Leo Diamond
ORCHESTRA
EXCITING SOUNDS FROM ROMANTIC PLACES
Original 1958 album liner notes
STEREO
ABC-PARAMOUNT
FULL COLOR FIDELITY
ABCS-268
HI FIDELITY
SIDE ONE
1. LA VIE EN ROSE 2:55
(Louiguy-Piaf)
(Harms, Inc. – ASCAP)
2. THE RIVER SEINE 2:10
(Monad-Laforge)
(Remick Music – ASCAP)
3. ARRIVERDERCI, ROMA 2:45
(Sigman-Rascel)
(Reg Connelly, Inc. – ASCAP)
4. DOMANI 2:15
(Ruccione-DeFilippis)
(Montauk Music – BMI)
5. STRANGE ENCHANTMENT 3:25
(F. Hollander-F. Loesser)
(Famous Music – ASCAP)
6. SLEEPY LAGOON 3:08
(E. Coates-J. Lawrence)
(Chappell & Co. – ASCAP)
SIDE TWO
1. THE PETITE WALTZ 1:55
(J. Heyne-E.A. Ellington-P. Claire)
(Duchess Music – BMI)
2. LILI MARLENE 2:25
(N. Schultz-M. David)
(Chappell & Co. – ASCAP)
3. THE GIRLS IN BRAZIL 2:20
(Leo Diamond)
(Lero Music – ASCAP)
4. THE BREEZE AND I 3:00
(Stillman-Lecuona)
(E.B. Marks – BMI)
5. KING’S SERENADE 2:30
(C.E. King-C. Raven)
(E.B. Marks – BMI)
6. TO YOU SWEETHEART, ALOHA 2:45
(Harry Owens)
(Joy Music – ASCAP)
__________________________________________________
A STEREOPHONIC RECORD
__________________________________________________
To those who crave and seek adventure, this album will come as something more than a mere answer to while away a pleasant hour or so. For, in itself, it offers a pioneering excursion into a far vaster realm of auditory exploration, as well as a musical journey to far-off lands.
As you first listen to the introductory sounds of the jet airliner which takes you to Paris and La Vie en Rose, you will instantly grasp the impression that the sound you are hearing is unmistakably different from any you have ever heard on record before. As you proceed further on this memorable sonic safari, you will continue to become keenly aware that you are actually partaking of the most exciting expedition into sound that has yet been offered in almost any medium of reproduction.
This monumental recording achievement is no accident – nor can it be said that the painstaking efforts of the concerned group who recorded and produced the magical Exciting Sounds from Romantic Places were so calculated as to overcome all obstacles without trial and trouble.
All of the harmonica virtuosity displayed hereon is the sole evidence of Leo Diamond, who played each of the twelve parts himself. This was accomplished by the usual method of over-dubbing, with Mr. Diamond first playing Part 1 of the harmonica arrangement(s) together with the orchestra. Because multiple recording can often result in a serious loss of sound quality, the question of eliminating this problem was resolved with the decision to record the entire album on 35 mm motion picture sound film! This prevented the quality loss in the over-dubbing, and also dispelled the possibility of catching the tape “hiss” which would be evident on the magnetic tape. The first part of the harmonica score, together with the orchestral accompaniment, therefore, was recorded on three-track stereo, then was transferred to the sound film. With each progressive part of the arrangements, the original 3-track film was played to Mr. Diamond through earphones, whereby he added the successive portion onto motion picture film, which was then synchronized to the first 3-track film. At the conclusion of all twelve harmonica parts, the entire lot of sound film was played back through the mixing panel, being re-recorded onto the 3-track magnetic tape.
To give you a vague idea of the complexities surrounding the recording: The total number of sound film used for the recording proper exceeded ten miles in length, enough to record the sound for 74 feature-length motion pictures. For purposes of mixing (e.g. switching of volume controls, echo chamber controls, etc.), another 37,000 feet of wire were utilized. Actual sound film used for the over-all recording process approximated some 144,000 feet – or 12,000 feet of film per selection!
The result, as you will be quick to agree, offers a magnitude of electronic wizardry wondrous to behold – and, of course, to hear!
– NATT HALE
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About LEO DIAMOND…
Only a master musician and performer, gifted with the patience and quest for perfection as is Leo Diamond, would and could have attempted the scope of this album. Like many a noted contemporary of his instrument, Mr. Diamond is a graduate of the internationally-famed Borrah Minnevitch and his Harmonica Rascals, and has performed in almost every corner of the world. He is regarded by critics as among the topmost virtuosi of the harmonica, and has, to a great extent, been responsible for the elevation of the mouth organ to a position of prominence in the realm of recognized instruments, as opposed to a mere plaything.
A peerless musician, Mr. Diamond is also esteemed as a composer, having written the score of the beautiful Skin Divers’ Suite and the recent musical delight, Off Shore. He has appeared on the concert stage, as guest soloist with leading symphony orchestras, in the world’s most exclusive night clubs and in theaters all over the globe, establishing himself as an international favorite.
To add to this formidable alignment of credits, it should be noted that, for this album, Mr. Diamond personally designed and constructed many of the harmonicas used in the recording, some of which are shown in the photographs at right.
(Leo Diamond shown playing two electronic harmonicas, both especially designed and constructed by him for this album…)
(An excellent candid photo shows Leo Diamond surrounded by some of the many harmonicas he plays on these recordings.)
(Especially unique is this group chord harmonica, with which Leo Diamond simulated trumpet sections with added tremolo and echo effects.)
(Sound test…Lee Palmer, part of the production supervisory team [L.], and Leo Diamond [R.] check the sound of the master stereo tape prior to the actual “mixing.”)
(Glen Glenn [L.], head of the sound studio bearing his name, shows Leo Diamond [R.] the sound film of the recordings. Each roll of film seen in this photograph contains but one harmonica part.)
(The end of a perfect session…An exhausted Leo Diamond reflects on the conclusion of the many recording sessions required to produce this album. Literally, he’s up to his neck in film.)
PLAY THIS RECORD ONLY ON STEREOPHONIC EQUIPMENT
RIAA EQUALIZATION CURVE: Crossover, 500 cps; Roll-off 13.75 db at 10 kc; Low Freq. Capabilities, 20 cps; High Freq. Capabilities, over 20 kc. RIAA Playback equalization should be used for this record in order that the ultimate performance capabilities may be realized. This is a true Stereophonic record. It is not recommended for playback with standard monaural phonographs, unless equipped with a compatible cartridge.
Cover Design by Matt Schutz
A Product of AM-PAR Record Corp.
Made in U.S.A.
ABCS-268
