SANTI TAFARELLA CORNET / ORCH - LAMMERMOOR 78 RPM CLASSICAL SINATRA BLUE WAX

$

100

LUCIA DE LAMMERMOOR

POTPOURRI 1 AND 2

SANTI TAFARELLA CORNETIST

WITH ORCHESTRA ACCOMPINIAMENT

ULTRA, ULTRA – RARE RECORDING BY THE GREAT ITALIAN AMERICAN MASTER CORNETIST / TRUMPETEER, COMPOSER AND CONDUCTOR SANTI TAFARELLA.  CONSIDERED TO BE ONE OF THE GREATEST CORNETIST / TRUMPETEERS.

YOU CAN SEE HIS PROLIFIC PROFESSIONAL HISTORY FURTHER BY USING THE LINKS BELOW.  

- COMPOSER FOR FRANK SINATRA RADIO SHOWS.

- SOME OF  HIS WORKS ARE CURRENTLY HOUSED AT THE CENTRAL INSTITUED FOR SOUND AND AUDIOVISUAL ASSETS OF ROME AND THE MAIN NATIONAL LIBRARIES

- THIS IS A GREEN LABEL, BLUE WAX RECORDING. FOR SURE NOT MANY LEFT AROUND, ESPECIALLY IN THIS CONDITION.

CONDITION: THIS 91 YEAR OLD (1927?) 10 INCH 78 RPM RECORD IS IN NEAR MINT- CONDITION. AS SHOWN IN PHOTOS, IT RETAINS SHEEN AND SHINE. A FEW SMALL, MINOR, NON FEELABLE SCUFFS / SCRATCHES. LABELS ARE IN VG+ CONDITION. A FEW MARKS AS SHOWN IN PHOTOS. RARE OUTSTANDING COPY.

LABEL: COLUMBIA GREEN LABEL BLUE WAX 12006-F.

SIZE: 10 INCHES

SPEED: 78 RPM

Four Italians bands were prominent: during this era:  The Creatore Band, Giuseppe Creatore, Conductor; The Italian Royal Marine Band, Salvatore Minichini, Conductor; Banda Rossi, Alfonso Rossi, Conductor; and The Tafarella Italian Band/Sextette, Santi Tafarella, Conductor.

All of the music of the Tafarella Italian Sextette/Band/Orchestra was unpublished. This delightful group of instrumentalists, headed by cornet-playing Santi Tafarella, comes close to performing the functions of a polka band. Nat Shilkret was frequently called upon to direct the Sestetto Italiano Tafarella and occasionally played the piano. This was the case in the first recording session on 5-21-24 when the following Tafarella compositions were recorded: 77595-B-"Olezzo di RoseValzer" ("Fragrance of Roses"); 77943-B-"Mi Piace Tanto-Mazurka" ("I Like It So Much"); 77720-B-"Baci di fuoco-Polka" ("Burning Kisses" )/-A"Danziamo-Valzer" ("Let's Dance"); 77943-A-"Rosetta-Mazurka"; and 77595-A-"Sorrisi e Baci-Polka" ("Smiles and Kisses").

These whimsies were followed by 7 other sessions: 4-13-25, 1-2826, 7-23-26, 11-3-26, 2-23-27, 4-6-27 and 9-25-28. All were for the U.S. Foreign market and recorded in New York City. 78544-A-"PazzarellaPolka" ("Mad-Cap") (Tafarella) and 78660-B-"Ginetta-Mazurka" (Tafarella) not only displayed the hand of Santi Tafarella on the cornet but the digital dexterity of the ubiquitous Joseph Green playing xylophone, as well as the directing services of Mr. Shields and Mr. Cibelli. Tafarella performed two cornet solos on 7-23-26: 78854-A-Barbiere di Seviglia"Una Voce poco fa. Romanza e Variazone" (Rossini)/-B-Ballo in Maschera"Sopor vorreste. Fantasia" (Masked Ball-"You Would Be Hearing") (Verdi). Other compositions included tarantellas, waltzes, mazurkas, serenades, polkas with cornet, flute, piccolo and violin solos interspersed, all created by Tafarella.

Among the illustrious men who actively participated in the social life of Messina in the last century, we must remember Santi Tafarella, music teacher, director for eleven years of the band of S. Stefano Medio, author of many musical compositions and became so well known in the United States by being selected as the conductor and composer of the music of numerous radio by Frank Sinatra.

Its history, well outlined in the interesting volume "120th anniversary of the foundation of the musical band of S. Stefano medio" by Anacleto Busà and Felice Amato, is similar to that of many emigrants who left our land in the last century after the First World War, when the economic crisis had hit the southern part of Italy.

Santi Tafarella, born in Turin, but who lived for many years in Messina until the early twenties, stood out for the originality of his musical compositions, so much that he was invited to play in front of Queen Elena of Savoy until the imminence of the outbreak of the First World War.

Emigrated to the United States, he became arranger and conductor of music bands, until he moved to Hollywood and established himself as a composer for the Universal Studio in Los Angeles. There are many recordings and musical compositions (marches and waltzes) that recalled his youth spent in the Messina village of S. Stefano Medio, kept at the Central Institute for Sound and Audiovisual Assets of Rome and the main national libraries. Above all, however, they affect the many US sites that celebrate this artist, suggesting listening to his music that rejoiced the American post-war society. He too, like Salvatore Arnò, a musician originally from S. Stefano Medio, with whom he collaborated, is so much celebrated in the United States, as forgotten by the Messinesi of today.

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