Kabalevsky's Second Symphony

New series here - living composers whose music was issued on 10-inch LPs, but not represented in our American or British series.

First up is Dmitri Kabalevsky, with his enjoyable and straightforward Symphony No. 2. This symphony is from 1934 - admittedly a bit shy of our mid-century mark.

The symphony is performed by the Santa Cecilia Orchestra of Rome, conducted by the American Jacques Rachmilovich, who was then the conductor of the Santa Monica Symphony. He keeps the piece moving along, with the orchestra for the most part playing well. (The string sound is not terribly alluring.)

Kabalevsky doesn't have a great reputation in the West. His politics were Communist and his music was conservative. Taken on its own terms, this is a fine record, however.

Capitol put out quite a few records of classical repertoire circa 1950. Many were sourced from Telefunken masters and issued in this drab garb, which may have been thought to look prestigious. This may be a Capitol recording, however; Rachmilovich was active in Los Angeles, where Capitol was based.

Mickey Spillane as Mike Hammer

"Don't smile. I don't like people who smile like that." This record, an artifact of Mickey Spillane's high summer of popularity as the people's hard-boiled novelist, is full of such lines. It contains an "original story written and told by Mickey Spillane with Betty Ackerman."

Everything about this record and Spillane's work has been parodied over and over. His own writing was a kind a parody or cartoon version of the hard boiled novel - and suitably, Spillane wrote cartoon stories before he did his first novel.

This item presents Spillane's approach boiled down to its essence. A woman in distress - the record starts off with the sound of her being slapped. (Being entertained by the repellent has since been taken to ridiculous extremes in popular culture.) A white knight, here Spillane's Mike Hammer character (voiced by the author himself), intercedes. The woman falls in love with Hammer. Hammer kills the bad guy. This all happens in two acts lasting a total of 13 minutes, accompanied by bongos.

The flip side of the record contains four musical numbers. First is a portrait in sound of Velda (the women in distress, later Mike's secretary). Next is something called "The Woman" (not sure how she differs from Velda). Then there is "Oh, Mike!," which the cover vaguely describes as "the passion that Spillane has so well expressed in the seven Mike Hammer books." And finally the Mike Hammer Theme.

The music is by Stan Purdy. The cover says that Spillane discovered him in "The Rendezvous" in Carlstadt, New Jersey. I haven't been able to trace Purdy's later pursuits, so maybe he returned to the Rendezvous. The music isn't bad, actually, and there are strings and things, so funds were spent.

I wish they had expended a few more bucks on the cover, which G. R. Wilson appears to have executed with Crayolas. A better choice would have been the artist whom Signet used to do Spillane's book covers, helpfully depicted on the back of the record. You can see some of those book covers here.

The record is from 1954 and appears to be the first (only?) issue on V Records.

Page Cavanaugh, Part 2

Back at the beginning of this blog, one of the first recordings we featured was by the Page Cavanaugh Trio, a particular favorite of mine. It's time for Page to return, this time with an album on the "X" label, the RCA Victor subsidiary we discussed a few records ago.

I believe this album collects some of the singles that Page recorded for RCA in the 1940s - including The Three Bears. That Bobby Troup song is his signature piece, and it also appeared in a slightly different version on the Vaya LP below. Hey-baba-re-bear, Page!

This record displays Cavanaugh's tremendous pianistic skills - rhythm, touch, imagination, taste - it's all there. And the unison singing seldom sounded better. Speaking of the sound, it's pretty good, but I suspect the RCA transfer engineer couldn't help but add some reverb (they must teach that in transfer engineer school) so the ambiance is just a little fuzzy. But overall, this is most enjoyable.

NEW LINK

Alan Hovhaness

The striking image above represents a bit of a departure for this blog. Unlike anything else we have presented here, it's a 12-inch LP.

Now, why are we featuring a big LP in this, the land of little LPs? Simple, because a valued visitor to this blog (David) asked if I had it, and I did.

