When at first the grooves of a brand new Polydor LP began to swing more than before, when super actual hit titles could at first be heard with quite a hew instrumentation, there for the first time a new orchestra’s name appeared on the label which before could not have been found in any register: The James Last Band. A many voiced enthusiasm and still more “Bravos” were the unfailing effect. That was quite right. That was what had been missing for dancing. In short: It was the dot on the i! The parties became more animated and received that drive which was always longed for by party fans.
Who is behind this music? What about this James Last Band? Who is the musical magician? These are the questions which by letters and by telephone came to Polydor again and again.
The name: Hans Last. Born in Bremen on April 17, 1929. Highly talented arranger and orchestra leader. They tell that little Hans at the age of nine was able to play “Haenschen Klein” very perfectly on the piano. His parents, being elated over this, agreed that he should have piano lessons when he was ten years Ad. At the age of 14 he went to the music school which he left not before having finished his studies. His favourite instrument was bass. From 1950 to 1953 he was, by the German Jazz Poll, selected the best bassist. A short time later he organized his own band at Radio Bremen.
In 1955 he went to Hamburg. Here began his ascent as a composer and arranger. Suddenly he was on top. Whenever his arrangements were presented for recordings, they were always accepted as being of the best quality. Catarina Valente, Freddy, Alfred Hause, Lolita, Helrnut Zacharias, to name only a few that he arranged for, again and again praised him for his work.
In 1964 Hans Last signed an exclusive contract as producer with Polydor. Now for the first time he was able to develop freely and to record his own ideas. The results are known. James Last and his band are on the road to success. Besides his music, when time allows, James persues his many hobbies. His favourites being sailing, playing tennis, and skiing.
Label: Polydor 184 059 Foto: Peter Penner, Hamburg
Russ Morgan’s style has remained durably successful for many years, even during the lean days of the band business. The explanation, Russ feels, is that “my orchestra is what might be called a ‘middle of the road’ unit. I allow no distortions in the musical arrangements, and yet I make sure the orchestration is rich. Rather than change the melody to suit the arrangement, I make the arrangement suit the melody.” • “For example,” Russ goes on, “Brahms’ Lullaby is a simple and pure melody. Similarly, its harmonies are simple and pure. So our orchestra plays it just that way. On the other hand, Ravel’s La Valse has a complicated melody with complicated harmonies and rhythms. Therefore, we play it the way it was meant to be played. Why play, for another example, Tea For Two and make it sound like St. Louis Blues? They’re both good tunes, but one should never be orchestrated or performed to sound like the other; or still worse, to sound like a combination of both. In short, in ‘Music In The Morgan Manner,’ the original melody is never distorted.” • The story of Russ Morgan’s growth as a musician and leader is an absorbing one. It took many years and much determination for “Music In The Morgan Manner” to be born and then perfected according to Russ’ criteria. That perfection was achieved and Russ Morgan and his music has become a permanent part of the American music scene. On this particular album, Russ Morgan presents a selection of true “evergreens,” songs that have successfully withstood the test of time. Each one is easily identifiable, and each one benefits from the touch of Russ Morgan. Here, then, is “Music In The Morgan Manner!”
Russ Conway’s story is somewhat more tragic than the sleeve notes convey. Of course the sleeve notes are not the place to describe his propensity for bad luck and they were written long before his fall into alcoholism and depression. Russ Conway had the world at his feet at one point and the cover picture of this recording likely portrays a lifestyle not too far removed from reality.
Sleeve Notes:
This is Russ Conway in happiest of moods – pub piano under his fingers. Relaxed, warm, friendly – you can sense the smile, the twinkle in those blue eyes the moment he starts to play. Music to be easy with in true Russ Conway manner; the manner that’s come to be a personal trade-mark on radio, on disc, and to limitless TV audiences on the Billy Cotton (“Wakey Wakey”) Band Show. It’s the manner that marks Russ not only as a top pianist with a rarin’ to go style that’s fresh as paint, but a top entertainer who delights his audiences whether they’re 8, 18 or 85 years old.
Russ Conway was born Trevor H. Stanford in 1927 – a Bristol man. His showbiz career started when he was actually 10 when he made a public appearance with an accordion band at the Bristol Ideal Home Exhibition. But before going into the professional big time he was, among other things: plumber’s mate, salesman, civil servant and barman. Russ also spent about seven years in both the Merchant Navy, starting as a galley boy at the age of 15, and in the Royal Navy – where he was awarded the Distinguished Service Medal.
SELF-TAUGHT MUSICIAN
Cornet, French Horn, Euphonium the 14 year old Russ played them all at Naval Training School, and though piano has always been his first love he also plays the organ. Not only that – he’s completely self-taught in music, too. Playing in a club around 1957 Russ was introduced to an EMI recording manager by dancer Irving Davies who heard him there. He made his debut on disc that April and came up with a seasonal best-seller “Party Pops” the same year. In 1959 Russ received the New Musical Express Award for the outstanding Instrumental Personality of the Year.
