Original list courtesy of Lobbykiller, with additions by Lord Thames. Revised and expanded by me
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.
Additional info as per the sleeves. My comments in [brackets].
APP 5001 - Instrumental Pops No. 1 - The John Fox Group (1968)
APP 5002 - Instrumental Pops No. 2 - Reg Tilsley and His Orchestra (1968)
APP 5003 - Instrumental Pops No. 3 - The Peter Balding Group (1969)
APP 5004 - Instrumental Pops No. 4 - Richard Frank and His Orchestra (1969)
APP 5005 - Instrumental Pops No. 5 - The David Bell Group/Dick Hunter with the Four Rhythm (1969)
APP 5006 - Instrumental Pops No. 6 - John Fox and His Orchestra (1969)
APP 5007 - Melody & Rhythm Volume 1. - John Fox and His Orchestra/The David Lindup Sound (1969)
APP 5008 - Melody & Rhythm Volume 2. - Lem Arcon and His Orchestra/The David Lindup Sound (1969)
APP 5009 - Melody & Rhtyhm Volume 3. - The Franz Thon Big Band/John Fox and His Orchestra (1969)
APP 5010 - Melody & Rhythm Volume 4. - The Buxton Orr Sound/Lem Arcon and His Band (1971)
APP 5011 - Melody & Rhythm Volume 5. - Reg Tilsley and His Music (1971)
APP 5012 - Denga - Robin Jones and His Quintet (1971)
APP 5013 - Colours in Rhythm Volume 1. - Wilf Todd and His Music/The Peter Balding Players (1971)
APP 5014 - Melody & Rhythm Volume 6. - Joze Privsek and His Music (1971)
APP 5015 - Jazz in Landscape - John Porter Trio (1972)
APP 5016 - El Maja - The Robin Jones Seven (1972)
APP 5017 - Instrumental Groups Volume 1 - Moimir Sepe and His Sound (1972)
APP 5018 - Instrumental Groups Volume 2 - Simon Gale and His Music
APP 5019 - Instrumental Groups Volume 3 - Jure Robežnik and His Music (1972)
APP 5020 - Simple Melody Volume 1. - Boris Kovačič and His Music (1972)
APP 5021 - Colours in Rhythm Volume 2. - Karl Heinz Loges and His Music/The Martin Goldstein Players (1973)
APP 5022 - Colours in Rhythm Volume 3. - Simon Gale and His Music/The Dick Hunter Five (1973)
APP 5023 - Melody & Rhythm Volume 7. - The Dick Hunter Five/Gordon Langford and His Group (1974)
APP 5024 - Colours in Rhythm Volume 4. - The Ted Nord Sound/The Pete Hughes Quintet (1974)
APP 5025 - Melody & Rhythm Volume 8. - Budapest Radio Orchestra/Gordon Langford and His Group (1974)
APP 5026 - Colours in Rhythm Volume 5. - Budapest Radio Orchestra/Reg Tilsley and His Group (1976)
APP 5027 - Melody & Rhythm Volume 9. - The Judd Proctor Sextet/Polish Radio Orchestra (1975)
APP 5028 - Colours in Rhythm Volume 6. - The Reg Tilsley Sound/Polish Radio Orchestra (1975)
APP 5029 - Perspectives - The Ian Henry Trio (1975)
APP 5030 - Melody & Rhythm Volume 10. - Polish Radio Orchestra/Peter Sander and His Players (1976)
APP 5031 - Colours in Rhythm Volume 7. - Reg Tilsley and His Players/Polish Radio Orchestra (1976)
APP 5032 - Melody & Rhythm Volume 11. - Polish Radio Orchestra/Peter Sander and His Group (1976)
APP 5033 - Melody & Rhythm Volume 12. - Budapest Radio Orchestra/Polish Radio Orchestra (1977)
APP 5034 - Melody & Rhythm Volume 13. - Polish Radio Orchestra/Peter Sander and His Players (1977)
APP 5035 - Melody & Rhythm Volume 14. - Budapest Radio Orchestra/Polish Radio Orchestra (1978)
APP 5036 - Colours in Rhythm Volume 8. - Budapest Radio Orchestra/Polish Radio Orchestra (1978)
APP 5037 - Melody & Rhythm Volume 15. - Kenneth B. Jones and His Players/Polish Radio Orchestra (1980)
APP 5038 - His and Hers - Peter Sander and His Orchestra/The Jacqueline Binns Ensemble (1980)
Publishers:
APP 5001 - B.V.F. Anglo-Continental Music Co. Ltd.
APP 5002 - B.V.F. Anglo-Continental Music Co. Ltd.
APP 5003 - B.V.F. Anglo-Continental Music Co. Ltd.
APP 5004 - Anglo-Continental Music Co. Ltd.
APP 5005 - B.V.F. Anglo-Continental Music Co. Ltd.
APP 5006 - B.V.F. Anglo-Continental Music Co. Ltd.
APP 5007 - Melo-Musik AG., Zurich
APP 5008 - Melo-Musik AG., Zurich
APP 5009 - Melo-Musik AG., Zurich
APP 5010 - Melo-Musik AG. (Zurich)
APP 5011 - Melo-Musik Ag. Zurich/Obelisk Music, London
APP 5012 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5013 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5014 - Melo-Musik AG., Zurich
APP 5015 - Melo-Musik AG., Zurich
APP 5016 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5017 - Adastra-musik GmbH. (Zurich)
APP 5018 -
APP 5019 - Adastra-Musik GmbH. (Zurich)
APP 5020 - Adastra-Musik GmbH. (Zurich)
APP 5021 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5022 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5023 - Melo-Musik AG., Zurich
APP 5024 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5025 - Melo-Musik AG., Zurich/Editio Musica Budapest assigned to Melo-Musik AG., Zurich
APP 5026 - B.V.F. Anglo-Continental Music Co. Ltd. (London)/Editio Musica Budapest assigned to B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5027 - Melo-Musik AG, Zurich
APP 5028 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5029 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5030 - Melo-Musik AG., Zurich
APP 5031 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5032 - Melo-Musik AG., Zurich
APP 5033 - Melo-Musik AG., Zurich
APP 5034 - Melo-Musik AG., Zurich
APP 5035 - Melo-Musik AG., Zurich
APP 5036 - B.V.F. Anglo-Continental Music Co. Ltd. (London)
APP 5037 - Melo-Musik AG., Adliswil-Zurich
APP 5038 - Melo-Musik A.G. Adliswil-Zurich
Composers:
APP 5001 - Krys Moram (Jan Markowski)/John Fox/Algenon de Vere (Heinz Herschmann)/Jack Bova (Johann von Valter)/Peter Balding (John Fox)/Heinz Herschmann/George Callert (Roman W. Zajaczek)/David Bell (John Fox)/Jan Tyski (Jan Tyszkiewicz)/John Valter (Johann von Valter)
APP 5002 - Jan Loren (Jan Tyszkiewicz)/Andrew Berg (Johann von Valter)/Reg Tilsley/Robert Konar (Jan Markowski)/Richard Frank/Claude Carrasu (Roman W. Zajaczek)/Antonio Liebana (Richard Frank)/Dick Olden (Victoria Scharlau)/Jack Bova (Johann von Valter)/Algenon de Vere (Heinz Herschmann)/John Valter (Johann von Valter)/Charles Meldrum (Heinz Herschmann)
APP 5003 - Cyril Watters/Charles Meldrum (Heinz Herschmann)/Don Ray (Victoria von Valter)/Wolfgang Turk (????)/Cyril Walsh (Cyril Watters)/Algenon de Vere (Heinz Herschmann)/Dick Olden (Victoria Scharlau)/Konrad Wolf/John Fox/Heinz Herschmann/Peter Balding (John Fox)/Robert Konar (Jan Markowski)/Jan Loren (Jan Tyszkiewicz)
APP 5004 - Don Ray (Victoria von Valter)/Richard Frank/Andrew Berg (Johann von Valter)/Jan Markowski/Antonio Liebana (Richard Frank)/John Valter (Johann von Valter)/Heinz Herschmann/Reg Tilsley/Charles Meldrum (Heinz Herschmann)/Jan Tyski (Jan Tyszkiewicz)/John Fox/Krys Moram (Jan Markowski)/Jerzy Gert/Jack Bova (Johann von Valter)/Wolfgang Turk (????)/Konrad Wolf
APP 5005 - Jan Loren (Jan Tyszkiewicz)/David Bell (John Fox)/Charles Meldrum (Heinz Herschmann)/Don Ray (Victoria von Valter)/Harry Stoneham/Algenon de Vere (Heinz Herschmann)/Dick Maylin (Leokadia Bielska)/Dick Olden (Victoria Scharlau)/Andrew Berg (Johann von Valter)/Krys Moram (Jan Markowski)/Jack Bova (Johann von Valter)/John Valter (Johann von Valter)/Tom Crandell (Albert Kunzelmann)/Wolfgang Turk (????)/Konrad Wolf
APP 5006 - Andrew Berg (Johann von Valter)/David Reeves/Antonio Liebana (Richard Frank)/Peter Balding (John Fox)/John Fox/Algenon de Vere (Heinz Herschmann)/Edward Ramsay (David Reeves)/Jan Loren (Jan Tyszkiewicz)/Reg Tyler (David Reeves)/Jack Bova (Johann von Valter)/Don Ray (Victoria von Valter)/Robert Konar (Jan Markowski)/David Bell (John Fox)/Krys Moram (Jan Markowski)/Richard Bainbridge (David Reeves)/Charles Meldrum (Heinz Herschmann)/Wolfgang Turk (????)/Konrad Wolf
APP 5007 - Horst Bredow (Dietmar Kindler)/Eric Wetherell/Klaus Köster (Klaus Werker)/Kurt Kiermeir/Bert Petri (Gerhard Quaas)/John Fox/Manfred Minnich/Ed Wernov (Werner von Overheidt)/Tom Crandell (Albert Kunzelmann)/Joachim Ewen/Jan Tyski (Jan Tyszkiewicz)/Krys Moram (Jan Markowski)/Fred Korten (Irene Kunzelmann)/Michael Carl (Carl Michalski)/Zofia Nowicka
APP 5008 - David Lindup/Ted Richards (Tom Richardson)/Dick Maylin (Leokadia Bielska)/Eric Pickering (Tom Richardson)/Irene Alberti (Isobel Herschmann)/Albert Mick (Leokadia Bielska)/Lem Arcon (Albrecht Hübner)/Wolfgang Brenk (Wolf Niggeling)/Robert Konar (Jan Markowski)/Nick Rosen (Irene Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Eddie Elcome (Albert Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Algenon de Vere (Heinz Herschmann)
APP 5009 - Charles Crane (Sydney Bron)/Charles Meldrum (Heinz Herschmann)/Tom Crandell (Albert Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Irene Alberti (Isobel Herschmann)/Franz Thon/Alojzy Kluczniok/Eddie Elcome (Albert Kunzelmann)/Robert Konar (Jan Markowski)/Nick Rosen (Irene Kunzelmann)/Dick Maylin (Leokadia Bielska)/Adam Rudnicki/John Fox/Kurt Miermeir
APP 5010 - Buxton Orr/Fred Korten (Irene Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Lem Arcon (Albrecht Hübner)/Jul Danczak/Gerhard Golzo/Nick Rosen (Irene Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Louis Daeblitz (Buxton Orr)/Charles Meldrum (Heinz Herschmann)/Albert Kunzelmann/Holger Gozard (Gerhard Golzo)/Alf Stjanko (Albrecht Hübner)/Martin Winterberger (Robert von Kessler)/Krys Moram (Jan Markowski)/Roy Buxton (Buxton Orr)/Wolfgang Brenk (Wolf Niggeling)/Peter Deryng (Jan Tyszkiewicz)/Pat Oden (Jul Danczak)/Irene Kunzelmann/Eddie Elcome (Albert Kunzelmann)
APP 5011 - Phillida Moncrieff (Isobel Herschmann)/Eddie Elcome (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Irene Kunzelmann/Krys Moram (Jan Markowski)/Alfred Jack/John Bradbury/Michael Chubb/Fred Korten (Irene Kunzelmann)/Wolfgang Brenk (Wolf Niggeling)/Henry Norman (Reg Tilsley)/Charles Meldrum (Heinz Herschmann)/Albert Kunzelmann/Algenon de Vere (Heinz Herschmann)/Tom Richardson/Martin Winterberger (Robert von Kessler)/Peter Deryng (Jan Tyszkiewicz)/Tom Crandell (Albert Kunzelmann)/Eric Wetherell
