The Hollywood Jazz Orchestra Directed By Peter Myers “Oye Como Va”

“Peter Myers is a wonderful musician and has been my friend for over 40 years.” - Bill Conti “Pete Myers is a composer who is at home writing for a symphony orchestra or swinging big band, a vocalist or a horn soloist. The man is crazy-talented and has the writing chops to do anything. Not only is he versatile, he brings to every musical situation a level of musicianship that we all strive for”. - John Clayton, bassist, arranger-composer and co-leader of the Clayton Hamilton Jazz Orchestra “You guys tore it up!” - Quincy Jones

For over a half-century, Peter Myers has been a very prolific arranger and composer, writing for a countless number of films, television series, theater productions, studio orchestras, famous stars, symphonies, and jazz greats. However he had one goal that was unfulfilled until five years ago. “I had been working in the movie business and television business for 35 years and felt it was time to retire from that. I decided to put a big band together and have some fun.” Long based in the Los Angeles area, Myers drew his band members from the large amount of Southern California talent that he had seen through the years. “It was a simple process. Guys would come and rehearse with the band and, when they seemed to me to be the right person for the chair, they would get hired. One of the key choices was my drummer Mel Lee. I’ve known Mel for many years and knew that if I ever put a band together, I’d have to have him on drums. It was important to find just the right lead alto player. Kim Richmond can do anything musically that I ask him to do and he is a consummate professional. Every guy in this band is a strong soloist and is also prepared to play in an ensemble.” The 15-piece orchestra, which consists of four trumpets, three trombones, five saxophones, the leader’s piano, bass, and drums plus guest percussionist Alex Acuna, has performed at a variety of top-notch venues but after five years had not made an official recording. “This is something that I’ve been meaning to do for some time. I spoke with Gordon Goodwin about a studio and an engineer, telling him that I was getting to ready to record our first record. He said ‘It’s long overdue’ and I got the point. I’m a pretty prolific arranger and there are over 100 charts in the book from the past five years. I selected songs that the guys played very very well and that our audiences loved. By the way, all of the performances on this recording were first takes; we didn’t do a second take on any of the songs.” Of the 12 arrangements on the impressive set, Peter Myers’ chart for Cole Porter’s “Love For Sale” is the most famous. Written for the Buddy Rich Orchestra in 1967, it appeared on Rich’s Big Swing Face album and became a permanent part of Rich’s book. The arrangement has been a major seller ever since and is played by college bands from around the world. “Wherever we perform, we’re expected

