Eddie Sauter's Music Time Eddie Sauter Orchestra

• 1 High Tide 05:25
• 2 Superman 04:10
• 3 It Had To Be You 02:58
• 4 Babes in Arms: My Funny Valentine 04:55
• 5 Was ist los in Baden-Oos 07:08
• 6 Dernière Minute 02:20
• 7 Kopf hoch 03:30
• 8 Easy Does It 04:45
• 9 Finian's Rainbow: Old Devil Moon 02:55
• 10 Three on a Match 03:50
• 11 Street Market 03:10
• 12 Suddenly It’s Spring 04:45
• 13 Little Girl in a Big City 02:50
• 14 Hightor 03:50
• 15 Reeperbahn 04:00
• 16 Porte au Prince 03:46
• 17 Spook Walk 05:36
• 18 Blues for Al 05:25
• 19 Polka Dots and Moonbeams (Around a Pug-nosed Dream) 03:34
• 20 A Night in Tunisia 03:20
• 21 Drum Concerto 04:45
• 22 Bags' Groove 06:15
• 23 Cherokee 03:45
• Total Runtime 01:36:57

Info for Eddie Sauter's Music Time

Eddie Sauter, who was originally a trumpeter and had been part of the competence team of Benny Goodman, took over Kurt Edelhagen’s orchestra at the Südwestfunk (SWF) in 1957. Here he had the first time in his career the freedom of conducting a jazz Big Band without a co-leader – which was a great opportunity, but turned out to be also a lot of stress. In 1959 Sauter returned to the United States and there proved his talent for creating a transparent presence with works of film music and the album Focus (1961) by Stan Getz.

In his music, Sauter managed to transfer a cool reduction of bebop bustle into large form without seeming too cool himself. The broadcast concert series Eddie Sauter’s Music Time became the podium for his experiments. The recordings from the SWR archives were made in the winter of 1957/58 at, among other places, Freiburg and Kaiserslautern, and document a programme which, carried off with plenty of American humor, held the balance among standards, originals and experiments.

Eddie Sauter Orchestra

Eddie Sauter
was one of the most inventive arrangers to emerge during the swing era. His complex and colorful charts were always innovative and defied categorization. Sauter originally played trumpet and drums, and later learned the mellophone. He studied at Columbia University and Juilliard, and from 1935 to 1939 he made a stir in the jazz world as the arranger for Red Norvo’s Orchestra. He worked as a freelancer during the remainder of the swing era with his most notable work for Benny Goodman, writing some of the most advanced music that the clarinetist ever played. In addition, Sauter contributed arrangements to the bands of Artie Shaw, Tommy Dorsey, Woody Herman and (in the postwar years) Ray McKinley. In 1952, Sauter joined forces with fellow arranger Bill Finegan to form the innovative Sauter-Finegan Orchestra. Sauter continued as a freelance writer for stage, film and television, including several collaborations with saxophonist Stan Getz. In the late 1950s and 1960s Sauter also wrote contemporary classical music, including several works for saxophone: Q.T. for the New York Saxophone Quartet, Tanglewood Concerto for Tenor Saxophone and Orchestra, and Piece for Tuba and Saxophone Quartet.

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