APP 5012 - Ian Henry (Harry Garber)/Eddie Elcome (Albert Kunzelmann)/Fred Korten (Irene Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Buck Halter (Harry Garber)/Wolfgang Brenk (Wolf Niggeling)/Olaf Vas/Antonio Liebana (Richard Frank)/Algenon de Vere (Heinz Herschmann)/Robert Konar (Jan Markowski)/Martin Winterberger (Robert von Kessler)/Peter Deryng (Jan Tyszkiewicz)/Harry Garber/Charles Meldrum (Heinz Herschmann)/Cavarllo (Rita Todd)/Earl Ward (Wilf Edwards)
APP 5013 - Cavarllo (Rita Todd)/Eddie Elcome (Albert Kunzelmann)/Fred Korten (Irene Kunzelmann)/Peter Balding (John Fox)/Jan Tyski (Jan Tyszkiewicz)/Tony Bagwell (????)/Krys Moram (Jan Markowski)/Tom Crandell (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Antonio Liebana (Richard Frank)/Martin Winterberger (Robert von Kessler)/Algenon de Vere (Heinz Herschmann)/Wolfgang Brenk (Wolf Niggeling)
APP 5014 - Joze Privsek/Fred Korten (Irene Kunzelmann)/Igor Molescu (Richard Frank)/Charles Meldrum (Heinz Herschmann)/Michael Chubb/Eddie Elcome (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Irene Kunzelmann/Dick Maylin (Leokadia Bielska)/Tom Crandell (Albert Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Phillida Moncrieff (Isobel Herschmann)/Krys Moram (Jan Markowski)/Wolfgang Brenk (Wolf Niggeling)/Jan Tyski (Jan Tyszkiewicz)/Antonio Liebana (Richard Frank)/Albert Kunzelmann
APP 5015 - John Porter/Phillida Moncrieff (Isobel Herschmann)/Igor Molescu (Richard Frank)/Michael Chubb/Tom Crandell (Albert Kunzelmann)/Jack Willden (John Porter)/Krys Moram (Jan Markowski)/Stan Delvin (John Porter)/Charles Meldrum (Heinz Herschmann)/Eddie Elcome (Albert Kunzelmann)/Wolfgang Brenk (Wolf Niggeling)/Algenon de Vere (Heinz Herschmann)/Albert Kunzelmann/Fred Korten (Irene Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Albert Mick (Leokadia Bielska)
APP 5016 - John Porter/Tom Crandell (Albert Kunzelmann)/Igor Molescu (Richard Frank)/Robin Jones/Fred Korten (Irene Kunzelmann)/Eddie Elcome (Albert Kunzelmann)/Olaf Vas/Peter Deryng (Jan Tyszkiewicz)/Dick Maylin (Leokadia Bielska)/Krys Moram (Jan Markowski)/Albert Mick (Leokadia Bielska)/Antonio Liebana (Richard Frank)/Charles Meldrum (Heinz Herschmann)/Nick Rosen (Irene Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Wolfgang Brenk (Wolf Niggeling)
APP 5017 - Sean Moore (Moimir Sepe)/Moimir Sepe/Peter Arnold (Dušan Velkaverh)/Peter Bernard (Moimir Sepe)/Fred Korten (Irene Kunzelmann)/Wolfgang Brenk (Wolf Niggeling)/Antonio Liebana (Richard Frank)/Eddie Elcome (Albert Kunzelmann)/Krys Moram (Jan Markowski)/Dick Maylin (Leokadia Bielska)/Tom Crandell (Albert Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Igor Molescu (Richard Frank)
APP 5018 -
APP 5019 - George Roberts (Jure Robeznik)/Fred Korten (Irene Kunzelmann)/Jan Tyski (Jan Tyszkiewicz)/Igor Molescu (Richard Frank)/Jure Robeznik/Peter Arnold (Dušan Velkaverh)/Albert Molan (Jure Robeznik)/Janez Gregorc/Irene Kunzelmann/Tom Crandell (Albert Kunzelmann)/Dick Maylin (Leokadia Bielska)/Krys Moram (Jan Markowski)/Antonio Liebana (Richard Frank)
APP 5020 - Daniel Lorenti (????)/Simon Gale (Joze Privsek)/Boris Kovacic/Peter Arnold (Dušan Velkaverh)/Joze Privsek/Jeff Conway (Joze Privsek)/Daniel Starman (????)/David Starman (????)/Tom Crandell (Albert Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Igor Molescu (Richard Frank)/Irene Kunzelmann/Dick Maylin (Leokadia Bielska)/Eddie Elcome (Albert Kunzelmann)/Krys Moram (Jan Markowski)/Antonio Liebana (Richard Frank)
APP 5021 - Karl Heinz Loges/Eddie Elcome (Albert Kunzelmann)/Antonio Liebana (Richard Frank)/Dick Maylin (Leokadia Bielska)/Hans Willy Bergen/Martin Goldstein/Nick Rosen (Irene Kunzelmann)/Krys Moram (Jan Markowski)/Ronnie Dadson (Martin Goldstein)/Fred Korten (Irene Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Peter Deryng (Jan Tyszkiewicz)/Albert Mick (Leokadia Bielska)/John Tedraw (Martin Goldstein)/Tom Crandell (Albert Kunzelmann)/Charles Meldrum (Heinz Herschmann)
APP 5022 - Simon Gale (Joze Privsek)/Gerhardt Ahl/Jorg Bergenson (Gerhard Mohr)/Igor Molescu (Richard Frank)/Marc Pale (Conti Eckert)/Albert Mick (Leokadia Bielska)/Krys Moram (Jan Markowski)/Antonio Liebana (Richard Frank)/Peter Deryng (Jan Tyszkiewicz)/Dick Hunter (Harry Stoneham)/Tom Crandell (Albert Kunzelmann)/Harry Stoneham/Eddie Elcome (Albert Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Pete Morgan/Fred Korten (Irene Kunzelmann)/Algenon de Vere (Heinz Herschmann)
APP 5023 - Harry Stoneham/Michael Chubb/Phillida Moncrieff (Isobel Herschmann)/Pete Morgan/Tom Crandell (Albert Kunzelmann)/Judd Proctor/Robert Konar (Jan Markowski)/Dick Hunter (Harry Stoneham)/Fred Korten (Irene Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Eric Pickering (Tom Richardson)/Tom Richardson/Billy Hamilton (Tom Richardson)/Ted Richards (Tom Richardson)
APP 5024 - Dick Hunter (Harry Stoneham)/Antonio Liebana (Richard Frank)/Peter Deryng (Jan Tyszkiewicz)/Pete Hughes/Krys Moram (Jan Markowski)/Ted Nord (Harry Stoneham)/Igor Molescu (Richard Frank)/Charles Meldrum (Heinz Herschmann)/Roberto Perez (Pete Hughes)/Eddie Elcome (Albert Kunzelmann)/Albert Mick (Leokadia Bielska)/Harry Stoneham/Fred Korten (Irene Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Dick Maylin (Leokadia Bielska)/Fred Korten (Irene Kunzelmann)/Hugh Pierre (Pete Hughes)/Nick Rosen (Irene Kunzelmann)/Pete Morgan/Algenon de Vere (Heinz Herschmann)
APP 5025 - Rudolf Tomsits/Jozsef Kardos/Laszlo Tolscvay/Szabolcs Szorenyi/Mihaly Eisemann/Mihaly Barabas/Mate Victor/Peter Wolf/Tom Richardson/Fred Korten (Irene Kunzelmann)/Eric Pickering (Tom Richardson)/Billy Hamilton (Tom Richardson)/Ted Richards (Tom Richardson)/Peter Deryng (Jan Tyszkiewicz)/Krys Moram (Jan Markowski)
APP 5026 - Victor Mate/Rudolf Tomsits/Istvan Kamjonkay/Mihaly Szanto/Jaromir Vejvoda/Tamas P. Balassa/Szabolcz Fenyes/Antonio Liebana (Richard Frank)/Krys Moram (Jan Markowski)/Peter Deryng (Jan Tyszkiewicz)/Igor Molescu (Richard Frank)/Fred Korten (Irene Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Nick Rosen (Irene Kunzelmann)/Albert Mick (Leokadia Bielska)/Judd Proctor/Reg Tilsley/Dick Maylin (Leokadia Bielska)/Charles Meldrum (Heinz Herschjmann)
APP 5027 - Judd Proctor/Michael Chubb/Phillida Moncrieff (Isobel Herschmann)/Eddie Elcome (Albert Kunzelmann)/Raymond Lauri (Remo Lauricella)/Fred Korten (Irene Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Krys Moram (Jan Markowski)/Witold Ciechanowicz/Piotr Kaluzny/Gustaw Jager (Jerzy Geisler)/Jerzy Kamyszek/Zygmunt Wiehler/Krystyna Wolinska/Andrzej Korzynski/Marek Dutkiewicz/Jerzy Milian/Jerzy Miller
APP 5028 - Reg Tilsley/Tom Crandell (Albert Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Richard Frank/Fred Korten (Irene Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Peter Deryng (Jan Tyszkiewicz)/Eddie Elcome (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Krys Moram (Jan Markowski)/Jan Ptaszyn-Wroblewski/Witold Ciechanowicz/Andrzej Trzaskowski/Janusz Kruk
APP 5029 - Ian Henry (Harry Garber)/Antonio Liebana (Richard Frank)/Charles Meldrum (Heinz Herschmann)/Tom Crandell (Albert Kunzelmann)/Nick Rosen (Irene Kunzelmann)/Igor Molescu (Richard Frank)/Krys Moram (Jan Markowski)/Eddie Elcome (Albert Kunzelmann)/Fred Korten (Irene Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Dick Maylin (Leokadia Bielska)
APP 5030 - Piotr Sikora/Andrzej Zylis/Witold Gernand/Jacek Mikula/Aleksander Maliszewski/Zbigniew Kalemba/Peter Sander/Michael Chubb/Phillida Moncrieff (Isobel Herschmann)/Raymond Lauri (Remo Lauricella)/Tom Crandell (Albert Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)/Igor Molescu (Richard Frank)/Dick Maylin (Leokadia Bielska)/Eddie Elcome (Albert Kunzelmann)/Jack Wellgarth (Harry Samuel)/Robert Konar (Jan Markowski)/Antonio Liebana (Richard Frank)/Fred Korten (Irene Kunzelmann)/Charles Meldrum (Heinz Herschmann)
APP 5031 - Roland Kovac/Reg Tilsley/Fred Armbrüster/Peter Song (Hans Jonsson)/Konrad Wolf/Hans Jonsson/Jacek Mikula/Jerzy Jarosik/Jerzy Milian/Jerzy Wilanowski/Wojciech Kacperski/Benon Hardy (Bernard Biegoń)/Tadeusz Prejzner/Andrzej Januszko (Andrzej Ługowski)
APP 5032 - Wojciech Gogolewski/Jan Wikarek/Kazimierz Drozdowski/Adam Lewandowski/Marek Sart (Jan Szczerbiński)/Andrzej Zylis/Henryk Kuczynski/Antonia Liebana (Richard Frank)/Phillida Moncrieff (Isobel Herschmann)/Jack Wellgarth (Harry Samuel)/Peter Sander/Robert Konar (Jan Markowski)/Nick Rosen (Irene Kunzelmann)/Tom Crandell (Albert Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Igor Molescu (Richard Frank)/Eddie Elcome (Albert Kunzelmann)/Algenon de Vere (Heinz Herschmann)/Raymond Lauri (Remo Lauricella)/Michael Chubb/Fred Korten (Irene Kunzelmann)/Peter Deryng (Jan Tyszkiewicz)
APP 5033 - Gabor Vass/Janos Gyulai-Gaal/Tibor Stark/Peter Wolf/Andor Kovacs/Andras Fay/Jerzy Milian/Jozef Mazurkiewicz/Piotr Piber/Adam Skorupka/Benon Hardy (Bernard Biegoń)/Zbigniew Gorny/Zygmunt Zgraja
APP 5034 - Henryk Miskiewicz/Wlodzimierz Missol/Piotr Sikora/Adam Skorupka/Janusz Piatkowski/Adam Slawinski/Andrzej Zielinski/Peter Sander/Jack Wellgarth (Harry Samuel)/Michael Chubb/Dick Maylin (Leokadia Bielska)/Albert Mick (Leokadia Bielska)/Phillida Moncrieff (Isobel Herschmann)/Raymond Lauri (Remo Lauricella)
APP 5035 - Ervin Jereb/Vilmos Kormendi/Rudolf Tomsits/Andras Bagya/Ivan Szenes/Mate Victor/Viktor Havassy/Jacek Malinowski/Adam Brzozowski/Piotr Sikora/Jerzy Jarosik/Tadeusz Prejzner/Bernard Soltysik
