Don Swan & His Orchestra – Latino (1959)

FrontCover1.jpgMore on the kitschy easy listening side than the smooth, cool Latin recordings of Cal Tjader, Don Swan was nonetheless one of the better white musicians to make inroads into Latin jazz during the ’50s. Swan was born Wilbur Clyde Schwandt in Manitowoc, WI, on June 28, 1904; he studied composition at the University of Chicago and became an arranger for various big bands, even working with comedian Bob Hope’s touring show. In 1940, he was hired as an arranger for Xavier Cugat’s orchestra, a post he would hold off and on for the next 20 years. Swan’s resulting experience and familiarity with Latin music helped put his services in great demand — not only as an arranger, but also as a composer, for both white big bands (Skinnay Ennis, Freddy Martin) and Latin dance orchestras (Perez Prado, Desi Arnaz). Swan signed to Liberty Records as a recording artist circa 1956-1957, and recorded a string of five Latin lounge LPs, beginning with Mucho Cha Ca Cha. Subsequent LPs like All This and Cha Cha Too, Hot Cha Cha, and two volumes of Latino! DonSwan01found Swan heading up all-star groups of West Coast session men, walking the line between Latin jazz and exotic gimmickry. The success of his albums allowed Swan to form a touring group, and he played extensively in New York and Las Vegas. Swan retired from music in the mid-’60s, and eventually moved to Miami, where he died on July 23, 1998, at the ripe old age of 94. (by Steve Huey)

Latino is no closer to serious Latin than Don Swan’s previous three albums, but there is a new maturity and confidence here. Even though “Razz-Berry Mambo” may be lacking in maturity, and “Linda Mujer” begins with a rock beat, overall the group of star West Coast jazz men is sounding more like a touring orchestra than a studio contrivance. The whistling and harp seem to be gone in favor of more post-“Cherry Pink” trumpet theatrics. Latino also raises the bar slightly in its lurid jacket art. (A thumbnail can be seen, and “El Cumbanchero” heard, on the Liberty sampler, Stereo: the Visual Sound LST-100). The model, conga drum, and soft focus are still there, but the fishnet stockings and all else are gone. Even stripped down to the essentials, Latino still reeks of Hollywood cheese. (by Tony Wilds)


Don Swan & His Orchestra


01. El Cumbanchero 2.04
02. Chatita 3.01
03. La Paloma 2.11
04. Miami Beach Rumba 2.21
05. Once Ocheta y Uno 1.46
06. Razz-Berry Mambo 2.16
07. Linda Mujer 1.55
08. Betita 3.20
09. Hokey Joe 2.18
10. Gracias 2.22
11. A San Antonio Me Voy 2.04
12. Cha Cha in Alaska 2.39




Herb Alpert & The Tijuana Brass – Warm (1969)


Herb Alpert (born March 31, 1935) is an American jazz musician most associated with the group variously known as Herb Alpert & the Tijuana Brass, Herb Alpert’s Tijuana Brass, or TJB. Alpert is also a recording industry executive, the “A” of A&M Records, a recording label he and business partner Jerry Moss founded and eventually sold to PolyGram. Alpert also has created abstract expressionist paintings and sculpture over two decades, which are publicly displayed on occasion. Alpert and his wife, Lani Hall, are substantial philanthropists through the operation of the Herb Alpert Foundation.

Alpert’s musical accomplishments include five No. 1 albums and 28 albums total on the Billboard Album chart, nine Grammy Awards, fourteen platinum albums, and fifteen gold albums. Alpert has sold 72 million records worldwide. Alpert is the only HerbAlpert01recording artist to hit No. 1 on the U.S. Billboard Hot 100 pop chart as both a vocalist (“This Guy’s in Love with You”, 1968) and an instrumentalist (“Rise”, 1979)

Warm is a 1969 album by Herb Alpert & the Tijuana Brass. It was the group’s twelfth release and their final album to reach the top 40 on the Billboard albums chart. Warm was a vast departure from all previous Tijuana Brass albums and featured much slower-paced songs leaning more toward a “Brazilian” sound. At this point in his career, Alpert had grown tired of the music the band was playing feeling that it was repetitive and wanted to try a different direction. The opening track “The Sea Is My Soil” was one of the longest songs ever released by the Tijuana Brass running four and a half minutes, while three songs on the album featured lead vocals by Alpert (“Without Her,” “Zazuiera,” and “To Wait For Love”). All three vocal tracks were released as singles. The album received mixed reviews during its initial release but has since become a favorite of many Tijuana Brass fans. (by wikipedia)


Herb Alpert and the Tijuana Brass shed almost all of the dust of Tijuana on this mellow, richly textured album; one reviewer at the time wrote that Alpert seemed to have exchanged bullrings for wedding rings. Lest one think that the TJB came down with a terminal case of the warm fuzzies, though, there are some selections here that sizzle — particularly the old standard “The Continental” — and in terms of arrangements and song selection, the accent falls on Brazil more than on any other TJB album.