I thought about starting another blog for 12-inch records, and then I thought about the huge number of such LPs in my possession. I have enough trouble choosing what to feature on a blog devoted to the relatively uncommon 10-inch variety. Another blog with such endless choice would be overwhelming.

We will be presenting 12-inch LPs here now and then - but mostly on special occasions.

Not to prolong the suspense any longer - the image above is of St. Vartan, who was the inspiration for a symphony by the Armenian American composer Alan Hovhaness. This is the cover of an album issued in the 1950s by MGM records, devoted to the work, Hovhaness's Symphony No. 9. For this recording, the MGM Chamber Orchestra was conducted by Carlos Surinach. This was one of a number of recordings that MGM did of Hovhaness' work back when that music was much less well known than it is today. The composer's real breakthrough, I believe, did not come until Fritz Reiner and the Chicago Symphony recorded The Mysterious Mountain.

Saints and mountains - you might think that Hovhaness wrote program music, but that really wasn't the case. This is absolute music written (apropos the cover) in a mosaic fashion, heavily influenced by Armenian and other Eastern musics, but assembled in such a way that it leaves a striking impression.

There is at least one more modern recording of this music, but I haven't heard it. This performance and recording is good (although it could be more refined in the busier sections).

David - thanks for all your words of support.

Note (October 2024): this has now been remastered in ambient stereo.

LINK to St. Vartan Symphony

Diana Lynn

While Diana Lynn is best known today as an actor, she started out as a piano prodigy, breaking into films for her musical ability. But her charm and good looks were apparent, and soon she was something of a juvenile lead.

Diana made a number of records during the 40s, collected in this 10-inch LP on Capitol. I believe that the six Cole Porter tunes were recorded for a 78 album, with Slaughter on Tenth Avenue and Lover added later to make this LP - but not certain of that.

All the tunes here display her considerable skills and beautiful tone, and are graced by Paul Weston's fine orchestral arrangements. The piano arrangements are by George Greeley, who made many records of his own. Capitol's sound is excellent.

This post is for my friend Mel of Sallie and Mel's Golden Age of Hollywood, one of the sites over at Isbum's Place.

Digression No. 5

After revisiting my commentary below on the Don Gillis Saga of a Prairie School, I'd have to say I didn't do the piece justice. You would think you were reading about light music, which really isn't the case at all. This music is deeply felt and quite sincere, while also being easy to grasp. The composition is quite well done.

I also didn't mention the performances, which are excellent, and the sound, which is very fine for its period. Also wanted to mention the cover, by an artist named Louden, which is in a charming sort-of-surrealist style popular at the time.

A nice piece of work - very much worth getting to know.

Don Gillis

Don Gillis was a populist composer who also was producer of Toscanini's NBC Symphony broadcasts at about mid-century. This LP contains his Saga of a Prairie School (Gillis' Symphony No. 7), which was written for the 75th anniversary of his alma mater, Texas Christian University, where he also taught for some time.

Gillis intended for his music to be light, melodic, and appealing, and he certainly succeeded in this piece. It has a program, which can be roughly determined from the titles of its movements: the Vision, the People, the Dedication, and the Fulfillment.

This performance was recorded in January 1950 in London's Kingsway Hall, only two years after the symphony's premiere. The orchestra is the so-called New Symphony - a nom du disque for a freelance band. The composer conducted.

Gillis' music was very much out of style for many years, but has been coming to light again in recent years through a series of fine new recordings on the Albany label.

Two Weeks with Love

Another in the series of musical soundtracks on 10-inch LPs - Two Weeks with Love.

This record is more like two minutes with love - it's pretty short. But what's not to like - six songs by the adorable Jane Powell and the delightful Debbie Reynolds-Carleton Carpenter duo.

If you're not familiar with the film, you might have seen Reynolds and Carpenter do Aba Dabba Honeymoon in one of the That's Entertainment compilations. The clip used there is only about half the song - this record has the complete item, including the verse.

