专辑简介

The 'Maltby Powerhouse' is a fount of musical energy – dynamic selections presented with authority, inexhaustible drive, full of lively shading and constantly swinging. The exciting Maltby arrangements are instilled with the vigor of an allstar aggregation, and the personable voice of songstress Mary Mazza adds an impressive glow to the proceedings. From the opening note, the fuse is lit for an explosive session of sounds and stylings that comprise a 'Maltby Powerhouse.' Starting off in high gear the boys swing out with blues in the modern manner, ablaze with collective improvisation and a smattering of authentic Dixieland brass band effects which they call Marching The Blues. Then, for foot-stomping in a different rhythm, the scene changes to the southwestern corner of Spain, and a city bursting with floral glory and the murmur of clicking castanets. It's a musical profile of Seville during a gala three-day Fair, when dancers gyrate to the voluptuous beat and magnetic attraction of the paso doble. The blues return in a hard-hitting vocal by charming Mary Mazza. Mary believes that the most efficient remedy for relieving the blues is to sing about them – and sing she does, linking her voice with the instrumental tones of the Richard Maltby Orchestra in I've Got The Blues. Next, the super-charged sound takes a respite as the orchestra offers the reflective mood piece, Indian Serenade, which showcases the trombone artistry of Urbie Green. But the boys are whipped up into a fervor again, thanks to the enchantment and demonry of black magic exorcised by the Witch Doctor. It all takes place in the sorcerous spectacle that has Buddy W**d conjuring up bewitching chords at the keyboard, Terry Snyder beating his bedevilled bongos and the ensemble voicing the voodoo refrains to close out this wailing side. The flip over finds the group making the daily rounds as The Fox Steps Out in a jump pounce with some stealthy rhythmic maneuvering. Messrs. Snyder and W**d on marimba and piano respectively, are joined by Teddy Sommer's wily drums, George Duvivier's artful bass and the designing guitar of Al Caiola. Rhythm takes the spotlight again in the fast south-of-the border whirligig that follows, as it pits trumpets against saxes with no holds barred because it's called, Cha Cha Plenty. Then, Mary Mazza bounces back with the novelty entry about a gal who sold her soul to that old devil love. The reason? – 'cause it's Such Fun Being Bad. It's followed by a Latin encore – a tango in the best star rating in dancing and listening for La Fonda… The Inn. The album concludes with a fine example of how a spiritual can be changed into a swinging blues with a blast of right-bright vitality as a Wrong Number turns out to have the correct charge for a 'Maltby Powerhouse.'