Shorty Rogers again was called in to provide voices and orchestrations, but he is more tasteful here than on the Christmas Album, the extreme dynamic range on Harry Nilsson’s “Without Her” notwithstanding. A different take of “To Wait for Love” — the lovely, Bacharach-penned, Alpert-sung follow-up to “This Guy’s in Love with You” from 1968 — is included here, as is the fine single “Zazueira.” Yet Warm was the first non-seasonal TJB album in some time that couldn’t crack the Top 20, for the Brass’ cross-generational appeal was fading fast. (by Richard S. Ginell)


Herb Alpert & The Tijuana Brass


01. The Sea Is My Soul (Caymmi/Mota) 4.31
02. Without Her (Nilsson) 3.24
03. Marjorine (Lake) 3.07
04. Girl Talk (Hefti/Troup) 2.54
05. Ob-La-Di, Ob-La-Da (Lennon/McCartney) 1.59
06. Zazueira (Ben) 3.15
07. The Continental (Magidson/Conrad) 2.07
08. Pretty World (Adolfo/Gaspar/A.Bergman/M.Bergman) 3.47
09. Warm (Wechter) 2.34
10. To Wait For Love (Bacharach/David) 2.59
11. Sandbox (Pisano) 3.24



More from Herb Alpert & The Tijuana Brass:


Jerry Murad’s Harmonicats – Fiesta! (1969)

FrontCover1.JPGJerry Murad’s Harmonicats were an American harmonica-based group. The band was founded in 1947; by 2009, it was no longer performing. Originally they were named The Harmonica Madcaps and the group consisted of Jerry Murad (chromatic lead harmonica), Bob Hadamik (bass harmonica), Pete Pedersen (chromatic harmonica), and Al Fiore, (chord harmonica). They reformed later as a trio with Murad, Fiore, and bass harmonica player Don Les.

Pedersen and Gail Wallace remained contributors to the group throughout its existence, working on arrangements and occasionally recording.

Jerry Murad
Jerry Murad (chromatic harmonica), was an Armenian born in Istanbul, Turkey who moved to America at the age of 2. He played diatonic harmonicas at first, and took up chromatic soon after. Murad played Hohner 270s and 64s, as well as the Musette, a harmonica made especially for him that replicates the sound qualities of a French accordion. It is featured on their 1960s recording of “Parisienne Fantasy”. Murad also played the Hohner Polyphonia (a type of orchestral melodic harmonica).

Jerry Murad's Harmonicats01


Don Les
Don Les (bass harmonica) was born in Chicago, and was blind at birth. He was able to see again at the age of twelve after a successful surgery. At one point, he formed his own version of the Harmonicats. The Don Les Harmonicats, which featured Mildred Mulcay (of the harmonica duo the Mulcays) and Lenny Leavitt. They released a Christmas album entitled Christmas with the Don Les Harmonicats.

Al Fiore
Al Fiore (chord harmonica), was born in Chicago and started experimenting with chord harmonicas at the age of 13. Fiore played the rare pre-war Hohner Chord harmonica. He recorded the band’s No. 1 hit, Peg o’ My Heart on this harmonica. (by wikipedia)

Or, in their own words:


And here´s an album with popular Latin Music tunes:


Just listen to the legendary magic of Jerry Murad and his fabulous Harmonicats – you won’t have heard anything like it! It´s a real unique sound !


