THE 50 GUITARS OF TOMMY GARRETT…IN LOVE AND MORE

THE 50 GUITARS OF TOMMY GARRETT…IN LOVE AND MORE

The ‘orchestra leader’ Tommy Garrett made a hit on the easy listening scene from the early 1960s into the early 1970s with a unique arrangement of 50 Guitars into an orchestra supported ostensibly with a light percussion section, and occasionally with a flautist, harpsichord player and oboe player. The result is to elevate the guitar – and an acoustic guitar, mind you – into the equivalent of an orchestral paradigm all by itself. I am not making this claim lightly. Thanks to the first-rate digital remastering supervised by Mr Garrett himself, the 50 guitars substitute for cellos, violas, violins and piano. Also, the resonance of the guitar strings within each of their accompanying wooden housing, amplified by the resonance of massed and synchronized solo and coordinated playing fills the recording space with pure analogue sound. In fact, play the Garrett remasters on any CD player hooked up to a vintage amplifier from the mid-1960s onwards, you’ll hear something magical about the spatial presence of 50 guitars in unison. Some of you might find this too technical, but this is the genius behind Garrett’s guitar orchestra concept. Moreover, in every one of the remasters by GARRETT MUSIC ENTERPRISES, there is a declaration in the liner notes that many ‘solo greats’ made up Tommy Garrett’s ‘50 Guitars’ – joining the worlds of jazz, pop and other hybrid styles: Laurindo Almeida, Herb Ellis, Barney Kessel, Glen Campbell, Howard Roberts, Tiny Timbrell, José Barroso, Al Viola, René Hall, and many more. So this is a real ‘orchestra of guitarists’ recording for you!

 
Let me start this review by highlighting one of the first in his ‘love/Valentine’s themed’ vinyl LPs: 50 GUITARS IN LOVE (Liberty Records – LSS-14037, STEREO IN 1966 for US and German markets) from 1966 produced in both mono and stereo pressings. 

A1		Michelle	2:22
A2		Strangers In The Night	2:32
A3		I Left My Heart In San Francisco	2:18
A4		Lara's Theme From "Dr. Zhivago"	2:55
A5		Our Day Will Come	2:20
A6		You Don't Have To Say You Love Me	2:41
B1		The Shadow Of Your Smile	1:58
B2		Escape To Love	1:53
B3		Sure Gonna Miss Her	2:35
B4		Moon Guitar	2:24
B5		What Now My Love	3:18
B6		Dream Theme

With just 12 tunes plucked from the pop charts, along with a few Garrett originals, the 50 Guitars manage to evoke a mood that envelopes the listener in warm, poignant sound. Even if you are listening through standard two channel stereo, the sound goes all around your listening room. This draws you indelibly into the music. The Beatles’ ‘Michelle’ is no longer just evocative of Paul McCartney’s vocal. It is a ballad for a candlelit evening in your dining room. ‘Strangers in the Night’, ‘Lara’s Theme’, ‘The Shadow of Your Smile’, ‘Our Day Will Come’, ‘Sure Gonna Miss Her’, is arranged almost as an invitation to do a twirl around your living room or the restaurant where the album is played.

The next album featured in the 3CD compilation, MORE 50 GUITARS IN LOVE, features a thoroughly 1960s hip beat on ‘You’ve Lost that Lovin’ Feeling’ infused with Latin tones in the varied mid-tempo guitar playing. Francis Lai’s ‘A Man and a Woman’ takes you to Rio de Janeiro, Bogota, or Quito, and not Paris, with its mid-tempo Latin rhythm. The selection of the Ed Ames hit ‘My Cup Runneth Over’ is intuitive since the melody suits the 1960s Latin beat of celebrating beautiful womanhood with lightly lilting, gentle melodies that are both relaxing and lounge favourites at the same time.