Georgie Stoll is the conductor here, Leo Arnaud did the orchestrations.

Ida May Mack and Bessie Tucker

Reissued blues records are very common today, but not so in 1955 when this record of two obscure blues artists appeared. This rare record made available eight recordings cut by two Texas women in Memphis eighty years ago next week.

The singers are Ida May Mack and the somewhat rougher Bessie Tucker, both of whom were accompanied by pianist K. D. Johnson. Little is known about any of these artists, except that the singers are believed to be from the Dallas area, and the pianist from Memphis.

The performances are quite good, as are the recordings, although it does sound like the 1950s engineers added some reverb (some things never change). The records were made for the Victor Company, and the reissue was by Label "X," a short-lived RCA Victor subsidiary that put out many excellent records. This was in a series called Backgrounds of Jazz. At that time, reissues sold mainly to jazz collectors who valued the performances as much for their relationship to jazz as for their intrinsic merits.

Mack recorded these sides, and, I believe, a few others. Tucker recorded enough so that her records have been collected into a Document CD. The latter singer has something of a following for her strong voice and intensity. There is a interesting page here that speculates on her background based on clues in some of these recordings.

I don't find this record's artwork to be especially attractive, but it is an example of the skills of Paul Bacon, a distinguished designer who did many book jackets and jazz record covers, and who was a jazz musician himself.

Polly Bergen

I didn't care for this record, at all, when I first heard it. If there is such a thing as overacting while singing, then actor-singer Polly Bergen (1930-2014) does it in this, her first album, from 1955.

Bergen's version of "When the World Was Young," a song that can seem bathetic even in a sober performance, is almost out of control. At one point pianist Jack Kelly even seems to be lightly mocking her in his phrasing.

But the more I listened to the record, the more I grew to like it. She's a good singer. She sounds sincere in her gung-ho intensity. The songs come off well.

Polly Bergen

Bergen recorded several more records that were somewhat popular, especially after she won an Emmy for portraying the tragic singer Helen Morgan on television. She was active as an actor, and successful in business as well.

The cover photo is by Burt Goldblatt, who has appeared here before an an artist (see the Johnny Smith item).

Note (July 2024): this item has been updated, and the files have been greatly improved. The new version is in excellent ambient stereo.

LINK

Adolph Hofner

Another Western swing LP, much less slick than the earlier offering by the virtuosic Spade Cooley.

This is Adolph Hofner and his San Antonians, whose version of Western swing often veered in the direction of polkas, reflecting his German heritage and the substantial German-Czech population in Texas. Among the tunes on this album, for instance, is a Seven Step Polka and something called Herr Schmidt (known to the folks around here as the Mexican Hat Dance).

The record's big item, though, is the reputed first-ever recording of Cotton Eyed Joe, which in a decidedly more rocked-up version now can be heard at earsplitting volume in sports venues across the US.

This record is anything but rocking. It is a rather sedate affair apparently designed for use at square dances, and was one of a series that Columbia offered circa 1950. I'm not even sure that this is the original Hofner recording of Cotton Eyed Joe, which was cut in about 1940.

I'm partial to the style of the cover, which shows a couple of young folks having fun at the barn dance. It's innocuous, but well done - similar to the music.

NEW TRANSFER - MARCH 2015

Pagan Love Song

The latest in our survey of 10-inch LPs from Hollywood films is the Esther Williams-Howard Keel romance, Pagan Love Song. This one has a score mostly by the great Harry Warren - with the exception of the title song, which is by Nacio Herb Brown. Producer Arthur Freed wrote the lyrics

IMDb claims that Betty Wand dubbed some of Williams' singing - not that her singing is all that good, IMHO. I was surprised that it was a vocal double.

The orchestrations are by Conrad Salinger, a particular favorite of many people, including me.

The file includes three bonuses - deleted versions of two songs on the LP, which I would assume are reprises, and a Howard Keel solo that doesn't appear in the film. The former are from DVD sources; the latter is an outtake on one of the CUT LPs.

