named a National
Endowment for the Arts Jazz Master. He is not the same Luther Henderson who played trumpet
on a handful of recordings from the '20s."
Source: IMP Pickwick CD (my rip!)
Formats: FLAC/DDD Stereo,mp3(320)
File Sizes: 295 MB / 137 MB
mp3 link - https://mega.co.nz/#!3sgRHKKQ!Y72Ud2Pvmty3mx5bVePk6gvdao4YuANB5dWQVlQ 4_tE
The sharing period of this album in FLAC has ended. Please do not make further requests.
Enjoy! Don't share! Buy the original! :)
then-new The Phantom of the Opera, into "symphonic pictures" - prepared by veteran, award winning Broadway
and Duke Ellington arranger Luther Henderson and recorded under American Theatre Hall of Fame-inductee
Paul Gemignani with the pops section of London's Royal Philharmonic Orchestra in 1988 - does not
appear to be on SCS yet (at least not if you search for Gemignani). It was released by MCA in the US and by
IMP Pickwick in England.
Although I'm not a big fan of orchestral arrangements that replace voices with instrumental solos, thus
depriving the listener of the added dimension of the lyrics, I must confess that Henderson's version is
expertly done, and I've never seen it bettered by a rival recording of this kind. Henderson and the producers
wisely avoided the temptation to "pump up" the orchestration to make the music seem more operatic, and
recorded it with a medium-sized orchestra. Jesus Christ Superstar somehow manages to preserve its
"funky" qualities in the transformation, but, naturally, The Phantom of the Opera lends itself more to
this kind of orchestral arrangement. Conductor Gemignani, one of the most experienced Broadway
musicians of his era, keeps things zippy.
The sharing period of this album in FLAC has ended. Please do not make further requests.
Music Composed by Andrew Lloyd-Webber
Orchestral Arrangements by Luther Henderson
Played by the Royal Philharmonic Pops Orchestra
With The Ambrosian Singers
And Barry Griffiths (violin), Jeffrey Bryant (English horn) & Francois Rive (cello)
Conducted by Paul Gemignani
"Of no relation to Fletcher Henderson, Luther Henderson's long career ranks as one of
the most diverse among classic jazz performers who originated on the Kansas City jazz scene,
branching into film and television soundtrack scores and Broadway shows. A series of brilliant
collaborations with both the Canadian Brass and conductor Sir Simon Rattle brought the circle
back around, presenting vintage jazz material in classical contexts such as chamber ensembles
and symphony orchestras.
His father an actor as well as a school teacher,Henderson's music career began auspiciously
enough with studies at Julliard. While he became best known as an arranger, Henderson was also
a crack pianist in his youth, triumphing over many other fine players at a Harlem amateur
contest in 1934. From the late '30s through 1944 he worked with innovative electric guitarist
Leonard Ware, then spent several years in a Navy band. By 1947 he had established his own
studio and was also gigging in a group fronted by trumpeter Mercer Ellington, just part of a
relationship with the Ellington clan that apart from artistic achievements was apparently not
always satisfying.
Henderson developed into one of the main so-called "classical arms" of Duke Ellington, stepping
in to score and arrange orchestrations that went beyond the big-band format. According to
various biographical sources Henderson was not consistently satisfied with the credit he received
for these contributions to the Ellington canon, a reoccurring theme in the story of one of the
greatest jazz composers in which many sidemen, particularly horn players, claimed to have
improvised riffs that were later copyrighted by the bandleader.
The inevitable career result is best described by Henderson biographer Devra DoWrite: "Luther
Henderson is not a household name, not even a B-list celebrity in the eyes of the general public.
Finding a publisher for his biography has been a lengthy and difficult process, but I am pleased to
say that I have been offered a contract, am in negotiations right now, and hope to announce
the signing very soon. Meanwhile, people are asking me 'Luther who?' and 'Why him?'"
From the '50s onward Henderson kept his own studios going for various arranging and conducting
assignments. He worked with vocalists Eartha Kitt and Carmen McRae as well as performers from
the world of musical comedy including the lovely Polly Bergen and the hilarious Victor Borge.
Much of this work was done for the expanding television industry; Henderson contributed to the
Playhouse 90 series and The Ed Sullivan Show, among other boob tube offerings. On Broadway
he was associated with many hits: Flower Drum Song, Funny Girl, No No Nanette, Ain't Misbehavin',
and Jelly's Last Jam among them. Shortly before his death Henderson was named a National
Endowment for the Arts Jazz Master. He is not the same Luther Henderson who played trumpet
on a handful of recordings from the '20s."
Source: IMP Pickwick CD (my rip!)
Formats: FLAC/DDD Stereo,mp3(320)
File Sizes: 295 MB / 137 MB
mp3 link - https://mega.co.nz/#!3sgRHKKQ!Y72Ud2Pvmty3mx5bVePk6gvdao4YuANB5dWQVlQ 4_tE
The sharing period of this album in FLAC has ended. Please do not make further requests.
Enjoy! Don't share! Buy the original! :)