Empire Brass comprised trumpeters Rolf Smedvig and Marc Reese, French horn player Gregory Miller, trombonist Mark Hetzler, and tuba player Kenneth Amis. Renowned among the world's finest contemporary brass bands, the ensemble's long history includes a 13-year tenure as Faculty Quintet-in-Residence at Boston University; they additionally mounted... [+] Read More

Empire Brass comprised trumpeters Rolf Smedvig and Marc Reese, French horn player Gregory Miller, trombonist Mark Hetzler, and tuba player Kenneth Amis. Renowned among the world's finest contemporary brass bands, the ensemble's long history includes a 13-year tenure as Faculty Quintet-in-Residence at Boston University; they additionally mounted the annual Empire Brass Seminar at Boston University's Tanglewood Institute, and in 1991 accepted an appointment as Visiting Consultants in Brass at London's Royal Academy of Music. Playing over 100 live dates each year, Empire Brass has performed with the majority of the world's leading symphony orchestras, and in 1987 were the first group to play the newly refurbished Carnegie Hall. The quintet's many recordings for the Telarc label cover a vast range of musical genres, from classical to show tunes to jazz. ~ Jason Ankeny, All Music Guide [-] Hide

Mason Williams reached his peak in the late 1960s. A humorous scriptwriter and virtuosic acoustic guitar player and composer, Williams reached the top of the hit parade in 1968 with his classical folk guitar instrumental, "Classical Gas." Although it took six months for the single to become a chart-topping smash, it went on to win Grammy awards... [+] Read More

Mason Williams reached his peak in the late 1960s. A humorous scriptwriter and virtuosic acoustic guitar player and composer, Williams reached the top of the hit parade in 1968 with his classical folk guitar instrumental, "Classical Gas." Although it took six months for the single to become a chart-topping smash, it went on to win Grammy awards as Best Instrumental (Theme) Composition and Best Instrumental (Theme) Performance, as well as a Best Instrumental Orchestral Arrangement award for arranger Mike Post. An album featuring a re-recorded version of the tune with Mannheim Steamroller and Fresh Aire, Classical Gas, sold more than a million copies in 1987. The following year, Williams' album, Country Idyll, was nominated for a Grammy in the country music category for Best Instrumental Performance.

Williams has recorded several other memorable albums and compositions. An acoustic Christmas/holiday season album, A Gift of Song, was released in 1992, while his composition "Symphony Bluegrass" has been performed by more than 40 symphony orchestras.

Although Williams attracted attention with his melodic 12-string guitar and banjo playing in the early 1960s, he initially attracted attention as a writer for The Smothers Brothers Comedy Hour. In addition to co-writing the show's theme song, Williams created comedy skits including a presidential campaign by comedian Pat Paulsen in 1968. Williams received Emmy awards in 1967 and 1969 for Outstanding Writing Achievement in Comedy, Variety and Music. He was nominated for an Emmy for his work on The Smothers Brothers' 20th Reunion Special in 1988. Williams has also written comedy material for Steve Martin, Andy Williams, Glen Campbell, Dinah Shore, Roger Miller and Petula Clark.

Williams has also garnered acclaim for his artistic ventures -- an 11' x 37' photographic poster of a Greyhound bus is on permanent display at New York's Museum of Modern Art -- and has written and published several books of prose and poetry. ~ Craig Harris, All Music Guide [-] Hide

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Piano duo Ferrante & Teicher were one of the best-selling easy listening acts of the '60s, offering light arrangements of easily recognizable classical pieces, movie soundtrack themes, show tunes, and similarly compatible fare. Arthur Ferrante (born September 7, 1921, New York City) and Louis Teicher (born August 24, 1924, Wilkes-Barre, PA.) met... [+] Read More

