The inimitable, cascading sound of the Melachrino Strings has glorified the music of many eras and many lands. In the field of mood music, no orchestra has contributed more than the Melachrino ensemble, investing already treasured melodies with a warm, rich interpretation that has given a unique identity to the orchestra.
Here the Melachrino Strings and Orchestra play a group of songs ideally suited for dining. Perfectly selected, the songs—in Melachrino’s able hands—become a single aura of sound, regal yet inobtrusive, distinctive yet never dissonant.
As you savor the aromas of the dishes you serve, as you perform the tantalizing touches that transform basic ingredients into an epicurean’s choice, as you present to your guests the fruits of your culinary adventure, nothing could be more appropriate than the enveloping waves of sound created by the Melachrino Strings.
As a host, you can be grateful to Melachrino—for providing music that effectively fills the gap you alone could not fill. Like an assembly of loyal friends, the Melachrino Strings and Orchestra bring the romance of music enticingly into your home.
Listening to this music as you dine, you will discover that you are closer to the heart of all that matters in matters of dining than you had been before Melachrino entered your life. To paraphrase the Bard, it is an experience devoutly to be wished.
Enjoy the lush, smooth sounds of the Melachrino strings on this track “Ramona”.
Once, a distinguished orchestral leader, used to having scores of instruments at his command, was asked which instrument he would choose if (Desert Island Discs fashion) he was castaway with only one. The Hammond organ was his immediate reply. It was so versatile, satisfying in result yet challenging in approach.
Just how satisfying it can be is well demonstrated here by Harold Smart (we nearly said Hammond Smart because the two are inseparable) who launches into a tip-top medley of tip-top tunes with happy-go-lucky zest. They are tunes to set your toes a-tapping, your pulse racing. All your favourites are here and your favourite man at the organ playing them! Harold started playing the Hammond organ at the age of 14. He was inspired to learn after hearing the pre-war stars, the Milt Herth Trio making marvellous music at such instruments.
His father gave him the early lessons—with such good result that before the year was out, 14-year-old Harold was making his first broadcast. It turned out to be the first of many. In recent years, he has delighted radio listeners with a regular spot in the popular “Showband Show” . . . a spot he held for six tuneful years. His playing was a regular feature of the “Sing It Again” programmes—and how they sang when his fingers touched the keyboards. And for five years, his music highlighted the “Take Your Pick” quiz show.
Even war did not stop him playing. He served for four and a half years in the Royal Army Medical Corps, seeing service in North Africa, France and Norway, and it was as a soldier he did a number of broadcasts in Oslo. The tunes he plays now are the ones he has had most demands for through his broadcasts and appearances. You can tell by the way they sound that he loves playing them. And there is no doubt you’ll love listening to them, too.
Wondering what all the fuss was about with Harold and his organ? Wonder no more, listen to his “Green Cockatoo” here:
Birthplace? Italy, of course. It takes sun-drenched land to give birth to a sun-drenched voice.
Voice training? Again, Italy. Katyna Ranieri, as a wide-eyed youngster from Florence, studied operatic singing in Rome, but soon gave up the trills and cadenzas of Verdi and Rossini for the world of show business. At seventeen she “went pop” and soon appeared in an Edoardo Spadaro musical show. But wherever she sang—Belgium, Sweden, France, Mexico—she sang always in her native tongue. A voice of lights and shadows singing in a language of lights and shadows. Perhaps this partially explains the fact that, today, Ranieri, superb artist that she is, accomplished in half-a-dozen languages and known throughout the civilised (and sophisticated) world—is still the most loved and famous Italian woman singer of our time.
The secret of her art? She never sings a cheap or vulgar song. What she sings has been carefully, meticulously selected. And when she sings there Is in her voice that rare quality that tells you quietly, but instantly and undeniably, that she is not singing to a roomful of people—she is singing for you alone. The secret of her highly polished art is simple, dramatic communication.
Here we are concerned with her performance, her “act”, her show. You are sitting first-row table at the posh Persian Room in New York, or perhaps, better still, in the star-studded brilliance of Frank Sennes’ Ciro’s, in Hollywood. Famous names and famous faces are all about you. The curtains part and Ortolani appears, baton in hand. He is the distinguished orchestra conductor Katyna met and married in Mexico some years ago. His arrangements and conducting add verve and accent to Ranieri’s singing. There is a brief overture, exotic, tempestuous, exciting. Then Katyna Ranieri appears, richly gowned, warmly voiced. There is a single spotlight on her as she turns toward you . . . you must listen.
There can be few sounds more evocative of a place than the music of Hawaii. The soft, undulating melodies conjure up an image of the sun, the blue sea and the golden beaches. During his lifetime Felix Mendelssohn devoted his time to bringing those musical scenes to British audiences and the happy, carefree atmosphere of the Pacific Islands is captured again with the issue of these sixteen titles. To most people living in Britain, Hawaii seems like some make-believe dream world created by Hollywood and the picture-postcard manufacturers.
In fact, Hawaii is the largest of eight main islands comprising the Hawaiian Islands located near the centre of the Pacific Ocean. The picture of wonderful beaches, tropical flowers and hula dancers is a true one as far as it goes but there is more to the Hawaiian Islands than the immediate tourist appeal. Hawaii is proud of the fact that on August 21st, 1959, it became the 50th U.S. State, while on the island of Oahu, one of the group forming Hawaii, is located the American naval base of Pearl Harbour. Throughout the entire year the average temperature on the islands never drops below the lower seventies while surfboard riding, deep-sea fishing and swimming are some of the main pursuits of visitors. The visitors—the Hawaiians refer to newcomers as Malihinis, incidentally—are invariably captivated by the extreme friendliness of the people and the fabulous array of flowers (including the famous night-blooming cereus). At a luau, or Hawaiian feast, the visitor is likely to be offered poi, a paste made from the root of the taro plant, to say nothing of such exotic local fruits as pineapple, papaya, guava nectar, passion-fruit juice and papaya juice. Small wonder then that many of the Malihinis find the inducement so strong that they become Kamaainas, or old-timers!
