Composer-conductor-arranger Bert Kaempfert created a sensation with the million-selling hit recording of the hauntingly beautiful WONDERLAND BY NIGHT. With it, he almost single-handedly reestablished the popularity of the big band, and in so doing became one of its most popular and vital forces.
WONDERLAND has been followed by a bright succession of Kaempfert hits the most recent of which, and perhaps the most significant being AFRICAN BEAT together with the title song of this album, and THAT HAPPY FEELING. All these three titles are original Kaempfert compositions, and they represent with their brilliant trumpet passages and beautiful intrusions of massed strings one of the most rhythmically exciting and melodically imaginative sounds ever conceived by Mr. Kaempfert or anyone else on the scene today.
Mr. Kaempfert, like many other modern young men of music, has long been fascinated by the music of Africa; and in particular by the unique rhythms and “penny whistle” sound that is the result of the mergings of Europeon and African negro elements in South Africa. Thus, this album is the outcome of much research and study. Its moods range from softly sentimental to almost boisterously swinging. The sound is characteristically rich.
In this record of great film melodies you will find a selection that will recall memories of many notable films, all made within the last decade.
That’s Entertainment, a tune that has become a show Dietz business Howard zu.th classic, 1931I le Band Wagon” which starred Fred Astaire, Cyd Charisse and Jack Buchanan.
Gigi was composed for the film of the same name by Allan Jay Lerner and Frederick Loewe. The title role was portrayed by Leslie Caron and her suitor by Louis Jourdan; Maurice Chevalier and Her-mione Gingold played supporting roles in this delightful film.
Audrey Hepburn starred as the unforgettable Holly Golightly in the film “Breakfast at Tiffany’s”. The waltz Moon River, written by Johnny Mercer and Henry Mancini received the 1961 Academy ‘Oscar’ Award as “the outstanding tune composed for a motion picture” In that year.
Like so many of the stage shows for which Richard Rodgers and Oscar Hammerstein II wrote the music, “Flower Drum Song” was converted Into a film starring Nancy Kwan, James ShIgeta and Miyoshi Umeki. In the film it was Nancy Kwan who sang / Enjoy Being A Girl.
“West Side Story” was another stage show to become an equally successful film with Natalie Wood, Richard Beymer, George Chakiris and Russ Tamblyn as the stars. The music, including the tune Tonight, was composed by Stephen Sondheim and Leonard Bernstein.
The world-famous waltz Fascination was written by F. D. Marchetti in 1908. It was featured In the film. “Love in the Afternoon”, with Audrey Hepburn, Gary Cooper and Maurice Chevalier in the leading roles.
The theme song La Dolce Vila (The Sweet Life) was composed by Nino Rota for the controversial Italian film of the same name. The international cast included Anita Ekberg and Marcello Mastro, anni.
One of Hollywood’s most eminent lyric-writers, Paul Francis Webster collaborated with Dimitri Tiomkin to compose the enchanting song Friendly Persuasion (Thee I Love) for the film of the same name starring Gary Cooper and Dorothy McGuire. The Greek film “Never on Sunday” is certainly one of the most successful continental films of recent years, and it co-starred Melina Mercouri and Jules Dassin (who also directed it). The catchy theme song Never On Sunday (sub-titled Les enfants de Piree) was written by Manos Hadjidakis.
James Mason, John Mills and Herbert Lom are the stars of the 1962 film “Tiara Tahiti. and the theme music for this was composed by Philip Green and Norman Newell.
The brilliant musical score of the stage and film musical “South Pacific” was another triumph for Richard Rodgers and Oscar Hammerstein II. The film starred Rossano Brazzi and Mitzi Gaynor, and from it we have recalled the tune Happy Talk.
Max Steiner was the composer of the theme from “A Summer Place”, a film which starred Richard Egan, Dorothy McGuire, Sandra Dee, Arthur Kennedy and Troy Donahue.
It Might As Well Be Spring was written in 1944 for the first film version of “State Fair” with Jeanne Crain and Dick Haymes as the stars. This Rodgers and Hammerstein tune is also included in the 1962 film version, which stars Pat Boone. Bing Crosby, Frank Sinatra and Grace Kelly were the stars of the memorable film “High Society”, for which the music was composed by Cole Porter. It was Frank Sinatra who sang You’re Sensational in the film.
Hi-Lili. Hi-Lo was the haunting waltz written by Helen Deutsch and Bronislau Kaper for the film “Lill”, which starred Leslie Caron, Mel Ferrer and Jean Pierre Aumont.
Our final melody A Woman In Love was specially composed by Frank Loesser for the film version of “Guys and Dolls”. The stars were Marlon Brand, Jean Simmons. Frank Sinatra and Vivian Blaine.
All these tunes have been superbly arranged by Brian Fahey, and will recall different memories for many people. Victor Silvester considers that these sixteen songs, played by the thirty-three members of the Silver Strings, deserve to be included among the great film melodies of our time.
George Albert Shearing was born totally blind in London, England on August 13th, 1919. Studying piano by the Braille method at the Linden Lodge School for the Blind, he developed a solid classical technique and a lasting affection for Bach and Debussy.
After graduating from Linden Lodge, he toured with a band of blind musicians, discovered jazz and settled into a solo piano career.
During the War, he was featured with the Ambrose orchestra, starred on his own B.B.C. radio show and wrote arrangements for top English bands. He was voted Britain’s outstanding pianist for seven straight years in polls conducted by the Melody Maker.
He paid America a brief professional visit in 1945 and two years later moved his wife and small daughter there to stay. His unique Bach-to-bop piano stylings were soon adding to the excitement on New York’s 52nd Street.
In 1949, a quartet (composed of piano, clarinet, bass and drums) with which he had been working was approached to make records. At the last moment, it was discovered that a previous contractual agreement prevented the clarinettist from playing the record date. George quickly put together a new group, substituting vibraphone and electric guitar for the clarinet.
The group’s first recording for MGM produced September in the Rain. It and the new “Shearing Sound” were an overnight sensation. Nightclub, theatre and concert offers poured in as the George Shearing Quintet turned out hit after hit. The rest is history.
The “Shearing Sound” flows effortlessly from a mellow blend of piano, vibraphone, electric guitar, bass and drums. It floods ballads and up-tempo numbers with warmth, humour and an abiding respect for the melody. It keeps a fascinating balance between liquid-smooth ensembles and glittering solo work. It makes new material sound “lived in” and more familiar material shimmer and sparkle with surprise. Rhythmically, it never pushes – it floats. As a most functional and flexible kind of mood music, it soothes or stimulates – as unobtrusive background music or, for those who prefer to probe more as an unfailing source of absolutely first-rate collective and individual musicianship.
This collection of favourites by the quintet includes some of its most compelling performances. Sit back, relax and get to know the soft and silky “Shearing Sound”. As your ears will lose little time in telling you, familiarity breeds content.
Listen to mellowness incarnate from George Shearing
