BILL WALKER BERGSTROM PAPER Ultra Lounge LP IMPRESSIONS IN COLOR

$

40

          ... Bill Walker / Bergstrom Paper "Impressions In Color" LP on 1967 US Private issue BP Records # U 31562 Stereo ... The gatefold jacket has minor storage and ring wear, and is overall in very good condition ...The vinyl looks barely played, and has some minor storage wear, and is overall in very good plus condition ... The labels are clean 

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Promotional-only 1967 LP from Bergstrom Paper featuring elaborate packaging (including four bookets[!]) and gatefold jacket.  The various buzzing, stamping and whirring machine sounds from the printing presses were interpolated into band scores for a musique concrete effect in rhythm. From the liner notes: "Everyone who has every worked around printing presses knows that each press sings its own song." For the track 'Blue Line', Walker writes, "...based on a heavy 4/4 rhythm overlaid by an eighth note patter which suggests that rock 'n' roll may really have been derived from a harris Offset LTV 17 X 22 press. There is a strong emphasis on 'bottom' sound produced by the combination of bass trombone, bass harmonica, string bass, and bass guitar. The blend almost seems to be a natural part of the heartbeat of the Harris press.  Harris Press LTV 17 X 22 at 8,000 impressions per hour."

The composer explained in an interview some years later, "My first step was to tape the pressses running at different speeds. We recorded them at 1800 impressions an hour and 8,000 impressions, moving our microphones around each press to get different effects in stereo."Composed, arranged and conducted by William S. Walker, 1950's New York Times jazz critic, this oddity of an album is an rare gem of ultra lounge ::::
"Everyone who has ever worked around printing presses knows that each press sings its own song." The concept of this album made for the Bergstrom Paper Company was to set the rhythms of the presses to music. Some of the efforts are amazing...
Per the liner notes on the featured songs: 

Blue Line - is based on a heavy 4/4 rhythm overlaid by a eighth note patter which suggest that rock n' roll may really have been derived from a Harris Offset LTV 17 X 22 press. There is a strong emphasis on "bottom" sound produced by ta combination of bass trombone, bass harmonica, string bass, and bass guitar. The blend almost seems to be a natural part of the heart beat of the Harris press. Harris Press LTV 17 X 22 at 8000 impressions per hour.

Press Party - is Bill's musical impression of a hazily cloudy day. Miehle Verticle at 4000 impressions per hour.

Harpanova - which is a pressman's bossa nova, proved to be fraught with problems. At the very start, in recording the sound of the press, Bill Walker had to experiment with numerous recordings angels before he found the one that produced the precise rhythm he wanted. Then he wrote a piece so complex that the featured harpist, Eddie Druzinksi of the Chicago Symphony Orchestra practiced his part at home for two weeks with a tape recording of the rhythm section before he felt prepared to make this record. Miller 38 4-color at 4000 impressions per hour.

Opus in Offset - is built around the bass harmonica work of Johnny Thompson. It is an exercise in counterpoint in which two dissimilar melodies complement each other both rhythmically and harmonically. Harris LUB 25 x 38 at 5300 impressions per hour.

Color Me Waltz - is not just a waltz. It a jazz waltz which means that it swings. Miehle 38 2-color at 4500 impressions per hour

Printers Devil - is an example of the varied rhythmic possibles that can be heard in a press. This Heidelberg Letterpress produces a definite 3/4 rhythm but, if you listen closely, you also hear a 4/4 beat. The combination of four on three led Bill Walker to a lively samba with four drummers contributing exotic sounds from a Tahitian wood block, timbales, a jawbone and a snare drum. Over this, the string bass, bass harmonica and bass guitar combine on one melodic pattern while the brass section with clarinet lead follows another pattern. A third line is built by the regular guitar with the bass trombone lending added strength to the whole mixture. Heidelberg Letterpress at 1800 impressions per hour.

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