to play ‘Love For Sale.' The guys in the band told me that we had to absolutely record it.” Starting with a catchy drum rhythm, this original version has the horns playing the melody with just the accompani- ment of drums at first. After the ensemble (which is driven by Mel Lee’s drums) builds in excitement, there are colorful solos from altoist Kim Richmond (displaying a beautiful tone), trumpeter Ron Barrows and, following a very effective transition, tenor-saxophonist Charlie Owens. “Michael & Hank,” a tribute to both Michael Jackson and Henry Mancini, liberally quotes from Jackson’s “Billie Jean” and Mancini’s “Peter Gunn.” The performance has a dramatic beginning by the ensemble before the piece evolves into a funky strut. “Oye Como Va.” “The audiences always love this. I didn’t really listen to the Carlos Santana re- cording but went back to the original Tito Puente version, developing my own arrangement out of that.” The danceable performance has the orchestra sounding like an authentic Cuban band. After the rhythm section and the horns set an irresistible Latin groove, Charles Owens on flute, trumpeter Jon Papenbrook (who takes a spectacular solo), a blazing Ido Meshulam on trombone, and altoist Louis van Taylor add to the intensity and momentum. Note the quotes of “Stars and Stripes Forever” and “Manteca” during the infectious ensembles. “Senor Blues” was one of Horace Silver’s early hits. Silver, a distinctive pianist and songwriter, always had his own soulful sound, one that Peter Myers adapts for his orchestra. After the groove is set and Kim Richmond and Louis van Taylor are heard trading off on flute, the ensemble plays the catchy melody, leading to a powerful statement from trumpeter Barbara Laronga and a nice spot for tenor- saxophonist Rickey Woodard. “Star Crossed Lovers” (by Duke Ellington and Billy Strayhorn) puts altoist Kim Richmond in the spotlight. “This was the #1 feature for Johnny Hodges with the Duke Ellington Orchestra which I tran- scribed. All of the guys in the band complimented Kim about how well he played it.” Richmond not only performs the arrangement flawlessly but he captures Hodges’ classic sound while adding something of his own, not an easy feat. “The Chicken” was composed by Pee Wee Ellis and originally recorded by James Brown in 1969. It has since become a funk/jazz standard. This version by the Peter Myers Orchestra retains the theme and the memorable bassline while giving it a fresh and soulful interpretation. Altoist Louis van Taylor and tenor-saxophonist Rickey Woodard are featured during the infectious performance. “The Hornet” is a catchy rhythmic piece made famous by the Yellowjackets. This big band version features spirited ensembles and, during its second half, fine playing from altoist Louis van Taylor. “Three Trios” has Peter Myers’ arrangement alternating between Duke Ellington’s “Creole Love Call,” Thelonious Monk’s “Blue Monk,” and Miles Davis’ “Freddie Freeloader.” Trombonist Ido Mesh- ulam takes a heated solo full of fast lines that manage to sound effortless and there is a spot for altoist Kim

Richmond before the performance concludes with a reprise of “Creole Love Call.” In the tradition of Buddy Rich, Woody Herman and Maynard Ferguson, each of whom occasionally took a pop song and turned it into a big band romp, Peter Myers and his musicians explore Phil Collins “Tonight, Tonight, Tonight,” a hit for Genesis in the mid-1980s. While keeping the melody and rhythmic pattern intact, Myers turns the piece into jazz fusion, featuring Charlie Owens on tenor, altoist Kim Richmond, and some rollicking playing by drummer Mel Lee. “The Trolley Song” which was made famous by Judy Garland in the 1944 film "Meet Me In St. Louis". While there were many versions recorded during 1944-46, it was really introduced to jazz by Dave Brubeck in 1953. Peter Myers’ inventive and flashy arrangement, which has the verse played in 7/4 time, would have been a bit of a challenge for Garland to sing but it is interpreted flawlessly by his orchestra. “This is not an easy one to play but the guys caught on very quickly.” Covering a variety of moods, tempos and rhythms, it features superb percussion work by Alex Acuna and fine solos from trombonist Ido Meshulam, Kim Richmond (who really cooks) on alto, and trumpeter Ron Barrows. While the arrangement keeps the melody around, it will keep one guessing what is going to occur next. The classic ballad “Try A Little Tenderness” was made famous by Otis Redding with his 1966 recording but it actually dates from 1932 and was originally a hit for Ted Lewis, Ruth Etting and Bing Crosby. The new version is a showcase for the great tenor-saxophonist Rickey Woodard who caresses the melody and gives it his own brand of soul. His passionate playing on this feature always gets a standing ovation from the audience. Forming his successful big band is only the latest accomplishment of Peter Myers’ produc- tive career. Born in Manchester, England to a family of musicians, he took piano lessons (both of his parents were pianists) but at 13 switched to the trombone. “Ted Heath had a famous band in England. After hearing his star trombonist, Don Lusher, I knew that I wanted to do that.” Myers wrote music from an early age, was a professional at 17, worked in dance halls, played in the Army band after he was drafted, and attended the prestigious Royal College Of Music which he credits with teaching him how to focus and zero in on assignments. After graduating, he became a studio trombonist and arranger. “I started writing for a television show in London, Sunday Night At The Palladium, which was a bit like the Ed Sullivan Show with big name American acts. I noticed that they always had great arrangements and I thought that I could do that, but not while living in London. It became my goal to move to Los Angeles.” After taking the plunge and relocating to L.A. in the early 1960s, for a time Myers worked often as a trombonist, recording albums during 1964-68 with Charlie Barnet, Onzy Matthews, Gerald Wilson, Oliver Nelson and the Mike Barone Big Band among others. However he soon had so much work as an arranger that he phased out the trombone. Among his long list of credits is his writing

