George Byron Sings Jerome Kern

I don't know that cabaret singers are to the taste of many people who come to this blog, but I thought some of you might be interested in this obscurity from 1952. Neither the record nor the singer are well known, but the results are worthwhile.

George Byron was friendly with Jerome Kern, and this record is in fact a program conceived for the singer by the composer. The record had liner notes by Oscar Hammerstein 2nd. So he was highly thought of by some very distinguished personages.

Nevertheless, Byron was and remains little known. Cabaret historian James Gavin notes him in passing as being praised by Kern and Ira Gershwin, and says he appeared at the very swank Café Gala, which operated on the Sunset Strip in Hollywood from 1939-48.

Otherwise, not much information is easily available. He seems to have appeared in some films in the 30s and early 40s, and apparently was a singing MC with the Ice Capades in 1942, appearing in a Republic film with that troupe. He had a sponsored 15-minute radio show in 1946. But then nothing until this 10-inch LP came out in 1952. It first appeared on Desto, and then was taken over by Atlantic in early 1954. Atlantic used the Desto pressings, pasting its labels over the Desto labels.

Byron also recorded a Gershwin LP (which I do not have), and a later collection of Kern songs, which came out on Atlantic in 1959 and which had arrangements by André Previn.

Byron was married to Kern's widow when the Kern LPs came out (a fact not noted on this present record).

It's easy to hear why the composers liked Byron. He had a fine voice, sang the songs straight, with excellent diction and intonation, and seems to have been scrupulously accurate. It's not an approach that is at all popular today - or was so even back in the 1950s - but it has a distinct charm and appeal. You may find Byron's vocal timbre slightly reminiscent of Bobby Short.

This is one of those LPs that can't make up its mind about its name. It's called "A Memo from Jerome Kern to George Byron" on the front, "Jerome Kern Songs Personally Selected for George Byron" on the back, "George Byron Sings Songs by Jerome Kern" on the Desto label, and "George Byron Sings Jerome Kern" on the Atlantic label. I have chosen the last named.

The accompanist here is the excellent pianist William Roy, himself a cabaret legend. The sound is fair, and my pressing is grainy. (Note: this recording is remastered as of 2022 and now has much better sound.)

Tchaikovsky Conducted by Rodzinski and (Maybe) Ringwall

A recent post in one of the classical newsgroups led me to undertake this transfer. One of the folks there posted the 1940 Cleveland Orchestra recording of Tchaikovsky's fantasy-overture Romeo and Juliet as conducted by Artur Rodzinski, the orchestra's music director at the time.

Ringwall

This elicited a fascinating anecdote from my friend Joe Serraglio, who said that it had been claimed that Rudolph Ringwall, the orchestra's associate conductor for many years, was the actual conductor of the contemporaneous Rodzinski/Cleveland recordings of the Marche Slav and 1812 Overture.

I have a good copy of the early LP edition of the disputed 1812 Overture, coupled with that same Romeo and Juliet recording, and decided to transfer the record to see for myself . . . well, not sure what I wanted to prove, but I did want to listen to it.

Here is what Joe has to say about the claims that Ringwall was the conductor of the 1812, not Rodzinski:

"Don Rosenberg's masterful history 'The Cleveland Orchestra Story: Second to None' mentions Ringwall's claim to have conducted the Marche slav and the 1812 Overture:

'In three days of sessions over a 12-day period, they [Rodzinski and Columbia producer Moses Smith] ... recorded ... Tchaikovsky's Romeo and Juliet fantasy-overture and Marche slav. The label on the Marche slav disks lists Rodzinski as conductor, as does a later performance of the 1812 Overture, though associate conductor Rudolph Ringwall claimed he conducted both recordings.' (180-181).