I would also highlight another rare LP to CD remaster: the 50 Guitars 1963 LP MARIA ELENA remastered by EMI Singapore for CD as part of the company’s centenary publicity:

 

Track listing:

A1		Maria Elena Written-By – Lorenzo Barcelata
A2		Jungle Drums Written-By – Ernesto Lecuona
A3		Anna Written-By – R. Vatro*
A4		Without You (Tres Palabras) Written-By – Osvaldo Farres*
A5		Cherry Pink And Apple Blossom White Written-By – Louiguy
A6		Taboo Written-By – Margarita Lecuona
B1		El Choclo Written-By – E. Freeman*, M. Garrett*
B2		Poinciana Written-By – Nat Simon
B3		Brazil Written-By – A. Barroso*
B4		Amapola Written-By – Joseph M. Lacalle*
B5		Flamenco Love Written-By – F. Shuman*, J. Eaton*, L. Wagner*
B6		The Breeze And I Written-By – Ernesto Lecuona

 As you can see, this was an earlier foray by Garrett and company into the more traditional Latin songbook. The celebration of melodic compositions by Ernesto Lecuona and Ary Barroso are in there, along with standards associated with the Latin big band like ‘Cherry Pink And Apple Blossom White’ and ‘Amapola’. This is still lounge music ala guitar style but with a cool edge and a mood of gentle celebration of life and beauty. If you are living in, or travelling through a small quaint Central American plaza, or somewhere in Central Spain, in the historic towns of Salamanca, Zamora, Avila, Segovia, Valladolid and Toledo, Tommy Garrett’s MARIA ELENA is the perfect soundtrack for your walking journeys. Or a video filmed from your digital camera perhaps? Imagine, look around and that beautiful lady is looking back at you with Spanish eyes… Above all, this album stands as testimony to the talent in 1960s easy listening. Here's a sample of the original liner notes by Nigel Hunter celebrating the 50 Guitars' contribution to the glory of guitar music:

 

In 1964, the 50 Guitars released a themed celebration of Italian popular standards and folk tunes. Simply titled GO ITALIANO, it featured a more subdued arrangement – but a still luxurious soundstage – by addressing the mood of an Italian evening party. Not the intense dinner and dance ‘fever’ but one that takes you to a high point in Milano, Venezia, Roma or Firenze to look over the city lights while you dine in style. The track list says a lot: 

A1	O Sole Mio Arranged By – E. Freeman*, T. Lesslie*	2:24
A2	Al Di La Written-By – Donida*, Drake*	2:51
A3	Summertime In Venice Written-By – Icini*, Sigman*, Pinchi	1:34
A4	Non Dimenticar Written-By – Redi*	2:27
A5	Return To Me Written-By – Lombardo*, Di Minno*	2:05
A6	Love Theme From La Strada Written-By – Galdieri*, Rota*	2:25
B1	Volare Written-By – Modugno*, Migliacci*, Parish*	2:30
B2	Come Back To Sorrento Arranged By – E. Freeman*, T. Lesslie*	2:23
B3	Mattinata Arranged By – E. Freeman*, T. Lesslie*	2:57
B4	Ciao Ciao Bambina Written-By – Verde*, Modugno*, Parish*	1:56
B5	Anema E Core Written-By – Goell*, D'Esposito*, Manlio*	2:05
B6	Arrivederci Roma Written-By – Sigman*, Rascel*

Garrett Music Enterprises remastered GO ITALIANO with another equally rare LP, 50 GUITARS FOR MIDNIGHT LOVERS.

Shangri-La	2:55
Live For Life	2:49
(They Long To Be) Close To You	2:09
Theme From Romeo And Juliet	2:49
Midnight Lovers	2:14
It's All In The Game	2:08
Twilight Time	2:15
Come Saturday Morning	2:00
Armen's Theme	2:45
I'll Never Fall In Love Again	2:30
Yesterday, When I Was Young	2:40
Everybody's Talking	2:30

MIDNIGHT LOVERS is probably one of the final albums under the ‘50 Guitars’ attribution. This was a product of 1970. Songs were still beautifully composed with lush passages, but the beat was heading back towards some version of rock and improvisation. MIDNIGHT LOVERS captured the last of the 1960s greats (listen to ‘Shangri-La’, ‘Twilight Time’, ‘I’ll Never Fall in Love Again’ and ‘Everybody’s Talking’) with Tommy Garrett arranging for the previous decade but with a few evergreen surprises. ‘Live for Life’ presents itself as an instrumental bridge between Paris, London and New York with the guitars intoning many soft romantic moments. Nothing Latin about it, just a dreamy, nearly seductive midnight mood. The Carpenters’ hit ‘(They Long To Be) Close To You’ is also done in the same midnight mood, but featuring a gorgeous standout solo oboe floating over the gentle guitar melody. ‘Come Saturday Morning’ is as 1970s as the 50 Guitars go in the direction of embracing folk/pop, while ‘Yesterday, When I was Young’ feels almost wistful towards the 1960s. But all in all, this is romantic guitar from the 1960s. If you get the chance, grab it! 

