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That Latin Feeling

That Latin Feeling
Released: 1964
Re-Released: 2010
Format: CD
Recorded at: Studio Rahlstedt, Hamburg
Catalog #: 273 569-1
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Surely no musician on earth can resist the timeless attraction of Latin-American melodies and rhythms – and Bert Kaempfert was no exception. As early as 1958, he had proved his ‘Latin Feeling’ with a number of compositions and arrangements. In 1964 he then produced a whole LP dedicated to Latin-American tempi.
Alongside original Kaempfert compositions which are very true to his style, we find ‘all-time standards’: O Cangaceiro which achieved fame in 1953 owing to the film ‘The Bandit’; Maria Elena which a smash hit in 1963 for the guitar duo Los Indios Tabajaras; then we have the melancholic love song Bésame Mucho or Sweet And Gentle, Poinciana, and, last but not least, The Breeze And I. Latin-American rhythm is represented in all its variety – the cha-cha, rumba-bolero, merengue and, of course, the Brazilian Bossa Nova, which sparked off a craze in the USA in its day and can be heard here in the songs Say Sí Sí and Bert’s Bossa Nova.

Bert Kaempfert and Helmut Brüsewitz co-arranged the numbers for THAT LATIN FEELING; the recordings took place in the Polydor Studio in Hamburg-Rahlstedt. In order to achieve a true Latin-American sound, the wind and string sections of Kaempfert’s orchestra were reinforced by an exotic range of percussion instruments – bongos, cabasa, congas, cowbell, güiro (rumba gourd), maracas, sandpaper, timbales, triangle, marimba and xylophone -, played by Bert Kaempfert’s drummer Rolf Ahrens, together with percussionists Hans Bekker, Günther Platzek, Max Raths and Manfred Sperling.

Ladi Geisler not only guaranteed a “cracking” bass guitar, but also took the guitar solo in Maria Elena, The Breeze And I and Bésame Mucho; the trumpet solos were given to Werner Gutterer (Poinciana), Heinz Habermann / Werner Gutterer (Trumpet Fiesta), and Manfred Moch (Bert’s Bossa Nova); Emil Wurster’s tenor saxophone is to be heard in Bert’s Bossa Nova and Say Sí Sí (together with Karl-Hermann Lüer on the flute in the latter), while Willy Surmann’s bass clarinet vividly produces a special feature with the clucking of chickens in Chicken Talk.

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