APP 5036 - Janos Gyulai-Gaal/Ervin Jereb/Geza Berki/Jacek Malinowski/Aleksander Maliszewski/Henryk Jablonski/Janusz Piatkowski/Jan Cichy/Andrzej Minkacz/Zbigniew Gorny
APP 5037 - Kenneth B. Jones/Algenon de Vere (Heinz Herschmann)/Eddie Elcome (Albert Kunzelmann)/Charles Meldrum (Heinz Herschmann)/Tom Crandell (Albert Kunzelmann)/Albert Kunzelmann/Fred Korten (Irene Kunzelmann)/Ryszard Tyka/Jozef Rusek/Juliusz Waclawski/Waldemar Parzynski/Wojciech Gogolewski/Jacek Stam
APP 5038 - Jacqueline Binns/Raymond Lauri (Remo Lauricella)/Algenon de Vere (Heinz Herschmann)/Jack Wellgarth (Harry Samuel)/Phillida Moncrieff (Isobel Herschmann)/Peter Sander/Michael Chubb/Charles Meldrum (Heinz Herschmann)
Additional info:
APP 5001:
"Shall we make an Instrumental Pops LP?", suggested John Fox to his fellow musicians, to which came the enthusiastic response - "What a marvellous idea - let's do it!" I was having a drink with John and his Group at the local pub when the suggestion was made and I agreed wholeheartedly with the idea. Knowing John's musicianship, original talent and long experience in the recording field, I was absolutely confident that the result would be a success.
At the recording session some months later, which I was privileged to attend, I knew my confidence had been well founded for, as you can now hear for yourself, the result was a real swinging event.
This record has a very special place in my own private collection and I am convinced that it will have a tremendous appeal to all those who enjoy music in the modern manner.
Richard Frank
Producer, Richard Frank
℗ 1968 Apollo Sound, 32 Ellerdale Road, London, N.W.3.
© 1968 by B.V.F. Anglo-Continental Music Co. Ltd.
Sleeve Design by John Warren Associates, 9-10 Pollen Street, W.1
APP 5002:
Quality or Quantity, was the first question to be decided in making of this recording. The answer came from Reg Tilsley, who simply told me: "You will have a BIG-BAND (quantity) and BIG-MEN (quality)". How right he was!
Andy White on Drums, who is Marlene Dietrich's personal drummer, Ronnie Chamberlain, Lead-Sax for the Ted Heath Band, Johnnie Gray with his Jumbo-Saxes, Reg Leopold, whose name is known to every B.B.C. listener leads the String Section (and he has no long hair either), that only to mention four of the following group of outstanding instrumentalists: Stan Roderick, Greg Bowen, Derek Watkins (Trumpets), Johnny Edwards, Keith Christie, Gib Wallace (Trombones), Eric Ford, Vic Flick (Guitars), Derek Goldsmith (Sax & W.W.), Frank Clark [Frank Clarke] (Bass), Reg Wale (Perc.).
To this when we add the name of Reg Tilsley as the Arranger and Conductor, gave us all that is required in the making of a great recording. His name is already internationally known through his amazing versatility and most unusual originality, building up into a talent which is very seldom equalled.
I am looking forward to joining Reg and his charming wife Maisie - "MAISIE DEAR" - at his home in Ovingdean by the sea, to drink a toast to this recording, which we hope will give you as much pleasure in listening to, as it gave us to make.
Richard Frank
Producer: Richard Frank
℗ 1968 Apollo Sound, 32 Ellerdale Road, London, N.W.3.
© 1968 by B.V.F. Anglo-Continental Music Co. Ltd.
Sleeve design by John Warren Associates, 9-10 Pollen Street, W.1
APP 5003:
When discussing with Peter Balding the choice of material for this LP, we soon agreed that the accent should be on MELODY. It has been proved that, without doubt, the great majority of listeners, after tolerating for a time all kinds of "gimmicks", including rhythmical perversities and unmusical noises, always come back to the basic ingredient of the idiom of Popular Music which is unquestionably Melody.
Bearing this in mind, we have deliberately chosen to record a selection of really tuneful music and to this and Peter has not only provided a Group of excellent musicians but has put a spotlight on the most melodic instrument of all - the 'Cello - played in this instance by Fred Alexander, a truly outstanding performer.
In short, I am thoroughly convinced that all lovers of a good Melody will find this LP a very enjoyable experience.
Richard Frank.
Producer: Michael Forester
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© by B.V.F. Anglo-Continental Music Co. Ltd.
Sleeve Design by John Warren Associates, 9-10 Pollen Street, W.1.
APP 5004:
Knowing Richard Frank for many years, I have always admired his genuine talent and musicianship. Watching him working on a number of occasions with different Groups and Orchestral Combinations, his personality has invariably made an impressive impact on musicians and resulted in a high quality performance.
On listening to this LP, I have found once again his unmistakable touch of professionalism. The record presents a fine selection of contrasting numbers, from the jovial and humorous "MR. MOSCOVITCH" through the highly romantic "ILONA" to the wild and exciting "PAGAN LOVE". A further contrast has been obtained by the use of two carefully chosen combinations: The Big Band Sound, and Strings with Solo Instruments.
All this makes a most enjoyable LP which should bring real pleasure to every listener. Congratulations Richard!
Cyril Watters.
Producer: Michael Forester
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1969 by Anglo-Continental Music Co. Ltd.
Sleeve Design by John Warren Associates, 9-10 Pollen Street, W.1.
APP 5005:
I have always found small groups attractive. An intimate sound combined with the exposed playing of individual performers, gives the listener a close contact with them, and a feeling of almost personal acquaintance. The two Groups responsible for this L.P. are entirely different and original in their styles.
David Bell has incorporated a blend of the classical String Quartet (George French, Julian Gaillard, John Dyer, Fred Alexander) with Clarinet (B.Clt., Alto-Sax) in the hands of Alan Hartwell, Bill Geldard on Trombone, plus a strong Rhythm Section. In addition to the instrumental colour a Soprano-Voice has been used, beautifully performed by the lovely Lissa Gray.
The contrast is provided by a most exciting sound of Organ, brilliantly played by Dick Hunter [Harry Stoneham], with a Group of four outstanding instrumentalists: Vick Flick [Vic Flick] (Lead-Guitar), Herbie Flowers (Bass-Guitar), Jim Lawless (Percussion) and Don Lawson (Drums).
The convincing eloquence and directness of this L.P. should certainly gain a considerable recognition and well deserved popularity.
Richard Frank.
Producer: Richard Frank
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1969 by B.V.F. Anglo-Continental Music Co. Ltd.
Sleeve Design by John Warren Associates, 9-10 Pollen Street, W.1.
APP 5006:
There is no substitute for a good, solid String Sound. Surprisingly, in spite of all the changes which have occurred within the style of Popular Music, Strings are still playing an essential part in creating the warm and relaxed atmosphere needed for pleasureable listening. The imaginative arrangements fo John Fox, have convinced me even more of it. With additional Woodwind, Brass and Rhythm, John has achieved an ideal recipe for the idiom of "Instrumental Pops". I have have personally experienced through listening to this L.P. again and again, that the abundant variety of moods presented in the musical context, does not leave room for any dull moments, whether sitting in your armchair or at a party.
This is a MUST for all occasions.
Richard Frank.
Producer: Richard Frank
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1969 by B.V.F. Anglo-Continental Music Co. Ltd.
Sleeve Design by John Warren Associates, 9-10 Pollen Street, W.1.
APP 5007:
It's not a Big-Band, it's a Big Sound, it's the David Lindup Sound. It's also, I am sure, a big pleasure for every listener. David Lindup, a long-standing associate of Johnny Dankworth, provides for this L.P. a selection of excellent arrangements from imaginative and punchy "Way Up" to very suggestive beat, "Beat in Love". The originality of such numbers as "Bunny Club", "Flower Street", "Swing Shake" and "Waiting for a Happy Weekend" is accentuated by superb playing of the top session boys in the country. This is real beat, it's strong, this is RHYTHM.
MELODY has been taken care of by John Fox. What could be nicer than a pleasant, warm sound of Strings with an unobtrusive but solid rhythm section, and a few well selected front instruments. Starting with the highly emotional "Strange Feeling", John offers us an interesting choice of numbers like: "Romance in Latin", "So Lovingly", "He is my Boy", "The Road", and includes his own compositions "My Name is Lissa" and "The Girl I Love". One can't go wrong with experience and craftsmanship of such a talent as John Fox.
You will, no doubt, find your own favourites among these numbers, and I am hoping that, by starting this attractive series of "MELODY & RHYTHM" we will also provide some assistance to the Radio and T.V. producers in their unenviable task of programme building.
Richard Frank
Producer: Richard Frank
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1969 Melo-Musik AG., Zurich.
Sleeve Design by Tadeusz Orlowicz
APP 5008:
It was a real pleasure to work with Lem Arcon. Very well-known as arranger and composer in Germany, Lem proves in this L.P. his colossal abilites in music-making. Never satisfied with established clichés, he is always searching for new ideas. One of them is a new rhythmical "twist" in a form which he calls "Pendler", of which Lem gives us a good example in his "Pendola". I feel certain that this idea of his will be appreciated by many pop-music lovers and will add considerably to his already outstanding career.
