The CD Reissue contains 8 bonus tracks; a total
of 14 arrangements by Claus Ogerman are included on the CD
compilation. As with other Mercury albums, the original
issued LP contain 12 tracks and budget reissues contain 10
tracks.
Tracklist for CD Reissue:
It's My Party (arr./cond. Ogerman) [Charted #1 on Billboard]
Judy's Turn To Cry (arr./cond. Ogerman) [Charted #5 on Billboard]
Just Let Me Cry (arr./cond. Ogerman)
She's A Fool (arr./cond. Ogerman) [Charted #5 on Billboard]
The Old Crowd (arr./cond. Ogerman) [BONUS TRACK]
You Don't Own Me (arr./cond. Ogerman) [Charted #2 on Billboard] [BONUS TRACK]
That's The Way The Boys Are (arr./cond. Ogerman)
I Don't Wanna Be A Loser (arr./cond. Ogerman) [BONUS TRACK]
Maybe I Know (arr./cond. Ogerman)
Wonder Boy (arr./cond. Ogerman) [BONUS TRACK]
Hey Now (arr./cond. Ogerman)
Look Of Love (arr./cond. Ogerman)
Sunshine, Lollipops and Rainbows (arr./cond. Ogerman)
My Town, My Guy And Me [BONUS TRACK]
You Didn't Look 'Round (arr./cond. Ogerman) [BONUS TRACK]
What Am I Gonna Do With You [BONUS TRACK]
Off And Running [BONUS TRACK]
California Nights [BONUS
TRACK]
Original LP musician personnel: Quincy
Jones--Producer; Lesley Gore--Vocals; Claus
Ogerman--arranger/conductor.
CD Reissue musician personnel: Quincy Jones--Producer; Bob
Crewe--Producer; Lesley Gore--Vocals; Claus Ogerman, Don Costa and
Jack Nitsche, arrangers and conductors.
LP produced by Quincy Jones; CD Reissue
produced by Quincy Jones & Bob Crewe.
CD Reissue LINER NOTES by Kenneth Kendall:
CD Compilation by Tim Rogers.
Special Note: Lesley Gore credited Claus Ogerman directly for his work with her in an interview with Gary James when he asked the following question:
Q - I loved the sound of your records. Is that
all Quincy Jones, or did you have a big input into that?
A - I think it was really a triumvirate of
creative people...Quincy being kind of the head guy, the guy at the
top of the pyramid. Then, perhaps myself down at the lower left
corner, and there was a third guy who was very, very prominent in
helping us get that sound and he was the arranger, Klaus Ogerman. So,
the way we worked it, Klaus and I spent a lot of time together going
through material. We would take what we thought was the best of the
crop and kind of put it into my range and do a kind of piano / voice
arrangement. Then, we would bring Quincy in and go over it again and
see how we felt about those tunes. So, Klaus did a lot of arranging
because of my voice and because of where the range was. So, it really
was a melding of 3 creative people.
[Full interview can be read at: http://www.classicbands.com/LesleyGoreInterview.html]
A jazz concerto entirely composed, arranged,
and conducted by Claus Ogerman.
1st Movement (A) (Moderato, Various Tempi)
1st Movement (B)
1st Movement (C)
2nd Movement (A) (Largo, Andante, Maestoso, Largo)
2nd Movement
(B)
* * *
"'Symbiosis' is a vastly overlooked album in
Evans' prolific canon, yet one that needs to be seriously reckoned
with. Ogerman, who had worked with Bill on two previous albums in
1963 and in 1965 (With Symphony Orchestra), composed an adventurous
and often hauntingly beautiful work in two parts. In the third
section of the first movement, working over a slow and gentle jazzy
swing, Bill plays long and fast-moving lines on electric piano that
catch your ear with their shimmering beauty and complexity. Ogerman
writes lush but never maudlin strings (and a few flutes) here in
dense, often whole-tone and poly-chordal fashion underneath --
creating a perfect cushion for the pianist's swirling right-hand
lines. The Rhodes fits in well here, as it does sparingly in and out
through Symbiosis' framework. It is often used as punctuation at the
end of a written ensemble phrase, or as an ensemble texture. Evans'
choices as to when to use the Rhodes or the Steinway are wise indeed,
and not without great sensitivity, integrating seamlessly within the
composition. Claus Ogerman as composer-arranger succeeds marvelously
here with a work of great harmonic expression and rhythmic interest
that showcases Evans' lyrical expression and his obviously inherent
classical strengths, yet within a composition that represents much of
what jazz is about. (Ogerman would later do the same for tenor sax
virtuoso Michael Brecker for his Cityscape album.) If we consider the
aural comparisons to the other albums Bill did with orchestral
accompaniment, it is far and away the most superior achievement, and
may represent his best use of the electric keyboard in context.
