Salvatore “Tutti” Camarata was one of the most prolific musicians of the 20th Century. Already a virtuoso violin and horn player by the age of 21, he was hired to play and arrange for the Big Bands of Charlie Barnet, Paul Whiteman, Jimmy Dorsey, Glen Gray and Benny Goodman between 1934 and 1944. In the mid 1940s Camarata joined American Decca where he arranged and conducted for Bing Crosby, Mary Martin, and Louis Armstrong in addition to conducting the orchestra for Billie Holiday's first recording sessions with Decca. In the early 1950s Camarata founded the London Records division of English Decca with his close friend Sir Edward Lewis which became a major classical label both in the U.S. and internationally, distributing recordings made by English Decca and other European labels. In the mid 1950s Camarata was persuaded to move to southern California where he established and ran Disneyland and Buena Vista Records for almost twenty years. During this period Camarata produced, arranged, conducted and played on two big band albums, “Tutti's Trumpets” and “Tutti's Trombones”, featuring some of the best West Coast jazz players. He also founded Sunset Sound Recorders, one of Los Angeles’ finest recording studios.

While still in charge of Disney’s record division, Camarata recorded for London as a classical performer, using their new Phase 4 recording technique. His symphonic and chamber arrangements of J.S. Bach and Erik Satie's solo piano works along with orchestral albums featuring music by Verdi, Puccini, Borodin, Rimsky-Korsakov and Rachmaninov, were perennial best sellers.

Although originally recorded for Phase 4 release, the three Erik Satie albums were controversial for their time because Camarata incorporated in his arrangements the then new Moog Synthesizer for several musical selections. It was decided to release the Satie albums on Decca’s pop & rock Deram label instead of the classical label, although in later releases they did appear on Decca & London Classical. Despite the fact they were among the best selling LPs ever produced in the Phase 4 catalogue and were audiophile favourites, Camarata’s three Satie albums have never appeared on CD to my knowledge. All three were released in the US on reel to reel tape and in 2005 I did my own remix/remaster of all three configured as a 2 CD set. How you will react to these performances of Satie’s music depends on whether you like Decca’s spectacular “up front” in your face Phase 4 Stereo sound (which I happen to like very much) and whether you are willing to accept Camarata’s Moog enhanced chamber arrangements of Satie’s music. Among the highlights is, in my opinion, the finest recording ever of Satie’s ballet “Parade” and some remarkable, virtuoso playing by the chamber ensemble. Also included on the second CD are several bonus tracks of Eric Satie recordings made for Phase 4 by Bernard Herrmann employing more traditional orchestral forces, which I think you will find most enjoyable.

SATIE: The Velvet Gentleman & Through A Looking Glass - The Music of Eric Satie (Arranged and Conducted by Tutti Camarata)
FLAC: https://mega.nz/#!rx0kxaaZ!oRKH46_O7rDxTDuE8bpD0t6cCX5FYca6Ef2529Zsgns
SATIE: The Electronic Spirit of Eric Satie (Arranged and Conducted by Tutti Camarata) + Bonus Tracks conducted by Bernard Herrmann
FLAC: https://mega.nz/#!ig83DDKQ!89z8Dr99hv6tyg5eqVUcL-bHywXHlWExYEIcl6FnTgQ

Looks very interesting. Thanks for the share!

Thanks, I'll bite!

Thanks for these two nice albums !

Wow, what rare material, super share, BIG thanks.

Thanks!

Thank you very much!

thanks, didn't know these arrangements !

thank you

Thank you very much!

Thanks, stevefromalaska!

I'm wrestling to settle on an opinion of these recordings. The Moog can be a bit jarring, pulling me out of the work. On the other hand, it does remind me of Wendy Carlos' work, much of which I have enjoyed. But I suppose the key phrase is "much of which." For some reason that I have not yet pinned-down, I enjoy the synthesizer on some occasions and not others.

Regardless of whatever ambivalence I might have about "classical" Moog, however, I am extremely grateful for the opportunity to hear these rare recordings. I always appreciate hearing fresh takes on old material.

Thank you so much for sharing these, stevefromalaska!

Thank You

Thanks very much. I used to have The Velvet Gentleman on vinyl (back in the 60s). Have looked for it on CD for years. Really appreciate your posting this... scott

Curious to hear, thanks for the interesting share.

thanks

Thank you so much, Stevie!

Many thanks steviefromalaska for this very interesting share ;-)

Thank you! His Trombone album is one of the first I'd ever purchased. Great arranger.

thank you

Thank you very very much for sharing

Glorius Share and Many Thanks :-D

I'd love to be able to say thanks for this, cheers!