His first recorded LP was Pick Yourself Up on Pye issued in 1967 with Peter McGurk on bass with the orchestra and Dave Holland on bass on the four tracks featuring the trio without orchestra. His first recording was "Birth of the Budd", a single recording. Fishman got him signed to Pye, which released his single "Birth of the Budd" in 1965 and his album Pick Yourself Up!! This Is Roy Budd in 1967. Clyne was later replaced by Pete Morgan, creating a line-up that was maintained until his death.īudd met composer Jack Fishman while working at the Bull's Head club in London. Roy later reformed the trio with Tony Archer or Jeff Clyne on bass and Chris Karan on drums. He formed the Roy Budd Trio with bassist Peter McGurk and his cousin, drummer Trevor Tomkins before leaving school and embarking on a career as a jazz pianist.
He sang some Jerry Lee Lewis songs when he was eleven years old with his brother Peter and a friend at the Sutton Granada under the name The Blue Devils. Roy also won a talent competition on a television talent show hosted by Bert Weedon in 1952. In 19 he featured on the Carroll Levis show on radio. Although widely thought to be a self-taught pianist, he did also receive piano lessons from a lady called Mrs Sax who also lived in Mitcham. By the age of eight, he could play the Wurlitzer organ and four years later he was appearing on television at the London Palladium. In 1953, he made his public concert debut at the London Coliseum. When he was six, two Austrian music experts visited him at home and after various tests, found that he had perfect pitch. The whole affair is delightful and refreshing and will certainly lift your spirits.Born in South Norwood, South London, Budd became interested in music at an early age and began to play the piano when he was two, initially by ear and then by copying various melodies he heard by listening to the radio. Originally issued by RCA in the United States, the concept is simple - Werner Muller and his orchestra plays a classic, then Caterina sings a lighter `pop' version of the piece. On the even-numbered bands Miss Valente sings the Pop versions in her own winning way.Ī lovely, charming reissue of a 1959 `concept' album. Müller s tasteful orchestrations which hew close to the composers intentions, with a few contemporary touches added. The odd-numbered bands on both sides are devoted to Mr. Retitled Tonight We Love, it was turned into a million-and-more selling recording by Freddy Martin in the early Forties.
The rash of setting Tin-Pan-Alley-type words to the melodies of the great classical composers began, for our present purposes, with the Pop arrangement of the opening theme of Tchaikovsky s Piano Concerto No. You get two points of view for the price of one album and we daresay you will relish both. It might have borne a pair of subtitles: Classics for People Who Don t Like Pop Music or Pop Music for People Who Don t Like Classics. If this album may be considered a trifle controversial, at least it presents both sides of the controversy. 53ī2 Caterina Valente - Till The End Of Timeī3 Werner Muller and his Orchestra - Borodin - Theme From Polovetzian Dancesī4 Caterina Valente - Stranger In Paradiseī5 Werner Muller and his Orchestra - Tchaikovsky's Melody, No.
#Caterina valente till the end of time full
18Ī6 Caterina Valente - Full Moon Empty Armsī1 Werner Muller and his Orchestra - C- Chopin - Polonaise No. 23Ī5 Werner Muller - Theme From Rachmaninoff's Piano Concerto No. Caterina Valente - Werner Muller and his Orchestra - Classics With A ChaserĪ1 Werner Muller - Theme From Tchaikovsky's Piano Concerto No.
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