"Symbiosis" is far too important to be neglected as often as it has
when jazz writers discuss Bill Evans albums. As biographer Keith
Shadwick noted: 'Evans brings to the work the consummate artistry and
sensitivity that occurs when he is stretched and stimulated. His
rubato playing in the opening and second movement sometimes alone,
sometimes in unison with the strings, is both moving and immensely
accomplished in a way that few jazz or classical pianists could have
countenanced.'"
--Excerpted from the article "Rhodes Less Travelled" by Jan Stevens.
Used by exclusive permission of the author, and The Bill Evans
Webpages [http://www.billevanswebpages.com/rhodespiece.html].
©
Jan Stevens 2002. All rights reserved.
"The producer, arranger, conductor, pianist and
coach for the album 'Classical Barbra' was the German musician Claus
Ogerman and, when not advising Streisand on the care and feeding of
Handelian appoggiaturas, Ogerman dabbles in several other musical
areas as well. In 1973 he composed a forty-minute work for piano and
orchestra called Symbiosis, with the piano part being written for
and, in its premiere recording, played by the American, Bill Evans.
I'm not really what you might call a jazz buff and I've never been
able to get interested in what the Americans would call "third
stream," which roughly describes the territory explored by Symbiosis,
but I think that in many respects this is a rather remarkable work.
Much of it is what we classical types insist on calling
through-composed - music in which every note is written out; other
segments provide for only the harmonic outline, plus a generous
helping of figured-bass, and the soloist is expected to embroider
accordingly. These sections are, to my ears, somewhat underwhelming -
there's just too great a discrepancy between the spontaneous (or
supposedly spontaneous) noodlings of even so gifted an artist as Bill
Evans and the very sophisticated structural scaffolding which Ogerman
has erected. But the through-composed sections are really quite
marvelous; Ogerman has a staggeringly inventive harmonic imagination
and the first of Symbiosis's two movements, in particular, is
possessed of enormous sweep and drive."
--Commentary by Glenn Gould, August 26, 1977 on a Canadian radio
broadcast, whose remarks were made after playing some of the
"Symbiosis" album to the audience.
Recorded at Columbia Recording Studios, New York,
New York on February 11, 12 & 14, 1974. Includes liner
notes by Claus Ogermann and Hanns E. Petrik.
Antonio Carlos Jobim, "Tom", PolyGram
[Brazil] #528071-2 (1995).[4 CD compilation boxed set
with booklet]
Claus Ogerman arranged and conducted many of the tracks on this boxed
set.