GALAXY OF FAVOURITES
On this disc you’ll find all your Russ Conway favourites – all recorded specially for Music for Pleasure. There’s that spanking million-seller “Side-Saddle” along with another of Russ’s hit compositions “Roulette”, chartmakers like “Snow Coach” and oldies like “The Wedding of the Painted Doll” bouncing-bright as a button under the fleet Conway fingers.
A galaxy of old and new tunes bound together by that inimitable freshness, rhythm and sparkle that ensure you stop whatever you’re doing, start your feet tapping, lift your head and say to yourself: ‘That’s Russ!’
They say that all work and no play makes Jack a dull boy. What, then when your work-time’s all playing time? One thing’s certain – when it’s Russ Conway who’s got time to play, there’s always time to listen!
Really, you know, a Joe Loss album is sufficient unto itself – and these notes appended to it are superfluous! For is not his name one of the best known and most firmly established in the whole vast panorama of show business? And does not his orchestra’s reputation as the outstanding British dance band guarantee that this new LP is on a par with all its predecessors – offering the very best in strict-tempo music, and catering for all tastes from the traditional ball-room exponents to the younger and more volatile modem element? Yes, of course you know what to expect from this album. For Joe has been dispensing his own particular brand of compulsive, scintillating, irresistible dance music for more than three decades – unfailingly providing an immaculate tempo, and always one step ahead of his contemporaries in setting trends.
There is no secret formula that has kept Joe Loss so an ahead of his rivals; it is simply a combination of experience and enterprise – experience in assessing exactly what the public wants, and in providing it as attractively as possible; and enterprise not only in keeping abreast of the ever-changing trends in popular music, but also in being able to foreshadow them. Add to these qualities the more tangible factor of the orchestra itself – consisting of some of the finest musicians in the country, but who, nevertheless, operate not as individualists but essentially as a team – and it is not difficult to understand why Joe retains his widespread popularity in these days when (so all the critics are tailing us) the heyday of the his bends is over. His is a simple, yet effective, policy – dictated, not by Joe himself, but by the fan-in-the-street. And thanks to his realistic approach, Joe has carved a very special niche In the public’s affections. Is ha not the fellow we can rely on – whether we weal merely to settle back and listen to our pop favourites played in impeccable style and teats, or whether we wish to lay the ideal foundation for an intimate get-together of friends or a swinging Christmas party? Of course, Joe’s the boy, as we all know – which is the very mason why you are now holding this LP in your hands.
Over the years, Joe has always maintained such an unswervingly high standard, that we are now able to take his music for granted. We do not need to listen to one of his albums before acquiring it – the very name on the label is, as it were, a seal of quality. And in all probability, these words which I have written are already common knowledge to you. Why then, you may ask, have I bothered to introduce a record which, in all honesty, needs little or no introduction? Well, It’s partly because I never cease to marvel at the undiminishing verve and vigour of this remarkable man, who seems to remain forever youthful despite the passing years, and who – as all his friends and acquaintances will verify – acknowledged as one of the “nice guys” of show business, and it\’s also because I never fail to be impressed by the deftness and subtlety with which the maestro always succeeds in blending melody with rhythm. One of the major drawbacks with many strict-tempo records is that they are designed primarily for the dancing enthusiast and, out of that context, they become somewhat Insipid and stereotyped. But Joe’s discs do not came info this category – although perfect in tempo, they are also Impregnated with a very strong entertainment value, thus proving as acceptable to the armchair listener as to the ballroom dancer. Is there anything specific to be said about this new LP? Well, over and above my previous comments, this is an album which compresses virtually the whole nose pop scene Into a nutshell. Including, as it does, over twenty of the biggest chart successes of that year. It is also a collection that no self-respecting party-giver should be without comprising a generous section devoted to the more orthodox dancer; ample opportunity for the young-in-heart to cavort in their own individual Interpretations of the shake or twist (a dance which, having no set pattern, enables even non dancers to “have a go”); a Join-in-the-fun, free-for-all party-time medley, designed to exercise your vocal chords as well as your feet and legs – and, as an innovation, In view of the extent to which Herb Alpert has stamped his influence upon pop music, there’s a colourful Latin-flavoured section in the widely-acclaimed Tijuana style.
In other words, in keeping with Joe Loss’ reputation, there’s something for everyone – an album which only serves to emphasise my long-held belief that show business without Joe Loss would, indeed, be a Dead Loss.
A rare front cover from James Last. One that doesn’t feature his Teutonic, rugged good looks. James liked to see himself on his covers and who could blame him, he was after all the master of easy listening recordings, selling 200 million records around the world.
What is THAT LATIN FEELING? It’s a magic country of the heart… an exhilarating slate of mind. And your passport to that happy state is the pulsating music of Bert Kaempfert and his orchestra.
THAT LATIN FEELING is an album that captures a wonderfully exciting atmosphere – a mood of fun and fiesta time… exotic romance … music with the unique quality that only the Latin rhythms possess.
How does Bert Kaempfert create this magic? With the same superbly danceable and listenable style that has made each of his succeeding album releases a bigger favorite than any before.
