% % The proverbial feline is officially out of the bag – the purveyors 1 Ambros Seelos: Mabusso. Mister Big % % of light entertainment in the German speaking world were Band Funk himself, Ambros Seelos, opens proceedings. Of all the established – for the most part – cool cats and dogs. Thoroughly educated bandleaders, the Bavarian sax player was musicians whose love of jazz could not feed the hungry the most prolific provider of killer grooves mouths gathered around their respective tables, they had and funk workouts. He may have spent most to search for more lucrative opportunities, for audiences of his time in the service of gentle, family larger than jazz could muster. Hence the late sixties saw entertainment, but he also recorded a host them drawn towards the slickly sweet sphere of popular of tracks like this one for the Black Forest entertainment.When England and the USA across the pond jazz label MPS. On “Mabusso” he flaunts the Seelos slickness which has seen his began dancing to a different beat, soul, funk and so forth, the music return to the coolest clubs of today. Teutonic bandleaders found their reputations weighed down Listen to the far-out wah wah guitar. Just in blocks of staid cement. There was no way back for the how fab is that? 2 Don Kelly Band: Guitar’ majority of them. Success spelled luxury, of course, making it Shower. Straight outta Switzerland: the none the easier to walk away, to U-turn back to jazz, to music Don Kelly Band. Don Kelly was Grischa which the decently dull general public feared with existential Batanoff’s alter ego, whose real name was ferocity. Otto B. Hartmann. The Don Kelly Band recorded four LPs entitled “Internationale Hitdiskothek”, the idea being “to have Nevertheless, each and every one of them managed to nibble top jazz musicians play groovy versions at the “sweet fruit” at one time or another. Some laid down of familiar tunes” (Batanoff). The cream entire albums of glittering Blaxploitation Funk, others of the jazz crop included Ack van Royen slipped a killer groove into the midst of benign hit medleys or (on trumpet), Lothar Meid (bass) and let their imaginations run riot in film soundtracks. Or filled Klaus Weiss (drums). Some of the tunes music libraries with ad agency fodder for “young folk”. were Batanoff’s own compositions, such as the fantastic “Guitar’Shower” with its

driving beat and irresistible wah wah solo. We set out on a journey to track down such hidden pearls 3 Gerhard Narholz: Ufo-Invasion. If you of German popular music. Thanks to the treasures we are familiar with the sound of the Norman unearthed, we made our peace with many of the bandleaders we had to endure in childhood as they led a merry dance This friendly fellow and his band played on the blandest of light entertainment TV shows. Wow, we the slickest funk in the whole of Bavaria: thought. German Grooves – Achtung, baby! Ambros Seelos (Track 1) Candler Magic Strings, you might find it hard two and a half years older than James “call to believe that the man behind the project, me Hansi” Last, and eldest brother, Robert, Gerhard Narholz (otherwise known as Otto had already alerted the German jazz scene Sieben), was also capable of dropping such to the Last name. Like Hans, Werner went deep grooves. Narholz wrote numerous on to become a bandleader at Polydor, pop hits for the likes of Petula Clark, Bill going under the name of Kai Warner. By Ramsey and Heidi Brühl, using the Candler 1975 he had had enough of facing such nom-de-plume, as well as compositions imposing competition in the form of his for film. The latter were usually for his brother and switched allegiance to Philips publishing company, Sonoton, which he where his “On the Way to Philadalphia” LP founded in 1965. It has since grown into one reflected his love of the Philly Sound. The of Germany’s largest music libraries for film title track has it all: opulent waves of violin, and advertising. Sadly, the