"Later Rosenberg weighs in on who he thinks conducted the 1812 Overture: '...the musicians and recording engineers didn't get it quite right. The orchestra is alert, occasionally untidy. It is much larger than the ensembles on the 1924 and 1927 recordings and therefore juicier. But this doesn't sound like Rodzinski at the helm. Everything is competent, a bit ordinary, lacking Rodzinski's pervasive zeal. The cannon shots are haphazard and some brass bloopers as well as an exposed cough, can be heard along the battle route. Ringwall would have done himself no favor by taking credit for this recording.' (182)

"And in the CO discography at the end of the volume Rosenberg lists both the 1812 and Marche slav as conducted by 'Rodzinski (probably Ringwall).' (670)"

Now you all can listen and decide for yourself, if such is possible. To me, this could well be a Rodzinski recording, even though there are no telltale signs like pistol shots during the peroration (Rodzinski supposedly carried a gun). The Columbia ad below, for what it's worth, claims the 1812 is played with "new vividness, new impact".

The sound here is good. Michael Gray says the Romeo and Juliet recording was on December 14, 1940 in Severance Hall, and the 1812 was on April 14, 1941.

Life Magazine, May 22, 1944 (click to enlarge)

Larry Kert Sings Bernstein

It's too bad that the people who originated some of the most famous roles in musical theater history aren't better remembered. Case in point: Larry Kert, who created the role of Tony in West Side Story, surely one of the most influential musicals ever staged.

Kert never again achieved anything like the renown he earned in this retelling of Romeo and Juliet in mid-century Hell's Kitchen, New York. He was passed over for the role in the film version, taken by Richard Beymer, whose singing voice was dubbed by studio vocalist Jimmy Bryant (not the same person as the guitarist of that name). He appeared in flop musicals. He held lead roles in Cabaret and Company, but as a replacement.

Larry Kert with Carol Lawrence in West Side Story

There is no doubt that Kert was a fine talent, with a particular affinity for the music of Leonard Bernstein, as presented here. He was in fact brought to the West Side Story cast by the show's lyricist, Stephen Sondheim, who wrote the notes for this album.

Three of the 12 songs here are from West Side Story - "Maria," "Tonight" and "Something's Coming." These are all of Kert's songs from the show, save "One Hand, One Heart." But just as welcome are "Lonely Town" and "Some Other Time" from On the Town, "My House" from Peter Pan, and especially "It Must Be So" from Candide, in a wonderful performance.

This record was issued on Seeco, which although primarily known as a Latin label, also had a pop and jazz line at times. It came out in 1960, when Kert was appearing in West Side Story, which had reopened on Broadway after a brief hiatus.

The arrangements are by Richard Wess, who had gained some notice for his backings for Bobby Darin during Darin's swinging period, notably for "Mack the Knife." If I would prefer a sound more like what might have been heard in the theater, the arrangements are nonetheless good. [Note (July 2023): This recording has now been remastered, and the severe sibilance on Kert's voice as recorded has been substantially tamed.]

Curzon Plays Rawsthorne - New Transfer

This is a favorite recording that I have presented before. A request for a reup provided the impetus for a new transfer and scans - far superior to those I produced previously. (May 2023 note: this has now been remastered in ambient stereo).

The English composer Alan Rawsthorne wrote this concerto for the 1951 Festival of Britain, and while it is sometimes denigrated as lightweight, I prefer to think of that quality as a virtue. This is an immediately arresting recording in which pianist Clifford Curzon and the London Symphony effortlessly produce a magical atmosphere. Such things happen rarely, and when they do, they should be celebrated.

The cover shows the principals in the recording, who also were involved in the first performance. Curzon is standing on the left. Conductor Malcolm Sargent is at center and the composer is seated at his left. LSO leader George Stratton is hovering. (Color version below.)

I should add that the labels and the Michael Gray discography entry specify Anatole Fistoulari as the conductor, but the LSO discography confirms that Sargent was in charge.

This recording was made in the Kingsway Hall on October 29, 1951. The sound is very good.

Twelfth Batch of Reups

Here is the latest batch of requested reups. A couple of notes before we begin:

• I could not locate the requested Mat Mathews - sorry!

• The Andre Previn recordings requested are still available via the original link.