CD 1
Ai Quem Me Dera (com Edu Lobo)
Por Causa De Voce (com Nana Caymmi)
Chega De Saudade
E Preciso Dizer Adeus (com Edu Lobo)
Tempo Do Mar (arr. Claus Ogerman)
Desafinado (com Joao Gilberto e Stan Getz)
A Felicidade (com Nelson Riddle e sua Orquestra)
Fotografia (com Elis Regina)
Modinha (com Elis Regina)
Samba De Uma Nota So (arr. Claus Ogerman)
Brigas Nunca Mais (com Elis Regina)
Dindi (com Nelson Riddle e sua Orquestra)
Meditacao (arr. Claus Ogerman)
O Que Tinha De Ser (com Elis Regina)
CD 2
Por Toda A Minha Vida (com Elis Regina)
Lamento Do Morro (arr. Claus Ogerman)
Soneto Da Separacao (com Elis Regina)
Amor Em Paz (arr. Claus Ogerman)
Corcovado (com Astrud Gilberto, Joao Gilberto e Stan Getz)
O Grande Amor (com Joao Gilbert e Stan Getz)
Agua De Beber (com Joao Gilberto e Stan Getz)
Insensatez (arr. Claus Ogerman)
So Danco Samba (com Joao Gilberto e Stan Getz)
The Girl From Ipanema (com Joao Gilberto, Astrud Gilberto e Stan Getz)
Samba Do Aviao (com Nelson Riddle e sua Orquestra)
Ela E Carioca (com Nelson Riddle e sua Orquestra)
Inutil Paisagem (com Elis Regina)
O Morro Nao Tem Vez (arr. Claus Ogerman)
CD 3
Valsa Do Porto Das Caixas (com Nelson Riddle e sua Orquestra)
Vivo Sonhando (com Joao Gilberto e Stan Getz)
So Tinha De Ser Com Voce (com Elis Regina)
Bonita (com Nelson Riddle e sua Orquestra)
Surf Board (com Nelson Riddle e sua Orquestra)
Triste (com Elis Regina)
Wave (arr. Claus Ogerman)
Retrato Em Preto E Branco (com Elis Regina)
Sabia
Chovendo Na Roseira (com Elis Regina)
Pois E (com Elis Regina)
Tide (arr. Eumir Deodato)
Sue Ann (arr. Eumir Deodato)
Remember (arr. Eumir Deodato)
CD 4
Aguas De Marco (com Elis Regina)
Cronica Da Casa Assasinada: Trem Para Cordisburgo/Chora Coracao/O Jardim Abandonado/Milagre E Palhacos (arr. Claus Ogerman)
Matita Pere (arr. Claus Ogerman)
Nuvens Douradas (arr. Claus Ogerman)
Um Rancho Nas Nuvens (arr. Claus Ogerman)
Angela
Falando De Amor (com Miucha)
Two Kites
Borzeguim (com A Nova Banda)
Luiza (com A Nova Banda)
Tema De Amor De Gabriela (com A Nova Banda)
Passarim (com A Nova Banda)
Anos Dourados (com A Nova Banda e Chico Buarque)
Bebel (com A Nova Banda)
LINER NOTES WHICH TALK ABOUT THE RELATIONSHIP
BETWEEN CLAUS OGERMAN AND TOM JOBIM BY JOÃO MAXIMO, O ESTADO
DE SÃO PAULO NEWSPAPER [IN ENGLISH]:
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Antonio Carlos Jobim, "Matita Pere", PolyGram [Brazil]
#826
856-2 (1995).[CD]
Other issues of this album are listed separately under their respective
record labels.
Tracks:
Personnel credited on album: Antonio Carlos
Jobim (vocals, piano); Harry Lookofsky (concertmaster); Richard Davis
or Ron Carter (bass); Joao Palma and Airto Moreira (drums and
percussion); George Devens (Percussion); Urbie Green (trombone) Jerry
Dodgion, Romeo Penque, Phil Bodner, Don Hammond & Ray Beckenstein
(flutes).
Various Artists, "Growin' Up Too Fast - The
Girl Group Anthology", PolyGram #314 528 171-2 (1996).[CD
compilation]
Claus Ogerman arranged and conducted the following tracks for the
following artists:
For Connie Francis: "My Best Friend
Barbara";
For Leslie Gore: "Maybe I Know", "Look of Love", "Wonder Boy",
"Sometimes I Wish I Were A Boy" and "That's The Way Boys Are."
LINER NOTE EXCERPTS (written by Don
Charles):
Growin-up-liners-pg.9-10.JPG
- Excerpt from pages 9-10 that mentions Claus Ogerman.
Growin-up-liners-pg.11.JPG
- Excerpt from page 11 that mentions Claus Ogerman.
Connie Francis, "Souvenirs", PolyGram #533382-2
(1996).[4 CD Compilation]
Contains tracks arranged and
conducted by Claus Ogerman, including
"In The Summer Of His
Years",
"Whose Heart Are You Breaking Tonight",
"You Know You Don't Want Me"; "Whatever Happened To Rose Marie",
"Your Other Love".
Also contains an original Ogerman
composition, "Your Other Love."
LINER NOTES FROM THE SET THAT MENTION CLAUS
OGERMAN OR QUOTE CLAUS OGERMAN:
Various Artists, "Get Easy! Volume 1 - Classic
Collection", PolyGram [import] #5256172 (1997).[CD
Compilation Reissue]
Various Artists, "Complete Jerome Kern
Songbooks", PolyGram #539441 (1997).[CD Compilation]