Werner Muller and His Orchestra - Firework in Strings

1. Tico-Tico
2. C'est Magnifique
3. Besame Mucho
4. Night and Day
5. Bahia
6. Adios Pampa Mia
7. Frenesi
8. Perdido
9. Tango Caballero
10. Guaglione
11. Armen's Theme
12. American Tango

Firework in Strings

Franck Pourcel - Magnifique

1. Seul Sur Son Etoile
2. Merci Cherie
3. Un Jour Se Leve
4. Yesterday
5. Mon Coeur D'Attache
6. El Cordobes
7. Thunderball (1st. Version)
8. La Chanson De Lara
9. Le Ciel, Le Soleil Et La Mer
10. Quand On Est Ensemble
11. Girl
12. Solenzara

Magnifique

The Creed Taylor Orchestra - Panic "The Son of Shock"

1. You're Driving Me Crazy (What  Did I Do)
2. The Prison Break
3. The Operation
4. Wreck of Old 97
5. Out of This World
6. Lion Act
7. Heartaches
8. Rain
9. Alpine Honeymoon
10. A Shot in the Dark
11. The Fastest Gun
12. No Smoking

Panic - The Son of Shock

Leroy Holmes and His Orchestra - Goes Latin Bossa Nova

1. One Note Samba
2. Desafinado
3. Morena
4. Baia
5. Adios
6. Recado
7. Tabatinga
8. The Jazz Samba
9. Perfidia
10. Poinciana
11. Nocturne
12. O Pato

Goes Latin Bossa Nova

Larry Elgart and His Orchestra - That Old Feeling

1. Once in Love with Amy
2. You Turned the Tables on Me
3. Heartaches
4. Beyond the Blue Horizon
5. That Old Feeling
6. Midnight Sun
7. Nola
8. The Lady Is A Tramp
9. Mountain Greenery
10. Sleepy Time Gal
11. If Love Is Good to Me
12. Honneysuckle Rose
13. Yearning
14. I Cried for You
15. A Pretty Girl Is Like A Melody
16. Wabash Blues
17. Golden Earrings
18. Liza

That Old Feeling

Xavier Cugat and His Orchestra - Cugie A-Go-Go

1. Adios
2. Theme from Zorba The Greek
3. Bang Bang
4. Jungle Rhumba
5. Moon Over Naples (Spanish Eyes)
6. Compadre Pedro Juan
7. Zip-a-Dee-Doo-Dah
8. Goldfinger
9. Music to Watch Girls By
10. La Playa
11. Charade
12. The Jewish Wedding Song
13. Judith
14. Samba Saravah
15. Thunderball
16. Chim, Chim, Cher-ee

Cugie A-Go-Go

Morton Gould and His Orchestra - Coffee Time

1. Mexican Hat Dance
2. Serenade in the Night
3. Laura
4. Hora Staccato
5. The Man I Love
6. Serenata
7. Jamaican Rumba
8. Solitude
9. Besame Mucho
10. Tropical
11. Orchids in the Moonlight
12. Manhattan Serenade

Coffee Time

Joe Loss and His Orchestra - Latin Like Loss

1. Raindrops Keep Falling on My Head
2. My Cherie Amour
3. The Happy Trumpeter
4. Bridge Over Troubled Water
5. Toreando
6. The Champ (Jive)
7. Yester-Me Yester-You Yesterday
8. Can't Help Falling in Love
9. Sugar Sugar
10. If You Love Me (I Won't Care)
11. Love Grows (Where My Rosemary Goes)
12. Wand'rin' Star (Paint Your Wagon)

Latin Like Loss

The Creed Taylor Orchestra - Lonelyville "The Nervous Beat"

1. It's A Lonesome Old Town
2. Dream Beat
3. The Lonesome Road
4. Lonesome River
5. Lonely Train
6. All Alone
7. The Nervous Beat
8. Lonesome and Blue
9. Lonely Girl
10. Dark Street
11. Lonelyville
12. St. James Infirmary

The Nervous Beat

Stan Kenton and His Orchestra - Live in Cologne 76 - Part Two

1. What Are You Doing the Rest of Your Life
2. A Little Minor Booze
3. My Old Flame
4. All the Things You Are
5. 90° Celsius
6. The Peanut Vendor
7. Artistry in Rhythm
8. Take the 'A' Train

Cologne Part Two

There have been few jazz musicians as consistently controversial as Stan Kenton. Dismissed by purists of various genres while loved by many others, Kenton ranks up there with Chet Baker and Sun Ra as jazz's top cult figure. He led a succession of highly original bands that often emphasized emotion, power, and advanced harmonies over swing, and this upset listeners who felt that all big bands should aim to sound like Count Basie. Kenton always had a different vision.

