More Fox Trots from Ray Anthony

Not long ago, I posted the Ray Anthony album of Swing Fox Trots, part of the 1950s Capitol series designed to promote the Arthur Murray dance studios. I had the earlier Anthony recording of Fox Trots at hand as well, so thought I might as well go ahead and add it to the blog.

Swing Fox Trots was recorded in the period of a week in August 1954, possibly with arrangements by Billy May. In contrast, Anthony laid down the songs for Fox Trots over a series of eight sessions, from February 1950 to September 1952.

The Fox Trots charts were probably by George Williams, former Miller and Lunceford arranger who reputedly did most if not all Anthony's scoring at the time. Williams and Anthony wrote "Saddle Shoe Shuffle" (trying pronouncing that one) and "Lackawanna Local," included here. Coral gave Williams a recording contract of his own in 1953. I may transfer a Lunceford tribute LP that Williams made for RCA in 1957.

This is an enjoyable album by a very fine ensemble, and the sound is good, too. My LP still contains a certificate for two free dance lessons (see below). It may not work 60 years later, but you can always try.

Two Recordings of Hanson's Symphony No. 4

Looking through my collection the other day, I came across a 10-inch LP containing a rendition of Howard Hanson's Symphony No. 4, and thought it might be a good candidate for this blog. So I started transferring it, only to realize that the orchestral playing was appalling - scrappy and scrawny, although conductor Dean Dixon and the anonymous ensemble still produced a punchy and heartfelt traversal of a fine work that was Hanson's memorial for his father.

Howard Hanson

Had Hanson himself recorded it, I wondered? Back to the stacks I went, finally finding his own version by accident - it was filed nearby under the composer of the other work on the disc, Roy Harris. Looking at the cover, I knew immediately that I had already had a go at the record and offered it here, four years ago!

So I've decided to present both versions at this time, and you can choose your favorite. I believe the Dixon edition came first; Hanson may have recorded his later in self-defense. Gramphone reviewed the composer-directed LP in early 1953, suggesting a circa 1952 recording date.

The recording quality of both is reasonably good. The Hanson-Harris album is newly remastered.

Langston Hughes' 'Simply Heavenly'

I thought I might lead off a new series of several off-Broadway original cast recordings with this production of Langston Hughes' Simply Heavenly, from 1957.

This story of Harlemite Jesse Semple ("Simple"), his love life and his friends, played off Broadway for two months, then moved to a Broadway theater for another two months. It later was adapted for television.

Hughes adapted the story from his own novels about Simple. He also contributed the lyrics, with David Martin providing the music.

Portrait of Langston Hughes
by Winold Reiss

Simply Heavenly was by all accounts a charming show. One review of the time said, "Its great merit is that Mr. Hughes contemplates the people he is writing about with a respect that never becomes patronizing or stuffy and always retains its sense of humor." The songs display several varieties of pop music of the time - blues, R&B and even calypso, and gave a integral part to folk-blues artist Brownie McGhee (who had already appeared in two other Broadway shows). Composer Martin was a veteran pianist, arranger and composer. Hughes himself had written several plays along with his poetry and novels, and did the lyrics for Street Scene, with music by Kurt Weill.

Claudia McNeil, Brownie McGhee, John Bouie

The songs here are enjoyable, but take flight only when deep-voiced Claudia McNeil is to the fore. A commanding presence, she was best known for her role in both the stage and film versions of A Raisin in the Sun.

The role of Simple is taken by Melvin Stewart, a fine actor who often appeared on American television in later years. Stewart, however, was just adequate as a singer. This also could be said of his two female foils, Anna English as the "bad girl" and Marilyn Berry as the "good girl." Simple had to choose, and thus the plot.

This very well produced record is a fine tribute to both a notable show and an important writer. As far as I can tell, it has never been reissued.

Anna English, Melvin Stewart, Marilyn Berry

A Date with Jane Powell

Jane Powell had already become a popular film star when Columbia issued this 10-inch LP in 1949. The initial recording sessions had been held as far back as 1946, and encompassed 1947 dates in both New York and Hollywood.

The album's contents have been reissued a number of times, but I thought I might try my luck at a transfer because the originals were, I believe, off pitch.

Columbia possibly raised the pitch of Powell's singing to make it more brilliant and superficially impressive. To me, doing so drains the expression from her voice. Dropping the pitch down almost a full tone makes her sound more involved. This is particularly important when she attempts "Over the Rainbow," so closely associated with Judy Garland. She does not suffer in the comparison.

