Buster's New Year Selection

While Christmas music is rife, there aren't all that many tunes celebrating the holiday that comes along one week later, New Year's Day. If I asked you to name a New Year's song, you would probably reply "Auld Lang Syne" and then draw a blank.

But over the years there have been quite a few records marking the New Year, which I discovered by nosing around Internet Archive. I found several different "Happy New Year" songs along with an "Unhappy New Year," and many takes on "Auld Lang Syne," including a polka, a bluegrass version and an "Auld Lang Syne Boogie." In all, I was able to build a 22-song compilation of 78s dating from 1907 to 1956. A few notes about each follow.

Cal Stewart

The oldest platter is Cal Stewart's "Uncle Josh's New Year Pledge," a comic monologue that seems strangely without comedy 113 years later. Stewart was a vaudeville star who made many records in his "Uncle Josh" guise. Although we may find him unfunny, the character was influential - you can find traces of him in Will Rogers and Charley Weaver, among others.

From 1915, we have the Victor Light Opera Company presenting "Gems from Chin Chin," an "orientalist fantasy" by Ivan Caryll and Anne Caldwell that was on Broadway at the time. Such "orientalist" productions were popular at the time. The best known is probably Chu Chin Chow, which came along a few years later. "Gems from Chin Chin" begins with a "Happy New Year" number.

Don Redman

We leap ahead a few decades to Don Redman and his swing arrangement of "Auld Lang Syne" recorded in 1938. The band vocal consists entirely of counting to 20 and then reversing course. Novelty vocals were a feature of Redman's repertoire.

From 1942, we have Bing Crosby's commercial recording of "Let's Start the New Year Right," a song that Irving Berlin wrote for the Crosby-Astaire film Holiday Inn. Crosby's vocal in the film is much livelier.

Dinah Shore recorded an deeply felt wartime version of "Auld Lang Syne" in 1944, with backing by the Sportsmen and an orchestra conducted by the short-lived Albert Sack. This is surely one of the best records in this collection.

At about the same time, the Warsaw Dance Orchestra produced a polka called "New Year" for the small Harmonia label, which specialized in ethnic recordings.

Fred Waring, his choral group and the Pennsylvanians did a stirring version of the Brown and Henderson song "Let Us All Sing Auld Lang Syne" in 1945.

We return to the polka realm with Bill Gale and His Globetrotters, who recorded their "Auld Lang Syne Polka" for Columbia in 1946. Gale, who I believe was from Chicago, was born Bill Gula and had made records in earlier years with his Bee Gee Tavern Band, including a cover version of the "Beer Barrel Polka," a major hit in 1939 for Will Glahé.

One of the lesser-known romantic crooners of the era was the talented John Laurenz, who recorded for Mercury, including "A Merry Christmas and a Happy New Year" in 1948. I also included this song in last year's Christmas compilation, noting at that time, "If there are any Bowery Boys fans out there, you may be interested to know that Laurenz dubbed Huntz Hall's vocals in the great Blues Busters, in which Satch becomes the world's most unlikely romantic crooner."

Also from 1948 we have "Happy New Year" from Jeffrey Clay, the Serenaders and Dana records honcho Gus Dana. This is a most peculiar children's record, with two youngsters saying goodbye to a depressed sounding "Mr. Old Year" and welcoming in the new. The boy character is played by a young boy, but the girl is a woman trying to sound like a child and mainly coming off as demented. After the baby New Year makes an appearance amidst some unconvincing sound effects, the record turns into a polka. The vocal is presumably by Jeffrey Clay.

Freddy Morgan, Sir Frederick Gas, Doodles Weaver, Spike Jones

Spike Jones and crew trot out their New Year's resolutions in "Happy New Year" from 1948, with contributions from the usual culprits - Sir Frederick Gas, Doodles Weaver, George Rock and Spike himself. Freddy Morgan and Eddie Brandt wrote this wildly politically incorrect nonsense.

