Bruno Walter's Columbia Symphony principle players?
Todd Schurk
cycle(after not having heard it in ages)and have enjoyed the playing of
the wind principle players. I know these were recorded in L.A.(except
for the 9th finale perhaps?) Were the lead players from Hollywood
studio orchestras or the L.A. Phil? Or both? Anyone? I like the cycle
much more than I remember I had in the past. With age comes...?
Sacqueboutier
1125465283.6...@z14g2000cwz.googlegroups.com, "Todd Schurk"
<patte...@hotmail.com> wrote:
LA Phil I believe. The lead players from the Hollywood studios would not
sound quite the delicate.
--
Don Patterson
Trombonist
Arranger/Copyist
"The President's Own"
United States Marine Band
Tom Deacon
On 8/31/05 6:10 AM, in article BF3AFA5E.8D12%don_...@comcast.net,
"Sacqueboutier" <don_...@comcast.net> wrote:
> On 8/31/05 1:14 AM, in article
> 1125465283.6...@z14g2000cwz.googlegroups.com, "Todd Schurk"
> <patte...@hotmail.com> wrote:
>
>> I've recently been enjoying the stereo Walter Beethoven symphony
>> cycle(after not having heard it in ages)and have enjoyed the playing of
>> the wind principle players. I know these were recorded in L.A.(except
>> for the 9th finale perhaps?) Were the lead players from Hollywood
>> studio orchestras or the L.A. Phil? Or both? Anyone? I like the cycle
>> much more than I remember I had in the past. With age comes...?
>>
>
> LA Phil I believe. The lead players from the Hollywood studios would not
> sound quite the delicate.
I think Walter took players frome everywhere.
Mister Bloom was not a local Californian, I think.
TD
jrs...@aol.com
Was Mister Bloom present for those Beethoven recordings?
--Jeff
Todd Schurk
Bloom french horn from Cleveland(the first horn doesn't sound like
Bloom). Thanks for the info.
Matthew B. Tepper
in news:1125485277....@o13g2000cwo.googlegroups.com:
> Was Mister Bloom present for those Beethoven recordings?
Who was the player who sued over the fact that he was identified by name in
one of the rehearsal recordings?
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
I ask you to judge me by the enemies I have made. ~ FDR (attrib.)
Richar...@gmail.com
As it was my first recorded cycle I have been wary of rehearing it
after such a while, but your post has tempted me. What's - in your
experience - the best mastering?
Todd Schurk
I was kind of wary to hear it again-but just found it full of meaning
and dedication. There is a great deal of detail,especially in the winds
and lower strings. Even though these came in Walter's "Indian Summer"
there is plenty of energy to match the warmth. It just seemed nice to
get "thrown back" to that time after so many uninspired,run of the mill
cycles or nasty bare bones so-called "historic informed authentic
whatever" no vibrato allowed,politically correct, etc. I must
confess-the mastering I have is probably the worst(though it sounds
fine to me). It's the one I got from Berkshire record outlet for $18 or
so on 6 discs called CBS special products. Perhaps others who have
heard the latest incarnations can chime in.
Sacqueboutier
<non...@yahoo.com> wrote:
Bloom played in the CSO in California? I do know that there were different
ensembles labeled "Columbia SO" depending on where the recording took place.
I had always believed that Cerminaro was his principal horn in the LA
sessions.
aaaa
<don_...@comcast.net> wrote:
>On 8/31/05 6:23 AM, in article BF3AFD65.9A27%non...@yahoo.com, "Tom Deacon"
><non...@yahoo.com> wrote:
>
>>
>>
>>
>> On 8/31/05 6:10 AM, in article BF3AFA5E.8D12%don_...@comcast.net,
>> "Sacqueboutier" <don_...@comcast.net> wrote:
>>
>>> On 8/31/05 1:14 AM, in article
>>> 1125465283.6...@z14g2000cwz.googlegroups.com, "Todd Schurk"
>>> <patte...@hotmail.com> wrote:
>>>
>>>> I've recently been enjoying the stereo Walter Beethoven symphony
>>>> cycle(after not having heard it in ages)and have enjoyed the playing of
>>>> the wind principle players. I know these were recorded in L.A.(except
>>>> for the 9th finale perhaps?) Were the lead players from Hollywood
>>>> studio orchestras or the L.A. Phil? Or both? Anyone? I like the cycle
>>>> much more than I remember I had in the past. With age comes...?