 

ALAN

April 2026

EASY LISTENING SOLO VIOLIN – THE GENIUS OF HELMUT ZACHARIAS IN A BIG BOX CD REMASTER…LISTEN TO HIS VERSION OF ‘CLAIR’ and ‘SOMETHING’!

 

Think of what it would sound like having a lighthearted style of playing violin fronting a small 10-15 piece orchestra…This is the sound of Helmut Zacharias. Hailing from a background comparable to the famous Bert Kaempfert big band, Zacharias left the bitter taste of World War Two Germany behind and played music for the masses – globally. According to many online biographies, he was influenced before and during the war by the styles of Stephane Grapelli and Django Reinhardt. These two capture a blend of what we call ‘jazz’ today and gypsy melody. In the hands of Zacharias, a solo violin can dance, and ‘sashay’, and evoke all kinds of wonderful happy gyrations in your mind. It can be feminine and masculine depending on how you match a mood or scene to.

I post this review having recently obtained a set of the BMG/Electrola remasters on CD of nearly 23 of his short and long play vinyl albums. This is simple titled HELMUT ZACHARIAS BIG BOX – THE LEGENDARY ORIGINAL ALBUMS. A 5CD set sequencing his albums chronologically from the early 1960s through to the late 1970s. Like his contemporary Kaempfert, he stayed consistent in his style right up till the 1970s. I suppose one might try to compare him with Franck Pourcel’s early albums where he played solo violin in front of a lush string orchestra, or even Herman Clebanoff of the equally renowned Clebanoff Strings. But after listening to the selections in this box, one cannot help but admire the distinctiveness of Zacharias’s style.

I highlight for instance the following choice tracks from this ear-watering selection of his greatest albums according to the people at ELECTROLA, a subsidiary of BMG company.

L’Important cest la rose :  the violin’s long notes ring out the mental imagery of Parisian elegance as if this tune was meant for a romantic movie like ‘Sabrina’, ‘Forget Paris’ or the TV series ‘Emily in Paris’. Zacharias amazingly sounds as French as Grapelli, his inspiration. 

Cherry Pink and Apple Blossom White : this is forever associated with the trumpets, bongos, and saxophones of a Latin big band, but Zacharias makes it all his own with a special violin lead that evokes an elegant Viennese ball adapting to rhumbas and cha-chas.

A Man and a Woman : Francis Lai’s classic is no less romantically dramatic played with a solo violin attentive to its swirling musical passages.

Something : on CD TWO transforms the Beatles’ classic from a pop song into a literal flight of fancy from an elegant concert hall to enjoying inflight service in business (or first) class where meals and drinks are unhurried, and tinged with many sweet destination dreams. This is truly a classic and this is also captured in a live TV performance on YouTube by Zacharias.

Claire/Claire : the Gilbert O’ Sullivan pop standard ‘waltzes’ under Zacharias’ arrangements between a sunny summer picnic on the lawn to a hilarious gathering of friends in the porch partaking in a serving of lemonade on a warm afternoon.

Can’t Take my Eyes Off You : one would never have thought of the Zacharias sound applied to one of the most distinctive ‘re-hits’ between the 1960s and 1990s – but it works as an anthem to boy meets girl and vice versa situations. The violin however brings the melody into a classy afternoon lounge looking onto the street, while you watch people go by while sipping tall coffees!

This post would be quite unwieldy if I posted all of the track lists. But for starters the tunes below comprise just CD ONE. Released in 2023, there are still many pieces – both new and second hand – available on many retail sites such as eBay or this one: https://www.grooves.land/zacharias-helmut-big-box-die-legendaeren-originalalben-electrola-cd-pZZa1-2100857651.html. You can see from my pictures above how the original album covers are cleverly juxtaposed on the cover, literally offering a kaleidoscope of Zacharias’s work.