Kenton played in the 1930s in the dance bands of Vido Musso and Gus Arnheim, but he was born to be a leader. In 1941 he formed his first orchestra, which later was named after his theme song "Artistry in Rhythm." A decent Earl Hines-influenced pianist, Kenton was much more important in the early days as an arranger and inspiration for his loyal sidemen. Although there were no major names in his first band (bassist Howard Rumsey and trumpeter Chico Alvarez come the closest), Kenton spent the summer of 1941 playing regularly before a very appreciative audience at the Rendezvous Ballroom in Balboa Beach, CA. Influenced by Jimmie Lunceford (who, like Kenton, enjoyed high-note trumpeters and thick-toned tenors), the Stan Kenton Orchestra struggled a bit after its initial success. Its Decca recordings were not big sellers and a stint as Bob Hope's backup radio band was an unhappy experience; Les Brown permanently took Kenton's place.

By late 1943 with a Capitol contract, a popular record in "Eager Beaver," and growing recognition, the Stan Kenton Orchestra was gradually catching on. Its soloists during the war years included Art Pepper, briefly Stan Getz, altoist Boots Mussulli, and singer Anita O'Day. By 1945 the band had evolved quite a bit. Pete Rugolo became the chief arranger (extending Kenton's ideas), Bob Cooper and Vido Musso offered very different tenor styles, and June Christy was Kenton's new singer; her popular hits (including "Tampico" and "Across the Alley From the Alamo") made it possible for Kenton to finance his more ambitious projects. Calling his music "progressive jazz," Kenton sought to lead a concert orchestra as opposed to a dance band at a time when most big bands were starting to break up. By 1947 Kai Winding was greatly influencing the sound of Kenton's trombonists, the trumpet section included such screamers as Buddy Childers, Ray Wetzel, and Al Porcino, Jack Costanzo's bongos were bringing Latin rhythms into Kenton's sound, and a riotous version of "The Peanut Vendor" contrasted with the somber "Elegy for Alto." Kenton had succeeded in forming a radical and very original band that gained its own audience.

In 1949 Kenton took a year off. In 1950 he put together his most advanced band, the 39-piece Innovations in Modern Music Orchestra that included 16 strings, a woodwind section, and two French horns. Its music ranged from the unique and very dense modern classical charts of Bob Graettinger to works that somehow swung despite the weight. Such major players as Maynard Ferguson (whose high-note acrobatics set new standards), Shorty Rogers, Milt Bernhart, John Graas, Art Pepper, Bud Shank, Bob Cooper, Laurindo Almeida, Shelly Manne, and June Christy were part of this remarkable project, but from a commercial standpoint, it was really impossible. Kenton managed two tours during 1950-1951 but soon reverted to his usual 19-piece lineup. Then quite unexpectedly, Kenton went through a swinging period. The charts of such arrangers as Shorty Rogers, Gerry Mulligan, Lennie Niehaus, Marty Paich, Johnny Richards, and particularly Bill Holman and Bill Russo began to dominate the repertoire. Such talented players (in addition to the ones already named) as Lee Konitz, Conte Candoli, Sal Salvador, Stan Levey, Frank Rosolino, Richie Kamuca, Zoot Sims, Sam Noto, Bill Perkins, Charlie Mariano, Mel Lewis, Pete Candoli, Lucky Thompson, Carl Fontana, Pepper Adams, and Jack Sheldon made strong contributions. The music was never predictable and could get quite bombastic, but it managed to swing while still keeping the Kenton sound.