>>>>
>>>
>>> LA Phil I believe. The lead players from the Hollywood studios would not
>>> sound quite the delicate.
>>
>> I think Walter took players frome everywhere.
>>
>> Mister Bloom was not a local Californian, I think.
>>
>> TD
>>
>
>Bloom played in the CSO in California? I do know that there were different
>ensembles labeled "Columbia SO" depending on where the recording took place.
>I had always believed that Cerminaro was his principal horn in the LA
>sessions.
Cerminaro entered the NY Phil without an audition as assistant
principal while still at Juilliard in 1969. When Kuyper (the new
Associate to replace Chambers) did not pass his one year probation,
Kuyper's and Cerminaro's contracts were switched. When Singer retired
a few years later Cerminaro was made principal. Cerminaro was
Chamber's favorite student of that era. When Cerminaro fell in love
with his Paxman Hi F horn which he started playing in 1975 for the
Schumann Koncertstuck, he was forced out by Chambers and the section
players who were there since the Chambers era.
It is not him on the Walter CSO recordings. It is more likely one of
the Principals of the LA Phil or Vinny DeRosa
Abbedd
________________
Go To Abbedd's Place For the MP3S of the Week
http://home.earthlink.net/~abbedd/abbeddsplace.html
Boycott Inglotted CDS
http://home.earthlink.net/~abbedd/noinglottecds.htm
"Knowing what without knowing why is not knowing what"
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jrs...@aol.com
Matthew B. Tepper wrote:
> jrs...@aol.com appears to have caused the following letters to be typed
> in news:1125485277....@o13g2000cwo.googlegroups.com:
>
> > Was Mister Bloom present for those Beethoven recordings?
>
> Who was the player who sued over the fact that he was identified by name in
> one of the rehearsal recordings?
>
But that was a Mozart rehearsal, no? And the rehearsal was for a
recording made at 30th Street Studio in 1955, not the later 1960
recording. Walter did not ship Bloom to LA, as Deakon implied. We've
been told in the past that most of the principals were from the LA
Phil.
--Jeff
Steven de Mena
"aaaa" <aa...@aaaa.com> wrote in message
> Abbedd
Your post was forwarded to ab...@earthlink.net.
Steve
Vaneyes
Sample usage:
The principal players had principles.
Regards
jrs...@aol.com
As M. Bloom was busy in Cleveland, it is likely T. Deakon was talking
about R. Bloom, who freelanced for B. Walter in N. York.
--Jeff
Matthew B. Tepper
letters to be typed in
> In article <1125465283.6...@z14g2000cwz.googlegroups.com>,
> "Todd Schurk" <patte...@hotmail.com> wrote:
>
>> I know these were recorded in L.A.(except for the 9th finale perhaps?)
>> Were the lead players from Hollywood studio orchestras or the L.A. Phil?
>> Or both?
>
> Fascinating story, as I understand it. With the advent of high fidelity
> recording, Columbia wanted Walter to re-record a fair amount of music
> with the NY Phil or other orchestra in the east; Walter had recently
> discovered Southern California and didn't want to leave (a heart
> condition may been part of his reluctance to travel). The LA Phil as a
> group did not meet Columbia's standards,
Translation: "Wanted more money than a pick-up ensemble."
> so they advertised for players. The number of good instrumentalists, from
> both the Phil and studios, who applied was astonishing and Walter
> assembled a good orchestra in short order.
--
Matthew B. Tepper: WWW, science fiction, classical music, ducks!
My personal home page -- http://home.earthlink.net/~oy/index.html
My main music page --- http://home.earthlink.net/~oy/berlioz.html
To write to me, do for my address what Androcles did for the lion
I ask you to judge me by the enemies I have made. ~ FDR (attrib.)
Matthew B. Tepper
Ah, thanks. I keep forgetting which version of the "Columbia Symphony
Orchestra" was which. Anything to keep from paying a "name" orchestra!
(Not that these ensembles were "bad" in any way, you realize.)
Sacqueboutier
"aaaa" <aa...@aaaa.com> wrote:
I must have gotten horn players mixed up. Sorry. Who else was a major
player in LA at the time?
ansermetniac
Heck51
recordings.
