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The Songbook
| A1 | Minor Incident | |
| A2 | Slidin' | |
| A3 | Southern Horizons | |
| A4 | Liggin' | |
| A5 | Orient Line | |
| A6 | Jazz At The Paris | |
| B1 | Storm Warning! | |
| B2 | Raga (Edit) | |
| B3 | Sound Of Seventeen | |
| B4 | Newtyme Waltz | |
| B5 | The Goblin | |
| B6 | Six To One Bar | |
| B7 | Signing Out |
The studio is dark; voices can be heard approaching its main doors. Soon, a flick of a switch brings light, which reveals a white walled room full of musical instruments of every shape and size, glistening under the rays thrust upon them, all fighting for space with a plethora of recording equipment already set up. The voices heard earlier, now file in through the doors.
Musicians. The room falls silent as a piano lid is lifted to reveal black and white keys that stare back at the man now carefully placing his long fingers upon them.
'Ok chaps' he says, 'shall we give the first number a run through?'
The arranger had arrived, the process had begun...
Harry South may not be a household name in the UK, but among its jazz world of the 50s to the late 60s, it was held in very high esteem. Even when jazz fell into a sharp decline in the UK mainstream in the late 1960s, you couldn't hold a man like Harry South back.
Musicians. The room falls silent as a piano lid is lifted to reveal black and white keys that stare back at the man now carefully placing his long fingers upon them.
'Ok chaps' he says, 'shall we give the first number a run through?'
The arranger had arrived, the process had begun...
Harry South may not be a household name in the UK, but among its jazz world of the 50s to the late 60s, it was held in very high esteem. Even when jazz fell into a sharp decline in the UK mainstream in the late 1960s, you couldn't hold a man like Harry South back.
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