Bert Kaempfert

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Berthold Heinrich Kämpfert, (16 October 1923 – 21 June 1980), better known as Bert Kaempfert, was a German orchestra leader, music producer, and songwriter. He made easy listening and jazz-oriented records and wrote the music for a number of well-known songs, including "Strangers in the Night" and "Moon Over Naples".

Kaempfert was born in Hamburg, Germany, where he received his lifelong nickname, Fips, and studied at the local school of music. A multi-instrumentalist, he was hired by Hans Busch to play with his orchestra before serving as a bandsman in the German Navy during World War II. He later formed his own big band, toured with them, then worked as an arranger and producer, making hit records with Freddy Quinn and Ivo Robić. In 1961, he hired The Beatles to back Tony Sheridan for an album called My Bonnie. The album and its singles, released by Polydor Records, were the Beatles' first commercially released recordings.

Kaempfert's own first hit with his orchestra had been in 1960, "Wonderland by Night". Wonderland by Night couldn't get a hearing in Germany. Instead, Kaempfert brought the track to Decca Records in New York, who released it in America in 1959; with its haunting solo trumpet, muted brass, and lush strings, the single topped the American pop charts and turned Bert Kaempfert and Orchestra into international stars. Over the next few years, he revived such pop tunes as "Tenderly", "Red Roses for a Blue Lady", "Three O'Clock in the Morning", and "Bye Bye Blues", as well as composing pieces of his own, including "Spanish Eyes (Moon Over Naples)", "Danke Schoen", and "Wooden Heart", which were recorded by, respectively, Al Martino, Wayne Newton, and Elvis Presley. For Kaempfert, little may have brought him more personal satisfaction than Nat King Cole recording his "L-O-V-E".

As a producer, Kaempfert also played a part in the rise of The Beatles when he signed a Liverpool-based singer named Tony Sheridan, who was performing in Hamburg, and needed to recruit a band to play behind him on the proposed sides. He auditioned and signed the Beatles, and recorded two tracks with them during his sessions for Sheridan: "Ain't She Sweet", sung by rhythm guitarist John Lennon and the instrumental "Cry for a Shadow", co-written by Lennon and lead guitarist George Harrison. Kaempfert's recording of the Beatles, even as a backing band for Sheridan, provided an impetus to their subsequent success, even though none of the Kaempfert-recorded sides resembled the music for which they became famous. On October 28, 1961, a man walked into the music store owned by Brian Epstein to ask for a copy of "My Bonnie", recorded by the Beatles (but, actually credited to Tony Sheridan). The store did not have it, but Epstein noted the request and was so intrigued by the idea of a Liverpool band getting a record of its own out, he personally followed up on it. This event led to his discovery of the Beatles and, through his effort, their signing by George Martin to Parlophone Records after getting clear of any contractual claim by Polydor.

Many of Bert's tunes became better known as hits for other artists:

"Strangers in the Night" (with words by Charles Singleton and Eddie Snyder), was originally recorded as part of his score for the 1966 film A Man Could Get Killed. It became a #1 hit for Frank Sinatra in 1966. This was followed a year later with another hit for Sinatra, "The World We Knew (Over and Over)".

"Wooden Heart", sung by Elvis Presley in the film G.I. Blues was a hit in 1961. Joe Dowell's cover of "Wooden Heart" became a big hit, reaching #1 on the Billboard Hot 100 on August 28, 1961. Bert arranged this traditional German folk song for the Presley movie.
His instrumental "Moon Over Naples", when given words by Snyder, became "Spanish Eyes", originally a hit for Al Martino and also recorded by Engelbert Humperdinck, Presley, and many others.

"Danke Schoen", with words added by Kurt Schwabach and Milt Gabler, became Wayne Newton's signature song.

"L-O-V-E", with words added by Milt Gabler, was a hit for Nat King Cole.

"Almost There", which reached No. 67 on the U.S. charts but No. 2 on the U.K. charts, was recorded by Andy Williams.

His 1962 movie theme from the film 90 Minuten nach Mitternacht (Terror After Midnight), with lyrics added by Herb Rehbein and Joe Seneca, became a pop ballad called "Love After Midnight", recorded by both Patti Page (1964) and Jack Jones (1966).

A jazzier number called "A Swingin' Safari" was the initial theme tune for the long-running TV game show The Match Game used on the NBC version from 1962 to 1967. Billy Vaughn's cover of "A Swingin' Safari" also hit the Billboard charts, peaking at No. 13 in the summer of 1962. Another 1962 single, "That Happy Feeling", became well known as background music for children's television programming, most notably that of Sandy Becker on his daily WNEW-TV (now WNYW) show in New York between 1963 and 1967.