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Richmond before the performance concludes with a reprise of “Creole Love Call.” In the tradition of Buddy Rich, Woody Herman and Maynard Ferguson, each of whom occasionally took a pop song and turned it into a big band romp, Peter Myers and his musicians explore Phil Collins “Tonight, Tonight, Tonight,” a hit for Genesis in the mid-1980s. While keeping the melody and rhythmic pattern intact, Myers turns the piece into jazz fusion, featuring Charlie Owens on tenor, altoist Kim Richmond, and some rollicking playing by drummer Mel Lee. “The Trolley Song” which was made famous by Judy Garland in the 1944 film "Meet Me In St. Louis". While there were many versions recorded during 1944-46, it was really introduced to jazz by Dave Brubeck in 1953. Peter Myers’ inventive and flashy arrangement, which has the verse played in 7/4 time, would have been a bit of a challenge for Garland to sing but it is interpreted flawlessly by his orchestra. “This is not an easy one to play but the guys caught on very quickly.” Covering a variety of moods, tempos and rhythms, it features superb percussion work by Alex Acuna and fine solos from trombonist Ido Meshulam, Kim Richmond (who really cooks) on alto, and trumpeter Ron Barrows. While the arrangement keeps the melody around, it will keep one guessing what is going to occur next. The classic ballad “Try A Little Tenderness” was made famous by Otis Redding with his 1966 recording but it actually dates from 1932 and was originally a hit for Ted Lewis, Ruth Etting and Bing Crosby. The new version is a showcase for the great tenor-saxophonist Rickey Woodard who caresses the melody and gives it his own brand of soul. His passionate playing on this feature always gets a standing ovation from the audience. Forming his successful big band is only the latest accomplishment of Peter Myers’ produc- tive career. Born in Manchester, England to a family of musicians, he took piano lessons (both of his parents were pianists) but at 13 switched to the trombone. “Ted Heath had a famous band in England. After hearing his star trombonist, Don Lusher, I knew that I wanted to do that.” Myers wrote music from an early age, was a professional at 17, worked in dance halls, played in the Army band after he was drafted, and attended the prestigious Royal College Of Music which he credits with teaching him how to focus and zero in on assignments. After graduating, he became a studio trombonist and arranger. “I started writing for a television show in London, Sunday Night At The Palladium, which was a bit like the Ed Sullivan Show with big name American acts. I noticed that they always had great arrangements and I thought that I could do that, but not while living in London. It became my goal to move to Los Angeles.” After taking the plunge and relocating to L.A. in the early 1960s, for a time Myers worked often as a trombonist, recording albums during 1964-68 with Charlie Barnet, Onzy Matthews, Gerald Wilson, Oliver Nelson and the Mike Barone Big Band among others. However he soon had so much work as an arranger that he phased out the trombone. Among his long list of credits is his writing