David Lindup, as in Volume I of this series, gives the listener a terrific treat in attractive melody lines and punchy rhythms. This time David includes also his own compositions and the L.P. opener "Go-Getter" really knocks you out.
Volumes 3 and 4 of the "MELODY & RHYTHM" series are now in preparation. We would like to thank whole-heartedly our many listeners and professionals for the encouragement and support given us in promoting this series.
Richard Frank
Producer: Richard Frank
℗ 1969 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1969 Melo-Musik AG., Zurich
Sleeve Design by Tadeusz Orlowicz
APP 5009:
APP 5010:
Buxton Orr is obviously determined never ot be type-cast. His film scoring resulted eventually in making him a specialist in Boris Karloff horror pictures. He then [????] escaped into the exotic world of Elizabeth Taylor with the score for "suddenly Last Summer". Now it's pop and jazz through all degrees of stylistic spectrum. In 1971 Camden Festival Buxton conducts a 90-minute "Ode" for large Jazz Orchestra by bassist/composer Barry Guy, involving avant-garde improvisation technique. He is also engaged in starting, with Howard Riley and Pat Evans, a Jazz course at London's Guildhall School of Music where he is already a professor of more sober[?] studies.
On this L.P., we have jazz flavoured pop. An insistent dramatic beat runs through "Crisis", "Cool Haze" gives us a glimpse of an austerely[?] romantic piano, and all is friendly and extrovert again in the lively "All Lit-Up".
"Two-Timer" throws off fascinating rhythm intricacies and so we could go on - but listen for yourself, relax and enjoy.
Lem Arcon, who had made such a valuable contribution in Volume 2 of the Series, presents this time his really remarkable Band. In fast-moving "Comic Strip", he provides a rare[?] musical humour, exchanged successfully for a make-believe-fright through his exciting treatment of "Sweet Horror". A bright beat of the samba in "Bonito", and a jolly "period" piece "Maxy" is [????] contrasted by the sentimental, and as pretty as the title says, "Pretty Face".
By simple but always interesting scoring, "stereo-minded" Lem has once again proved his confident professionalism and truly imaginative invention.
Altoghether, yet another [????] addition to this attractive and so colourful "MELODY & RHYTHM" series.
Richard Frank
Producer: Richard Frank
℗ 1971 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1970 Melo-Musik AG., Zurich
Sleeve Design by Tadeusz Orlowicz
APP 5011:
There are not many musicians I know who are as conscientious and meticulous as Reg Tilsley. His approach to each composition and each arrangement is always fresh, and the new ideas are sorted out with utmost care. Therefore I did not hesitate to "knock down" fourteen tracks on this L.P., knowing for certain that Reg will find enough colour and contrast to sustain interest. As you will see, my predictions were fully justified. Reg has done yet another great job.
It would be impossible to go through all the titles in this album, but let me mention one or two. Personally I have been very much taken by the superb treatment of a western panoramic , "Western Trail", which I tipped as a best "opener". "Oh no, Senor" - a jolly streetmusicians' "alla marcia", "Love's so Marvellous" - a lively jazz-waltz, "Susan Q - Pink Cloud" - a "strip" rock beat, and "Charming Lady" with its elegant beat - these are just a few of this fine selection, but I wish you could have seen the enthusiasm and appreciation of the hardened session musicians applauding the really fantastic trumpet solo in "Not to Worry" by that marvellous "character" John McLevey.
One of the new ideas has been to invite a leader of the Birmingham BBC Orchestra, John Bradbury, to play two violin solos, "Fiddle Riddle" and "Hot-string Fiddler", accompanied by the band. The result is a splendid one. The playing and the presentation are first-rate.
I am really enthusiastic about this album, and sincerely hope that you, the listeners, will share my feelings and enjoy it as much as I do.
Richard Frank
Producer: Richard Frank
℗ 1971 Apollo Sound, 32 Ellerdale Road, London, N.W.3
Nos. 2, 3, 5, 7 (Side 1) & Nos. 2, 3, 4, 6, 7 (Side 2) © 1970 Melo-Musik Ag., Zurich
Nos. 1, 4, 6 (Side 1) & Nos. 1, 5 (Side 2) © 1971 Obelisk Music, London
Sleeve Design by Tadeusz Orlowicz
APP 5012:
Robin Jones - Drums, Timbales, Pandeiro
Simon Morton - Bongoes, L/A Percussion
Tony Uter - Congas, L/A Percussion
Percy Borthwick - Bass
Olaf Vas - Flute, Alto-Flute, Soprano-Sax, Tenor-Sax
Ian Henry - Piano, Electric-Piano
Robin Jones. An Ace latin-drummer of immense versatility, Robin is in constant demand for Radio and T.V. and by commercial Recording Studios in London. He has appeared with many international stars of various musical styles as far apart as the American jazz-artist Gerry Mulligan, and English pop-artist Lulu. He has also played for Eartha Kitt, jazz-singer John Hendricks and the fabulous Francis Faye. This was an achievement in itself. Francis made a special feature of the bongoes, played of course by the great Jack Costanzo. When Jack left Francis Faye, Robin took Jack's place and was his worthy successor. Other personalities Robin has played for include Edmundo Ros, Val Doonigan and Alan Haven.
DENGA. A Brazilian knife-edged blade, that will positively clear your path. I would say that the idea of making this recording had already started in 1960, when Robin arrived in London from Bombay with his bass-player colleague Percy Borthwick. In a matter of weeks they were permanently employed in my orchestra. There are not many bass-players who so naturally feel the latin music idiom as Percy does. Then, when I was looking for a stylish conga-player, Robin brought along Jamaica-born Tony Uter. Tony's humour is his forte. Listen to "Goodbye Batucada". Tony is featured on cabasa and cuica. His conga playing is the backbone of the latin percussion.
In 1969 I went with my orchestra to New York, and en route we met Simon Morton. Simon has colossal potential. A fine, all-round L/A percussionist, he is featured in "Denga" playing bongoes.
Kenya-born Olaf Vas, a multi-instrumentalist, composer/arranger, is certainly a big asset to any band. What a pleasure to listen to the genuine invention of his solos on flute, alto-flute, soprano-sax and tenor-sax!
I was immediately impressed when Robin introduced me to Ian Henry. He had then just arrived in London from his native Dublin, where he was well known through regular Radio and T.V. appearances. A sensitive musician and a really brilliant pianist, Ian has also been responsible for the arrangements and a number of compositions played on this recording.
As a friend an Robin's manager/producer, I am absolutely delighted to be involved in this most exciting album. May I add "good luck to Robin and the Quintet, and happy listening to you."
WILF TODD
Producer: Wilf Todd
℗ 1971 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1970 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by John Warren & Associates
APP 5013:
Wilf "The Charmer". Yes, that was pretty obvious when looking at Wilf Todd conducting his disciplined and really top-grade bunch of musicians at the Recording Studio. he can always create a pleasant and fully relaxed atmosphere, which helps the performers considerably in their strenuous recording work. Widely recognised as a great specialist in Latin-American music, Wilf is well-known to the public through his regular BBC apperances, and the strong though amiable personality reflects favourably in his skilful arrangements.
Listen to "Cha-Cha Blues" and the fine trumpet solo. In the arrangement of "Moshele" (a pet-name for a little Jewish boy), Wilf gives us a delightful treatment of this cute idea for a tune. One can feel a truly emotional attachment in Wilf's exciting presentation of "Bombay", his own beloved home-town.
The rich sound of strings makes a welcome contrast, and that is what Peter Balding is offering in this album. Peter knows string-writing well, and in his arrangements he utilises the string section, led by Reg Leopold, to the best advantage of stereo recording technique. Additional colour is contributed by a few excellent "front" instrumentalists such as Bill Skeat on alto-sax, Greg Bowen on trumpet, Stan Barrett on percussion and Steve Gray on organ and piano. What a beautiful piano playing in "After Midnight"! In "Empty Chair" we have a moving alto-sax solo against the highly romantic sound of strings. A refreshing new touch is felt in the brisk rhythm of "The Warsaw Tango", featuring a dramatic timpani beat.
It gives me pleasure to present this L.P., as I am certain that the high quality and the artistry of the performers will be appreciated and will provide very pleasant listening.
Richard Frank
Producer: RICHARD FRANK
℗ 1971 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1970 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by John Warren & Associates
APP 5014:
More and more Joze Privsek is becoming a household name in Europe, as a composer, arranger and conductor of popular music. This extremely talented young musician has already a very impressive career behind him. Awarded a scholarship to the Berkley School of Music in Boston, Mass., U.S.A., he returned in 1965 to his native Yugoslavia and became the conductor of RTV Ljubljana Big-Band. Awarded twenty-two times (it really sounds fantastic) at song festivals in Yugoslavia, he was twice selected, after nation-wide contest, as the composer and conductor representing Yugoslavia at the European Song Festivals in 1961 and 1962. His latest achievement was the 1972 "Zlata Arena" award, a sort of Yugoslav Oscar for film music.
Personally, I was very much impressed when I met Joze in the recording studio, and I soon became aware of the great musicianship, professional skill and the relaxed atmosphere which undoubtedly influenced the orchestra and the performance of his music. WATCH THIS MAN, THE SWIMMING DUCK and COME ALONG WITH ME are Joze's own, worthy contributions to this album. Using two orchestral combinations, Big-Band and an Ensemble mainly with Strings confidently led by Slavko Zimsek, the arrangements are colourful and the playing of the soloists brilliant. You will certainly admire the soprano-sax solo of Ati Soss in IT'S INCREDIBLE. The tenor-sax is superbly featured by Dusan Veble in YOU AND I. The relaxed trombone solo, played by Alojz Bezgovsek in DO YOU LOVE ME? contrasts with a joyful trumpet duet by Andrej Osana and Pavel Grasic in THE SWIMMING DUCK. The accordion solos, played by Joze Kampic in BONNE NUIT MADAME and SEGNORINA GINA have a true Continental falvour. The grand-piano sounds "grand" beneath the hands of Silvo Stingl and is well supported by the "rhythm-boys", Milan Ferlez (lead and rhythm guitar), Djuro Penzes (bass guitar), Milivoj Surbek (percussion) and Franc Jagodic-Koko (drums). Altogether what a bunch of talented musicians!
Joze Privsek did all the arrangements for this album. Over a glass of wine in one of the charming tavernas of Ljubljana, I asked him how he found the appropriate treatment for each number. His answer was - "It comes to me naturally. Although I have made several thousand arrangements in my work for Radio, etc., each one is a new challenge for me, and I get the same excitement from it as if it were my first. Isn't it the same with love?"
After a few more glasses of wine I had to agree with him. Don't You?
Richard Frank
Producer: Richard Frank
℗ 1971 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1971 Melo-Musik AG., Zurich.
Sleeve Design by Tadeusz Orlowicz
APP 5015:
Piano: JOHN PORTER
Bass: PETER CHAPMAN
Drums: ROBIN JONES
Three pairs of hands and audio channels that bring you Jazz in Landscape. An invitation to reach into the romantic world of three fine musicians, where no listener is an intruder.
A worthy contribution by John Porter, the arranger of these original tunes, who, with his two friends Pete and Robin, produces a mature blend of music and good teamwork.
I have chosen to call this album "Jazz in Landscape" because that's how John Porter feels about his music - broad, romantic and personally improvised against life's landscape. The fusion of this Trio is emphasized by the fullness of the sound and the highly artistic musical achievement.
Let's wish John success and good luck on this splendid performance in his first album. And to you - pleasant listening
Wilf Todd
Producer: Wilf Todd
Recording Engineer: Richard Lewzy
℗ 1972, APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1972, MELO-MUSIK AG., Zurich.