The LP entitled A Swingin' Safari was heavily influenced by South African kwela style music, containing versions of "Zambesi", "Wimoweh", "Skokiaan", and "Afrikaan Beat", as well as the title track, which made Kaempfert an early exponent of world music. Many of the tracks were later used in the 1969 film An Elephant Called Slowly.

Kaempfert's orchestra made extensive use of horns. A couple of numbers that featured brass prominently, "Magic Trumpet" and "The Mexican Shuffle", were played by both Kaempfert's orchestra and by Herb Alpert & the Tijuana Brass, whose initially Mariachi style, in fact, evolved towards the Kaempfert style as the 1960s progressed.[citation needed] The Brass covered "Magic Trumpet", and Kaempfert returned the favor by covering Brass compadre Sol Lake's number "The Mexican Shuffle". The latter tune evolved into a TV ad, The Teaberry Shuffle.

Many of his hits during this period were composed and arranged with the help of fellow German Herb Rehbein, who became a successful bandleader in his own right. Rehbein's death in 1979 shook Kaempfert deeply. Both Kaempfert and Rehbein were posthumously inducted into the Songwriters Hall of Fame.

In 1963 jazz trumpeter Bobby Hackett recorded a complete album with 12 Kaempfert compositions, Bobby Hackett Plays the Music of Bert Kaempfert. It has now been re-released in the United States under the Sony Records label in the Collectable Jazz Classics series, along with the album Bobby Hackett Plays The Music of Henry Mancini on a "2-in-1" CD.

In 1967 jazz clarinetist Pete Fountain recorded the album Pete Fountain Plays Bert Kaempfert in Hamburg, Germany, with musicians from Kaempfert's orchestra. It featured Kaempfert's signature hits.

In 1970 Johnny Mathis issued a double-LP album set, Sings the Music of Bacharach & Kaempfert, for Columbia. It consisted of a total 21 tracks in a heavyweight gatefold picture sleeve. The Kaempfert tracks were done in his arrangement style, and the Bacharach tracks were done in the American's unique upbeat style. The same year Kaempfert composed the score for the war film You Can't Win 'Em All, starring Tony Curtis and Charles Bronson.

By the 1970s, sales of Kaempfert's music had dropped off somewhat, but he continued to record. His version of the Theme from Shaft was admired by composer Isaac Hayes[citation needed] and remained popular with audiences. He expanded the musical scope of his band and recorded in a wide variety of styles. He also began to play live concerts with his orchestra, beginning in 1974, with a successful appearance at London's Royal Albert Hall.

Kaempfert used many musicians who were available in Germany and other parts of Europe, including many of the same players who played for James Last, Kai Warner and Roberto Delgado. He featured such top soloists as trumpeters Charly Tabor, Werner Gutterer, Manfred Moch and Ack van Rooyen, trombonists Åke Persson and Jiggs Whigham, and sax/flute player Herb Geller. Drummer Rolf Ahrens supplied the characteristically simple but steady beat, often playing just a snare drum with brushes.

Another contributor to Kaempfert's music was guitarist/bassist Ladislav "Ladi" Geisler, who popularized the famous "knackbass" (crackling bass) sound, using the Fender Telecaster Bass Guitar, which became the most distinctive feature of many Kaempfert recordings — a treble staccato bass guitar sound in which the bass string was plucked with a pick and immediately suppressed to cancel out any sustain. It was Geisler who lent his guitar amplifier to The Beatles for their recording session with Tony Sheridan, after the band's own equipment proved to be inadequate for recording purposes.

Kaempfert died suddenly on 21 June 1980, at the age of 56, following a stroke at his home on Majorca, shortly after a successful appearance in Britain.

[montage]

https://www.youtube.com/watch?v=X6bsoyT86LE


Released: 1962
Re-Released: 2010
Format: CD
Recorded at: Studio Rahlstedt, Hamburg
Catalog #: 273 639-9
Order Now: www.amazon.de
This album was recorded in the Polydor Studio in Hamburg-Rahlstedt by sound engineer Peter Klemt in December 1961 and in March 1962. This production was first released in the United States the following August under the title THAT HAPPY FEELING and had climbed to Number 14 in the charts by September of that year. The LP was then released on the European market with the title A SWINGIN' SAFARI in autumn of the same year.

The two Kaempfert compositions A Swingin' Safari and Afrikaan Beat soon became world hits and have since become evergreens. The success of Take Me famous is down to Dean Martin's vocal version of the number, and That Happy Feeling, Market Day and Happy Trumpeter were sensational, long-running hits on American radio.

At that time, the typical Kaempfert rhythm had been enhanced by a titillating sound coming from the flutes: Bert Kaempfert modeled this music on the sound produced by blowing penny whistles (brass flutes) in the same particular way as in South African Kwela music. The style of this had been influenced by American swing and was very popular among young black people in the townships.