Al Fiore (harmonica 24″ chord)
Don Les (bass harmonica)
Jerry Murad (harmonica)
unknown bass player and drummer

Jerry Murad's Harmonicats02

01. Guadalajara (Guizar) 2.23
02. The Peanut Vendor (El Manisero) (Simons) 2.14
03. España Cañi (Marrquina) 2.47
04. La Golondrina (Serradell) 3.14
05. Siboney (Lecuona) 2.45
06. Adios Muchachos (Sanders) 2.40
07. Adios (Madriguera) 1.55
08. Les Filles De Cadix (The Maids Of Cadiz) (Delibes) 2.15
09. La Virgen De La Macarena (Monterde/Calero) 3.04
10. La Cumparsita (Rodrigues) 2.40
11. Mexican Hat Dance (Particheis) 3.13
12. Granada (Lara) 3.08




Marilyn Monroe – The Very Best Of (2000)

FrontCover1.jpgOne of the earliest and most enduring sex symbols of Hollywood, Marilyn Monroe was a talented actress who began a career as a model before foraying into films. The product of a broken home, she did not even know the identity of her biological father. Named as Norma Jeane Mortenson at birth, she spent most of her childhood in foster homes as her mother was mentally unstable and incapable of raising her daughter on her own. The little girl endured a harsh childhood marked by abuse and apathy due to which she suffered from several mental problems later in her life. As a young woman she stared modeling for The Blue Book Modeling Agency and soon became a very successful model thanks to her striking beauty and grace. Eventually she moved on to films, initially appearing in minor roles before bagging more substantial ones. She soon developed an image of a sex symbol by appearing without clothes for the ‘Playboy’ magazine. As an actress she acted in several successful films like ‘The Asphalt Jungle’, ‘The Seven Year Itch’, and ‘The Prince and the Showgirl’. However the final years of her brief life were marked by mental illnesses and alcoholism. Her life was snuffed out untimely when she was just 36 by an overdose of sleeping pills. (


Marilyn Monroe, as an actress, I can only stand in small doses. Her movies are excellent, all of them have something worthwhile and redeeming – even the more mundane offerings like ‘Bus Stop’ and ‘Niagra’ are finely-crafted pieces of film – and the more sublime ones like ‘Gentlemen Prefer Blondes’ and ‘Some Like It Hot’ are honest-to-God classic examples of the comic genius of both 1950s Hollywood and Monroe herself.

For all that, however, I can still only watch the pink and fluffy Goddess for short bursts before I long for something that takes itself a little more seriously.

And that’s when I turn to this!

Monroe as a singer I could listen to forever and a day. Worthy of a far higher degree of praise than popular culture has traditionally accorded her, Monroe’s singing is a very rare experience indeed. Her range is impressive, and her style is actually quite thought-provoking – listen to the contrast between the bubblegum-light ‘Down In The Meadow’ and the melancholic, heavy ‘River of no Return’, and you’ll appreciate the fact that, at least as a singer, Monroe was more than capable of shrugging off her Fantasy Gal image for a deeper and more developed means of communication.


This CD is particularly noteworthy for having all the classics, and also some rarer gems like ‘I’m Gonna File My Claim’ and ‘After You Get What You Want, You Don’t Want It’, both great numbers that are so often omitted from Monroe anthologies and such. Her interpretation of ‘A Fine Romance’ is one of the best ever, and her pairing with the immaculate Jane Russel on ‘Little Girl from Little Rock’ is worth the price of the CD alone.

If you look at all of the most vocally revered female songstresses of this period – Billie Holiday, Nina Simone, Judy Garland – all of them have very fine voices, and an unusual vocal ‘hook’ – Billie’s high acid melancholia, Nina’s deep bass ad-libbing, and Judy’s rolling, emotional high notes – and Monroe is no different.


Her quivery, quirky soprano is fascinating to listen to, and matches her public personality as well as Ms. Julie Andrews’ voice matches hers. It brings great depth to what would otherwise have been a relatively ordinary voice – but that’s an advantage true of all singers.

One to own and listen to again and again, ‘The Very Best of Marilyn Monroe’ is something anyone with an appreciation of female vocalists will absloutely treasure. (by Review Lover)


Marilyn Monroe (vocals)
Jane Russell (vocals on 04., 05. + 08.)
various orchestras