NEW LINK

Carlos Chavez

Here's a very attractive item from Mexico and its eminent composer, Carlos Chávez. It is a suite from La Hija de Colquide (The Daughter of Colchis), a ballet written in 1943 for Martha Graham.

The ballet was to be on the Medea legend, but Graham changed it to a ballet called Dark Meadow after receiving Chávez's music. The composer nonetheless published the music under the original title.

The ballet suite has been recorded a number of times, but this is the original recording conducted by the composer. I haven't been able to trace a reissue since this 1951 LP. Despite that date, I believe the recordings may have been made in the 1940s. The Symphony Orchestra of Mexico had been superseded by the National Symphony Orchestra by the time this record came out.

Not sure what the creatures on the cover have to do with Medea, but they all look apprehensive about something. Might have been checking out her hairdo. The artist is Erik Nitsche, a superb graphic designer who did many covers for Decca. More info on him here.

NEW LINK

Digression No. 4

Follow up to the Jo Stafford American Folk Songs item below - I forgot that I have a Stafford discography. It says that the songs on Jo's 1960s-vintage folk song album were re recordings. Assuming that's accurate, the 10-inch album was never reissued.

Also, I should have confessed that the SAS cover at the bottom of the European Holiday item is not my scan. So - as they say - thanks to the original uploader!

Jo Stafford, Part 2

In the previous post on Jo Stafford, I mentioned that I thought that gospel music evoked her some of her best singing. This record of folk songs is even better done than Garden of Faith.

These sides were made in the late 1940s, when folk songs and folk singers were newly popular both because of a search for novelty in music and a post-war interest in Americana. Pop singers of all types gave folk songs a shot, especially after the Weavers had a hit with Goodnight Irene. Even Sinatra did that one, in his most obscure LP, Songs for Swinging Convicts. (OK, I made up the album - but not the recording of Irene.)

This cross-genre mixing usually resulted in a level of stylistic incongruity that was not to be surpassed until Sammy Davis Jr. donned love beads. But this is different. Jo's involvement and the superb arrangements by Paul Weston are just right - and just gorgeous. I should mention that these recordings predate the popularity of Goodnight Irene, which Jo recorded but which is not to be found here.

Capitol reissued some of these recordings (I think they are the same recordings, but I'm not sure) during the 60s folk boom along with other pieces with folk-style instrumentation.

One side note - this album also was apparently issued in a 45-rpm box. Capitol printed just one color cover for the 10-inch and 7-inch formats. For the 10-inch albums, it framed the 7-inch cover in lace. Many records that were offered in both formats framed the 7-inch cover in just that - a frame - for the 10-inch issue.

On Vacation with Mitch Miller

You really need to click on the image above to see it properly. When you do, you will see a suburban couple and their furniture transported to an airport tarmac, where they are being serenaded by a diverse assemblage of Europeans in mufti, conducted by a benevolent Mitch Miller. It must have been quite a concert, with guitars, bagpipe, tuba, trombone, violin, horn, and who knows what else.  

I can't say that my own most recent visit to the airport (two days ago) was attended with quite so much ceremony. But we're not in the 50s any more, and air travel isn't quite as glamorous as it once was. 

 The glamour of air travel is what's behind this LP. As you might suspect from the prominent placement of the SAS plane (a Super Constellation?), this record began life as a promotional item sponsored by the airline. The main selection is a mini-musical of sorts that starts with a encounter with a travel agent (who is termed a Dealer in Dreams, which today has a much different connotation). Over the next several minutes we fly over to the continent, whistle stop through numerous countries, and return. The presentation of the SAS menu is particularly absurd, with elaborate foods and wines described in detail. I was reminded of the low point of my airborne culinary career, when I was served a frozen taco - frozen. 

All this (the music, that is, not the taco) is presented by young Columbia artists Jill Corey and Jerry Vale, and Thurl Ravenscroft-style bass Michael Stewart. The character parts are taken by someone named Jonathan Winters - it could be the comedian early in his career, but he doesn't sound like himself here, if you know what I mean. 