"Bert Kaempfert tried to get the piccolos to imitate the sound of penny whistles. We had real hard rehearsals. But at last we had made it and Bert was really pleased to have captured the charm of the whistles in 'his' piccolos," reminisced bass guitarist Ladi Geisler. The intro to Afrikaan Beat is also one of the most unmistakable symbols of Bert Kaempfert and his Orchestra today, with its typical 'cracking bass'. Again Ladi Geisler recalls: "We musicians were, as always, gathered around one microphone. My amplifier was about 3 meters away, the same distance as the trombones. Bert Kaempfert advised me to go easy on the lower notes (these were to come from the double-bass) and the high notes were to be accentuated so that it would really 'crack'. This was how the term for the Bert Kaempfert sound – 'cracking bass' – was born."

[montage]

https://www.youtube.com/watch?v=bLM9l-tViic

Danke Schoen
Bert Kaempfert

Danke Schoen, darling Danke Schoen
Thank you for all the joy and pain
Picture shows, second balcony
Was the place we'd meet, second seat
Go dutch treat, you were sweet

Danke Schoen, darling Danke Schoen
Save those lives, darling don't explain
I recall, Central Park in fall
How you tore your dress
What a mess, I confess, that's not all

Danke Schoen, darling Danke Schoen
Thank you for walls down lovers lane
I can see, hearts carved on a tree
Letters intertwined, for all time
Yours and mine, that was fine

Danke Schoen, darling Danke Schoen
Thank you for seeing me again
Though we go on our separate ways
Still the memory stays, for always
My heart says, Danke Schoen

Danke Schoen
Auf wiederseh'n
Danke Schoen

[montage]

https://www.youtube.com/watch?v=uHI5mZUt6ow


Discography[edit]
Note: titles are for European releases. U.S. releases have other titles.
U.S. singles[edit]
"Cerveza" (U.S. #108, Music Vendor, 1959, his first U.S. chart single; re-charted U.S. #73, 1961)
"Wonderland by Night" (U.S. #1, 1961)
"Tenderly" (U.S. #31, 1961)
"Now and Forever" (U.S. #48, AC #14, 1961)
"A Swingin' Safari" (1962)
"Afrikaan Beat" (U.S. #42, AC #10, 1962)
"That Happy Feeling" (U.S. #67, 1962)
'"Livin' it Up" (1963)
"Holiday for Bells" (1963)
"Red Roses for a Blue Lady" (U.S. #11, AC #2, 1965)
"Three O'Clock in the Morning" (U.S. #33, AC #10, 1965)
"Moon Over Naples" (U.S. #59, AC #6, 1965)
"Bye Bye Blues" (U.S. #54, AC #5, 1966)
"Strangers in the Night" (AC #8, 1966)
"I Can't Give You Anything But Love" (U.S. #100, AC #6, 1966)
"Hold Me" (AC #37, 1967)
"Talk" (AC #39, 1967)
"Caravan" (AC #10, 1968)
"The First Waltz" (AC #30, 1968)
"Mister Sandman" (AC #12, 1968)
"(You Are) My Way of Life" (AC #17, 1968)
"Jingo Jango
"Games People Play" (AC #30, 1969)
"The Maltese Melody" (1969)
"Someday We'll Be Together" (AC #27, 1970)
"Sweet Caroline (Good Times Never Seemed So Good)" (AC #24, 1971)
"Love Theme" (1970)
"Only a Fool (Would Lose You)" (1972)

[montage]

https://www.youtube.com/watch?v=kRauKmkToqo


"Bye Bye Blues" is a popular and jazz standard written by Fred Hamm, Dave Bennett, Bert Lown, and Chauncey Gray and published in 1925.[1]

The year it was introduced it was sung by The Vikings on the NBC radio series, The Vikings.
It has been recorded by many artists, but the best-known recording is one made in 1952 by Les Paul and Mary Ford. This recording was released by Capitol Records as catalog number 2316 backed with the Les Paul instrumental composition "Mammy's Boogie". It first reached the Billboard magazine Best Seller chart on December 27, 1952 and lasted 5 weeks on the chart, peaking at #5.[2]

[montage]

https://www.youtube.com/watch?v=hFKECWKpsPE

[montage]

https://www.youtube.com/watch?v=N85cwvwGBak


Strangers in the night exchanging glances
Wondering in the night what were the chances
We'd be sharing love before the night was through
Something in your eyes was so inviting
Something in your smile was so exciting
Something in my heart told me I must have you
Strangers in the night two lonely people we were
Strangers in the night up to the moment when we said our first hello
Little did we know love was just a glance away
A warm embracing dance away
And ever since that night we've been together
Lovers at first sight in love forever
It turned out so right for strangers in the night

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