Fred Moritz was usuall y the principle bassoonist. IIRC, don Christlieb
and Norman Herzberg were also in the section for some of the recordings
[west coast]
Robert Bloom and Loren Glickman [ob/bn] are featured on the Walter
Mozart "Linz" symphny recording/rehearsal disc - this was recorded in
1956, East coast ColSO.
Heck51
http://www.usc.edu/schools/music/LAhorn/history/home.htm
<<Sinclair Lott, who played principal horn with the Los Angeles
Philharmonic for twenty-two years, was a rare exception to the
"Philharmonic then studio" route.......
He also played principal horn in what was a rare collaboration between
many of the musicians in the Philharmonic and the studios: the Columbia
Symphony Orchestra recordings with Bruno Walter.
The Columbia Symphony Orchestra was a unique testament to the level of
studio musicians from the late 1950s and 1960s. Under Bruno Walter's
baton, the orchestra recorded much of the standard classical
repertoire.
The Columbia Orchestra also recorded the complete works of Stravinsky,
with Stravinsky and Robert Craft sharing the conducting duties, as well
as the complete orchestral works of Schoenberg, Berg, Webern and
Varèse conducted by Craft.
Special mention goes to James Decker in his role as principal horn on
the Stravinsky recordings, including the complete ballet The Fairy's
Kiss. It is probably the finest recording of any Los Angeles studio
hornist from that era playing symphonic orchestra literature. >>
Matthew B. Tepper
> In article <Xns96C38018ABD...@207.217.125.201>,
> "Matthew B. Tepper" <oyþ@earthlink.net> wrote:
>
>> > The LA Phil as a group did not meet Columbia's standards,
>>
>> Translation: "Wanted more money than a pick-up ensemble."
>
> As I understand it, Columbia paid union scale. Many of the studio people
> made much more, and it was astonishing how many were willing to take a
> pay cut just to play with Walter.
That's as may be, but the Los Angeles Philharmonic *as an ensemble* wanted
higher rates. Columbia was, how you say, keeping costs down. Fortunately,
the results are still excellent in this instance, but let's not fudge the
facts about the true reason.
Matthew B. Tepper
letters to be typed in news:1125538557.482772.19990
@z14g2000cwz.googlegroups.com:
> Bert Gassman was principal oboist for most of the LAPO/ColSO West Coast
> recordings.
>
> Fred Moritz was usually the principle bassoonist. IIRC, don Christlieb
> and Norman Herzberg were also in the section for some of the recordings
> [west coast]
IIRC, Moritz' name was Frederick, but his nickname was "Fritz." A friend
of mine attended the concert where, as his farewell, he played the Mozart
Concerto, and he (the friend) said it was marvellous. Somewhere I have a
private disc issued by Moritz' family of him playing the work, but only
with piano accompaniment.
> Robert Bloom and Loren Glickman [ob/bn] are featured on the Walter
> Mozart "Linz" symphny recording/rehearsal disc - this was recorded in
> 1956, East coast ColSO.
--
Mark Melson
and Brahms recordings, but they are ultimately unsatisfying to me
because of the small string sections. I like more heft to the string
sound than Walter and the gang can muster in, for instance, the storm
section of the otherwise delectable "Pastoral" Symphony. There is much
that is wonderful about his Brahms, especially the Second Symphony,
but I find the string sonority a little scrawny. John McClure, who
produced the Walter LA sessions in the American Legion Hall, told me
that Walter's recording orchestra was usually 55 players (augmented to
65 for Bruckner and Wagner).
I realize the smaller string sections in Beethoven and Brahms have
some historical precedent and are in vogue these days, but I prefer
the richer sonority.
Mark Melson
On Wed, 31 Aug 2005 09:41:57 -0700, John Rethorst <nob...@nowhere.net>
wrote:
>In article <1125465283.6...@z14g2000cwz.googlegroups.com>,
> "Todd Schurk" <patte...@hotmail.com> wrote:
>
>> I know these were recorded in L.A.(except
>> for the 9th finale perhaps?) Were the lead players from Hollywood
>> studio orchestras or the L.A. Phil? Or both?