Anyone who has ever visited Hawaii is likely to find that the music of Felix Mendelssohn will bring memories flooding back. Perhaps it will recall a particularly colourful Hukilau, or community fishing festival or possibly a trip to Honolulu’s Upside-Down Falls where a heavy rain dashes over cliffs and is blown upwards instead of falling downwards. Maybe My Isle of Golden Dreams will remind listeners of unspoiled Molokai, one of the smaller islands of the group where wild deer roam freely through pine-apple plantations. But even if Hawaii is only a fantasy world to you then we guarantee that the music of Felix Mendelssohn and his Hawaiian Serenaders will bring sunshine and colour into your home.
They’re young, very much in love and they’re all set for their first dance date together. Yes, a real swinging evening lies ahead. In terms of money it will cost them little, but they’ll derive more pleasure from this evening than they would from an expensive night out at the most exclusive night club.
So off they go, with their eyes sparkling and their feet a-tapping. At the dance hall, the band is really letting rip, with rock ‘n’ roll, the Latin-American beat of the Cha Cha, the soft, soothing strains of the waltz (to allow them to get their breath back after that hectic rock number). And then the dance that Mum and Dad did some 25 years ago but which they now claim as their own, yes—the Charleston. All too soon, the night is over, and two tired but very happy and starry eyed teenagers make their way home. Yes, the night is over for them—until the next time; for you the night can go on indefinitely, because on this LP is every dance that you can want. 16 titles in fact and you can have a DANCE DATE every night. Happy dancing.
Apparently it didn’t take the human race long to find out that dancing is fun! For all we know, Adam and Eve may have engaged in a primitive form of the waltz or foxtrot. But although there are dances and dancing to fit every hour, the phrase “dancing in the dark” has a very special and intimate meaning all its own.
Dancing in the dark is more exciting, more romantic, more inviting, more interesting, than dancing at other times. Your own imagination – as did Adam and Eve’s, in all probability – can tell you why’.
Here, then, is a collection of melodies for dancing in the dark; familiar – yet ever new – love songs adapted by that master of the romantic keyboard, Carmen Cavallaro. It might not be inappropriate to suggest that you may even enjoy not dancing to these melodies.
As you probably have guessed by the ease and brilliance of his playing, New York-born Carmen Cavallaro was trained for a concert career. A close friend of the family hearing him pick out tunes on a toy piano at the age of three, urged that the youngster’s musical talents be developed immediately. His parents were receptive to the idea and so, from the age of five years on, Carmen was sent to study at various conservatories. After finishing his courses, he travelled extensively to advance his studies. Subsequently he played in all the leading capitals of Europe.
There is no doubt that Cavallaro’s training in the classics and his ability to play from memory the most difficult music aided him immeasurably and contributed a color and scintillating glitter that caught on at once and made him highly successful in his new field. Carmen emphasized a delicate phrasing interspersed with bits of flashing technique, unexpected changes of pace, and a beautiful full legato tone that makes his interpretations so appealing and so unique.
Connoisseurs agree that Carmen’s style is entirely different from that of any other player of popular music and one which he has made peculiarly his own. While there is no one who plays exactly like him, he has many followers, as is the case with all successful artists. Carmen himself has imitated no one in forming his style, which explains why the public has so quickly recognized and acclaimed its freshness and distinction.
London’s Stoll Theatre has gone. A giant block of offices stands on its site. A small theatre is hidden inside it. But the memories of great nights at the Stoll linger on. On April 20, 1955, the curtain of the Stoll rose on one of the greatest first nights of all – Kismet. The audience knew the music was based on themes by Borodin. They knew the story had been written before the first World War. But they still gasped with surprise at the lavishness of the costumes, the exotic dancing of the slave girls, the words that made Borodin’s music live anew as a segment of The Arabian Nights was spread on the stage, colourful, vigorous, vital. Princess Margaret went twice in six nights. The Queen and Prince Philip went. All London – if they could get tickets – went. The story of the beggar-poet whose daughter married a king captivated Britain as it had already captivated America. Here, on this record, is the music that set the world singing, first on the stage, then as a film. It is music that does not need a linking narrative. It tells its own story of love and violence beneath the hot sun and cool moonlight of a fairy-tale land.
Latin rhythms – fast, slow, brash, or moody – have long been firmly established favourites on this side of the Atlantic Ocean. I don’t know what this extra “something” is that these rhythms possess, but they’ve always intrigued me, and almost everyone who hears them.
The most popular purveyor of “class” Latin music is CHAQUITO: when the Latin craze first hit England some years ago, it was CHAQUITO who scooped the market in no uncertain manner. It was CHAQUITO’s fresh and fascinating arranging that was copied by many other would-be Latin bandleaders. It was CHAQUITO who caused a large American booking agency to spend much time, trouble, and money searching the whole of South America for the band, to book them into North America.
As with most things, CHAQUITO has moved along the musical tread-mill, keeping a close watch on the latest fads and fancies – and he is still the highly successful, big-selling Latin Man, this time with his unique QUEDO BRASS sound.
Hear it. Not raucous, not blasting, but smoothly different, exceedingly attractive – and highly rhythmic. You’ve gotta dance! Or listen … The price is the same! Here, on this special album, are twelve brilliant CHAQUITO and the QUEDO BRASS, numbers, including many of the favourite “standard” tunes throughout the years.
You’re going to enjoy this – and all the other CHAQUITO albums!