“Whipped Cream” became the title track for the hit 1965 album Alpert and his wife, former Brasil ’66 singer Lani Hall, live in Southern California on a six-acre estate above the Pacific Ocean. We know the basic forms of the songs we play, but within that context the guys are free to play whatever they want. You can be prepared, but if your timing is wrong, it’s not going to happen. I wasn’t crazy about the way the major label treated me. The two of you performed a duet of “Mame” for a 1967 episode of TV’s The Kraft Music Hall. You visited New Orleans in 1968 to film your TV special The Beat of the Brass. Alpert, Hall and their three-piece band have been performing together for the past 11 years. There are a lot of great musicians out there struggling. All artists should be looking for their own voices. And then when I heard Les Paul multitrack his guitar on recordings, I tried that with the trumpet. After I released ‘The Lonely Bull,’ the record that started A&M in 1962, a lady in Germany wrote a letter to me. Alpert, for sending me on a vicarious trip to Tijuana.’ I realized that music was visual for her, that it took her someplace. I want to make music that transports people.’ Before you developed the Tijuana Brass concept, you and your songwriting partner at the time, Lou Adler (future founder of the Dunhill and Ode record labels), wrote “Wonderful World” and “Only Sixteen” for Sam Cooke. While you were here, you and the Tijuana Brass rode a float in the Krewe of Rex parade on Mardi Gras day. Playing with the Preservation Hall Jazz Band, that was an experience all by itself. Cantos, 48, has been a Los Angeles resident for more than 30 years.He first saw Alpert and Hall perform here at Golden Hall in the mid-1970s.“It was wild, all these years later, to suddenly be meeting Herb and Lani, and to be hanging out with them,” Cantos said.“They are truly the most generous, creative people I’ve ever been around.In advance of his Jazz & Heritage Festival appearance, Alpert spoke to We’ll have a great band. I went through a period of trying to sound like Harry James and Louis Armstrong and Miles [Davis]. And New Orleans is probably the most unique city in the whole country. You have three Burt Bacharach songs on your latest album, Human Nature—“Alfie” and “Don’t Go Breaking My Heart” (by Bacharach and Hal David) and “Look Up Again” (by Bacharach and Elvis Costello). The first part of this 1966 Oscar winning animated short is so utterly charming, I'm surprised it hasn't spawned a contemporary remake.This page is based on a Wikipedia article written by contributors (read/edit).Text is available under the CC BY-SA 4.0 license; additional terms may apply.
In the 1960s, Alpert’s infectious, South of the Border sound sustained a ubiquitous presence on pop radio.
The first album to be released by A&M Records, the pioneering independent record label the jazz-loving, trumpet-playing Alpert co-founded with Jerry Moss. “It was my partner’s idea,” the Los Angeles-born Alpert said, crediting Moss.“I used to go to Tijuana and watch bullfights in the spring, and Jerry was with me.
Its hit title track, “The Lonely Bull (El Solo Toro),” put both A&M and Alpert’s mariachi-inspired band on the map, It also set the stage for the group’s 1965 international megahit, “Taste of Honey,” and the 15 Top 40 singles that followed by Alpert, whose work with A&M led to him and Moss being inducted into the Rock and Roll Hall of Fame in 2006.“The Lonely Bull” and “Taste of Honey” were followed by “Tijuana Taxi” and a slew of other popular records, including “Whipped Cream” and “Spanish Flea” (which, together, became the joint theme songs for TV’s “The Dating Game”). That’s when I got the idea to capture the feeling of that moment (of the bullfights) in music. I didn’t want to feel like I was some kind of an impostor. Alpert’s Friday concert here teams him with his second wife and longtime musical partner, Lani Hall, who rose to prominence singing with Sergio Mendes & Brasil 66.
The best-known Tijuana Brass recordings also include “Whipped Cream.” New Orleans composer-pianist Allen Toussaint wrote “Whipped Cream” for Al Hirt. And he used to say, ‘Herbie, you were just listening to a cool piece of wax, man. Early in your career, you signed with RCA Records as a solo artist. With “Whipped Cream,” you met Allen Toussaint via the phone and then, nearly 50 years later, you and him were among the 2013 National Medal of Arts Award recipients, presented by President Barack Obama. When you think about the Western lexicon of music, there are only 12 notes. And I must tell you that my incredible wife, Lani, is my muse.
After the local trumpet star rejected it, Henry Hildebrand, A&M Records’ distributor in New Orleans, played the “Whipped Cream” demo over the phone for Alpert. Timing plays such an important part in the success I’ve had. It either makes it or it don’t.’ It’s not about technique. Did your experience at RCA influence your approach to making music and also leading A&M Records, the label whose artists included the Police, Peter Frampton, the Neville Brothers, Aaron Neville, the Carpenters, Sheryl Crow, Janet Jackson, Sergio Mendes & Brasil ’66, Cat Stevens and Supertramp? You also met and performed with New Orleans native and jazz great Louis Armstrong.
Speaking of retro, we could maybe hang onto a bit of the "Spanish Flea" thing out of respect and because of the character being a flea and all. Like the Herb Alpert and the Tijuana Brass sound that drives it, it's both kid-friendly and a bit adult.