Freddie Mitchell

Next comes the "Auld Lang Syne Boogie" from Freddie Mitchell, his honking saxophone and his orchestra. Freddie made this in 1949 for the Derby label, where he led the house band. I uploaded a Mitchell compilation about 10 years ago, and have newly remastered the sound for those who like this type of R&B.

The great vocal duo of Jackie Cain and Roy Kral chose "Auld Lang Syne" for one of their first solo records, which they made for Atlantic in 1949 as the "Roy Kral - Jackie Cain Sextet." This was at about the time that they departed from the Charlie Ventura band.

Also in 1949, the wonderful English singer Vera Lynn produced an emotional reading of "Auld Lang Syne" with the subtitle "The Good-night Waltz." The backing is by Robert Farnon's orchestra and the Mitchell Men.

Songwriters Carmen Lombardo and Johnny Marks came up with a number called "Happy New Year, Darling" in 1946. I haven't found a recording by the Lombardo clan, but veteran bandleader Ted Black did a smooth version in 1949 with a Dick Edwards vocal.

Composer-arranger Gordon Jenkins had a predilection for downbeat songs. You may be familiar with "Goodbye," which Benny Goodman used as his closing theme and which Frank Sinatra featured on his Only the Lonely LP. But Jenkins' "Happy New Year" is surely the most depressing of the group, here in a 1949 recording by the composer with Bob Senn as solo vocalist.

Eddie (Piano) Miller

More sprightly is the next number, a "New Year Medley" from Eddie (Piano) Miller, also from 1949. Miller was one of the first practitioners of the "old-timey" piano sound - a genre I generally avoid. These pianists with their corny effects, sleeve garters and bowler hats were inescapable in the 1950s.

More to my taste is "Haouli Maka Hiki Hou! (Happy New Year!)" from one of the most famous Hawaiian musicians, Genoa Keawe, here with her Polynesians. This record is on the 49th State Record Company label, and dates from 1950, nine years before Hawaii became the 50th state. The name was apparently invented in an excess of postwar optimism about statehood.

The Oklahoma Wranglers - Skeeter, Vic and Guy Willis
with Chuck Wright

The Oklahoma Wranglers were the first incarnation of the Willis Brothers, who later became known for truck-drivin' songs, notably "Give Me Forty Acres (To Turn This Rig Around)." The Wranglers (brothers Guy, Skeeter and Vic along with bassist Chuck Wright, who was billed as the “Silent Old Indian”) made a living backing Hank Williams and then Eddy Arnold while recording such fare as "Unhappy New Year" for RCA Victor in 1951.

Nicola Paone put out many ethnically-tinged records in the 1950s, mostly for his own label. His "New Year Song" was released by RCA Victor in 1952.

Billy Ward and His Dominoes were among the most popular R&B groups of the early 1950s, scoring with "Sixty Minute Man" among others. In 1953, Ward came up with "Ringing in a Brand New Year" for the King label. R&B expert Marv Goldberg isn't sure who sang lead, but says it was probably Billy. It certainly wasn't Jackie Wilson, who succeeded Clyde McPhatter as the group's lead vocalist around this time.

Bobby and Sonny Osborne, with Jimmy Martin

We close our collection with a superb bluegrass reading of "Auld Lang Syne" from Sonny Osborne with the Sunny Mountain Boys. The 18-year-old Sonny was already a veteran musician who had been recording for Gateway for several years. The fiddle solo here is probably the work of Sonny's brother Bobby. The siblings would later be billed as the Osborne Brothers, and would become famous for their incredible 1967 recording of "Rocky Top."

The sound on these is generally excellent - even the 113-year-old record sounds good. Best wishes for a happy and prosperous new year to all!

David F.'s Shoe String Christmas

Our friend David F. has put together another fascinating and rewarding collection for holiday time, which he is calling "A Shoe String Christmas."