Kenton's last successful experiment was his mellophonium band of 1960-1963. Despite the difficulties in keeping the four mellophoniums (which formed their own separate section) in tune, this particular Kenton orchestra had its exciting moments. However from 1963 on, the flavor of the Kenton big band began to change. Rather than using talented soloists, Kenton emphasized relatively inexpensive youth at the cost of originality. While the arrangements (including those of Hank Levy) continued to be quite challenging, after Gabe Baltazar's "graduation" in 1965, there were few new important Kenton alumni (other than Peter Erskine and Tim Hagans). For many of the young players, touring with Kenton would be the high point of their careers rather than just an important early step. Kenton Plays Wagner (1964) was an important project, but by then the bandleader's attention was on jazz education. By conducting a countless number of clinics and making his charts available to college and high-school stage bands, Kenton insured that there would be many bands that sounded like his, and the inverse result was that his own young orchestra sounded like a professional college band! Kenton continued leading and touring with his big band up until his death in 1979.

Kenton recorded for Capitol for 25 years (1943-1968) and in the 1970s formed his Creative World label to reissue most of his Capitol output and record his current band. In recent times Capitol has begun reissuing Kenton's legacy on CD and there have been two impressive Mosaic box sets. ~ Scott Yanow, All Music Guide

Stan Kenton and His Orchestra - Live in Cologne 76 - Part One

1. Granada Smoothie
2. Lush Life
3. Turtle Talk
4. Roy's Blues
5. Love for Sale
6. Body and Soul
7. Intermission Riff

Cologne Part One

Stan Kenton was a man who didn't know the meaning of defeat. At age 65, and after several years of increasing physical discomfort, in 1976 he embarked upon one of the most arduos and strenuous European tours ever undertaken by an American band. It was no secret to those close to Stan that he disliked touring overseas. As John Worster confided: "The bus is Stan's home. He hates being in Europe! He doesn't like to fly anywhere. He wants to sit in the bus he owns, and he doesn't even want to go to Canada. He just wants to drive around the States in his bus. I'm exaggerating only slightly. He likes to come to Europe because of the people and the good concert halls, and he likes it once he's here, but getting him to come is really hard work. He really just wants to sit at home and play those places that he knows".

The '76 tour was certainly not without its difficulties. On the very day they were due to leave the States, Dave Sova refused to fly, and the orchestra left with only a four-man sax section. On arrival in Copenhagen, tenor-man Teddy Andersen was recruited out of the Tivoli Gardens band, and he made the entire tour. "A marvellous player, and a beautiful guy", notes Worster. "It took him only a day or so to figure the whole band out, and ours isn't an easy book to play on sight".

The two weeks that followed in Sweden was over-kill for a jazz band in such a small country. The turn-out was relatively good in the big cities, but as Stan put it: "No-one was beating the door down to get tickets". There followed two nights behind the Iron Curtain in Poland, an experience most of the guys preferred not to dwell upon.

John Worster again: "To make matters worse, Stan contracted a bladder infection. He was very ill, he was shaking and looked terrible, I thought he was going to have a stroke or something. I was really worried about him, and the doctors told him to take time off, but he wouldn't; he didn't even cut a tune or anything. but once we got to Germany he seemed much stronger, and the concert in Cologne was good".

The performance singled out by John and heard on these Magic Albuns was recorded before an invited audience in two sets for broadcasting over German radio. Beforehand, these were lengthy rehearsals to ensure the best balance and microphone placements, which accounts in no small degree for the excellent stereo sound. The program is a judicious blend of Kenton favourites and contemporary scores, with no fewer than twelve different arrangers represented, including the ubiquitous "head"!

Two of the best soloists heard on these discs are aptly summed up by Worster: "Jeff Uusitalo (trombone) is very exciting; he gets a real enthusiasm going, which I hope he never loses. Tim Hagans to me is a wonder. He's not a natural trumpet player, he's worked very hard, and now he's not afraid to try anything. He goes out and plays a different solo every night. I'd compare him with Jay Daversa and some of Stan's other very good players. His head is really on right". The same could be said of John's own consistently inspired basswork, teamed with Gary Hobbs' fluid, swinging drums. But as always with Stan, the real star is not any individual however talented, but the orchestra itself: powerful, precise, pulsating. Kenton is in command!

