Another 1958 release, Ron Goodwin's "Music in Orbit" on Capitol, was recorded with great fidelity in England with a huge orchestra. Like Baxter's "Space Escapade," "Music in Orbit" was also a suite of original compositions with a lighthearted outer-space theme. However, most of the selections, with titles such as "Jumping Jupiter" and "Martians on Parade" are perhaps a bit less sophisticated. In fact, "Sally the Satellite" sounds very much like the title piece of Goodwin's previous, strictly earth-bound album, "Music for Swinging Sweethearts." There are no "space effects" such as exaggerated reverberation or any other electronically produced sounds. Although the music is less cohesive and appealing than that of "Space Escapade" in general, it is not bad overall. About one third of the album is wonderful; especially the first two selections and a glimmering, rapturous piece of true outer-space music on the second side entitled "The Milky Way." The cover of the album should receive special merit. The front is a marvelous vision of a rocket blasting off from a moonscape, with the Earth pictured in the starry background. This moonscape is pure fantasy, and it features white mountains and an arch-like rock formation. The back of the cover has a bizarre drawing that looks like a doodle depicting some sort of fantastic daydream. Incidentally, this album was released under the title, "Out of This World!" on the Parlophone label in England with a totally different cover picturing the firey takeoff of a rocket.
Source: Jeff Central - Exotica Research

While many are most likely aware of arranger Claus Ogerman through his work on such sublime classics as Antonio Carlos Jobim’s Wave , Bill Evans With Symphony Orchestra , and possibly his own late ‘70s/early ‘80s albums Gate of Dreams and Cityscape , fewer still have probably seen or heard Watusi Trumpets. Cut in 1965 for RCA Victor, Ogerman is heard just a few years shy of hooking up with producer Creed Taylor who would keep him busy over the next decade arranging a variety of projects for Verve and CTI Records.

This set is obviously in line with similar concept albums of the time that lent jazz sensibilities to popular dance moves such as the twist. Pop hits abound here including “Downtown,” “It’s Not Unusual,” “The Joker,” “La Bamba,” and “Land of 1000 Dances.” Ogerman approaches the material with taste even if the actual harmonic and melodic content of some of the tunes is limited. “La Bamba” actually seems far removed from its more popular incarnation, with bright flute work and harmonious trombones carrying the lead. A bit more of a Tin Pan Alley chestnut, “Poinciana” is almost unrecognizable until B3 organ steps in with the familiar melody, complimented by a dazzling trumpet fanfare on the bridge.

Aside from the pop ditties, Ogerman pens a few of his own originals, along with Herbie Mann’s “Right Now,” Ray Barretto’s “El Watusi,” and Joe Zawinul’s “One Step Above.” The last of these sets the routine for most of the tracks, with B3 organ taking the lead and contrasting bursts from the trumpet and trombone sections. Aside from a flute solo here or there the emphasis is mostly on “the groove” for these tracks that rarely exceed two and a half minutes in length. Standing apart from even his other commercially-oriented RCA sets, Ogerman’s Watusi Trumpets is certainly an oddity and a one-of affair that offers little in the way of jazz improvisation but much in the way of ‘60s high fidelity, not to mention its appeal to those who dig “Space Age Pop” or “Bachelor Pad” music.