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This is the latest in Acrobats series featuring the great arranger/conductor/composers of the golden era of popular music during the 1940s and 50s, which so far encompassed the likes of Billy May, Nelson Riddle, Hugo Winterhalter, Ray Conniff and others. Lou Busch was a pianist, producer, composer and arranger who, as well as working with other artists, made records himself both as Lou Busch and in the zany persona of bowler-hatted ragtime pianist Joe Fingers Carr, and under those guises had big hits with records like Zambesi, 11th Hour Melody, Portuguese Washerwoman, Sams Song and Down Yonder. Joining Capitol Records soon after it was founded in 1942, he worked with many major artists over the next two decades, and this collection features his arrangements, productions and accompaniments for Lena Horne, Jo Stafford, Peggy Lee, Mel Torme, Kay Starr, Margaret Whiting, Dean Martin, Nat King Cole, Tennessee Ernie Ford, Janet Blair, Pee Wee Hunt, Dorothy Provine and others. This great value 107-track 4CD set, which, like our other arranger/conductor collections, has been researched, compiled and annotated by former national newspaper showbiz journalist and photographer Geoff Wilding, provides an intriguing insight into the career of a versatile and innovative industry practitioner, and an entertaining showcase for his considerable talent. REVIEWS “Lovingly compiled and annotated by Geoff Wilding, this four CD collection comprises 114 tracks featuring the man in many different settings… I was struck by the scale and scope of Busch’s musicality and this set contains some real treasures and rarities. It’s always a pleasure when something unexpected turns up like this collection and I heartily recommend it.” - Gerry Stonestreet (In Tune) This great value 107-track 4CD set, which has been researched, compiled and annotated by former national newspaper showbiz journalist and photographer Geoff Wilding, provides an intriguing insight into the career of a versatile and innovative industry practitioner and an entertaining showcase for his considerable talent.” – Peter Lay (Just Jazz Issue 249)
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