>
>Fascinating story, as I understand it. With the advent of high fidelity
>recording, Columbia wanted Walter to re-record a fair amount of music with the
>NY Phil or other orchestra in the east; Walter had recently discovered Southern
>California and didn't want to leave (a heart condition may been part of his
>reluctance to travel). The LA Phil as a group did not meet Columbia's standards,
Brian Cantin
> There are some great moments in the Walter/Columbia Symphony Beethoven
> and Brahms recordings, but they are ultimately unsatisfying to me
> because of the small string sections. I like more heft to the string
> sound than Walter and the gang can muster in, for instance, the storm
> section of the otherwise delectable "Pastoral" Symphony. There is much
> that is wonderful about his Brahms, especially the Second Symphony,
> but I find the string sonority a little scrawny. John McClure, who
> produced the Walter LA sessions in the American Legion Hall, told me
> that Walter's recording orchestra was usually 55 players (augmented to
> 65 for Bruckner and Wagner).
>
> I realize the smaller string sections in Beethoven and Brahms have
> some historical precedent and are in vogue these days, but I prefer
> the richer sonority.
One of the things I like very much about the Brahms recordings is the
clarified textures resulting from the reduced forces.
Heck51
playing the work, but only with piano accompaniment. "
Yup, Moritz recorded a disc of solo works with piano - including what
used to be called "Mozart Concerto #2 in Bb" [probably by Devienne],
and a number of other items...
he was a fine player.
Eric Nagamine
> There are some great moments in the Walter/Columbia Symphony Beethoven
> and Brahms recordings, but they are ultimately unsatisfying to me
> because of the small string sections. I like more heft to the string
> sound than Walter and the gang can muster in, for instance, the storm
> section of the otherwise delectable "Pastoral" Symphony. There is much
> that is wonderful about his Brahms, especially the Second Symphony,
> but I find the string sonority a little scrawny. John McClure, who
> produced the Walter LA sessions in the American Legion Hall, told me
> that Walter's recording orchestra was usually 55 players (augmented to
> 65 for Bruckner and Wagner).
>
> I realize the smaller string sections in Beethoven and Brahms have
> some historical precedent and are in vogue these days, but I prefer
> the richer sonority.
>
Walter's cycle must have been the first stereo HIP Beethoven cycle. In
private he complained to Zubin Mehta about the size of the orchestra.
Imagine doing Mahler & Bruckner with only 4 string basses!
--
-----------
Aloha and Mahalo,
Eric Nagamine
http://home.hawaii.rr.com/mahlerb/broadcaststartpage.html
Eric Nagamine
Robert Marsteller played Principal bone IIRC. The LP booklet for the
LALA Brahms cycle box lists many of the principals for the orchestra
which was originally contracted by Richard Kagan.
Eric Nagamine
> John Rethorst <nob...@nowhere.net> appears to have caused the following
> letters to be typed in
> news:nobody-FF433E....@comcast.dca.giganews.com:
>
>
>>In article <1125465283.6...@z14g2000cwz.googlegroups.com>,
>> "Todd Schurk" <patte...@hotmail.com> wrote:
>>
>>
>>>I know these were recorded in L.A.(except for the 9th finale perhaps?)
>>>Were the lead players from Hollywood studio orchestras or the L.A. Phil?
>>>Or both?
>>
>>Fascinating story, as I understand it. With the advent of high fidelity
>>recording, Columbia wanted Walter to re-record a fair amount of music
>>with the NY Phil or other orchestra in the east; Walter had recently
>>discovered Southern California and didn't want to leave (a heart
>>condition may been part of his reluctance to travel). The LA Phil as a
>>group did not meet Columbia's standards,
>
>
> Translation: "Wanted more money than a pick-up ensemble."
>
Probably true since Columbia would have to pay for everyone in the
Philharmonic even though Columbia often went with a less than full
complement of strings.
Sacqueboutier
"Eric Nagamine" <en...@hawaii.rr.com> wrote:
Thank you for this info. I had not known this.
Joe Martin
>
> The Columbia Orchestra also recorded the complete works of Stravinsky,
> with Stravinsky and Robert Craft sharing the conducting duties, as well
> as the complete orchestral works of Schoenberg, Berg, Webern and
> Varèse conducted by Craft.
>
Sigh. Was there really a time when major record labels did things like
this? I was born too late.
norman...@comcast.net
"Todd Schurk" <patte...@hotmail.com> wrote in message
news:1125465283.6...@z14g2000cwz.googlegroups.com...