Disc 01

 01. "L'important c'est la rose"

02. "What A Wonderful World"

03. "A Man And A Woman"

04. "Step Inside Love"

05. "Love And Yasmin"

06. "Words"

07. "Honey"

08. "The Glory Of Love"

09. "Can't Take My Eyes Off You"

10. "Love Is Blue"

11. "Falling In Love Again"

12. "Someone To Watch Over Me"

13. "Mexico Melody"

14. "Olympia Melody"

15. "Golden Bell Of Mexico"

16. "If I Were A Rich Man"

17. "Anatevka (Fiddler On The Roof)"

18. "Cherry Pink And Apple Blossom White"

19. "Liebesleid"

20. "Ich denk' an dich"

21. "Lara's Theme"

22. "The Last Waltz"

23. "So ein Tag, so wundersch?n wie heute"

24. "Help Yourself"

25. "Ob-La-Di, Ob-La-Da"

26. "Those Were The Days"

27. "O Cangaceiro"

28. "Capri-Fischer"

29. "Light My Fire

30. "Brown Eyed Woman"

Get it for your collection if you can, this is easy listening on a different plane!

ALAN

March 2026

SOUNDBOXES XV: SPOTLIGHTING PURE MUSICAL PERFORMANCE – THE SENSATIONAL SANSUI AU-2900 TO AU-20000 SERIES

 

The Sansui AU-XX00 line of integrated amplifiers are all about reproducing the depths of musical performance. Like its ‘ancestors’, the triple digit series from the late 1960s, the music is realistic, warm, and detailed. But the extra that this series offers is that intangible soul element. Voices were delivered from both heart and mind of the performers. Every instrument carries their players’ emotions and moods. I am not exaggerating. This musical authenticity belies the very plain looks of the series – no shiny polished aluminium fronts, except for the parallel budget AU-2200 to AU-7700 models – or multiple lighting points or gilt-edged knobs. Their chief characteristic look is just naturally shiny aluminium knobs set against the black front plate for the vast majority of the models. In fact, the AU-5900 to AU-7900, along with the parallel AU-5500 to AU-7700 all look nearly indistinguishable until you look at the model number and the specifications on paper. As is typical of 1970s stereo kit, the transformers are the C-core type sealed black boxes and are individually very heavy.

What follows here is a non-technical analysis delivered in short snippets of impressions. Moreover, one is never wealthy enough to have owned every single model in order to review them thoroughly! If you are planning to dig into this particular SANSUI line, do it for the music. The looks? Well, depending on your imagination, it looks ready made for accompanying ROCK and HEAVY METAL music. Or, if you place it near classic living room furniture, the machined steel knobs and switches evoke the 1970s vibe of living room stereo, and one you would expect set up near a first generation television set. In this review, I can only provide impressions of the 2900, 3900, 4900, 5500, 7900 and the 20000.

The 2900 is a race car version of the equally famous AU-101. All the trademark warmth and reasonable soundstage retained, but with a strong feel of power. According to HiFiengine.com ‘“The Sansui AU 2900 is an integrated stereo amplifier with ample power (17 watts, both channels into 8 ohms, at 1000Hz) and dramatically low-distortion, clean tone characterise the most moderately-priced of the AU Series. It's design is also based on the true complementary OCL power circuit, with dual-transistor differential amp in the initial stage. Dual plus/minus power supply for all major circuits gives you interference-free, stable tonal quality at all reproduction levels.’ Despite its conservative power rating, the AU-2900 is a daring example of exquisite Sansui engineering packed into a budget frame. Mind you, it can fill more than a small room the size of a high-end Hilton hotel executive suite. The AU-2900 is known to have driven Mission, Focus Audio and JBL speakers comfortably. I ran the 2900 hitched up to the massive 8 Ohms PATHOS Frontiers Prime and Emmespeakers Copernicus floor standing speakers and the sound was spacious without a hint of strain since I never needed to turn the volume beyond the nine o’clock position. Any higher in volume, one might start developing hearing problems after repeated listening! That said, when I compared the 2900 to the AU-7900, which is slightly over three times the power output, the 2900 revealed some limitations. The soundstage was much more detailed and richer, and the 7900 managed to elicit an emotional response from listening to soul and operatic vocals that the 2900 did not. This difference I suppose is reflected in the 7900 selling at more than twice the price of the 2900. Nonetheless, the AU-2900 exhibits the classic look of the Professional series with its unmistakable black fascia, punctuated by silver aluminium knobs and push buttons that convey the aura of 1970s Japanese Hi Fi glory.

