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| Brenda Brown |
When one releases their work to the public, it is usually tacitly accompanied by that person’s great desire that those who choose to can find out more about what prompted and influenced the work of the artist. For many years this opportunity was furnished by having room on an album cover or insert in the form of good old-fashioned liner notes. But now in the days of streaming, downloads and small physical packaging, room for liner notes has been greatly reduced. What follows are the liner notes I hoped to have included with Brenda’s record, and of course, couldn’t. I’m lucky that I have this page here on my website in which I can tell people how lucky I feel to have been involved in this project, and to express my thanks to all who played a part in the creation of what is for me, the biggest thing I’ve ever done.
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Brenda Brown performs at the KW Jazz Room Photo: Darrell Raymond |
While the list would fill many pages, some influences I feel are noteworthy
are the great arrangers like Nelson Riddle, Henry Mancini, Frank Comstock,
Jerry Gray, Billy May, and Canadian greats like Rob McConnell, Rick Wilkins
(thanks for the harp writing lesson Rick!), and Eddie Graf. Then there are the
composers and lyricists like Jerome Kern and Oscar Hammerstein II, George and
Ira Gershwin, Cole Porter, Johnny Mercer, Irving Berlin and so many more.
I would be remiss if I did not make mention of the incredible opportunity
afforded me to work with such a truly formidable talent such as is embodied in
recording engineer Jeremy Darby and his fabulous studio Canterbury Music
Company. To me, working with Jeremy is akin to rubbing shoulders with
recording royalty, as the list of whom he’s worked with over the years is a
veritable Who’s Who of talent. Thank you Jeremy, it’s been a marvelous
experience! Let’s do it some more!!
I’m so thrilled at the contributions each musician has made to this recording - each of you pulled out all the stops to make this a very special production. A huge thank you special mention to all the special guests - my friends Canadian song-writing and vocal icon Alfie Zappacosta for his singing on “Folks Who Live On The Hill”, mallets whiz Michael Davidson for the polishing touch on several tunes with your glockenspiel, and killer vibes playing on “When You’re Smiling”, the gorgeous oboe work by Merlin Williams and the beautiful solo on “Splintered Dream” by composer and jazz guitar master Reg Schwager. My goodness Reg! Eight takes to choose from, and each one was stunning! Deciding which to use was one of the hardest decisions to make for this record. Last but most certainly not least, I got to add the special shimmer and shine by asking to play someone I’ve admired for years when I’d watch her perform with various symphonic groups since I was a child, harpist extraordinaire Erica Goodman. Thank you to all of you.
A good strings section is one of the finer things in music – lush, warm,
soaring, evocative – and so much an enormous part of the grand studio
recordings from the 40s up to the present day that are part of the
inspirations I spoke of earlier. My friend and virtuoso violist Claudio
Vena (who’s list of accomplishments is long and impressive, including
being the former conductor of Burlington Ontario’s Symphony on the Bay),
was without a doubt the perfect person to handle choosing the right
players and conducting them during the recording, drawing from them a
performance that is truly special. Thanks so much to all the strings and
Claudio for such musical interpretations of my arrangements, and a special
thanks to Claudio for your guidance as I prepared the arrangements for the
recording. I couldn’t have done it without you.
The core of all good bands is the rhythm section, and in this case special
mention is due. The foundation is created with the spark of a good string
bass, and is everything to this kind of music, but the efforts are rarely
lauded. Lewis Mele has handled that chair with an authority and musicality
second to none. An unbeatable combination is attained when you mix his
talents with those of someone I feel is the best big band drummer on the
continent, Terry Clarke. Terry brings true history and experience to this
recording that is unmatched by anyone. The Harmonic pulse of the rhythm
guitar is so important, and again, hardly ever recognized. A big tip of
the hat to guitarist Phil Disera who unfalteringly laid down the 4 to the
bar like no one else can. Thanks gentlemen!
Saxophones – ably lead by Kurt Lund, one of the finest lead alto players
anywhere. Never one to be heard directing his section by anyone but the
actual players, his leadership resulted in one of the finest performances
I’ve ever heard from that section – the pencils were certainly worn down
to nubs by the end of rehearsal! Thanks Kurt!
The same accolades apply to the trumpets – Stephen Crowe is in my opinion
so very under-rated, and is the best lead trumpet player this county has
seen in a very long time. His soft spoken humour-laced section leading
speaks for itself as his playing commands the entire brass section to
spectacular brilliance. Some remarkable brass work awaits the listener of
this record. Thanks Steve!
What can I say about the trombones (aka the manually operated tubular
pitch approximation devices)? Well, in this case they’re lead by the one
and only Daniel Douglas – one of my best friends and a world class
musician who shares my love of the history of this kind of music, and
knows how to exhort his section mates to punch it up when required, and be
romantic and smooth when needed. Thanks Danny!
Then of course, there’s Brenda Brown. Where do I start? A truly lovely
person with an enchanting voice, she graces these classic songs (and a few
new classics too!) with beautiful and unique interpretations, revealing a
startling maturity of concept usually heard only from such vocal stars
like Doris Day and Jo Stafford. I’m blessed to be able to work with her,
and even more blessed to have her as a friend.
In closing, I think it safe to say that music by nature is a melting pot
of influences, and in this case I am the melting pot to which all these
ingredients and more have been added, and the opportunity to use all these
elements in a recording of this nature is truly the dream of a lifetime
for me. How lucky I am!! Thank you to Brenda for trusting me with your
dream and allowing me to follow my heart with the arrangements and
production.
I’m so thrilled at the contributions each musician has made to this recording - each of you pulled out all the stops to make this a very special production. A huge thank you special mention to all the special guests - my friends Canadian song-writing and vocal icon Alfie Zappacosta for his singing on “Folks Who Live On The Hill”, mallets whiz Michael Davidson for the polishing touch on several tunes with your glockenspiel, and killer vibes playing on “When You’re Smiling”, the gorgeous oboe work by Merlin Williams and the beautiful solo on “Splintered Dream” by composer and jazz guitar master Reg Schwager. My goodness Reg! Eight takes to choose from, and each one was stunning! Deciding which to use was one of the hardest decisions to make for this record. Last but most certainly not least, I got to add the special shimmer and shine by asking to play someone I’ve admired for years when I’d watch her perform with various symphonic groups since I was a child, harpist extraordinaire Erica Goodman. Thank you to all of you.
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Brenda Brown Photo: Glen Brown |
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Album Credits
All selections produced, arranged and conducted by Ross Wooldridge
Mixed by Ross Wooldridge and Jeremy Darby at Canterbury Music Company, Toronto Ontario Canada
Recording Engineer Jeremy Darby
Recording Assistant Julian Decorte
Digital Editing by Ross Wooldridge
Strings conducted by Claudio Vena
Strings Contractor Claudio Vena
Digital preproduction by Phil Disera and Blue Hat Studios