visual context majestically crisp horns, sublime choral of “Ufo-Invasion” has been lost...but one singing, wild bass lines and a funky Fender can imagine what it must have been like! Rhodes to boot. Overloaded? Not on your 4 James Last: U-Humbah. Did somebody say life! 6 Theo Schumann Combo: Hackepeter. Santana? Wrong! This is none other than “The Iron Curtain does not only protect us Hit compilation designers James Last, the king of the homogeneous didn’t have an easy time of it Happy Sound, Germany’s most successful back then. Here’s one bright musician with a list of releases to his name spark’s solution. Whatever far too long to count. His “Voodoo Party” LP that might be (Track 2) is a particular favourite with DJs, featuring the track “U Humbah” which reveals which direction the album takes. Latin-American, Caribbean and African sounds fuse with rock in true Santana- no, make that James Last-style. As the sleeve notes so accurately state (this in an era before budget air travel had arrived) “Most Europeans will never get a chance to experience Voodoo in the place of its origin. But listening to this record will Voodoo priests party on down. make up for this loss.” To which we can only One of the few good LPs to add: U-Humbah! 5 Kai Warner. On The Way To be found on the James Last Philadelphia. Keeping it in the family, Werner, mountain of albums (Track 4) from the Imperialists, but from copyright law record as a composer for the screen (most as well.” That is probably what was running famously for “Raumpatrouille”/“Space through the mind of Theo Schumann in the Patrol”). So it comes as no surprise that the GDR when he covered “Hip Hug-Her” by eccentric Swiss U.F.O. researcher Erich von Booker T. & the MGs note for note, credited Däniken sought him out to add the music to himself as composer and christened the the documentary film extrapolations of his piece “Hackepeter” (and he certainly did wild conspiracy theories about the influence make “mincemeat” of intellectual property!). of “ancient astronauts” in mankind‘s history. Whilst it remains a matter of conjecture The 1976 film “Chariot of the Gods” was whether or not Theo Schumann’s version narrated by no lesser mortal than William ever reached the ears of Booker T., there can Shatner, better known as Captain Kirk. Peter be little disputing the fact that the TS Combo Thomas provided a theme tune not only rich facsimile is unrelenting, wilder and better in melody but destined for the stellar light than the original. Gerd Schönfelder thrashes shows of the discotheque. 9 Heinz Kiessling: his drum kit with such intensity, one expects Orbiter. Heinz Kiessling is one of the all time the skins to surrender at any moment. The greats in Germany’s easy listening history. beat is furious and Schumann is a man He penned over 1000 songs including one for All the pseudonyms and Philly flashes on the possessed on the organ, leaving Booker Frank Sinatra and he also worked for Chet block cannot disguise the fact that Kai Warner T. looking like a choir boy by comparison. Baker. Countless TV themes (“Aktenzeichen is a Last through and through (Track 5) 7 Henry Arland: Mamy Blue. The jury is out on xy” and “Klimbim” to name just a couple) this Gospel song popularised by the Spanish crop up on his C.V. There was a whole group Los Pop Tops. Those unlucky enough different side to Kiessling, however, as this to remember the drippy German version by wild beat reveals. Hammond harmonies Franco-Italian light entertainer Ricky Shayne preside over solo guitar frenzies and visceral in 1971, may have difficulty in acknowledging drums. “Orbiter” was released through the class of the composition by French Kiessling’s own music library publisher songsmith Hubert Giraud. Clarinetist Henry Quadriga on a nondescript LP sampler Arland and his orchestra transform it into a entitled Q3. For safety’s sake, Kiessling used fantastic groove delight. Watch out for those his Lanzerot pseudonym in the credits. adventurous bass lines running through the 10 Ady Zehnpfennig: Easter Afternoon. The verses. 