01. Diamonds Are A Girls Best Friend (Styne/(Robin) 3.33
02. Some Like It Hot (Diamond/Berlin/Maineck) 1.20
03. My Heart Belongs To Daddy (Porter/v.Heisen/Cahn) 5.02
04. When Love Goes Wrong (Adamson/Carmichael) 3.29
05. Bye Bye Baby (Kalmar/Adamson/Ruby/Stothart/Carmichael/Styne/Robin) 5.32
06. A Little Girl From Little Rock (D.Daniel/E.Daniel/Styne/Darby/Robin) 3.07
07. River Of No Return (A.Newman/Darby/L.Newman) 2.16
08. I’m Gonna Find My Claim (A.Newman/Darby/L.Newman) 2.39
09. She Acts Like A Woman Should (Delmore/E.Scott/J.Scott) 2.47
10. Kiss (A.Newman/Gillespie/L.Newman) 3.02
11. Lazy (Berlin/Fowler/King) 3.36
12. I Wanna Be Loved By You (Kalmar/Ruby/Stothart/Deutsch) 3.01
13. After You Get What You Want (Berlin) 3.39
14. You’d Be Surprised (Berlin) 3.05
15. Heat Wave (Berlin) 4.24
16. Happy Birthday Mr. President (live) (Traditional) 0.45
17. When I Fall In Love (Heyman/Young) 3.01
18. A Fine Romance (Fields/Kern) 2.22
19. Do It Again (Gershwin/DeSylva) 3.14
20. Down In The Meadow (A.Newman/Darby/L.Newman) 2.30





Polish Radio Orchestra + Peter Sanders & His Players -Melody & Rhythm – Volume 10 (1976)

FrontCover1.JPGI am really excited and anxious to find out what kind of reception this new “Melody & Rhythm” album will get from our listeners and professional programme builders. However I am confident that the originality of the musical ideas offered by Polish composers, arrangers and performer is much to good to be ignored. I would even go further and dare to suspect that the style and somehow peculiar mixture of their kind of pop music will be imitated and followed by the Anglo-Saxon leaders in this field an will ceate a new fashion. Obviosly everybody admires the genius of great Polish composers and musicians in the field of serious and avant-garde music, but this time please listen to their “instrumental pops”, convincingly played by the Polish Radio Orchestra and you will get, I hope, a few nice surprices.

Peter Sander was born in Hungary bt settled in this country when he was still very young. His musical career as a composer, arranger and pianist is quite impressive and covers a wide range of serious and commercial music. Between writing the scores for films and conducting sessions in a recording studio, he finds time to hold the post of lecturer in composiion at the Institute of Adult Education in London.

Peter was very pleased with the kind of combination chosen for our album. The instrumentation of two flutes and bass-clarinet with a light rhythm section of harpsichord, piano, bass-guitar and tuned percussion he found ideal for his sensitive musical taste. In effect he offers a refreshing sound, delicate yet colourful. The excellent quality of the recording makes the listening a pleasant experience (by Richard Frank, taken from the origiaal liner notes).

Polish Radio Orchestra01.jpg

On side one we hear a real crazy mixture of very different styles … from Discosound (“Bej-Ge-Le”), to sentimentals ballads (“Theme In A-Minor”, “Feminine Touch”), Funk (“Hurry, Hurry”) and Big Band Jazz (“The Curtain Goes Up “)

On side B we hear Peter Sanders & His Players …. and he played in a really soft and gentle way … the interaction between the flutes and the bass is really intersting and nice.

Peter Sanders sounds like music from fairy tales …

Some informations about the producer of this album, Richard Frank and the Apollo Sound label:

Richard Frank (Henry Richard Spritzer Frank) is a Polish composer, producer and music publisher. Associated with publisher Anglo-Continental Music Co., based in Denmark Street, London, who notably had a contract with Apollo Sound.

Apollo Sound:
British label based at 32 Ellerdale Road, London and largely centered around composer/publishers Albert Kunzelmann, Heinz Herschmann and Richard Frank.
The catalogue features composers from both the UK and continental Europe, including Poland, the former Yugoslavia and Hungary. Some of the material appears to be licensed. And this label is still active.

So here is a very rare libary music album .

Enjoy !

ApolloSoundWebsite.jpgThe Apollo Sound website

Polish Radio Orchestra (01. – 07.)
Peter Sanders & His Players (08. – 14.)



Polish Radio Orchestra:
01. Bej-Ge-Le (Sikora) 2.13
02. Theme In A-Minor (Żylis) 2.51
03. Hurry, Hurry (Gernard) 2.42
04. Abdul Ben Omar (Mikuła) 2.46
05. Feminine Touch (Maliszewski) 2.29
06. The Curtain Goes Up (Kalemba) 3.15
07. Why Do You Say Goodbye (Gernard) 2.27

Peter Sander And His Players:
08. Love At First Sight (Chubb/Sander/Moncrieff) 3.54
09. Let Me Do It (Deryng/Lauri/Crandell) 2.44
10. Dyevushka (Maylin/Elcome/Molescu) 4.53
11. I’ll Be With You (Wellgarth/Sander/Konar) 3.19
12. Sometime, Somewhere (Liebana/Elcome/Moncrieff) 3.37
13. Tell Me More (Korten/Chubb/Moncrieff) 3.42
14. Fairy Tale (Liebana/Meldrum/Elcome) 4.17