Sleeve Design by John Warren & Associates
APP 5016:
Latin American LPs are no longer the novelty they were in the release lists, but Latin American LPs like this particular one most certainly are still novelties. This is not one of the usual genre of rather vague, amorphous programming of non-Latin pops with a few exotic scrapes, rattles and rasps from the direction of the rhythm section to lend the Latin touch. This is one that reflects Afro-Cuban and Afro-Brazilian styles and sounds as they are now in 1972 with no concessions to the pop parade. This is what they are listening and dancing to in Havana and Sao Paulo today, even though it was recorded in London by seven talented musicians who now call the British capital their home.
Robin Jones, the leader, is a lively, happy and volatile character as befits the music in which he specialises. Born in Poona, India, he rose to prominence in leading orchestras of that country such as those headed by Ken Mac and Lance O'Neill (George Shearing's first bass player), and then came to Britain. Since his arrival, Robin has won himself a busy and respected niche as a Latin American percussionist, and also possesses a very useful ability as a non-Latin kit drummer which enhances his value to all who engage him. He works regularly on concerts, broadcasts, records and tours with the Edmundo Ros orchestra, the Carlos Romanos orchestra, and star organist Alan Haven, and in between these crowded engagements and the consequently formidable weekly mileage around the country, still manages to contribute his percussionistic talents to a lot of London recording sessions. Just one of his many credentials from the past is his bongo work in cabaret with Frances Faye, following in the illustrious path of Jack Costanzo.
The Robin Jones Seven is a labour of love first and foremost for Robin and his six colleagues. They are all busy professional musicians, but they all share a genuine interest and affection for the real thing in Latin American music, and the Seven is an excellent form of therapy to counteract the banalities of some of their assignments in the purely (or impurely) commercial field.
Roy Edwards brings the expressive fluency of the tropics to his trumpet and flugel horn playing; Olaf Vas is a consummate master of the alto, tenor and soprano saxophones, the flute, alto flute and piccolo; John Porter, althrough a comparative newcomer, is already a convincing Latin power at the keyboards, on vibes and as an arranger (for which fact Robin is truly appreciative); bassist Percy Borthwick and conga drummer Tony Uter are the two vital rhythmic rocks of the group, and Simon Morton is rapidly becoming one of the most agile and adept bongo drummers this side of the Atlantic and Caribbean.
The LP opens in Cuban Style with El Maja (The Snake), a fast guaracha montuno featuring Roy Edwards on trumpet, Olaf Vas on flute, and a timbales solo from Robin. Cuba is also the source of inspiration for Santa De La Luna, a guajira about the goddess Diana, and then Brazil takes over in carnival marcha tempo as Olaf's alto saxophone provides some fine flavouring for the Hot Chili Sauce. Afro-Cuban ritual permeates Oya, the favourite wife of Chango, the god of fire, and played in authentic twelve-eight chango rhythm featuring John Porter on electric piano. Gina is obviously a young lady of quite different beauty and temperament, and Olaf's tenor saxophone gives her enchanting musical shape over a bossa nova beat. The first side concludes with some contemporary Latin jazz rock in Atlas, which moves into six-eight time and gives Robin a chance to show his kit drum paces.
Side 2 begins with the authentic pulse of the Rio de Janeiro carnival in Batucada Da Vida as Olaf's piccolo leads the dancing way and Tony Uter conjures some unique squeaks and grunts from the cuica percussion instruments. Robin's brother Cookie was a guest on this track, playing the deep-sounding surdo drum. Afro rock a la boogaloo is the keynote of The Waller with Olaf and Roy in effective saxophone and trumpet unison, and the bossa nova Warm Loving Eyes has exactly the right soft melody to suite such a title. Chant Afrique brings back the Afro-Cuban mood with Robin and Tony duelling on conga drums, and Roy's trumpet introduces El Lobo in the rhythm of the Venezuelan joropo. The LP ends with another fast guaracha montuno speciality called Carica Papaya and a bongo solo of breathtaking pace and dexterity by Simon Morton.
The Seven have starred in the BBC's "Jazz Club" and several other programmes, and play club dates whenever they can. Often they play for a fee less than their imposing combined talent should command, but they do it gladly for the chance to blow together and let anyone interested hear how Latin American music should sound. This album, for which Robin acknowledges warmly the production assistance and friendly counsel of Wilf Todd (alias Carlos Romanos), enables many more similarly interested to hear how it should sound and how good the Robin Jones Seven is in purveying it.
Nigel Hunter
Producer: WILF TODD
℗ 1972 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1972 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve design by WES CLAUDIUS
Art Work by NEIL FAZAKERLEY
APP 5017:
It was quite an exciting experience for me to meet Moimir Sepe at the recording studio in Ljubljana. His strong yet warm personality reflects favourably his approach to his music and to the musicians, and is even more striking because he can boast a very impressive past in his musical career. it would take a lot of space to complete the list of prizes won by Moimir Sepe, but it may just be mentioned that he has received the first prize at the Slovene Song Festival in Ljubljana five times, including the 1972 award. He represented Yugoslavia in the European Song Contest in 1966 and 1970 with his songs. No doubt he is one of the most successful and recognised stars in the Yugoslav pop music field.
For this L.P., we have carefully chosen an attractive selection of "instrumentals", and I was specially pleased by the fascinating synthesis of contemporary texture with the Yugoslav national flavour in some of Moimir's own compositions, of which "SOMEWHERE IN MY HEART" is a delightful example. Backed by a group of excellent musicians, Moimir swings with "CAN YOU CATCH ME?", which is contrasted with more formal, but rocky "ROCK BAROQUE". Lighthearted "FOLLOW ME" is followed by melodious and rather rustic "SITTIN' IN A YELLOW HOUSE".
Moimir Sepe, who was responsible for all the arrangements, shows superb craftsmanship. Sensitive and highly emotional, the construction of his arrangements is always perfectly balanced and full of colour. The beautifully executed solos justify his confidence in his musicians-colleagues.
At this stimulating recording session in RTV Ljubljana Studios, I was able to share with the performers their appreciation and respect for Moimir Sepe's outstanding musicianship.
Richard Frank
Producer: RICHARD FRANK
Recording Engineer: SERGEJ DOLENC
℗ 1972, APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1972, ADASTRA-MUSIK GmbH. (Zurich)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5018:
APP 5019:
Yet another valuable Yugoslav contribution to our series of instrumental groups, this time the talent and inspiration of the highly professional and experienced pop writer Jure Robeznik. This accomplished musician has won popular acclaim, receiving several top prizes in song festivals, and his personality is a widely recognized and loved in his country. For many years he has been one of the senior programme controllers in the RTV Ljubljana.
As in the previous two albums, in this series two instrumental groups are used, one predominantly strings, the other consisting of three flutes and strong rhythm section. This gives the listener more variety in orchestral colour, and consequently more pleasure. By utilising three flutes in one of the groups, Jure has proved his knowledge of, and undoubted emotional attachment to, the Latin-American idiom. Obviously he enjoys himself when he gives us his version of "COME ALONG SENOR", and puts us into a more exotic mood in his very own Afro-bolero "THE HEAT OF THE NIGHT". The romantic side of his personality comes out in an attractive Mediterranean theme "SUMMER, SUMMER", but he quickly offers us his smile in the descriptive and lively "WAKE UP".
And so two groups of fine musicians, led by highly competent Jure Robeznik guarantee us satisfying listening and quality entertainment.
RICHARD FRANK
Producer: RICHARD FRANK
℗ 1972, APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1972, ADASTRA-MUSIK GmbH. (Zurich)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5020:
Several golden records and many million copies of "Oberkreiner" music have been won and sold in the last few years. This enchanting music, originating in the Alpine regions, has been popular and very much loved for a long time. The Slovenian groups have played an important part in this kind of music making. Boris Kovacic has been leading one of these groups for quite a while and we are proud to present this authentic version, slightly coloured by his individual style, in our new series "Simple Melody".
Boris Kovacic is one of the prominent composers in this field, and also one of the most interesting. In the simple melodic and rhythmical lines of a waltz or a polka, Boris seeks always new possibilities and introduces into the old idiom new sounds and new approaches. Nowadays the specific sound of the music of Boris Kovacic has already become famous. In his native Yugoslavia his hits have been leading in the charts for months and months.
In our selection we have some of the most characteristic melodies from Boris's enormous output. After the marching polka beats of "Soldier Dance With Me" we offer a rather sophisticated, tuneful waltz "You Make Me Feel So Proud". This again is contrasted with yet another gay and vivid polka "Do, Do Marry Me", followed by self-explanatory "The Waltzing Heart". And so the marching polkas and the swaying waltzes interchange with each other, leaving somehow unexpectedly room for a more contemplative mood in "If We Ever Have To Part" and "The Green Valley Of My Youth".
We feel certain that this new series will find a ready response among listeners and record buyers. What could be stronger and more convincing than a "Simple Melody"!
RICHARD FRANK
Producer: RICHARD FRANK
Recording Engineer: SERGEJ DOLENC
℗ 1972, APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1972, ADASTRA-MUSIK GmbH. (Zurich)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5021:
I have known Karl Heinz Loges for quite a few years, and I am a great admirer of his musicianship and his selfless dedication to the art. He holds the position of staff arranger and conductor of Radio Hamburg and devotes all his free time to composing. Through his works he has been recognised as one of the leading music star personalities in the field or entertainment, being successful in writing for films and probably best known to the general public for the themes to the German TV series "Hallo Nachbarn" and "Lotterie".
Naturally I was keen to have his co-operation in our record production, and I was very happy when Heinz responded with a real enthusiasm to my invitation to come to London and make a recording with our top session players. Sitting in his house in Hamburg over the drinks served by his most charming Korean wife Yong, a distinguished singer in her own right, we agreed on the programme, and what you will hear on the record is the result of this enjoyable meeting.
The consequent recording session in London starred such players as: R. Swinfield [Ray Swinfield] (Fl. & Alto-Sax), A. Fisher [Tony Fisher], G. Bowen [Greg Bowen], E. Blair [Eddie Blair] (Trumpets), M. Pratt [Maurice Pratt], J. Marshall [Johnny Marshall], C. Smith [Chris Smith], J. Armstrong [Jackie Armstrong] (Trombones), the incomparable Kenny Clare on drums, T. Fry [Tristan Fry] (Perc.), the fantastic Vic Flick on lead guitar, C. Spedding [Chris Spedding] (Rhythm-Guit.), D. Richmond [Dave Richmond] (B. Guit.) and brilliant Steve Gray on the piano. You have only to hear the opening bars of Loges' own composition "Vendas Novas" to realise how perfectly matched is the work of this excellent German musician, who is also responsible for all the arrangements, with the performance by the cream of British session players. What follows is certainly a continuous pleasure, and obviously there is no need to tell you anything more about it.
I would like to have space on this sleeve to write more about Martin Goldstein, and his kind of music which he offers us on the other side of the L.P.
Martin was trained at the Guildhall School of Music in London and later under Igor Markevitch. He spent the early part of his career working with ballet companies and musical comedies, later joining the staff of the BBC for a time, where he is now a frequently featured pianist and guest conductor. Already well-known through broadcasts and recordings of his "jazz baroque" Quintet, he also appears as accompanist and arranger in concerts with various international artists, and composes music for television and theatre.