8 Peter Thomas Sound Orchestra: The Theo Schumann Combo didn’t give a Chariot Of The Gods. Without doubt the most No, this isn’t Alfred Hitchcock’s brother, monkey’s about copyright. Safely hidden willing to experiment of any of Germany’s this is the unique soundsmith Peter behind the Iron Curtain (Track 6) bandleaders, Peter Thomas has a peerless Thomas (Track 8) Minden organ builder Dr. Böhm engaged Harlem reference certainly rings true! Sax the virtuoso services of Ady Zehnpfennig with this much body and soul is a rarity to pull out all the stops in showing off the in the German speaking territories. As on particularly fine qualities of the Dr. Böhm other unconventional productions of this instrument. Playing his own compositions, era, the lush sound came courtesy of the Zehnpfennig let the soul in his music notorious Les Humphries (also responsible shine on through. “Easter Afternoon” is a for Hildegard Knef’s legendary groove LP hidden gem from the obscure promotional “Worum geht’s hier eigentlich” a few years album “Dr. Böhm Panorama-Sound”, on later). 12 Günter Gollasch: Es steht ein Haus which Zehnpfennig presents the Doc’s in New Orleans. Backwards guitar tracks and CnT/L model. This generation preceded echoing Morricone piano signatures crank the introduction of the ingenious Dr. Böhm up the tension as Günter Gollasch’s version automatic – BÖHMAT system, which is of the classic “House Of The Rising Sun” a shame, or possibly a godsend. 11 Max commences. Nice to see how he dutifully Greger and his Orchestra: Soul Breeze. “He came up with a German title for the song looks like a movie star and blows his sax – English being the language of capitalism the way they do it in Harlem” – Thus begin and frowned upon in the GDR. (Although he Organ builder Dr. Böhm promoted his products the liner notes to Max Greger’s best LP could have gone further and moved the story with LPs like this. On the keys and pedals: Ady by some distance, “Sunshine Starshine”. from New Orleans to Karl Marx Stadt.) The Zehnpfennig (Track 10) Emphatically leaving the “strictly swinging introduction runs to almost a minute before music” of the dance class behind him, he a mean trombone kicks in and the drums dives head into a pool of soul grooves. let loose. The Gollasch sound went down so Not sure about the film star looks, but the well with the powers that be that its creator was promoted to the top job as conductor

Munich sax player Max Greger’s finest album. Produced by Les Humphries (Track 11) for the RundfunkTanzorchester Berlin (Berlin down and dirty, he was more than equal to heavy on spice. In 1969 he signed on the Radio Dance Orchestra). 13 Pete Jacques: the task. 14 Hans Ehrlinger and his Orchestra: dotted line for the British EMI label and Hard Work. “Hard Work” – an apt title for this One For You – One For Me. Nuremberg shortly thereafter was snapped up by US heavy, dragging groove. The fuzz guitar at trombonist Hans Ehrlinger displayed his sister company Capitol to rearrange current the outset sends out an immediate warning talent for many years as a member of Hugo chart hits in such a way that the slightly to the listener that we are not here for fun. Strasser’s orchestra. He also led a second older generation could grasp the concept of The Swiss wizard of the keys, composer life as Latin bandleader Juan Erlando (like pop. The resulting LP (re-released on CD by and arranger Pete Jacques was well known Horst Wende/Roberto Delgado on track 17). bureau b in 2006) is his finest achievement, in both the European and Brazilian Easy On “Take A Chance For A Dance”, one of the with swinging, groovy arrangements as Jazz circles. He wrote many tunes for music rare longplayers to carry his own name, he light as feathers. A violin can be one cool libraries including