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Served by the orchestra of Edmundo Ros, Ted Heath, Harry James, Frank Chacksfield, Stanley Black, Werner Müller, the London Festival Orchestra, the Roland Shaw Orchestra, Band Of The Grenadier Guards, the Ivor Raymonde Singers and the soloists Harry James, Les Paul, Maurice Larcange, Ronnie Aldrich and Shake Keane.
For full track listings see on Discogs.com
Label: Decca S 16850-P
Cover versions in the “sound-alike” genre of hits from 1969 including: Blackberry Way, Wichita Lineman, Monsieur Dupont, If Paradise Is Half As Nice, First Of May, Dancing In The Street, Where Do You Go To (My Lovely), Surround Yourself With Sorrow, One Road, I’m Gonna Make You Love Me, Games People Play, To Love Somebody
Label: Fontana SFL 13124
Ron Goodwin And His Orchestra – The Gypsy Fiddler
Helmut Zacharias And His Orchestra – Light My Fire
Valentino Aranjuez – Mon Amour
Vocals – Mike Sammes Singers
Royal Liverpool Philharmonic Orchestra – Spitfire Prelude
Mr. Acker Bilk – Basin Street Blues
Bravo Brasso – When I’m Sixty-Four
Vilem Tausky – Overture: The Arcadians
Manuel And The Music Of The Mountains – Theme From “A Summer Place”
Brian Bennett – Wichita Lineman
Wout Steenhuis And The Kontikis – Patu Patu Ake
The Hallé Orchestra – In The Hall Of The Mountain King
Sid Sidney Orchestra – Spanish Eyes
Franck Pourcel And His Orchestra – Hey Jude
Chico Arnez And His Cubana Brass – Mexican Whistler
Johnny Douglas And His Orchestra – Overture: “Bitter Sweet”
Label: Stereo2studio STWO 3
Although it is now almost twenty-five years since Glenn Miller lost his life, it is true to say that even today his music has a great hold over the public, for despite the tremendous change in the music scene since Miller’s hey-day, his music is still requested on the radio; still played at concerts and dances.
For music to have survived as long as this it had to be something rather different, which of course the Glenn Miller music was. The Miller orchestra was the personification of musical perfection with a beautifully blended saxophone sound coupled with fantastic precision in the brass. It was a band which made an enormous impression on the whole world.
For this album in panoramic stereo, Cyril Stapleton decided to slightly modernise the music of Glenn Miller, without destroying the charm and style of the original orchestrations. This decision was made because a progressive musician such as Glenn Miller would surely, had he been alive today, have taken every advantage of modern recording sound and technique.
Stapleton therefore enlisted the talents of Britain’s finest musicians, combined them with the outstanding arranging abilities of Kenny Woodman and produced this album of some of Miller’s greatest tunes, played and recorded in a way which, I am sure, would have been applauded by the great man Miller himself. This kind of Miller album comes your way but once in a life-time it would be foolish to overlook it. Roland E. Taylor,
Editor: “The Moonlight Serenader”
Glenn Miller Society,
London, England.
Label: RCA Camden CDS 1153
This, Ray’s first HALLMARK album, is a historic occasion. Not only is it a delightful potpourri of the best of Conniff, but it is also a collection of the several “sounds” which are truly Conniff. The result is a synergistic blend which every Conniff fan will love and all new discoverers of Ray Conniff can treasure.
Ray Conniff himself is not only many-splendored, but many-faceted. This most recent collection demonstrates the remarkable versatility of Ray Conniff the composer, Ray Conniff the conductor, Ray Conniff the arranger and, above all, Ray Conniff the artist.
One of the most remarkable things about Ray Conniff, the man, is that he is forever showing us another side of his glittering virtuosity while retaining the “Ray Conniff Sound”… the “sound” that was the reason for, and is today the measure of, Ray’s successful career. Today it is his trademark. A trademark that cannot be copied or imitated, because the sound is the man and as such cannot he duplicated.
Tom Riley
Label: Hallmark CHM 647
For many years people have been asking when the big bands will make a return to the music scene and nearly always adding … ‘and what would Glenn Miller sound like if he were playing today’s hit tunes’. Well of course, no one knows the answer to either question one can only guess.
Shortly after his disappearance in 1944 the Glenn Miller Orchestra was reformed with great success and to this day it still undertakes a 52-week year itinerary of concerts, one -night stands, college dates, etc. They have toured several countries — many will remember their British tour in 1958. Nowadays, to satisfy the young fans – the modern counterparts of the ’40s – they play music ‘a la Mode’.
Label: Philips LPS16003
“Sounds Like” was a popular way of exploiting an artist’s name without actually having to pay them to record (another was “Non-Stop” as in “Non-Stop Bacharach“. The name alone in many cases was enough to separate money from the record buying public and in the sixties those names included Bert Kaempfert, Burt Bacharach, Ray Conniff and Herb Alpert (or “Tijuana” which implied his involvement) to name but a few.
Label: Fontana SFL 13179