Martin's style stresses the charm and gentleness i music. In all his arrangements this delicate and rather sophisticated touch is evident. Again top musicians contribute greatly to fulfilling all the noble intentions of his writing: Roy Willox and Keith Bird (Flts. & Clts.), Martin Gatt (Bassoon), David Snell (Harp), Eric Allen (Perc.), Daryl Runswick (B. Guit.), and Leslie Pearson on piano, organ and celeste. The session was approached by everyone in the studio with seriousness and artistic sincerity and it was, in itself, a truly stimulating and enjoyable occasion. We feel certain that this inspiring atmosphere must be communicated to all who listen to "The Martin Goldstein Players".
Richard Frank
Producer: RICHARD FRANK
℗ 1973 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1973 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by John Warren & Associates
APP 5022:
It is rather surprising, and many of the musicians may wonder what has happened to the style of the music which is now being presented to the general public. The long-practised approach by means not too far removed from a real punching and violent aggression manifested in almost perverse rhythmical twists and melodic extravaganzas, has suddenly been replaced by smooth, unassuming simplicity. One is aware of a sort of deep inner urge for somehow forgotten romanticism in the young generation of today. They go to such an extreme that we, the elder generation, are tempted to call their romanticism "sugary". Nevertheless, personally I have to admit that it is a great relief to hear once again charming, beautiful melodies in a quiet and relaxed flow of rhythm. All this is convincingly presented by Simon Gale and his music.
Opening with his own composition "Say It No More", Simon offers us another six delightful tunes using his outstanding experience and musicianship in the arrangements. The use of string quartet and two-girl vocalisation within orchestral frame shows great purpose and emphasises his understanding of this musical enterprise.
I never feel so relaxed when I come to the studio for a recording session as when working with Dick Hunter [Harry Stoneham]. Playing organ superbly, highly professional and well-known to Radio and TV audiences, Dick has such a personality that nothing can go wrong in the studio. It is also no accident that Dick is always backed by the star musicians. This time he has Pete Hughes on flute and sax, Judd Proctor on guitar, Pete Morgan on bass-guitar and brilliant Rex Bennett on drums.
Again, the music presented by the Dick Hunter Five has the same touch of directness and ease. Only here and there does Dick remind us that the jazz idiom is close to his heart, just enough to create a needed contrast for our present series "Colours in Rhythm".
Richard Frank
Producer: RICHARD FRANK
℗ 1973 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1973 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by John Warren & Associates
APP 5023:
There is some magic, a fascinating and almost magnetic power, in the personality of a true musician. This for certain one can say about Dick Hunter [Harry Stoneham]. Composer, arranger and a brilliant performer on organ and piano, Dick has always been sincere, sensitive and straight-to-the-point in his approach to the music. Being highly professional, however, he has never lost his enthusiasm and pure emotionalism towards his art, and this is no doubt evident from his sound presentation in this album.
Leading a group of outstanding instrumentalists, such as Pete Hughes (woodwind), Judd Proctor (guitar), Pete Morgan (bass-guitar), and Douggie Wright (drums). Dick himself, playing the organ, gives us a really fine performance. The melodic "Passing Clouds" follows rocky "Rock Hopper". The happy-go-lucky sound of the banjo, played superbly by Judd Proctor in "Polyanna" is contrasted with the enchanting "Red Pepper Reggae". You may discover a somehow nostalgic optimism in Dick's presentation of "Rag a Muffin". The cheeky "Chick-a-Biddy" concludes the exciting Side 1 of this album.
Simplicity is one of the most important aspects in popular music. This quality is convincingly featured in Side 2 of the L.P. A musician of many parts, Gordon Langford is well known and highly regarded on Radio and in the concert hall as a band leader, pianist and composer. His talents as arranger are in constant demand.
For the selection of tunes in this L.P. Gordon has chosen a wide range of melodies from the prairies to the Left Bank, as well as music in the more modern and not-so-modern pop idiom. His delightful piano playing is well supported by Henry Krein on accordion and transicord, Dick Abell (guitar), Peter Collins (bass-guitar) and Don Lawson (drums).
Yet another valuable addition to the "MELODY AND RHYTHM" series.
Richard Frank
Producer: Richard Frank
℗ 1974 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1974 Melo-Musik AG., Zurich
Sleeve Design by Tadeusz Orlowicz
APP 5024:
It is rather difficult sometimes to draw the dividing lines between instrumental pops, dance music and modern jazz. Nevertheless, listening to good music the exact classification seems to be of no importance. More often than not ingenious arrangers utilise the attractive and unusual combinations of various percussive instruments, searching for ever more sophisticated sounds. They add a touch of exoticism, juggling with the exciting mixture of fiery latin-american rhythms and strong rock-beats. All these elements you will find in The Ted Nord Sound presentation in this album.
Four stars constitute the rhythm secion - Stan Barrett (tuned percussion), Chris Karan (L.A. percussion), Pete Morgan (bass-guitar) and Douggie Wright (drums). The outstanding Judd Proctor plays lead-guitar. This bunch of exceptionally fine musicians is led from the organ by Ted Nord [Harry Stoneham] himself, who is also responsible for the arrangements. I was especially intrigued by the originality of the idea and its treatment in "Sugar and Spice". A very spicy dish has been sandwiched between two layers of a naive, rather innocent and sweet little tune. Delicious and most appetising for the connoisseurs! There is more spice coming in "Bandolero", "Pampero", "Aquila" and some real virtuosity of playing in the fast-moving "Skid-Pan".
The cosy unassuming and direct approach is a feature of The Pete Hughes Quintet sound. Maybe in sympathy with the Radio and TV producers in their unenviable task of programme building, I decided in this album to intermix this sound with the more aggressive punches of Ted Nord and his boys on both sides of the L.P. Pete, one of the best saxophone players in this country, is obviously known to the general public through his broadcasting and concert platform work. He gives us a real treat playing his alto-sax in "That Look on your Face". Although all the boys in the studio declared that Pete's sax serenading was definitely for the girls, but I can't believe that men are so completely invulnerable to sentiment as to be left cold by it.
The delightful sound of the recorder, played by Pete, adds a special attraction to "Safari Shuffle", while "What do you Say" and "Waltz for Waldo", accentuated by modern recording technique, take you back into the past and give you a comfortable kind of feeling.
There is indeed plenty of colour in this Volume 4 of the COLOURS IN RHYTHM series.
Richard Frank
Producer: RICHARD FRANK
℗ 1974 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1974 B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by John Warren & Associates
APP 5025:
Side One of this album provides a Hungarian contribution to our "MELODY AND RHYTHM" series. Visiting Budapest, this beautiful and enchanting capital of Hungary, was for me a memorable and rewarding experience. I was lucky enough to meet some of the personalities in the musical field and found a lot of composers, arrangers and performers of truly international calibre. The power and magic of pop music seems to ignore all national characteristics and state borders. There is a sort of brotherhood and uncanny resemblance amongst pop-minded musicians when you watch them at work in the recording studio, whether it be by the Thames, the Seine or the Danube. They share the same enthusiasm, amibitions, disillusions and great hopes.
The skill and musicianship of the Hungarians is really impressive. Their virtuoso plyaing is notably shown in the opening number "Tropicana". The trombone solo in "Will I Ever Find You" is wistfully nostalgic, and the charm of "Sunny Beach" in its easy walking tempo is accentuated by a carefree whistled melody well supported by vocal group. There is an outburst of temperament and joyfulness in the closing title "Shaga-Laga". You will have, I am confident, a pleasant listening - even without sipping a Hungarian tokay!
A Latin-American flavour dominates the selection on Side Two of this L.P. Gordon Langford with his Group takes a special care to promote melody in his presentation. The opening number is a gay quasi-calypso, followed by a melodic bossa-nova. "Indian Dreamer" is depicted by a romantic theme played on sax with real beauty. As in the opening, the closing title "Stephen" brings back the gaiety and sparkle of Latin-American rhythms.
The arrangements of Gordon Langford set off the professionalism of the performers to great advantage.
Richard Frank
Producer: RICHARD FRANK
℗ 1974 Apollo Sound, 32 Ellerdale Road, London , N.W.3
Side 1 - Nos. 1, 2, 3, 5, 7 - © 1974 for the world (except European People's Democracies and U.S.S.R.) by MELO-MUSIK AG, Zurich
Nos. 4, 6 - original publisher: EDITIO MUSICA BUDAPEST, assigned © 1974 for the world (except People's Democracies) to: MELO-MUSIK AG., Zurich
Side 2 - All titles © 1974 by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5026:
The continuation of a successful series such as COLOURS IN RHYTHM is not an easy task for the producer. Trying to do a good job, he is handicapped by the fact that the musical content has to be confined within limits of a certain idiom. At the same time, some new elements of variety and excitement have to be introduced in each album of the series and this creates a constant challenge and an occasional headache. All this was behind the idea of my going to Budapest in search of new people and new talents. When listening to side one of this album and some brilliant performances by the Budapest Radio Orchestra, I am certain that you will agree with me that my hopes have been justfied.
Let me just mention a few titles which bring me personally a lot of pleasure and give me good reason to admire the musical inventiveness of the Hungarian musicians: The opening "Disco-Girl", the virtuoso trumpets playing in "Fire-Wheel", and the delightful and original treatment of "February". There are another four excellent titles on the same side. Take your pick - you won't be disappointed.
The name of Reg Tilsley on side two of this album does not need a lot of introduction. He is known and admired in many countries. I can't help being surprised each time I discuss a new LP with Reg, that after so many highly creative years and successful activities in the field of record music and films, he is still as excited and full of enthusiasm as if I were offering him his first job. Probably it is in this freshness of approach that the secret of his own special and individual talent lies.
His presentation of the attractive six numbers on this side is complemented by the performance of a first rate group of session-players: R. Chamberlain [Ronnie Chamberlain] (sax/flute), D. Campbell [Duncan Campbell] (trumpet/flugel-horn), M. Pratt [Maurice Pratt] (trombone), C. Cattini [Clem Cattini] (drums), J. Lawless [Jim Lawless] (percussion), R. Coulam [Roger Coulam] (keyboards), J. Proctor [Judd Proctor] (guitar), D. Richmond [Dave Richmond] (bass-guitar).
The high quality of recording guarantees the outstanding effectiveness of this production.
Richard Frank
Producer: RICHARD FRANK
℗ 1976 APOLLO SOIUND, 32 Ellerdale Road, London, N.W.3
Side 1 - Nos. 1, 2, 5, 6 - © 1975 for the world (except European People's Democracies and U.S.S.R.) by: B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Nos. 3, 4, 7 - original publisher: EDITIO MUSICA BUDAPEST, assigned © 1975 for the world (except People's Democracies) to: B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Side 2 - All titles © 1976 by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5027:
Not many musicians can claim more experience in the field of recording than Judd Proctor. In this album he not only excels himself playing guitar, but displays his talent as an arranger and composer, and going through the seven titles on Side One you can only admire his flexibility in coping with every possible style of popular music.
In this he is helped by a group of outstanding session players - Al Newman on woodwind, Nat Peck on trombone, John Taylor on electric-piano, Dave Richmond on bass-guitar and, on drums the ever inventive Kenny Clare.
Judd's direct and sincere approach cannot fail to offer an easy and pleasant listening. Neither does Side Two of this L.P. lack variety of style and mood. When recently in Warsaw I picked up for our pressings here a few further examples of what the Poles can do in the otherwise Anglo-Saxon dominated field of pop music. I was attracted by the touches of Polish national characteristics in some of the titles, which results in a pleasing mixture of sentiment and temperament.