some for Heinz Kiessling’s proves himself an expert in the art of playing instrument in the right hands. Zacharias Brillant publishing house (see track 9) the trombone. “One For You – One For Me” is weaves his way majestically through this under the moniker The Rainbow Orchestra. a remarkable cocktail of trombone at sauna Aretha Franklin hit but still leaves the Jacques’s main love was Latin but, as can temperature and coy Disco funk. 15 Catch Up: band plenty of space to cook up a dance be heard here, when the mission was to get Catch Up. Max Greger Junior got to know beat. 17 Roberto Delgado: Mocoto. Popular Charly Antolini and Milan Pilar whilst playing musician and arranger Horst Wende dons in his father’s big band (see track 11). Jazz a sombrero and poncho to resurface as musicians through and through, Charly (on Did anyone seek approval from Mr Zacharias Roberto Delgado, Germany’s hardest drums) and Milan (bass) shared Greger Jr.’s for this cover of the UK release? Probably not working Latin bandleader. He fed the party desire to take a hike from monotonous dance (Track 16) people of the 50s and 60s with easily music and explore their preferred field of digestible, internationally flavoured dance jazz. In 1975 they founded Catch Up and music, ideally laced with a little something produced the succinctly titled “Vol. 1” LP, a from Central or South America. With such slice of German jazz history still much sought expertise on display, it is hard to fathom that after today. Listening to Greger’s imaginative, Delgado himself never crossed the Atlantic. dextrous organ skills, Antolini’s masterful “Mocoto” is a lesser known tune written by breaks and Pilar’s exact, yet groovy bass samba pop rocker Jorge Ben. The mood leaves one in little doubt as to why. 16 Helmut is cheerful and summer-like but Delgado Zacharias: The House That Jack Built. Yes, gives his all as flute and organ rev up the Horst Wende dons even the man with the permanent smile, the grooves. 18 Berry Lipman: “BL”-Special. sombrero, poncho and “Merlin on the violin”, Helmut Zacharias, Berry Lipman, the big man of German heavy shell-rimmed went through a phase of flirting with what upmarket easy listening, born Friedel Berlipp spectacles – it can only then fell into the jazz category. It may have 1921, composed scores of popular hits in One man and his trombone. Listen to him work be Roberto Delgado been light entertainment but it was definitely the 1960s, such as the debatable “Keep wonders with the instrument on track 14 (Track 17) On Smiling” for James Lloyd. He began 1 Ambros Seelos: Mabusso 2:46 7 Henry Arland: Mamy Blue 3:36 using the pseudonym when his production (Seelos, Michalke), published by Agil, (Giraud, Trim), published by Ed. Hubert work expanded to include international stars P 1974 Agil Musik und Theater GmbH, Giraud, ISRC DE-F06-71-04070, P 1972 such as Dionne Warwick and Petula Clark. admin. by State One Musikverlag GmbH, Polydor, courtesy of Universal Music The Berry Lipman Orchestra concentrated Berlin, courtesy of Shams Records Domestic Division, a division of Universal on delivering easy Latin Disco sounds to the Music GmbH That’s how the contemporary party jetset. Hey, even Lipman 2 Don Kelly Band: Guitar’ Shower 2:34 international liked to let his hair down once in a while. And (Batanoff), published by OBH Musikverlag, 8 Peter Thomas Sound Orchester: Chariots jet-set are when he did, beat feasts like “‘BL’-Special” ISRC CH-106-99-00160, P 1974, courtesy of Of The Gods 2:50 supposed to look. were the result. 