• The Clifford Curzon recording of Alan Rawsthorne's second piano concerto really deserved a new transfer, which came out very well. I will post it separately.

On to the reups. It so happens that I only had mp3 versions of these particular files, so they have not been remastered. I cannot vouch for the quality of the sound - I am a heck of a lot better at transfers than I was years ago!

As before, links to all the reups are in the comments to this item. The links below take you to the original posts, which feature my musings on the recordings.

Torch Song

India Adams dubs Joan Crawford in songs from this 50s weepie. LINK TO ORIGINAL POST

Rodgers-Hart Musical Comedy Hits

Richard Rodgers conducts his own music in recordings from the late 30s. LINK TO ORIGINAL POST

Charles Ives and Robert McBride

An early recording of Ives' music and a rare recording of McBride's populist violin concerto. LINK TO ORIGINAL POST 

Eddie Cantor Story

To mark the issue of The Eddie Cantor Story on film, Capitol had Cantor in the studio to recreate his hits. LINK TO ORIGINAL POST

Dori Anne Gray

Here's one I recently transferred for my pal Flyingfinger, who requested it.

There isn't much information available about the mid-50s singer Dori Anne Gray, so it's not possible to tell you who came up with that unfortunate nom de chanson - or even what her real name was or is. We do know that she made several singles for Mercury circa 1955-56, and then this LP for Roulette in 1957. She also was featured in Alan Freed's Rock 'n' Roll Easter show in 1956, although she assuredly wasn't a rock 'n' roll singer. There is some bio material on the back cover, but since it doesn't match information in the Roulette ad below, who knows if it can be relied up.

What she was, was a very good pop singer, with great control, an excellent set of pipes and complete command of her material, both up tempo and ballad. Her vocal quality may remind you of Theresa Brewer or Kay Starr, although I for one certainly prefer her to Brewer at least.

There are a few songs that I absolutely cannot tolerate, among them "Bill Bailey", "Frankie and Johnny", and "Ma, He's Making Eyes at Me". But even that latter song, included here, did not put me off her.

In sum - despite the dumb name and dumber cover - Gray was a serious singer who is well worth your attention. Another attraction is the backing by Stu Phillips, then near the beginning of his career. You may know him from his Beatles covers with the Hollyridge Strings or his music for many American television shows. The arrangements are quite good.

A word of explanation about the cover - Gray was at the time a production singer at New York's Copacabana night club, and Roulette must have been trying to capitalize on the connection. She was not, as far as I can determine, a "Copa Girl," that is, a dancer in the production numbers themselves.

The sound here is fairly good, although there is too much reverb on the vocal microphone. Very worthwhile record - our man Flyingfinger has great taste.

Henri René

There have been quite a few people named René in the music business over the years - this LP is by the one who is not related to any of the others.

Let's see, there have been record moguls Leon and Otis René, Leon's son Googie René, and Googie's son, Chris, a singer.

This René, however, is Henri, whose real name was Harold Kirchstein. He was a long-time arranger and producer who was a staffer at RCA Victor when these records were made.

Henri René

René has popped up here a few times before, backing singers contracted to RCA. I was motivated to pull this LP off the shelf after listening to his arrangements for Fran Warren. René also backed April Stevens on some of her early recordings. "Roller Coaster" on this LP, in fact, was the flip side of April's hit, "I'm In Love Again".

Listen to Henri René compiles singles issued from 1949 to 1952. The LP is from 1953. René produced a form of light music - pop music that aimed a little higher than the norm (although not that high). So here we have the faux-operetta waltz "Wunderbar", "Intermezzo" from the high-toned melodrama of the same name, and the like. "Bon Soir, Paris" is from one of the lesser known Wright-Forrest adaptations of music by classical composers, in this case Villa-Lobos. It comes from a 1948 operetta, Magdalena, that was produced in Los Angeles and on Broadway.

This music could hardly be less in fashion, but I do enjoy it. The craftsmanship and musicianship on display are striking, and the sound is excellent. I also love the typography on the cover, so characteristic of the period - beautifully done, like the music.