A Genuine Tong Funeral

Last updated

A Genuine Tong Funeral
A Genuine Tong Funeral.jpg
Studio album by
Released1968
RecordedJuly 1967
Genre Jazz
Length43:35
Label RCA
Producer Brad McCuen
Gary Burton chronology
Lofty Fake Anagram
(1967)
A Genuine Tong Funeral
(1968)
Gary Burton Quartet in Concert
(1968)
Professional ratings
Review scores
SourceRating
The Penguin Guide to Jazz Recordings Star full.svgStar full.svgStar full.svgStar half.svg [1]

A Genuine Tong Funeral is an album by vibraphonist Gary Burton featuring compositions by Carla Bley recorded in 1967 and released on the RCA label in 1968. [2] It features Burton with Bley herself on keyboards and conducting an expanded ensemble consisting of trumpeter Michael Mantler, trombonist Jimmy Knepper, tenor saxophonist Gato Barbieri, soprano saxophonist Steve Lacy, baritone saxophonist Howard Johnson, guitarist Larry Coryell, bassist Steve Swallow and drummer Bob Moses.

Contents

Reception

The Allmusic review by Scott Yanow awarded the album 4½ stars, stating: "One of vibraphonist Gary Burton's most intriguing recordings... The music is dramatic, occasionally a little humorous, and a superb showcase for Gary Burton's vibes". [3]

Track listing

All compositions by Carla Bley.

  1. "The Opening / Interlude : Shovels / The Survivors / Grave Train" - 6:37
  2. "Death Rolls" - 1:36
  3. "Morning (Part 1)" - 1:43
  4. "Interlude : Lament / Intermission Music" - 4:28
  5. "Silent Spring" - 7:58
  6. "Fanfare / Mother of the Dead Man" - 2:51
  7. "Some Dirge" - 7:47
  8. "Morning (Part 2)" - 1:17
  9. "The New Funeral March" - 2:40
  10. "The New National Anthem / The Survivors" - 6:34

Personnel

References

  1. Cook, Richard; Morton, Brian (2008). The Penguin Guide to Jazz Recordings (9th ed.). Penguin. p. 203. ISBN   978-0-141-03401-0.
  2. Gary Burton discography Archived 2012-01-19 at the Wayback Machine accessed November 21, 2011
  3. Yanow, S. Allmusic Review accessed November 21, 2011
  4. On the album's original release Moses was credited as "Lonesome Dragon" at his request due to creative disagreements with Bley; they later reconciled and Moses became a vocal supporter of her music. See Ethan Iverson, A Lifetime of Carla Bley, The New Yorker, May 13, 2018

Further reading