The rest of the program is composed of familiar operetta items, chestnuts like the Schubert "Ave Maria" and the horrid "Mighty Lak' a Rose" (in dialect, yet), and the like. The accompaniment is led by Carmen Dragon, who went on to produce a series of light classical records for Capitol. The cover is almost certainly by Alex Steinweiss.

Prokofiev's "The Prodigal Son"

Several years ago I posted Léon Barzin and the New York City Ballet Orchestra performing music by Virgil Thomson and Hershy Kay, a recording that is still available here.

Barzin and his troupe had signed a contract with Vox in 1954 for three records per year for three years, but I have only encountered the Thomson-Kay disc and this present rendition of Prokofiev's "The Prodigal Son" ballet music.

Léon Barzin

Prokofiev's music was written for Diaghilev and premiered in 1928. It has been little heard since then, although the music is related to the composer's fourth symphony. This was the first recording of the complete (or near-complete) ballet music, and I believe it has been succeeded by only a few other attempts at the score. If not as well known or memorable as some of Prokofiev's other ballet scores, it is nonetheless worthwhile.

This is a good, straightforward performance, although it sounds like it might have been recorded in the Baths of Caracalla. Barzin, a talented conductor, was more noted as a trainer of orchestral musicians, through his National Orchestral Association. He left relatively few recordings, so this LP is a fine remembrance. It was taped in March 1955.

Fourteenth Batch of Reups

Back with some requested reups, as usual distributed among the pop and classical sides of this blog. I also had a recent request for a reup of Barber's Knoxville, Summer of 1915, but I re transferred that item and posted it last week. (You can find it here.)

As often happens with reups from years ago, I only have mp3 copies of these, except where noted. The sound quality may do no credit to my reputation for such matters, imagining I have one.

The links below take you to the original posts. These contain my comments, which you may or may not want to miss. The new download link will be there as well. A complete set of the new download links can be found in the comment section for this particular post.

Herb Jeffries

I'm told by the fellow who requested the reups that the venerable balladeer will be 100 this month. I plan to mark the occasion with a new post, but until then, I've reupped two of Jeffries' 10-inch LPs. LINKS TO ORIGINAL POSTS: FLAMINGO AND MAGENTA MOODS

Carlos Chávez

The eminent composer conducts his suite from La Hija de Colquide (The Daughter of Colchis), a ballet written in 1943 for Martha Graham. LINK TO ORIGINAL POST

William Schuman and Leon Kirchner

Schuman's Credendum, conducted by Ormandy, coupled with Kirchner in his own piano concerto, with Mitropoulos leading. (Thanks again to Rich for this contribution.) LINK TO ORIGINAL POST

Irene Dunne Sings Jerome Kern

A favorite of mine, the utterly delightful Dunne in a 78 album of Kern songs and one bonus track. Remastered for the second time and in Apple lossless format. LINK TO ORIGINAL POST

Young Vic Damone

Tonight we have some of the initial recordings by Vic Damone, a fine singer who is thankfully still with us.

This is Damone's first LP, which came out circa 1949. Five of the eight titles are from his first 78 album, issued in 1948. ("In the Middle of the Night" was left off the LP.) The long-playing record also includes "Ramona" and "Let's Fall in Love," released on a 78 in October 1947, and "The Way You Look Tonight," which is from December of that year.

Three Mercury vocalists circa 1948: John
Laurenz, Frankie Laine, Vic Damone

Damone is often compared to Frank Sinatra, and at least early in his career, the comparison is apt. He is at his most Sinatra-esque here, and the lush orchestral backings are similar to those that Axel Stordahl supplied to the Voice. Even the peppy "Sweet Sue, Just You" from the Roaring 20s became a  romantic effusion at the hands of Vic's tonsils. (No, his tonsils did not really have hands - you know what I mean.)

Sinatra did have the advantage of recording for Columbia, a major label, while Damone labored for Mercury, which wanted to be a major but did not have the same production standards as Columbia. It pressed its early LPs on cheap vinyl and the sonics suffer. I have been able to coax a fairly good sound from this record; just don't expect much in the way of high frequency response. These sides seem to be pitched correctly, which is not true of some of Damone's other Mercury output.

Glenn Osser conducts the orchestra on "Sweet Sue," "Girl of My Dreams," "If I Had You," and "They Didn't Believe Me". Tutti Camerata leads "Love Is Just Around the Corner". I don't know who conducts on the other sides.