What about the music? I have to rave a little since this is indeed quite an exceptional entry level model. Although not the best for classical strings and solo piano, it is stunning when vocals (rock, pop) and all manner of jazz are played through it. Vocals are usually recorded at loud volumes or intimate studio settings, and here is where the 2900 excels. With plenty of bass and treble, you will easily forget it is just rated at 17 Watts output at 8 ohms. Same experience with jazz, recorded again in compact settings and fortissimo styles. Vocals, saxophones and trumpets stretch out very noticeably many notes and passages, as a live performance will do. The 2900 picks up these nuances and other emphases as the performer intended it.

The next step up, the AU-3900 {picture above}, reveals a markedly improved body and refinement to the music. In fact, I was so impressed with the 3900 as to dub it a budget version of the 5900-7900 models. Just five watts more in power i.e. 22 Watts, plus perhaps more sophisticated coupling of capacitors produced a richer sonic experience. The soundstage and clarity improves upon the 2900 for sure. The X-factor for this one lies in showcasing the musicians and the music directly, as if they were standing or sitting in a spotlighted stage in front of you. And the music leaves you thinking affectionately about the lyrics, tones, and emotion long after the song has ended. It is truly that exceptional! I would dare say it is more than a concert experience in any genre of music. So if it comes down to choosing the 2900 or 3900, the latter should be the automatic choice, but not by a lot.

The AU-4900 looks remarkably similar in its façade to both the 2900 and 3900. The difference lies in a slightly larger transformer – the sonically beautiful C-Core type – that pumps out 38 Watts, or 35 Watts, depending on whether you believe hifiengine.com or classicaudio.com. The 4900 does seem a little louder than both its lower-level cousins at volume 2 and 3 settings and thrills just about the same as the entry-level 2900 for pop and rock vocals, as well as jazz. The key separation in quality lies with the reproduction of a large string orchestra. The 4900 outperforms the 2900 in the refined sound of adagios and pianissimos. Slowly played, and softly played music is brought to life in a very impressive way. What about a comparison with the 3900? Given the choice between the 4900 and the 3900, I would opt for the 3900 for a richer dynamism and its all rounded qualities. The 4900 impresses like the 2900, in addition to its specific mastery of reproducing classical music, but strangely, it does not leave you with a lasting ‘aftertaste’ of a great performance. Something seemed missing in the emotional department even after ‘living’ with the 4900 for six months. That said, the 4900 may be summed up – subjectively of course – as a technically excellent amplifier but not one that leaves you with an impression of greatness or the ‘wow’ factor.

    The next two I have owned and tested – the AU-5500 and AU-7900 – cover the mid-tier of this series in tremendous style. The 5500 comes out of a so-called ‘budget’ parallel line ranging from the AU-2200 to AU-7700, as far as I know. But the quality does not sound budget to me. The sound of the AU-5500 can be described as warm, realistic, almost 3D like and it can comfortably drive almost any speaker up to the 300 Watts ceiling. Do not be fooled by its officially stated 32W power output, it sounds more like 100 Watts since this is a classic 1970s Sansui engineering design. In addition to double TAPE deck RCA outputs, one Tuner RCA output, one PHONO RCA output, it also has two AUX outputs. All RCA outputs allow connections to CD players, Digital/Analogue tuners, MP3 players and Bluetooth adaptors so this is an all-compatible machine able to extract an analogue sound from even the most digital music sources! 

Power output: 32 watts per channel into 8 Ohms (stereo)

Frequency response: 10Hz to 35kHz

Total harmonic distortion: 0.15%

Damping factor: 30

Input sensitivity: 2.5mV (MM), 100mV (line)

Signal to noise ratio: 70dB (MM), 85dB (line)

Channel separation: 50dB (MM), 55dB (line)

Output: 100mV (line), 30mV (DIN), 0.8V (Pre out)

Speaker load impedance: 8 Ohms (minimum)

Dimensions: 434 x 130 x 315mm

Weight: 10.4kg

This amplifier is OUTSTANDING in reproducing vocals in big concert/recording venues and jazz of all kinds. For pop and rock, it offers the sonic punch and electric atmosphere of the original performance. It comes across as blending McIntosh and Audio Analogue Hi Fi technologies.