The other side contains three Miller chestnuts - good ones, featuring Stan Freeman and his harpsichord, best known for their contribution to the Mitch-produced "Come on-a My House."

I mentioned that this began life as a promotion for SAS airlines. Not sure, but I think the original presentation was through travel agents, inside the cover below (the record, not the travel agents). The commercial version came later, with the cover above. The SAS package substituted three classical excerpts from Scandinavia.

 

Harl McDonald and Max Brand

When I came upon this record recently, I had high hopes for the Harl McDonald composition, based on other pieces by him in my collection.

Unfortunately, McDonald's Children's Symphony isn't very good. His idea was to teach kids how symphonies are put together by using familiar tunes, but he forgot to make the piece interesting.

On the flip side of the record is a composition by Max Brand - could it be the writer of Western novels?

Max Brand

Well, no. This is a different Brand - a German composer resident in the US for several decades after fleeing the Nazis. His music is actually more attractive than McDonald's. It's a piece of program music based on a poem, "The Wonderful One-Hoss Shay," by Oliver Wendell Holmes the elder. I've read an explanation of the poem, which has some theological meaning that I couldn't explain here even if I were interested in doing so, which I'm not. This again was a children's piece. I don't know what it says about my intellect if I can't explain the poetic basis of children's music, but it can't be good.

Maybe I am just in a bad mood. But you know how it is when a record doesn't fulfill your expectations. On the bright side, the Philadelphia Orchestra performances are excellent, particularly in the Brand item, conduced by Eugene Ormandy. And I don't believe (although I am not certain) that this record has been re-released.

By the way, McDonald was the manager of the Philly band for many years. The download includes a brief New York Times review.

Digression No. 3

A number of updates and observations, but first I want to say a belated thanks to my friend Jean, the incredibly energetic and charming fellow who runs a blog called Shareyes. Jean was so taken by my item on the soundtrack of Salome that he restored the cover image and posted it on his blog with a link back to this blog, meanwhile saying nice things about this place in this post. So if you want a better cover of Salome, head over there and also check out his very rare items. But hurry - he's thinking of going private.

Way back at the beginning of this blog, I wrote about the singer-pianist Page Cavanaugh, who has been laid up recently. Bill Reed of the People vs. Dr. Chilledair visited Page a short while ago and reports that he is playing the piano again. Great news.

Another favorite of mine is the late singer Jackie Paris. In my opinion, some of Paris' best work is heard on an obscure jazz version of the show Oh Captain!, which ran on Broadway for six months in 1958. That LP has turned up on a interesting blog called Musical Moadom. There are many jazz greats on the album and the female vocals are by Moody Marilyn Moore. The Livingston and Evans score is very underrated. Highly recommended.

Sometimes I am amazed at what interests people. The recent Martha Raye item has been very popular - I suppose the curiosity factor. Raye was a good singer, but her item has seen more action than an equally obscure item by a much better singer, Jo Stafford. Now, admittedly the latter is gospel music. The items I have posted here related to religion tend to be passed over, and that could be the reason.

Martha Raye Sings

Martha Raye, if she is remembered at all these days, is known as acomic actor. But she was a pretty good singer, as well, as this late 40s LP attests.

Martha was a child of vaudevillians and on the stage herself from a very young age. Later on she became a band singer, and even made a few records in the 1930s before she broke into films.

She handles a variety of material here - the usual ballads, one nondescript piece by music director Phil Moore, and even Lotus Land. Then there is Ooh, Dr. Kinsey, inspired (if that is the right word) by the Kinsey Report on male sexuality, which came out in 1948 and was quite a sensation. This is a somewhat suggestive blues number. I've read that it sold a half million copies, but I think that's highly unlikely.

Discovery Records spent some money on this production - it has strings and all, even though Phil Moore's boppish arrangements are not very compatible with Raye's style, which is something like Mildred Bailey's.