Piano duo Ferrante & Teicher were one of the best-selling easy listening acts of the '60s, offering light arrangements of easily recognizable classical pieces, movie soundtrack themes, show tunes, and similarly compatible fare. Arthur Ferrante (born September 7, 1921, New York City) and Louis Teicher (born August 24, 1924, Wilkes-Barre, PA.) met while attending the prestigious Juilliard School of Music; both were child prodigies, and they struck up a fast friendship, performing together as a duo even while they were still in school. After graduating as piano majors, they both joined the Juilliard faculty, while developing a distinctive style of their own during their free time. In 1947, they became a full-time concert act, at first playing nightclubs, then quickly moving up to classical music with orchestral backing. A switch to popular songs and standards by the likes of Kern, Porter, Gershwin, and Rodgers made them mainstays in the pops-orchestra field.

While they were enjoying success on the concert circuit, Ferrante & Teicher had been experimenting with treated pianos, influenced -- oddly enough -- by the ideas of avant-garde composer John Cage. By adding paper, sticks, rubber, wood blocks, metal bars, chains, glass, mallets, and other found objects to the string beds (among other techniques), the duo was able to produce a variety of bizarre sound effects that sometimes resembled percussion instruments, and other times produced a spacy, almost electronic sound (before such a tone even existed). In the latter half of the '50s, they recorded several albums in this vein for Westminster (most notably 1956's Soundproof and Soundblast) and ABC-Paramount (including 1958's Blast Off!). The results were highly unique and quite different from their later work, appealing more to hi-fi enthusiasts and space-age pop fans.

In 1960, Ferrante & Teicher signed with United Artists, where they quickly began to tailor their sound to a more mainstream audience. Many of their subsequent albums featured orchestras conducted by Nick Perito, and their brand of instrumental pop caught on very quickly. They landed a Top Ten pop hit later in 1960 with "Theme From 'The Apartment'," and followed it with their biggest hit, an arrangement of Ernest Gold's epic movie theme "Exodus," which climbed to number two and inspired a popular jazz version by saxophonist Eddie Harris. 1961 brought another pop Top Ten with the West Side Story song "Tonight," which was featured on their highest-charting LP, the number ten West Side Story and Other Motion Picture & Broadway Favorites. A flood of Ferrante & Teicher albums followed over the course of the '60s, with around 30 of them reaching the pop charts up through 1972. They maintained a heavy touring schedule, playing over 100 concerts a year at the height of their popularity. They also managed one final Top Ten single in 1970 with their movie-theme cover "Midnight Cowboy"; the accompanying album of the same name found them experimenting a bit with strange guitar effects.

Ferrante & Teicher's voluminous recording pace tailed off during the '70s, although they did continue to put out albums on a regular basis. In 1979, they left United Artists to form their own label, and in 1989, they left the concert circuit for good, retiring to Sarasota, FL. The lounge/exotica revival of the '90s helped renew interest in their experimental early recordings, and in 2001 led to the first-ever issue of Denizens of the Deep, a set of treated-piano instrumentals meant to evoke sea creatures that constituted their first recorded work. Dating from 1950, it had been scrapped in favor of an extensive concert tour; for the release, Ferrante & Teicher added a few simple embellishments to the archival recordings that completed their original concept for the pieces. ~ Steve Huey, All Music Guide [-] Hide

Best remembered for "The Syncopated Clock" and the holiday classic "Sleigh Ride," Leroy Anderson was one of America's most popular composers of light, melodic orchestral music. A talented conductor and arranger to boot, he had a particular knack for creating humorous sound effects with standard orchestral instruments and percussion. Anderson was... [+] Read More

Best remembered for "The Syncopated Clock" and the holiday classic "Sleigh Ride," Leroy Anderson was one of America's most popular composers of light, melodic orchestral music. A talented conductor and arranger to boot, he had a particular knack for creating humorous sound effects with standard orchestral instruments and percussion. Anderson was born June 29, 1908, in Cambridge, MA, into a family of Swedish immigrants. His mother played the organ in church, and gave her young son lessons; starting at age 11, he studied piano at the New England Conservatory of Music, and also took private lessons on the double bass. He entered Harvard in 1925 to study music, playing both trombone and double bass in the orchestra; he also sang in the glee club and joined the marching band as drum major and arranger (some of his arrangements of collegiate songs are still performed at Harvard). After graduation, he stayed around to earn his master's degree, then took a teaching post at Radcliffe College; he also directed the marching band from 1931-1935, performed as a freelance organist and bassist, and continued his graduate studies in German and Scandinavian languages.