Richmond before the performance concludes with a reprise of “Creole Love Call.” In the tradition of Buddy Rich, Woody Herman and Maynard Ferguson, each of whom occasionally took a pop song and turned it into a big band romp, Peter Myers and his musicians explore Phil Collins “Tonight, Tonight, Tonight,” a hit for Genesis in the mid-1980s. While keeping the melody and rhythmic pattern intact, Myers turns the piece into jazz fusion, featuring Charlie Owens on tenor, altoist Kim Richmond, and some rollicking playing by drummer Mel Lee. “The Trolley Song” which was made famous by Judy Garland in the 1944 film "Meet Me In St. Louis". While there were many versions recorded during 1944-46, it was really introduced to jazz by Dave Brubeck in 1953. Peter Myers’ inventive and flashy arrangement, which has the verse played in 7/4 time, would have been a bit of a challenge for Garland to sing but it is interpreted flawlessly by his orchestra. “This is not an easy one to play but the guys caught on very quickly.” Covering a variety of moods, tempos and rhythms, it features superb percussion work by Alex Acuna and fine solos from trombonist Ido Meshulam, Kim Richmond (who really cooks) on alto, and trumpeter Ron Barrows. While the arrangement keeps the melody around, it will keep one guessing what is going to occur next. The classic ballad “Try A Little Tenderness” was made famous by Otis Redding with his 1966 recording but it actually dates from 1932 and was originally a hit for Ted Lewis, Ruth Etting and Bing Crosby. The new version is a showcase for the great tenor-saxophonist Rickey Woodard who caresses the melody and gives it his own brand of soul. His passionate playing on this feature always gets a standing ovation from the audience. Forming his successful big band is only the latest accomplishment of Peter Myers’ produc- tive career. Born in Manchester, England to a family of musicians, he took piano lessons (both of his parents were pianists) but at 13 switched to the trombone. “Ted Heath had a famous band in England. After hearing his star trombonist, Don Lusher, I knew that I wanted to do that.” Myers wrote music from an early age, was a professional at 17, worked in dance halls, played in the Army band after he was drafted, and attended the prestigious Royal College Of Music which he credits with teaching him how to focus and zero in on assignments. After graduating, he became a studio trombonist and arranger. “I started writing for a television show in London, Sunday Night At The Palladium, which was a bit like the Ed Sullivan Show with big name American acts. I noticed that they always had great arrangements and I thought that I could do that, but not while living in London. It became my goal to move to Los Angeles.” After taking the plunge and relocating to L.A. in the early 1960s, for a time Myers worked often as a trombonist, recording albums during 1964-68 with Charlie Barnet, Onzy Matthews, Gerald Wilson, Oliver Nelson and the Mike Barone Big Band among others. However he soon had so much work as an arranger that he phased out the trombone. Among his long list of credits is his writing

for television (Dynasty, Falcon Crest, Jake and the Fatman, the Carol Burnett Show, the Sonny and Cher Show, the Academy Awards), such stars as Della Reese (including being music director of her daily television show), Billy Eckstine, Tom Jones, Natalie Cole, and Sammy Davis Jr, orchestrations for composer Bill Conti on a dozen films (among them Rocky III, Private Benjamin and For Your Eyes Only), working with Quincy Jones on The Wiz, symphonic works (including for Placido Domingo, Jose Carreras and the London Symphony), and many miscellaneous assignments. “During that time I had a luxury that Igor Stravinsky didn’t have. If someone composes a new symphonic piece, they might have to wait a few months to get a run through. I would be up till 4 o’clock in the morning writing music and at 8 that same morning the best musicians in the world would be playing it back to me.” With the formation of the Peter Myers Orchestra, the composer is clearly having a great time. “There is something about an ensemble, when the guys are all on the same page and when they are phrasing the music in the same way, that is quite thrilling to me.” His group has performed at many venues in Southern California including the Vibrato Grill, the Lighthouse Café, Bogie’s, the Village Green, the Mr. C Hotel, Typhoon and the LA Jazz Institute Festival with a particularly highpoint being a concert at Segerstrom Concert Hall in Costa Mesa. Now with the release of their first CD, the power, swing, and pure brilliance of the Peter Myers Orchestra and the inventiveness of their arranger-leader will certainly become much better known beyond the West Coast. - Scott Yanow, jazz journalist/historian and author of 11 books including Swing, Trumpet Kings and Jazz On Record 1917-76

The Hollywood Jazz Orchestra Directed By Peter Myers “Oye Como Va”

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