Doris Day – On Moonlight Bay (1951)

FrontCover1.jpgDoris Day (born Doris Mary Ann Kappelhoff; April 3, 1922 – May 13, 2019) was an American actress, singer, and animal welfare activist. After she began her career as a big band singer in 1939, her popularity increased with her first hit recording “Sentimental Journey” (1945). After leaving Les Brown & His Band of Renown to embark on a solo career, she recorded more than 650 songs from 1947 to 1967, which made her one of the most popular and acclaimed singers of the 20th century.

Day’s film career began during the latter part of the Classical Hollywood Film era with the 1948 film Romance on the High Seas, and its success sparked her twenty-year career as a motion picture actress. She starred in a series of successful films, including musicals, comedies, and dramas. She played the title role in Calamity Jane (1953), and starred in Alfred Hitchcock’s The Man Who Knew Too Much (1956) with James Stewart. Her most successful films were the ones she made co-starring Rock Hudson and James Garner, such as Pillow Talk (1959) and Move Over, Darling (1963), respectively. She also co-starred in films with such leading men as Clark Gable, Cary Grant, James Stewart, David Niven, and Rod Taylor. After her final film in 1968, she went on to star in the CBS sitcom The Doris Day Show (1968–1973).


Day was usually one of the top ten singers between 1951 and 1966. As an actress, she became the biggest female film star in the early 1960s, and ranked sixth among the box office performers by 2012. In 2011, she released her 29th studio album, My Heart, which became a UK Top 10 album featuring new material. Among her awards, Day has received the Grammy Lifetime Achievement Award and a Legend Award from the Society of Singers. In 1960, she was nominated for the Academy Award for Best Actress, and in 1989 was given the Cecil B. DeMille Award for lifetime achievement in motion pictures. In 2004, she was awarded the Presidential Medal of Freedom by President George W. Bush followed in 2011 by the Los Angeles Film Critics Association’s Career Achievement Award. She was one of the last surviving stars of the Golden Age of Hollywood. (by wikipedia)


And here are some songs from the Warner Bros. movie “On Moonlight Bay”

On Moonlight Bay is a 1951 musical film directed by Roy Del Ruth which tells the story of the Winfield family at the turn of the 20th century. The movie is based loosely on the Penrod stories by Booth Tarkington. There was a 1953 sequel, By the Light of the Silvery Moon.

In a small Indiana town in the mid-1910s, the Winfield household – banker father George, his wife Alice, their grown tomboyish daughter Marjorie, their precocious trouble-making son Wesley, and their exasperated housekeeper Stella – have just moved into a larger house in a nicer neighborhood.


No one but George is happy about the move, until Marjorie meets their new neighbor, William Sherman, home on a break from his studies at Indiana University. The two are immediately attracted to each other, which makes Margie change her focus from baseball to trying to become a proper young woman. Their resulting relationship is despite, or perhaps because of Bill’s unconventional thoughts on life, including not believing in the institution of marriage, or believing in the role money plays in society.


The road to a happy life between Margie and Bill is not only hindered by distance as Bill returns to school and Margie’s attempts to learn feminine things, but also George’s dislike of Bill because of their differing beliefs, the stuffy Hubert Wakely also trying to court Margie (he who is George’s choice as an appropriate suitor for her), Wesley’s continual meddling in his sister’s life, and World War I. One of those issues may be overcome when Wesley receives a gift from Aunt Martha that used to be his father old slingshot that he used to kill Aunt Martha’s’ best hen. His father discovers the old slingshot after Wesley cracks a window with it, his father gets emotional after he sees it and everything is resolved in time for a happy ending. (by wikipedia)

And this is of course the perfect story for all these romantic, sentiental and old fashioned songs ….

