Ram Dcc

Capitol Records initially planned to release a live album from the Beatles in 1964, recording the band's August 23 concert at the Hollywood Bowl. Nobody at the label found the results satisfactory so they attempted it again almost exactly a year later, taping the August 29 and 30, 1965 shows at the Hollywood Bowl but, once again, it proved hard to hear the Fab Four from underneath the roar of the crowd, so those tapes were also shelved. They remained in the vaults until 1977, when Capitol president Bhaskar Menon asked George Martin to assemble a listenable live album from the two sets of Hollywood Bowl tapes, all with the idea of combating the rise of bootlegs and quasi-legit Beatles live albums. It was a difficult task, yet Martin and engineer Geoff Emerick managed to assemble a 13-track LP of highlights that was quite well received upon its 1977 release yet managed to earn a reputation as something of a disappointment in part due to the screams that overwhelmed the band…

Capitol Records initially planned to release a live album from the Beatles in 1964, recording the band's August 23 concert at the Hollywood Bowl. Nobody at the label found the results satisfactory so they attempted it again almost exactly a year later, taping the August 29 and 30, 1965 shows at the Hollywood Bowl but, once again, it proved hard to hear the Fab Four from underneath the roar of the crowd, so those tapes were also shelved. They remained in the vaults until 1977, when Capitol president Bhaskar Menon asked George Martin to assemble a listenable live album from the two sets of Hollywood Bowl tapes, all with the idea of combating the rise of bootlegs and quasi-legit Beatles live albums. It was a difficult task, yet Martin and engineer Geoff Emerick managed to assemble a 13-track LP of highlights that was quite well received upon its 1977 release yet managed to earn a reputation as something of a disappointment in part due to the screams that overwhelmed the band…

Capitol Records initially planned to release a live album from the Beatles in 1964, recording the band's August 23 concert at the Hollywood Bowl. Nobody at the label found the results satisfactory so they attempted it again almost exactly a year later, taping the August 29 and 30, 1965 shows at the Hollywood Bowl but, once again, it proved hard to hear the Fab Four from underneath the roar of the crowd, so those tapes were also shelved. They remained in the vaults until 1977, when Capitol president Bhaskar Menon asked George Martin to assemble a listenable live album from the two sets of Hollywood Bowl tapes, all with the idea of combating the rise of bootlegs and quasi-legit Beatles live albums. It was a difficult task, yet Martin and engineer Geoff Emerick managed to assemble a 13-track LP of highlights that was quite well received upon its 1977 release yet managed to earn a reputation as something of a disappointment in part due to the screams that overwhelmed the band…

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…

Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…