Peter Arthur Loeb Web Site

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Here is where you can buy my CD, "Four of Me". You can hear free samples to give you an idea what it sounds like. You can buy it by clicking on this:

Or you can buy it by calling 1-800-BUY-MY-CD (1-800-289-6923).

The liner notes by Tim Price are here.

Track Information

Some Thoughts on the Tunes

I have always been fond of the blues. There are several in this set. Four of Me (aka Turkey Day) (track 2) is a straight-ahead blues. B-B (track 7) stands for Blues with a Bridge, which describes it. Timeless (track 12) is in 5/4. The TaF Blues (track 9) is a bit different. The title is a shorthand for "To and Fro". Throughout, there are "pairs" of choruses, in which the first chorus (each chorus is 12 bars) is played "on top of" the beat (perhaps "before" would be a better choice of words), while the second chorus of each "pair" is played "laid back" (or behind the beat). This pattern continues through all the solos, as well as the melody at the beginning and end.

You Know Who (track 8) is based on a lick from a Tom Lehrer song Who's Next, which was written about the atom bomb and who was going to obtain it next. It includes the line "Egypt's going to get one soon, just to use on you know who." My tune is based on the melody underlying the second part of that line (after the comma). The title should now be clear, or as clear as it will ever get.

Five in Three (track 3) is a waltz, Boston Dover (track 5) is a (sort-of) bossa-nova, Camptown Drag (track 10) is a ballad, and Sarah by Sunlight (track 4) is a new melody on a well-known set of changes. As you can see, there is quite a bit of variety, here. The name Altered (track 6) derives from the fact that the "A" section of the tune and the "interlude" (between solos), are based on an altered dominant scale.

There are two standards, both by my dad. Boo-Hoo (track 1) is a Lombardo landmark and Rosie the Riveter (track 11) celebrates women's role in the work force during World War II. I wanted Rosie to be the title song of the album and use the Norman Rockwell painting for the cover, but the Saturday Evening Post wanted way too much for permission to use the image.