> I've recently been enjoying the stereo Walter Beethoven symphony
> cycle(after not having heard it in ages)and have enjoyed the playing of
> for the 9th finale perhaps?) Were the lead players from Hollywood
> much more than I remember I had in the past. With age comes...?
I believe the word is "principal players."
Todd Schurk
Matthew B. Tepper
letters to be typed in news:1125597454.235315.253040
@g14g2000cwa.googlegroups.com:
Not really. It's more like the people "in charge" of the "major" labels
now have lived too long. ;--)
Tom Deacon
On 8/31/05 4:49 PM, in article BF3B9028.8DE0%don_...@comcast.net,
"Sacqueboutier" <don_...@comcast.net> wrote:
> I must have gotten horn players mixed up. Sorry. Who else was a major
> player in LA at the time?
The Columbia Symphony Orchestra was many different groups, depending upon
where the recording sessions were held.
The Beethoven symphonies were recorded in LA, but that does NOT mean that
the musicians were all from LA. In fact people would fly in from all over
for the privilege of recording Beethoven with Bruno Walter.
Incidentally, the personnel is VERY apparent in the rehearsal discs from
these and other sessions which were issued as companions to the original
sets. Walter addresses his musicians by name. The one name which is constant
is Mr. Bloom.
TD
Sacqueboutier
<non...@yahoo.com> wrote:
May I assume this means they flew in Walter's preferred *principal* players?
Totally understandable. He would certainly want players he had successfully
worked with previously.
I can't imagine Columbia going to the expense of flying in the entire
orchestra. Or did the musicians fly in at their own expense?
Heck51
east coast Columbia Sym recordings - he 1956 "Linz" symphony rehearsal
recording sessions are one example.
on the west coast, Bert Gassman of the LAPO was usually the solo
oboist. IIRC, during the Mahler 9 rehearsal Walter can be heard
addressing him by name..
Walter always tried to learn the names of all the principal players for
whatever orchestra he conducted.
peter_s...@hotmail.com
studios had at that point in time there would be no reason what so ever
to fly in players. Don't forget the Hollywood Quartet came out of the
studios and during the ten or so years that they were in business were
in many ways the equal of any quartet and they were hardly the only
studio players at that level, anyone for Mitchell Lurie who was one of
the finest clarinetists that I ever worked with and the list could go
on. Listen to any of the movie scores turned out by the likes of
Korngold, Roza, Waxman and Herrmann which are anything but easy to
play, and the studio players who perform them do so admirably.
I can't quite imagine in my wildest dreams Columbia putting up the
money to fly in and out many, many times players, to who they would
also have to pay per-diem, hotel etc. The recording dates were spread
out to accommodate Walter's health and if you pulled Bob Bloom (or
anyone else) in from New York he would be in and out of Hollywood for
quite some time. It really doesn't add up.
Recording dates for some of the Brahms Symphonies were
Symphony No. 1 11/25/59
Symphony No. 2 1/11, 14, 16/60
Symphony No. 4 4/2, 4, 6, 9, 12, 14/59
For some of the Beethoven Symphonies:
Symphony No. 1 1/5, 6, 8, 9/59
Symphony No. 3 1/20, 23, 25/58
Symphony No. 4 2/8, 10/58
Symphony No. 5 1/27, 30/58
Symphony No. 6 1/20, 23, 25/58
Symphony No. 8 1/8, 10, 13, and 2/15/58
Symphony No. 9 1/19, 21, 26, 29, 31/59
Bruckner Symphonies:
Symphony No. 4 2/13, 15, 17, 25/60
Symphony No. 9 11/16, 18/59
Mahler:
Symphony No. 1 1/14, 21 and 2/4/6/61
Peter Schenkman
alanwa...@aol.com
>
> May I assume this means they flew in Walter's preferred *principal* players?
> Totally understandable. He would certainly want players he had successfully
> worked with previously.
>
> I can't imagine Columbia going to the expense of flying in the entire
> orchestra. Or did the musicians fly in at their own expense?
> --
> Don Patterson
> Trombonist
> Arranger/Copyist
> "The President's Own"
> United States Marine Band
My problem is in imagining them flying in at their own expense. Yes, I
know he was a nice bloke and all that but.........