19 Hans Haider: Sport Extra. OBH Musikverlag (Thomas, Francoupolus), published by Peter Berry Lipman at The “Sport Extra” melody was penned by the Thomas Verlags KG, P 1974 Polydor, the peak of his soundtrack composer Hans Haider. Many a 3 Gerhard Narholz: Ufo-Invasion 3:01 courtesy of Universal Music Domestic powers (Track 18) fresh-faced, tracksuited youngster has bent (Narholz), published by Figurata, Division, a division of Universal Music GmbH and stretched to “the rhythm you just can’t P 1972 Sonoton, courtesy of Sonoton/ ignore”. A rock intro is followed by viscid Gerhard Narholz 9 Heinz Kiessling: Orbiter 3:39 saxophone disco boogie. An invitation to (Lanzerot), published by Brillant-Musik, the laziest of couch potatoes to dig his or 4 James Last: U-Humbah 2:30 recorded 1971, courtesy of Brillant her plimsoles out of the cupboard and one, (Traditional), published by Happy Musikverlag two, three, stretch... 20 Walter Kubiczek: Musikverlag, IRSC DE-F06-71-04670, Tigerauge. Last but not least, elegant easy P 1971 Polydor 10 Ady Zehnpfennig: Easter Afternoon 3:29 funk from the GDR. Walter Kubiczek was the (Zehnpfennig), published by Europaton, most revered supplier of soundtracks to Defa 5 Kai Warner and his Orchestra: On The P 1974 Europaton, courtesy of Europaton (East German Film Institute) and developed a Way To Philadelphia 3:47 unique sound in 1972 when he mixed in barely (Warner), published by Roba, 11 Max Greger and his Orchestra: audible male vocals which exactly followed ISRC: DE-F07-75-05940, P 1975 Philips, Soul Breeze 2:50 the bass line. Add in the frequent use of courtesy of Universal Music Domestic (Philipp), published by Intersong, congas and various other percussion elements Division, a division of Universal Music GmbH ISRC DE-F06-70-05670, P 1970 Polydor, and you have something rather exotic and courtesy of Koch Universal Music, a division mysterious. On this song, “Tigerauge” (not 6 Theo Schumann Combo: Hackepeter 2:45 of Universal Music GmbH to be confused with “Eye Of The Tiger”), the (Schumann), published by Copyright Control, bass is even accompanied by a trombone. ISRC DE-C73-06-00081, P 1969 Amiga/BMG 12 Orchester Günter Gollasch: Es steht ein Kubiczek’s very special sound played no small Berlin Musik GmbH, courtesy of SonyBMG Haus in New Orleans 3:27 part in the success of the East German TV Music Entertainment (Germany) GmbH (Traditional), published by Lied der Zeit, A man as elegant as his music. GDR soundtrack series “Das unsichtbare Visier”. ISRC DE-C73-69-00006, P 1969 Amiga/BMG legend Walter Kubiczek (Track 20) Berlin Musik GmbH, courtesy of SonyBMG 19 Hans Haider: Sport Extra 3:06 Music Entertainment (Germany) GmbH (Haider), published by Selected Sound, recorded 1976, courtesy of Selected Sound 13 Pete Jacques: Hard Work 3:07 (Ullrich), published by Brillant Musik, 20 Orchester Walter Kubiczek: recorded 1970, courtesy of Brillant Tigerauge 3:29 Musikverlag (Kubiczek), published by Edition Barbarossa, ISRC DE-C73-73-00050, P 1973 Amiga/BMG 14 Hans Ehrlinger and his Orchestra: Berlin Musik GmbH, courtesy of SonyBMG One For You – One For Me 3:05 Music Entertainment (Germany) GmbH (Kaltenbach), published by Edition Dezime, P 1976 Intersound, courtesy of Intersound

15 Catch Up: Catch Up 2:58 Conceived and produced by Gunther (Greger jr./Pilar/Antolini), published by OBH Buskies and Thomas Worthmann Musikverlag, ISRC CH-106-00-00235, P 1975, courtesy of OBH Musikverlag Compiled by Thomas Worthmann Mastering: Willem Makkee 16 Helmut Zacharias: Artwork: Christine Krawinkel The House That Jack Built 2:27 Linernotes by Thomas Worthmann (Lance/Robbins), published by Cotillion, P 1969 Capitol, courtesy of EMI Electrola Translation: Gareth Davies

17 Roberto Delgado: Mocoto 3:08 This compilation wouldn’t have been (Ben), published by Musisom Editora possible without the help of these fine Musical, ISRC DE-F06-71-03160, people: P 1971 Polydor, courtesy of Universal Music Sören Bauermeister, Friedel Berlipp, Domestic Division, a division of Universal Matthias Bosch, Gareth Davies, Christian Music GmbH Domke, Otto B. Hartmann, Marco John, Andrea Kossin, Gerhard Narholz, Gudrun 18 Berry Lipman: “BL”-Special 2:59 (B. Lipman), published by Selected Sound, Manneck, Margit Seelos, Joachim Tautz, recorded 1973, courtesy of Berry Lipman Stephan Zacharias