In 1935, Anderson quit his teaching job to become a full-time freelancer. The following year, he was tapped by the Boston Pops Orchestra to arrange and conduct a medley of his Harvard song arrangements. Director Arthur Fiedler liked Anderson's work so well that he requested an original composition, which Anderson delivered in the form of "Jazz Pizzicato." Premiered in 1938, "Jazz Pizzicato" was a hit with audiences, leading to a follow-up called "Jazz Legato" and a full-time position for Anderson as the Boston Pops' arranger and orchestrator. That engagement was interrupted in 1942 by military service; Anderson spent much of World War II working in the Scandinavian intelligence division, and was eventually transferred back to Washington as he rose through the ranks. While working at the Pentagon in 1945, Anderson composed one of his best-known tunes, "The Syncopated Clock"; he premiered it with the Boston Pops that year, along with "Promenade." When World War II ended, Anderson turned down a full-time intelligence post in Stockholm to return to music. He rejoined the Boston Pops as orchestrator/arranger from 1946-1950, settling in Woodbury, CT.

During that period, "The Syncopated Clock" was catching on with orchestras and bands across the country. Anderson began to compose more prolifically, coming up with another popular piece in 1947's "Fiddle-Faddle," and also arranging a well-received medley of traditional Irish tunes, "The Irish Suite." In the middle of a particularly hot 1947 summer, Anderson began work on the piece that would become "Sleigh Ride"; completed the following year, the tune would become a Christmas classic thanks to Anderson's imaginative sound effects (sleigh bells, clopping hooves, cracking whips, neighing trumpets, etc.). In 1950, Anderson was offered the chance to lead his own 55-piece studio orchestra by Decca Records. His recording of "The Syncopated Clock" was soon adopted by CBS as the theme song to its long-lived Late Show movie program, thus ensuring its immortality. That year also brought two whimsical new hits in "The Typewriter" and "The Waltzing Cat," both laden with evocative sound effects. 1951 was an even bigger year; "Belle of the Ball" and "Plink! Plank! Plunk!" took their place in the Anderson canon, but the key item was "Blue Tango," a more exotic piece that topped the charts and, over 1951-1952, became one of the first instrumentals to sell one million copies.

In 1953, Anderson debuted a more serious, extended classical composition, "Concerto in C for Piano and Orchestra," with performances in Chicago and Cleveland. He withdrew the work in order to revise the first part, but never completed the intended changes; his family later published the concerto in its original form. More popular compositions followed in 1954, including "Bugler's Holiday," "Sandpaper Ballet" (another effects-oriented piece), and "Forgotten Dreams." In 1958, Anderson wrote his first and only Broadway musical, Goldilocks, in collaboration with writers/lyricists Walter and Jean Kerr. He recorded for Decca through 1962, and remained active as a conductor and composer (the latter still primarily for the Boston Pops) into the early '70s. In 1972, he was the guest of honor on a Pops PBS special devoted to his works. He passed away on May 18, 1975; 13 years later, he was elected to the Songwriters Hall of Fame. Orchestras across America made Anderson's catalog one of the most performed in the country during his heyday; what was more, Anderson wrote different arrangements of his works for musicians of all different skill levels, helping ensure their accessibility and permanence in the orchestral/band repertoire. ~ Steve Huey, All Music Guide [-] Hide