His continental background, of course, gives him a certain instinctive flair for the Latin tempos. Certainly in the soaring trumpet notes, he communicates the emotional quality of this graceful and stirring music. And as the Kaempfert tones ring out, you truly share the glow of THAT LATIN FEELING.
Bert has gathered a wonderful array of tuneful treats in this album – including many great standards, SWEET AND GENTLE, THE BREEZE AND I, POINCIANA, MARIA ELENA, BESAME MUCHO – they’re all here, offering bossa nova, cha cha, rumba-bolero or merangue. And you’ll also find yourself swept up in the beat of some delightful originals.
Feel the inclination to get a melodic change of pace? Well, there’s no need to pack a bag, or get a visa stamped. Bert Kaempfert will take you all the way to THAT LATIN FEELING.
This is Tijuana music – the noisy Mexican-American voices in the narrow streets, the confusion of colour and motion – captured in the sound of the Tijuana Brass. Tijuana is a spectacle, a garish border town . . . but it is also sometimes a strangely wistful, romantic place, and that quality is represented here by the often haunting trumpet of Herb Alpert. The Lonely Bull started it all. Herb organized the Tijuana Brass to combine a persistent melody written by a friend with the inspiration of the Tijuana bullring. What emerged was a swinging musical collaboration, and a hit. And now this LP, and a chance to hear Tijuana again in all its aspects, played by trumpeter-arranger-composer Herb Alpert and the bright, bold, versatile Tijuana Brass.
You may be under the impression from this cover alone, should you be unfamiliar with Howard Blake’s career, that this is just another throwaway cheapie like many others from the 60s and 70s. However this album is but one small piece of the Howard Blake jigsaw of career spanning highlights. Mr Blake is also the composer of the famous “Walking In The Air” song from the animated children’s film “The Snowman”. But alongside this Goliath of the music world he also wrote countless numbers for TV, radio, commercials and films. Those of a certain age may remember, for example, the Bounty chocolate bar TV adverts (“a taste of paradise”) and if you do you’ll almost certainly recall the tune that accompanied it. Hear it here for a quick reminder. In the meantime – “Sink back into that comfortable armchair and savour ‘That Hammond Sound’.
Sleeve Notes:
FOLLOWING THE INCREDIBLE SUCCESS OF HOWARD’S FIRST ALBUM, “HAMMOND IN PERCUSSION”, IT WAS DECIDED THAT A FURTHER ALBUM IN THIS SERIES SHOULD BE MADE AVAILABLE. “THAT HAMMOND SOUND” ONCE AGAIN DEMONSTRATES THE SUPERB ‘STUDIO 2 STEREO’ SOUND, AIDED BY THE MOST UP-TO-THE-MINUTE RECORDING TECHNIQUES AND BRINGING INTO YOUR OWN HOME THE EXCITING SOUNDS PRODUCED BY THIS GROUP OF LONDON’S TOP MUSICIANS. EVERY TRACK ON THE ALBUM HAS BEEN SPECIALLY ARRANGED BY HOWARD HIMSELF AND HE ALSO COMPOSED THE VERY WISTFUL TITLE, SCORPIO. SO, SINK BACK INTO THAT COMFORTABLE ARMCHAIR AND SAVOUR “THAT HAMMOND SOUND”.
The name of George Melachrino will always be associated with rich, melodious instrumental music, and the titles on this L.P. ably demonstrate Melachrino’s easy-going style.
Melachrino was born in London in 1909 of Greek parentage, and he showed a leaning towards music at a very early age. “I wrote my first composition when I was four. There was never a chance of my becoming anything but a musician.” He first played the violin at three, and when he was three he made his first public appearance as a violin soloist m a day concert at a London music hall. At sixteen he won a scholarship to Trinity College of Music where he formed a jazz band and learned to play eight different instruments. After his graduation he appeared regularly as a singer and performer at the Old Savoy Hill Studios in London. In the 1930 he played in many different bands and proved to be accomplished performer on the violin. viola, oboe, clarinet and saxophone. During the Second World Was he became musical director of the Army Radio Unit and later formed and conducted the British band of the Allied Expeditionary Force. After the war George formed the Melachrino organisation which consisted mainly of the full size Melachrino Orchestra. He recorded extensively throughout his career and has also been responsible for many films and theatrical performances.
When the first song-writer was casting round for inspiration It is probable that it came to him in the shape of a woman. Through the ages the members of the fair sex have proved the stimulus for many a tunesmith to burst into song in their honour. On this L.P. we invite you to meet twelve beguiling beauties of modern times bewitchingly gowned in creations by George Melachrino and his Orchestra – the twelve lovely ladies who between them display such a variety of charms as to leave any poor male in a state of bemused enchantment. Each of our ladies has a personality that is all her own.
“Laura” is elegant and expensive with a hint of mystery in her eyes: “Dinah” a dusky charmer with a lazy southern drawl; “Louise is a coquettish Parisienne, while “Dolores” is a blackeyed senorita with a fiery Latin temperament. The enigmatic smile of “Mona Lisa”, the sweet innocence each portrait is subtly shaded and coloured by an artist who uses an orchestra for his palette and cellos for brushes. One thing they have in common… each is irresistible.