Kind regards,
Alan M. Watkins
jrs...@aol.com
We've been over this ground before. It would be interesting if Mr.
Deakon could actually provide a specific example of an LA session with
Walter in which R. Bloom was participating.
--Jeff
Eric Nagamine
> Between the Los Angeles Philharmonic and the player pool that the
> studios had at that point in time there would be no reason what so ever
> to fly in players. Don't forget the Hollywood Quartet came out of the
> studios and during the ten or so years that they were in business were
> in many ways the equal of any quartet and they were hardly the only
> studio players at that level, anyone for Mitchell Lurie who was one of
> the finest clarinetists that I ever worked with and the list could go
> on. Listen to any of the movie scores turned out by the likes of
> Korngold, Roza, Waxman and Herrmann which are anything but easy to
> play, and the studio players who perform them do so admirably.
>
> I can't quite imagine in my wildest dreams Columbia putting up the
> money to fly in and out many, many times players, to who they would
> also have to pay per-diem, hotel etc. The recording dates were spread
> out to accommodate Walter's health and if you pulled Bob Bloom (or
> anyone else) in from New York he would be in and out of Hollywood for
> quite some time. It really doesn't add up.
>
as you've written, they were spaced days apart to allow Walter to rest.
Producer John McClure has written that sessions were limited to mostly
January and February of each they recorded Walter in L.A.
Tom Deacon
On 9/4/05 2:14 PM, in article
1125857656.9...@f14g2000cwb.googlegroups.com, "jrs...@aol.com"
<jrs...@aol.com> wrote:
Since Walter keeps addressing Bloom by name over and over gain in many
different rehearsals which Columbia issued with the LPs, I have no reason to
doubt that he was there.
It does seem to me that there was an article in High Fidelity which came out
at the time in which the personnel of Walter's Columbia Symphony Orchestra
was revealed. I don't have that article, but someone may well do.
By the way, my name is not spelled with a K.
TD
abac...@att.net
Walter keeps addressing Bloom by name over and over gain in many
> different rehearsals which Columbia issued with the LPs, I have no reason to
> doubt that he was there.
A number of years ago, I remember reading in the Double Reed Quartely
Journal(published by the Iternational Double Reed Society)an interview
with Bloom where he was asked to comment about the various conductors
he worked with.
In the rehearsals with Walter, W. was heard to say a number of times to
Bloom,"Zing,zing" in his heavy German accent. I am sure this irritated
Bloom no end.
Bloom thoughts about Walter were not complementary but had very
positive thoughts about Pierre Monteux.
AB
jrs...@aol.com
Tom Deacon wrote:
> > Heck51 wrote:
...
> >> on the west coast, Bert Gassman of the LAPO was usually the solo
> >> oboist. IIRC, during the Mahler 9 rehearsal Walter can be heard
> >> addressing him by name..
Walter doesn't name any names during that rehearsal--at least not on
the CD. He does address "Mr. Gassman" in the Siegfried Idyll rehearsal.
...
>
> Since Walter keeps addressing Bloom by name over and over gain in many
> different rehearsals which Columbia issued with the LPs, I have no reason to
> doubt that he was there.
Bert Gassman was principal for those Wagner sessions held in between
the Beethoven sessions of 1959. So Bloom was shipped out to SoCal in
January and then again in April to finish up that Beethoven 9--about 10
days worth of hotel and two round trip plane tickets just for one
symphony alone, when Walter had an equally fine local player do the
Wagner, an even more sensitive assignment? The more I think about it
the less it makes sense....
--Jeff
Peter Greenstein
<peter_s...@hotmail.com> wrote in message
news:1125857182.9...@z14g2000cwz.googlegroups.com...
OK, then where did RCA get its musicians for the "RCA Victor Symphony
Orchestra" conducted by Wallenstein to record the Brahms Double Concerto
with Heifetz and Piantigorsky on 5/19,20 1960? Venue was "Republic Studios
Sound Stage No.9, Hollywood." Anybody have the ear to tell whether Mr. Bloom
or Mr. Gassman is playing?
Bruno Walter's CSO recorded the same piece 11/20/59.
--
peter greenstein
http://wakefieldjazz.com/
jrs...@aol.com
Other than Lani? Email Sally Bloom, who was putting together a Bloom
discography....or play the disc for your neighborhood oboist!
--Jeff