Time was when Rudy Vallee sang 'My Time Is Your Time" with a big band behind him,
someone turned on a recording machine, and you had a record. If the third trombone
slid a little too far in the sixteenth bar, or that clarinet solo in the bridge was not
right, you had to live with it - or record the who'e song again. Recording has come so
far since then that it really bears little relation to the crude early records. An analogy
might be Lindbergh as compared with an Apollo moon shot.
New innovations in the instruments themselves have led also to a whole new world
of music. Now Martin Denny plays the keyboard of a Moog synthesizer and records
his music on an 8-track recording apparatus that can solo out any instrument in the
band individually, or blend them together with extreme precision. The synthesizer
itself is probably the most unique instrument to ever be invented. It resembles a
telephone switchboard in appearance, yet can imitate any instrument in the orchestra -
it is the daddy of electronics in music.
Dave Pell and Lanky Linstrot, co-producers of the album, sat in the booth working the
knobs, listening, directing and eating pastrami. Martin was in the studio with a small
group of musicians creating the most unusual, and some of the most exciting music of
his career. He has achieved unorthodox sounds from orthodox compositions. For
nostalgia's sake, he recorded "Quiet Village," his first big hit, with striking
rather unlikely tunes are included - unlikely because you wouldn't normally expect they
be done with electronics - songs like: "Yellow Bird," "Cast Your Fate To
The Wind," "A
Taste Of Honey," "Let It Be Me," and "The Enchanted Sea." Each is
done with another
of the endless sound variations of the Moog. The results must be heard.
Martin's music here is largely experimental - the Moog synthesizer is, at least for
still experimental in nature. No one is really sure what the potential is. The effects are
far-reaching... so much so that there's no question this is music of the future.