The AU-7900 continues where the AU-4900 and 3900 left off, by amplifying their good features. The 7900’s industrial glamour on its front and back belied its power and mastery of subtlety. Listen to vocals, and you’ll hear the wow factor in the singer’s expression. A vintage singer like Rosemary Squires, Peggy Lee or Tony Bennett will reveal new soul in their voicing. Established classical voices like Maria Callas, Kiri Te Kanawa, Renee Fleming and Andrea Bocelli will demonstrate rich variations in their timbres. An emotive voice like Barbra Streisand will tug very deeply into your heart strings. And orchestras and quartets will span a soundstage as broad as your listening space will allow. This is a music dreamer’s gift!

    I wish I had the opportunity to sample the AU-9900 and AU-11000, but I suppose that is another gap to be patched when funds allow. Finally, the AU-20000: a huge mammoth valve-sounding integrated amplifier without valves!

Power output: 170 watts per channel into 8Ω (stereo)

Frequency response: 10Hz to 50kHz

Total harmonic distortion: 0.05%

Damping factor: 80

Input sensitivity: 3mV (MM), 130mV (DIN), 130mV (line)

Signal to noise ratio: 70dB (MM), 80dB (DIN), 80dB (line)

Channel separation: 55dB (MM), 60dB (line)

Output: 130mV (line), 30mV (DIN), 0.7V (Pre out)

Speaker load impedance: 4Ω to 16Ω

Dimensions: 460 x 178 x 400mm

Weight: 23.6kg

Year: 1976

The opinions out on audiophile sites across the Internet are split in their verdict. The negative views focus on its seemingly underpowered bass, requiring the boosting effect of the bass knob. Worse, some argue that the lower powered models in this series supply more dynamic bass than the one touted as top of the line. My initial impressions matching the 20000 to modern speakers such as my all-time favourites, the PATHOS Frontiers Prime and the Emmespeakers Da Vinci, confirmed some of these disappointments. I missed the power and grace of the AU-7900, and even of the later product, the equally massive AU-919. I found out that substituting the factory supplied power cable for the 20000 for thousand dollar power cords actually reduced the bass, and introduced excessive transparency to the point where the music – both vocals and instrumentals – sounded flat, two dimensional and nearly lifeless. Refitting the power cord with a factory standard normal copper cable restored much of the bass. But it still seemed less engaging than the 7900. I was about to consider selling it off, when someone suggested matching it with WESTERN ELECTRIC (WE) power cords. I got myself the first available pair which turned out to be unused ‘new old stock’ from around the 1942-5 period terminated with IEC socket at one end and hospital/UK plug at the other end.

         The WE cord turned out to be the ultimate fix. The bass now revealed refinement, spaciousness and even layers of subtlety unheard of before. This was not just the dynamic bass of the lower level models. It was more revealing. And one has to gradually let it grow its own unique endearment. Vocals, instruments now demonstrated concert quality three dimensionality, as far as the original recording permitted. In fact, one should re-listen to everything one has developed familiarity with. You will hear something new through the 20000. Try Nat King Cole, Sinatra, Peggy Lee, or the newer voices of Diana Krall, Nicki Parrott and Madeleine Peyroux, and you’ll hear a new poignancy to their song. Violins are uncannily ‘live’ especially if they are classical recordings. And this is not a tube production from SANSUI. Open up the hood, you will even notice that SANSUI fitted what looked like an enormous toroidal transformer instead of the usual C-core. And notice those mega-sized capacitors next to them.

         So there you have it – the AU-20000 has turned out after a slight tweak to be a massive valve-like amplifier, boasting unbelievable refinement and a machine quite unlike the rest of the range. Why did it have to be so? I suppose SANSUI wanted this series to be outstanding. The top of the line literally had to be different yet produce some sort of culmination from the tasting sensations with the already exceptional AU-2900 and AU-3900.       

ALAN

June 2024