(From the original liner notes)

Personnel:

Jay Sollenberger, Steve Campos, Tim Hagans, Dave Kennedy, Joe Casano (trumpets)
Dick Shearer, Jeff Uusitalo, Mike Egan (trombones)
Allen Morrissey (bass trombone)
Douglas Purviance (bass trombone, tuba)
Terry Layne (alto), Roy Reynolds, Teddy Andersen (tenors), Alan Yankees, Greg Metcalf (baritones)
Stan Kenton (piano), John Worster (bass), Gary Hobbs (drums)
Ramon Lopez (conga)

Recorded: Cologne, West Germany, 16th September 1976.

Joe Loss and His Orchestra - Latin A La Loss

1. Wheels (Cha Cha)
2. Can't Take My Eyes Off You
3. Tango 68
4. A Man Without Love
5. Swingin' Samba
6. The March of The Matadors
7. A Banda
8. My Star (Rumba)
9. Joanna (Rumba)
10. Do You Know the Way to San Jose
11. Panama Poppa (Cuban Beat)
12. Tequila

Latin A La Loss

The Conductor

(1909 - 1990)

The Creed Taylor Orchestra - Ping Pang Pong The Swinging Ball

1. Don't Get Around Much Anymore
2. Daddy
3. Willow Weep for Me
4. Makin' Whoopee
5. Argument
6. Lullaby in Rhythm
7. Whistle While You Work
8. Love Is Here to Stay
9. Lovers
10. Cheek to Cheek
11. Goodbye
12. I've Got My Love to Keep Me Warm

The Swinging Ball

Billy Vaughn - Plays Great German Evergreens

1. In Einer Kleinen Konditorei - Version 1
2. Wenn Du Einmal Dein Herz Verschenkst
3. Schöner Gigolo
4. Abends In Der Taverne
5. Wenn Der Weiße Flieder Wieder Blüht - Version 2
6. Einmal Wirst Du Wieder Bei Mir Sein
7. Goodbye Johnny
8. Roter Mohn
9. Chianti Song
10. Heimat Deine Sterne
11. Bel Ami
12. Es Wird Ja Alles Wieder Gut
13. Wonderland by Night - Version 1
14. Strangers In the Night - Version 1
15. Dankeschön
16. Wiedersehn
17. Berlin Melody
18. Lili Marleen - Version 1
19. Morgen - Version 2
20. A Swingin' Safari - Version 1
21. Pineapple Market
22. The World We Knew
23. Spanish Eyes - Version 1
24. Auf Wiedersehn

Great German Evergreens

João Donato - Blue Bossa - The Collection of Standards

1. Blue Bossa
2. Fly Me to the Moon
3. How High the Moon
4. Besame Mucho
5. Smile
6. Desafinado
7. Over the Rainbow
8. Minha Saudade
9. A Felicidade
10. Recado (The Gift)
11. Amazonas (Amazon)
12. Garota de Ipanema (The Girl from Ipanema)
13. Emorio
14. Wave
15. But Not for Me
16. Frenesi
17. Vento no Canavial
18. So Danco Samba
19. No Coreto (Glass Beads)
20. 'S Wonderful
21. Tea for Two
22. A Paz
23. All of Me
24. A Man and A Woman (Un Homme et Une Femme)
25. Corcovado
26. Tenderly
27. The Shadow of Your Smile

Blue Bossa

Martin Denny - Forbidden Island

1. Cobra
2. Port-Au-Prince
3. Exotica
4. Little China Doll
5. Bali Ha'i
6. Narcissus Queen
7. Goony Birds
8. Sim Sim
9. Primitiva
10. March of the Siamese Children
11. Sukara
12. Forbidden Island

Forbidden Island

Guy Melendy - Pop Pipe Organ in Hi-Fi

1. Back Bay Shuffle
2. Stars Fell on Alabama
3. Falling in Love with Love
4. I Got Rhythm
5. Nochecita
6. I Dream Too Much
7. Birth of the Blues
8. While We're Young
9. Prelude No. 2
10. Gypsy in My Soul
11. You're Mine, You
12. Whippoorwill

Organ in Hi-Fi

Stan Kenton - Artistry in Bossa Nova

1. Artistry in Rhythm
2. Opus in Chartreuse
3. Interlude
4. Kentonova
5. Eager Beaver
6. Concerto to End All Concertos
7. Brasilia
8. Painted Rhythm
9. Opus in Pastels
10. Jump for Joe
11. Loco-Nova
12. Artistry in Bossa Nova

Artistry in Bossa Nova