This collects 20 of Leroy Anderson's best-known recordings. Anderson produced little "orchestral miniatures": original compositions that utilized much of the trappings of classical music put in the confines of a pop single. Decca Records signed him in 1950 to conduct his music for a gigantic, 55-piece orchestra (one that Anderson often said... [+] Read More

This collects 20 of Leroy Anderson's best-known recordings. Anderson produced little "orchestral miniatures": original compositions that utilized much of the trappings of classical music put in the confines of a pop single. Decca Records signed him in 1950 to conduct his music for a gigantic, 55-piece orchestra (one that Anderson often said could never be put together in a live situation), producing pieces that were quirky ("The Syncopated Clock"), offbeat ("The Typewriter"), and just plain whimsical and fun ("Fiddle Faddle" and "Plink, Plank, Plunk!"). Best known of all is the title track, composed during a July heat wave in 1948. Though his music is seldom revived today, it was enormously catchy and popular in the pre-rock & roll days of pop music and sounds wonderful collected here. ~ Cub Koda, All Music Guide [-] Hide

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Presented here is a collection of songs performed by a wealthy gathering of supremely talented musicians, led by Mason Williams, a legendary songwriter/composer in his own right. Released under the Warner Bros. label, the album Music 1968-1971 is just that -- pure music with soul, passion, and enough fire to fuel a storm and light the listener's... [+] Read More

Presented here is a collection of songs performed by a wealthy gathering of supremely talented musicians, led by Mason Williams, a legendary songwriter/composer in his own right. Released under the Warner Bros. label, the album Music 1968-1971 is just that -- pure music with soul, passion, and enough fire to fuel a storm and light the listener's spirit. Through the magic of tunes such as the instrumental "Greensleeves," the country-flavored "Cowboy Buckaroo," and the witty rhymes and rhythms of "J. Edgar Swoop," listeners' ears are well entertained. What is most enriching about this recording is the large group of musicians from all backgrounds who send the songs into higher soundscapes. The lyrical content on the majority of the songs is mature and the melodies ring loud and clear with passion, flair, and at times romance, such as the sweet and endearing "Sunflower." Williams ends the album with a touch of finesse and adoration to his appreciative fans, expressing his sincere feelings in "A Gift of Song," a song written by Pat Ingles, a favorite singer and influence. ~ Shawn M. Haney, All Music Guide [-] Hide

Curb's Greatest Hits is a budget-line collection that contains Ferrante & Teicher's greatest hits, including "Theme from The Apartment," "Exodus," "Tonight," "Lisa," and "Midnight Cowboy," as well as five other tracks. It's a brief collection, but it gives a good sense of what the easly listening group was all about. ~ Stephen Thomas Erlewine,...

Curb's Greatest Hits is a budget-line collection that contains Ferrante & Teicher's greatest hits, including "Theme from The Apartment," "Exodus," "Tonight," "Lisa," and "Midnight Cowboy," as well as five other tracks. It's a brief collection, but it gives a good sense of what the easly listening group was all about. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide

16 Most Requested Songs is a midline-priced collection that spotlights many of Andre Kostelanetz's best-known and most popular performances for Columbia Records, including "My Favourite Things," "Theme From Love Story," "Theme From Romeo and Juliet," "The Way We Were," "All the Things You Are," "Bolero," "Tenderly," "The Godfather Love Theme,"... [+] Read More

16 Most Requested Songs is a midline-priced collection that spotlights many of Andre Kostelanetz's best-known and most popular performances for Columbia Records, including "My Favourite Things," "Theme From Love Story," "Theme From Romeo and Juliet," "The Way We Were," "All the Things You Are," "Bolero," "Tenderly," "The Godfather Love Theme," "The Impossible Dream," "Till There Was You" and "I Get a Kick Out of You." Although it's far from a perfect retrospective of his career, it's still a nice sampler of familiar items, and it may satisfy the needs of some casual fans who only want the hits. ~ Stephen Thomas Erlewine, All Music Guide [-] Hide