It contains 35 excellent selections from long ago. As David explains, "I've taken mostly Depression Era records about being broke and/or poor, and then climbed out of the red with songs my parents and grandparents could well have sung at this time of year."

The artists range from Dick Powell to John White and the Mound City Blue Blowers to Ramona Davies & Her Park Avenue Boys. I've just been enjoying David's last compilation, and believe me, his collections are worth hearing.

As he says, "To find music suitable for my fiscally austere times, I have to forage in the distant past when records spun at a speed that matches the age I will become on January 27th, Mozart's birthday, too. If that's the kind of music that you are looking for, look no farther."

Happy holidays to all, and thanks again to David.

Norman Vincent Peale's The Coming of the King

Norman Vincent Peale was surely one of the most famous members of the American clergy in the last century due to his writings, radio programs and television appearances. His 1952 book The Power of Positive Thinking sold as many as five million copies.

In 1956 Peale turned his attentions to children's books via his retelling of the Nativity story for young readers. In The Coming of the King, the author emphasized the humanity of the characters, and the difficulty and wonder of the Holy Family's odyssey.

David Wayne

That same year, Columbia Records produced an audio version of the book. It was narrated by the well-known actor David Wayne, who was backed by music from popular composer Don Gillis, whose Saga of a Prairie School appeared on this blog many years ago.

Despite the famous names involved - and what Billboard termed an "extremely potent promotion campaign" - neither the book nor record achieved any lasting renown. My friend Ernie, who has posted this LP on his blog, says it is relatively rare in the record and thrift stores he frequents.

Ralph Hunter

It's too bad, really, because the story is very well-done, the music is enjoyable and the performers are accomplished. The choral group is led by Ralph Hunter, a talented conductor who was then the director of New York's Collegiate Chorale in succession to its founder, Robert Shaw. In addition to classical and church programs, Hunter also dabbled in popular music. He is responsible for RCA Victor's 1959 LP Christmas Surprises, one of the best-ever records of holiday music.

It so happens that the Collegiate Chorale was named for Dr. Peale's Marble Collegiate Church in New York. When Shaw formed the group in 1941, he found rehearsal space at the church for a time. But as Shaw tells the tale, one day "I was called in by Dr. Peale into his office and he informed me that we could continue to rehearse there if we limited our membership to WASPs and 50% of those WASPs had to be members of the church." Peale - like most people at that time - was not without prejudice. As late as 1960, he opposed the candidacy of John F. Kennedy for American President because Kennedy was a Catholic.

Marble Collegiate Church

Much later, Peale and Shaw did reconcile. In about 1990, as Shaw recalled, "I got a letter – a complete surprise – from Dr. Norman Vincent Peale that said, 'Dear Mr. Shaw: I’m getting along in years and I made a mistake. I have followed your career and I am embarrassed about it and I just simply want to say I’m sorry. I made a mistake in those years.'" Peale later wrote about the matter in his magazine Guideposts in an article entitled, "It's Never Too Late."

Because of Hunter's presence, it is possible and even likely that the Collegiate Chorale or its members perform on the record. I suspect that the split between Peale and the Chorale is the reason why the group on the record is called the "Gothic Voices."

Arturo Toscanini and composer Don Gillis, who produced
the conductor's NBC broadcasts for many years

At this point, I might mention belatedly that The Coming of Christ takes up only one side of the LP. The other is devoted to mainly familiar Christmas songs as performed by the "Columbia Carolers," who sound very much like the Gothic Voices. Don Gillis' lovely carol "The Coming of the King" is performed by both groups, and while the recordings are not the same, they are very similar. Still, it seems odd that Columbia would ascribe the two sides to different groups if they are the same performers.

Ashley Miller

Also belatedly, let me mention that a great deal of the music for The Coming of the King is performed by organist Ashley Miller. The majority of that work consists of narrative accompanied by organ, with occasional interjections from the choir. Although the music is ascribed to Gillis, it's possible that some of the organ passages under the narration are performed ad libitum by Miller.