The opening title "Danger" should not really frighten you, as it is immediately followed by "Pondering" and through "Sunny Rimini" suggests "Smile At Me", "Come Closer" and, after "Enjoy Yourself" you are invited to "Waltzing Through The Clouds". All this variety of colour and mood is concluded on an optimistic note in the title "There Will Be Yet Another Day".
Obviously a glass of Polish vodka will not come amiss in appreciating this lively and interesting recording.
Richard Frank
Producer: RICHARD FRANK
℗ 1975 Apollo Sound, 32 Ellerdale Road, London, N.W.3
Side 1 - © 1975 MELO-MUSIK AG., Zurich
Side 2 - © 1975 for the world (except People's Democracies) by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5028:
Reg Tilsley has continuously been searching for new forms of expression, new approaches, new sounds - never satisfied with past successes, always looking for yet a fresh interpretation of musical language.
Being personally fond of a rather cunning combination of string quartet and beat music, this is what I suggested to Reg for our new album. What you will hear, I am glad to say, justifies once again my confidence in Reg Tilsley and his immense musical talent.
The string quartet is led by probably the best fiddle player in the business, Jack Rothstein. The rhythm section is presented by John Taylor (piano), Judd Proctor (guitar), Dave Richmond (bass-guitar), and Kenny Clare (drums). The "front instruments" are flugel-horn played by Stan Roderick and mixed woodwinds played by Olaf Vas.
It is interesting to note how Reg handles the strings. Although he can be very aggressive in his string writing, nevertheless there is a real charm and a warmth one can feel. The opening titles "St. Tropez" and "Joanna" are certainly not lacking in these qualities. Joanna is obviously at home in St. Tropez (I wonder if she is topless?), and I wish I were there too - who wouldn't? The Jack Rothstein violin solo is almost calling "Come Anushka", and as the last title promises, she must be "Sweet Sixteen".
The Reg Tilsley Sound is well contrasted by a distinct touch of jazz which dominates Side Two of this album of our COLOURS IN RHYTHM series. Jan Ptaszyn-Wroblewski - who is responsible for the opening number "Melancholic Rock", and the composer of "Searching in Vain" and "Wolf And Lamb", the other two interesting works, all superbly played by himself and his group - is a household name in Polish jazz circles, and one of quite a few outstanding jazz musicians in Poland.
It seems generally, that the Polish jazz musicians are getting more and more recognition in the Western world, and rightly so. I hope that this contribution will spread their well-earned reputation still further.
Richard Frank
Producer: RICHARD FRANK
℗ 1975 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
Side 1 - All titles © 1975 by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Side 2 - All titles © 1975 for the world (except the People's Democracies) by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5029:
IAN HENRY - piano
DARRYL RUNSWICK [Daryl Runswick] - bass
ROBIN JONES - drums
The most pointed of all the jazz jokes is the one about the musician who travels from early morning to early evening to get to the gig, arrives there and plays for several hours, travels home again through the night, hauls himself into bed at just about the point when normal people are getting up and going to work, and is asked by a well-meaning layman, "Yes, but what is your job?"
In the case of Ian Henry the joke unpredictably misfires, because he is the only considerable jazz musician I know who has a genuine answer to that most famous of questions. Henry is a medical doctor, and although my knowledge of such affairs is limited to my ability to pick up the occasional virus from time to time, it seems to me that if his medical ability is commensurate with his range as a jazz pianist, he should be getting the Nobel Prize any day now.
The difficulty about disclosing this kind of information about a musician is that one runs the danger of seeming to ask the listener to make allowances for the music. If I may be allowed to jazz up Dr. Johnson a bit, when a doctor improvises, it is like a dog walking on its hind legs. It is not done well, but you are surprised to find it done at all. Well, nothing could be further from the truth in the case of this album, and anyone who doubts that proposition has only to turn to the very first track, study the crispness and incisiveness of touch in "Back Alley" and ask himself whether professionalism is not simply a matter of ability rather than of exclusivity. That piano playing in "Back Alley" is jazz of the highest class, not just because it is technically well-turned, but because it possesses that rhythmic animation whose absence always means no matter how exalted the reputation of the player, that the whole thing is dead.
As to the technical skill, there are plenty of moments where the fluency of the execution is positively exhilarating, for instance after the theme statement of the latin theme, "Madeira", when the suddden release into four-in-a-bar comes with the power of a revelation; or in the pyrotechnics of "Concentric Circles", one of those performances where the tempo is so fast as almost not to be a tempo at all at times; or in "Montevideo", another latin theme whose tension is released once the music moves into the four-in-a-bar of jazz improvisation. I think, however, that mere technical expertise is hardly enough to commend a jazz record in these competitive days. The music needs also to possess some kind of melodic coherence, because without it (with apologies to the avant garde) the whole business will have all the light and shade, the subtle gradations of mood, the variations in impact, of a dripping tap. It has been said a great many times, and will continue to be said, that the arch-test for the jazz player is the Blues. This is because, although the basic harmonic structure is sparse to the point of parsimony, the improvisor is expected to make some kind of direct melodic statement. Well, in "Back Alley" there is a piano solo comprised in part of single-line jazz and in part of ten-fingered paraphrase. There are several effects of this part of the performance. Apart from the fact that if the listener does not tap his feet and fingers in time to it then he is ready for the medical rather than the musical aspects of Henry's prowess, the music implies a melodic form, as all the best jazz should. People who listen to jazz and play it over a long period, come to the stage where they can size up a performance, more or less, within the compass of a couple of choruses. (In the case of Charlie Parker no real saxophonist would need to hear more than a single sustained note to recognise the thoroughbred.) After I had heard the first twenty-four bars after the theme statement of "Back Alley" I thought it would be a good idea to compile this short introduction to Henry.
He is a man who has undergone some gruelling vicissitudes in his time, none of them more distressing than the fact that two or three times the exigencies of his professional duties have obliged him to accompany me at a stage in my musical development when decrepitude might be said to have given way to total disintegration. He bore the burden with tact and stoicism, so that even had I not enjoyed the music on this album, I would have been sorely tempted to say that I had. Fortunately, Henry's natural ability as a jazz pianist has saved me from an awkward moral dilemma. He is, as far as I have been able to make out, modest about his music to the point of self-effacement, which is puzzling in a member of a profession not particularly noted for its humility. But Henry is untypical in a lot of ways, being prolific, unpretentious and at times inspired.
When I was at an even more impressionable age than I am now, I read Shaw's "The Doctor's Dilemma" and conceived for the medical profession a distaste so profound that I decided that if at any time in the future I should contract any disease I would go to a fortune-teller for a curative. At odd times since then I have met medical practitioners who appeared, at least on the surface, to be trustworthy citizens, but the advent of Henry has been something of a real facer, a doctor with musical sensibility. For years I lived next door to a doctor who used to complain that whenever I played an up-tempo recording too loud, he found himself diagnosing a heart-beat of 185 per minute in whichever patient who had been unfortunate enough to fall into his hands. It takes a lot to erase the bitterness of a recollection like that, but the music on this album has done the trick. Whatever his occupations happen to be, Ian Henry is a highly professional, highly talented jazz pianist, in whose style lurks the benign ghost of Oscar Peterson. He has no reason to be modest about his jazz and I certainly refuse to be modest on his behalf.
Benny Green
Producer: RICHARD FRANK
℗ 1975 by: APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
Copyright © 1975 by: B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve design by TADEUSZ ORLOWICZ
Photo by DAVID WARNER ELLIS
APP 5030:
APP 5031:
There is plenty of warmth and charm, and I am invariably under its spell when listening to the String Section of Reg Tilsley and his Players. Choosing with Reg the programme for Side 1 of this album, I gave preference to the romantic melodies, beautifully realised by Reg's skillful and highly professional string writing. The only exception and diversion from the slow-moving melodies, full of love and romance, you may find in "Little Bird's Song", a bright number excellently scored and performed by the cream of the London recording session musicians.
I am still convinced that, after all the experiments using every kind of gimmick in this no doubt tricky field of commercial music, there is nothing to replace the beauty of the String Section sound, and very few could produce this sound better than Reg Tilsley and his Players.
Saying all that, I would not like to be accused of being prejudiced against the "normal" and "legitimate", nevertheless exciting sound of the full orchestra. The Polish Radio Orchestra on Side 2 of this LP opens with the lively and descriptive number "Look Out Boys". There is a distinct warning in the title, fully justified in the music.
Its a strong statement, as if a great decision has been taken in the next title "Today Is The Day", convincingly performed by Orchestra with Vocal Group backing.
You may find a sympathetic smile for a lady in "Lady Lena", varied by another descriptive and nicely orchestrated piece "Anxiety", with original Vocal Group backing. There is something naive but somehow pleasant and refreshing in the number "Sunny Alley".
You get the reminiscence of the good old days in the unassmung and melodic quickstep "Once Upon A Time", which closes Side 2 of this interesting "Colours In Rhythm" series album.
Richard Frank
Producer: RICHARD FRANK
℗ 1977 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
Side 1 - © 1975 by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Side 2 - All titles © 1976 for the world (except Peoples' Democracies) by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5032:
Once again in search of melody and rhythm I went to Warsaw, a very fascinating city, the capital of Poland, and once again my search was not in vain.
In the last few decades there has been a constant interchange of stress in popular music between melody and rhythm. After a long period of accent on melody, which eventually became much too sugary and banal, we had an even longer stretch of "beat only" craze, which must have left quite a percentage of its hysterical fans completely deaf. Sometimes you have to pay heavily for your enthusiasm!
Recently we seem to have come back more and more to the melody as a principal ingredient of popular music, and who is stronger in this field than the Poles? Just listen to the opening number on side on, "The Moon Smiles for You and Me" - a gorgeous melody beautifully performed by the Polish Radio Orchestra. Nevertheless some traces of rhythmic aggression is still apparent in such a tune as "The Serenading Flute". Maybe this is the contemporary way off serenading - who knows! How romantic, if a bit blasé, a trumpet playing can be. You will find it in "Never Mind, My Dear". The side ends with "The Golden Canyon", a sort of reminiscence of the Wild West golden days.
Peter Sander, in his small instrumental combination, does not this time use rhythm-guitar. When we discussed it beforehand, we agreed that there is a certain purpose in this. "Let everything sound corny", I said to Peter and he, after a slight hesitance, consented. Somehow I believe that a "corny" presentation gives often an unexpected feeling of directness and freshness which may be lacking in the over-sophistication that is surrounding us. Simplicity was the object we were trying to achieve, and I hope that in this respect at least we have succeeded.
Richard Frank
Producer: RICHARD FRANK
℗ 1976 Apollo Sound, 32 Ellerdale Road, London, N.W.3
Side 1 - © 1975 for the world (except People's Democracies) by MELO-MSUIK AG., Zurich
Side 2 - © 1976 by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5033:
Once again I found my visit to Budapest exciting, meeting quite a number of very fine musicians and listening to some first-rate orchestras. It was not therefore difficult for me to get for our series another interesting selection of their instrumental pop music. In contrast to my usual habit of opening the LP with a fast and exciting number, this time I gave preference to the slow and romantic melody "I Want To Know", a trumpet solo really beautifully performed and backed by a lush String Section of the Orchestra.
I must be forgiven if I was carried away, but I chose for the second number another slow and romantic ballad with a large section of strings, this time with a truly exquisite piano solo, "Expectation". This is followed by a lively and brassy, descriptive number "Be Careful". You can almost "smell" a big city, full of bright neons, speedy cars and excitement.