RIP … Doris Day


Alternate frontcover

Doris Day (vocals)
Jack Smith (vocals)
Paul Weston & His Orchestra
The Norman Luboff Choir


01. Moonlight Bay (Madden/Wenrich) 2.32
02. Till We Meet Again (Egan/Whiting) 2.42
03. Love Ya Tobias (De Rose) 2.19
04. Christmas Story (Walsh) 3.12
05. I’m Forever Blowing Bubbles (Kenbrovin/Kellette) 2.19
06. Cuddle Up A Little Closer (Harbach/Hoschma) 2.55
07. Every Little Movement (Harbach/Hoschma) 2.45
08. Tell Me (Tell Me Why) (Callahan/Kortlander) 3.20
09. Closing Remarks (acoustic record ad) 0.26





Day was married four times. She was married to Al Jorden, a trombonist whom she first met in Barney Rapp’s Band, from March 1941 to February 1943. Her only child, son Terrence Paul Jorden (later known as Terry Melcher), resulted from this marriage; he died in 2004. Her second marriage was to George William Weidler, a saxophonist and the brother of actress Virginia Weidler, from March 30, 1946, to May 31, 1949. Weidler and Day met again several years later; during a brief reconciliation, he introduced her to Christian Science.

On April 3, 1951, her 29th birthday, she married Martin Melcher. This marriage lasted until Melcher’s death in April 1968. Melcher adopted Day’s son Terry, who, with the name Terry Melcher, became a successful musician and record producer (The Byrds, Paul Revere & the Raiders and many more)

Don Ralke & His Orchestra – But You’ve Never Heard Gershwin With Bongos (1960)

FrontCover1.jpgDon Ralke (July 13, 1920 – January 26, 2000) was a prolific music arranger, composer, and producer, working for four decades in the Hollywood studio system in films, television, and pop recordings. He was born on July 13, 1920 in Battle Creek, Michigan. Ralke died on January 26, 2000 in Santa Rosa, California.

Ralke received his bachelor’s and master’s degrees in music from the University of Southern California, graduating with honors. He also studied with famed composer and Hollywood emigre, Arnold Schoenberg.
Career overview

On the bongos Ralke collaborated with versatile flute and reed instrumentalist, Buddy Collette on “Jazz Heat”, “Bongo Beat”. Warner Bros. hired him for “Gershwin with Bongoes” and “The Savage and The Sensuous “, which is widely regarded as one of the best jungle exotica albums of that era. He worked with Warren Barker on the music for 77 Sunset Strip and did the heavy musical lifting when Edd “Kookie” Byrnes, one of the show’s stars, became a teen idol and recorded his one hit, “Kookie, Kookie (Lend Me Your DonRalkeComb)”. Ralke performed similar duties for “Hawaiian Eye” star Connie Stevens when she recorded “Sixteen Reasons”. Other recordings include Jewel Akens’ “The Birds and the Bees”, and five other gold records. His orchestra backed Sam Cooke on several 1959-1960 songs. Ralke also recorded two hits by Ty Wagner: “I’m a No Count” as well as “Slander”. In the late 1960s he created his own record company. He collaborated with sound engineer Brad Miller on the hugely successful strings-with-environmental sounds creation, the Mystic Moods Orchestra.

Working with “Golden Throats talent” became a specialty niche for Ralke. Ralke is credited for convincing non-singers including William Shatner and Lorne Greene to play it safe and stick to narration over a musical background. Ralke also produced Beach Boys dad Murry Wilson’s The Many Moods of Murray Wilson which was not kindly lauded by critics but nonetheless has achieved a place as an important footnote in 1960s music.

In 1972 Ralke produced and orchestrated Bob and Dick Sherman’s Grammy nominated musical film Snoopy, Come Home.

DonRalke2In the 1970s, he returned to television, working for producer Garry Marshall on the series “Happy Days” and its spin-off, “Laverne and Shirley”.

Ralke was once described by Stan Ross, co-founder of Gold Star recording studio, as “the most well-known unknown in the business.” (by wikipedia)

Hollywood arranger Don Ralke didn’t make a lot of records, but thank goodness this one. pair of LPs has been reissued. It´s a lounge album featuring bongos, but they couldn’t be less alike in character. “But You’ve Never Heard Gershwin With Bongos,” resets a dozen Gershwin classics in new and sometimes outrageously over-the-top big band settings – by way of a Los Angeles recording studio, naturally. It’s pure Hollywood balderdash and about as authentic as the red naughahyde on a cocktail lounge banquette. Which is why I love it. (Mark Schildenberg)


Don Ralke & His Orchestra


01. Fascinating Rhythm 2.46
02. How Long Has This Been Going On 2.26
03. Clap Yo Hands 3.00
04. Love Is Here To Stay 3.35
05. Summertime 2.55
06. My One And Only 2.34
07. They All Laughed 2.43
08. Love Walked In 3.14
09. They Can’t Take That Away From Me 2.40
10. Maybe 3.33
11. A Foggy Day 2.59
12. I Got Rhythm 3.00

Music composed by George Gershwin