Gershwin Goes Latin

In this day of mass entertainment, it is astounding to reflect upon the vast following which an entertainer may command. Years ago, before the advent of radio as a medium of entertainment, artists were known “intimately” by relatively few, though their reputations were often wide-spread. Today, an infinitely larger number of people know the stars well—their names, their styles, their mannerisms, their voices—though they may without ever having seen them in person.

Stanley Black stands in the forefront of this new generation. Millions of people who have never seen him conduct, who would never recognize him if they passed him in the street, know his name and his style of music, if they do not know their own likes and dislikes. And Stanley Black is emblematic, one of these likes. Over the past thirty years or so, he has built up a more than solid reputation for himself, a distinct and individual style which has made his name a guarantee of quality where arranging and arranging music are concerned. He, together with a select handful of others who have survived the more than being in the public eye—or rather ear—for seven days a week for several years, can say that he has well and truly arrived. His name, as well as being a hallmark of quality set in an arrangement, has become that most welcome thing in the world—a household word.

Stanley Black was born in London on June 14th, 1913. His musical education began at the Matthay School of Music, where he studied the pianoforte. After this opening skirmish he went on to work as pianist and arranger with various dance-bands and light orchestras, gaining invaluable experience and knowledge, both of what kind of music pleased the public and how to do it. He first achieved public recognition in 1938 as a result of his extreme thoroughness. He paid a visit to South America to obtain a first-hand knowledge of Latin-American music, and a year later enlisted in the R.A.F. In April 1944 he stepped forward into the limelight by taking over as conductor and director of the B.B.C. Dance Orchestra, and during the following years he averaged an astounding total of six programs a week. A physical and mental strain which many dance-band conductors would not care to endure. His orchestra, using chiefly his own arrangements, supplied the music for such popular programs as the “Much Binding” saga, and “Ray’s a Laugh”, besides scores of others. In 1947 he married the vocalist, Edna Black.

His “official” broadcasting work reaches a very large volume indeed when measured by the mere statistics of broadcasting-hours and audience-figures alone, to say nothing of semi-higher standards for broadcast light music and arrangement it is immeasurable. In addition to all this, Stanley Black has had a hand in no less than two other small achievements which probably would have passed for a complete career for an artist less energetic. His work for a major, for example, as house conductor and arranger, or composing and directing the scores for at least two British films. All this hard work, far from stifling his individuality, has developed it. The more he does, the better he gets, because he has such a great gift of enjoying his work, what is more he communicates that enjoyment to other people. In other words, he genuinely entertains. And when he is not entertaining others he amuses himself by arranging and conducting shots on a golf-course, or conducting horses on a musical ride.

It is good to know that so much of Stanley Black’s work has been preserved on records, for naturally he has cut many sides for London, and, we hope, will cut many more. His records have been instrumental in his giving great versatility and range of understanding to music.

In this album Stanley Black has taken the immortal tunes of George Gershwin, and has given them up to colorful and exciting Latin tempos. Black’s style is unique, and his treatment of music points to his trademark as an artist of good taste.

Track Listing

Side 1

1. ‘S Wonderful (2:25)
2. Love Is Here To Stay (2:40)
3. Let’s Call The Whole Thing Off (2:40)
4. Nice Work If You Can Get It (2:35)
5. Embraceable You (2:35)
6. Soon (2:10)

Side 2

1. Bidin’ My Time (2:15)
2. A Foggy Day (2:05)
3. Love Walked In (2:15)
4. Somebody Loves Me (2:00)
5. But Not For Me (1:45)
6. Liza (1:55)

Album Information

• Catalog Number: PS 206; LL 1184
• Catalog Numbers: PS 206; LL 1184
• Source: PS-206
• Publishing Rights: All above ASCAP
• Playback Information: PLAY THIS RECORD ONLY ON STEREOPHONIC EQUIPMENT
• Country of Manufacture: PRINTED IN U.S.A.