Before finishing this Side of the LP with another descriptive and rather witty number, as you may find in the title "You Talk Too Much", you will be, I am sure, enchanted by the slow-moving Bossanova "Soft Lights", full of warmth, love and precious memories.
As if competing with the Budapest Radio Orchestra, we present on Side 2 of this LP the Polish Radio Orchestra. You will be familiar, as in the case of the Hungarians, with the Poles, from our previous albums in this series, so I feel it is not necessary for me to tell you yet more about my experiences in Warsaw and with the Polish musicians. What I find always exciting in Polish music is a strong and very recognisable touch of the Slav element which makes the otherwise Anglo-Saxon idiom somehow more original and interesting.
As the title indicates, "Sunny Escapade", the opening number, is lively, full of sunshine and pleasant expectations. There is quite a joy and gaiety in the voices of the boys and girls backing the rhythm of a fast-moving melody. The same Vocal Group is used effectively in another interesting number, "Cha-coo, Cha-coo" with the slightly exotic and almost "dancing" bongos beat.
Yet anothed jocular and carefree melody, "Let's Enjoy It", featured on mouth harmonica, makes a pleasant ending to the LP.
Richard Frank
Producer: RICHARD FRANK
℗ 1977 Apollo Sound, 32 Ellerdale Road, London, N.W.3
Side 1 - © 1976 for the world (except Peoples' Democracies) by MELO-MUSIK AG., Zurich
Side 2 - © 1976 for the world (except Peoples' Democracies) by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5034:
The brassy sound of the excellent Polish Radio Orchestra opens Side 1 of this album. The melody, as if keeping a secret, moving in a steady medium tempo with the delicate rhythm of the bongos beat, justifies the title "The Golden Mask". The two exciting solos in the hands of Aleksander Machnacz (violin) and Pawel Perlinski (organ), make very interesting listening.
What a charm, romanticism and elegance you will find in the slow-moving waltz "My Wonderful Dream", the second number of this Side. One can trace a nostalgic glance back to the glorious days of the past in the melody evocatively sung by the full String Section of the Orchestra. You will find more nostalgic love in the flugelhorn solo of the title "I'll Never Forget".
By contrast, the bass-clarinet is the ideal "Bon-Vivant", walking leisurely through the boulevards of Paris, and the closing number of this Side "The College", is well presented by boys and girls singing in full harmony and backed up by a Rhythm Section.
The commercial market of recorded music is literally flooded with very often mediocre and banal repertoire. Nevertheless one has to admit that there is also quite an amout of excellent and sometimes brilliantly recorded material, and therefore it is not easy when producing a new LP to avoid all the clichés and to find some kind of originality.
It seems to me that Peter Sander, a very fine and classically trained musician, has been the right choice for the noble attempt of bringing some "fresh air" into these rather stuffy channels of music. And so it is not just a coincidence - the actual instrumental combination picked out for this Session, consisting of some woodwind, organ, rhythm section (but without "kitchen drums"), and the strongly featured French-horn sound.
Obviously this kind of combination helped Peter in his presentation of some interesting numbers, such as "Yes, Your Grace", "Jill And I", "Ascot Hat" and others, giving all of them a delicate treatment, simple and transparent and so truly refreshing. Vive la Difference!
Richard Frank
Producer: RICHARD FRANK
℗ 1977 Apollo Sound, 32 Ellerdale Road, London, N.W.3
Side 1 - © 1976 for the world (except Peoples' Democracies) by MELO-MUSIK AG., Zurich
Side 2 - © 1977 by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5035:
It is rather unfortunate that you still need a visa when planning to visit such countries as Hungary and Poland. Nevertheless this small inconvenience, I promise you, is certainly worth going through for the sake of all the pleasure which awaits you when you have crossed the border of the not-so-Iron Curtain. When promising you a lot of pleasure and excitement, I am obviously talking of art in general, and popular music in particular.
In the approach of the so-called music-makers, i.e. composers, arrangers, performers as well as studio producers and technicians, to popular music, one immediately notices and unusual but how refreshing lack of the professional commercialism so familiar to the "pop-market" in our part of the world. Instead you are somehow aware of a constant and genuine search for a true and really artistic experience. The whole atmosphere fosters the creation of an original, and at the same time easy to listen to, music of good taste and first grade quality.
My own experience in programming and compiling the items for our new MELODY AND RHYTHM album, superbly presented by the Budapest Radio Orchestra and the Polish Radio Orchestra, has been most satisfactory and highly rewarding.
Richard Frank
Producer: RICHARD FRANK
℗ 1978 Apollo Sound, 32 Ellerdale Road, London, N.W.3
© 1977 for the world (except Peoples' Democracies) by MELO-MUSIK AG., Zurich
Sleeve Design by TADEUSZ ORLOWICZ
APP 5036:
Everybody who is familiar with our series COLOURS IN RHYTHM may be slightly surprised when listening to the six compositions presented on Side 1 of this album. I have to confess that, before I made my decision to program these items, I wondered myself whether the style in general was in fact suitable for the series. Admittedly it differs completely from the established pattern, and introduces entirely new elements into the range. Obviously, the final verdict whether I have been right or wrong in my decision must be yours. To me, however, the quality of the music, excellently performed, is such that by itself it fully justifies any unusual gambit, and it has much too strong an appeal to leave any doubts or misgivings.
And so, after the very interesting and well orchestrated opening number "The Lights of Hong Kong", I advise you to follow "Janice in Wonderland" and to enjoy through her eyes the beauties and variations of this colourful selection.
The choice of numbers for Side 2 of this album was much easier and certainly much safer. The titles presented follow the usual form, i.e. an attractive mixture of gaiety and sadness, exuberance and sweet romanticism, emotional outburst and relaxing calm. Nevertheless, the Poles, in their compositions and orchestrations, are original enough to arouse real interest and appreciation of their outstanding musical talents.
All in all, I wish you pleasant listening.
Richard Frank
Producer: RICHARD FRANK
℗ 1978 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
© 1977 for the world (except People's Democracies) by B.V.F. ANGLO-CONTINENTAL MUSIC CO. LTD. (London)
Sleeve Design by TADEUSZ ORLOWICZ
APP 5037:
KENNETH BADEN JONES is that rare breed, an all round musician, whose activies have ranged over the whole spectrum of music, including classical, entertainment and pop, apart from being a successful performer as pianist and organist.
He studied under Matyas Seiber, and subsequently became musical director of Trentham Gardens Ltd. and Lewis's Ltd. For some years he worked abroad as recording arranger to HMV in Copenhagen, and has made records with Decca and Phillips.
His best known orchestral work is the RHAPSODY for Piano and Orchestra, recorded on APOLLO SOUND, which has been performed and broadcast in many countries, and similar success has been enjoyed by his FANTASIA FOR BRASS BAND.
In a lighter vein, such numbers as: DESIGN FOR STRINGS, VENDETTA, COCKNEY IN NEW YORK, STARLIGHT, FANTASY, PATTERN FOR ROMANCE, SWINGING THE MARCH, and CASTANETA have become established repertoire items.
On this record KENNETH BADEN JONES shows yet another aspect of his versatility, as composer and arranger of instrumental popular music. The seven titles recorded on this album offer a variety of styles and content, DRAG-BASS, CHEEKY CHAT and SUEDE SHOES contain a strong rhytmic element, well suited to the contemporary "pop" scene. The melodic charm of AIRS AND GRACES, RUSKI-HUSKI, ACE OF TRUMPS, and SERENADE FOR SIX remind us that a good tune will always be the backbone of popular music and will survive all changes of style and fashion that may occur in the future.
Polish culture has always tended to absorb and assimilate Western trends, and this is especially the case with music, both popular and serious. However this does not mean pure copying but rather a recreation with the superimposition of a distinct Polish national character. The eight titles on this album are a very good example of this. They demonstrate the great skill and wide range of expression of Poland's popular composers.
The arrangements are as modern and "up to date" as anything produced in the West.
The listener will find these eight numbers a most stimulating and invigorating experience which will encourage him to hear more of Polish popular music.
Heinz Herschmann
Producer: RICHARD FRANK
℗ 1980 APOLLO SOUND, 32 Ellerdale Road, London, N.W.3
Side 1. © 1980 (Copyright) by MELO-MUSIK AG., Adliswil-Zurich
Side 2. © 1979 (Copyright) for the world (except People's democracies) MELO-MUSIK AG., Adliswil-Zurich
Sleeve Design by Tadeusz Orlowicz
APP 5038:
For most married couples to be involved in the same artistic activity can mean the end of their marriage - for JACQUELINE BINNS and PETER SANDER it was the beginning of theirs.
Although they both started their careers from the opposite ends of the musical spectrum, - and more than a thousand miles apart - each has achieved equal prominence in both light and serious music.
While PETER was consolidating his reputation in his native Hungary and subsequently in his adopted country, England, JACKY was blossoming into a young classical pianist. Soon however, her interests changed from performing to composing music, she wrote several serious pieces (song cycles, chamber music, etc.). Like all young creative artists she then felt the need to broaden her horizon, and enrolled in a postgraduate composition class.
By the time JACKY entered college, PETER had become a well known jazz pianist. He was so respected in this field, that in 1968 he was invited to represent the jazz point of view at the opening of the Bath Festival.
He started composing early in his career, and within a few years achieved great success. His versatility enabled him to write pieces of every kind, such as light music, film scores, and serious compositions, ranging from a solo violin piece to large orchestral works. His music is represented on various record labels including E.M.I. - APOLLO SOUND's record: "SPECTRUM" (AS 1020) contains a number of his earlier chamber music works. Among these "EXPLORATION" for solo guitar won a bronze medal at the 1974 International Composers Competition organised by the French Radio and Television. He has received numerous commissions, and his pieces are regularly broadcast, and performed in concerts all over the world.
JACKY was still at college when her first full scale musical was staged. It was towards the end of her postgraduate course that a new lecturer of composition was appointed to take over her class. It was PETER SANDER.
Soon they were married.
JACKY's own expertise and adaptability earned her commissions for film, television and concertm usic, with performances all over the world. She has also won several composition prizes.
Both JACKY and PETER have retained their separate artistic identities, and it is this blend of individualities which gives this album its inimitable quality. They have succeeded in bringing together a wide variety of instrumental music, using different combinations from: String Quartet, Flugel Horn, Harpsichord and Rhythm (TAKE A LOOK, LOVE LETTER, CLOWN AND THE RAINBOW) to a larger group: two Woodwind doubling Saxophones, Trumpet, Trombone, Piano, two Percussion, three Guitars and Drums (BLUE BUTTONS, HIS AND HERS, RUSSIAN VINE, BOUNCY BEE, BLOW IT ALL, HE TOLD ME LAST NIGHT, FUNKY GONDOLIER) right up to a "Big Band" including: two Trumpets, three Trombones and Strings (COUNTRY OF MY MIND, GENTLE SOUND OF MIDNIGHT).
The numbers range from the romantic to a hard almost "funk" style, humorous to dramatic, traditional to modern, but what they all have in common whether they are HIS or HERS is that they are original, effective, and written with great panache.
That these two lives and careers converged may be regarded as a result of a series of curious coincidences. But it is no coincidence that they have produced this wonderful album of music which will give hours of pleasure to everyone.
HEINZ HERSCHMANN
Producer: HEINZ HERSCHMANN
℗ 1980 APOLLO SOUND, 32 Ellerdale Road, London, NW3
For all Titles: © (copyright) 1980 by MELO-MUSIK A.G. Adliswil-Zurich
Recording Engineer: RICHARD MILLARD
Sleeve Designer: ASHLEY MORTON-CAMERON