Like Hunter, Miller had roots in both popular and classical music. He spent a number of years as the Radio City Music Hall organist, and later provided music for both TV soap operas and New York's professional sports teams.

The Coming of the King is quite a good production. I hope that Ernie won't mind my posting it here - I've been trying to get a successful transfer of my pressing for years, and finally succeeded. If you enjoy this record, you might want to listen to Gillis' melodious Saga of a Prairie School, which I've newly remastered.

Title page of the book

David F.'s Vintage Winter Wonderland

Our friend David Federman thinks that like fine wine the vintage Christmas music is the best Christmas music. I do agree, and I suspect that many of you do as well.

If that's the case, then you will want to avail yourself of his latest compilation - "Vintage Winter Wonderland Phonography 1914-1950" and its 36 heterogeneous selections. They range from Lucille Hegamin to the Savoy Orpheans and from Alfred Cortot to Jess Stacy. David is my kind of guy.

He writes, "My sole goal in making it was to take the listener as far back in recording history as possible to forget the present hell of holiday music. Toward that end, I’ve selected songs whose vintage gives them a viability absent from nearly all modern overly industrialized holiday music." His complete notes are included in the download.

Thanks, David, for this holiday gift.

Amahl and the Night Visitors

Reader Lockhart suggested that I post the legendary Christmas opera Amahl and the Night Visitors this season, and I am happy to comply. Actually, Lockhart was looking both for this first recording and the stereo remake. I thought I had a copy of the latter edition, but it didn't turn up during a recent foray into the files, so we'll have to be content with this recording of the original cast.

Amahl was an important work - it was the first opera written for television, the first presented by the NBC Opera Theatre, and was immediately popular, so much so that it was repeated annually for many years.

Gian Carlo Menotti

The words and music for the 45-minute work were the inspiration of the 40-year-old composer Gian Carlo Menotti, already famous for his early works The Old Maid and the Thief, commissioned by NBC for the radio, and The Medium and The Telephone, which had been presented on Broadway. His first full-length opera, The Consul, won the Pulitzer Prize in 1950.

In the booklet included with this record (scans are in the download), Menotti says that his inspiration for Amahl was seeing Bosch's painting The Adoration of the Magi, depicted on the cover above, in the Metropolitan Museum.

Amahl and his mother, as the Three Kings approach upstage

NBC presented the opera on Christmas Eve, 1951. The lead roles of Amahl, a shepherd boy, and his mother were taken by Chet Allen and Rosemary Kuhlmann, both excellent in this recording, which was made in January 1952. Allen, a former member of the Columbus Boychoir, later appeared in films and on television, but did not make a successful transition to adult actor. He committed suicide at age 45. Kuhlmann had been in The Consul and Music in the Air on Broadway, and continued to appear in both opera and musical theater - including replacing Shannon Bolin as Meg in the national tour of Damn Yankees. She was always identified with her role in Amahl, however.

The televised production of Amahl and this recording were conducted by the 21-year-old Thomas Schippers, who became closely associated with the music of both Menotti and Samuel Barber. He was highly regarded for his work with opera, but his neglected orchestral recordings are worthwhile as well. I hope to present some of them in the future.

Thomas Schippers

This recording is exceptionally well performed and recorded, and fully deserves the fame accorded to it as a memento of the first performance. The 26-page booklet includes a synopsis and the libretto, in addition to Menotti's notes. I've also included a Life magazine article with photos from the 1952 City Center Opera production, which includes the production image above and several others. Life proclaimed the work a "Christmas classic," and so it is. What a time that was for the arts in America.

Amahl and the Kings

Christmas with the Chuck Wagon Gang

My friends Ernie and Lee have been two busy elves lately with their Christmas music shares. If you like unusual holiday selections, those are two stops you should be making on your Internet rounds.

I'm not nearly as industrious as those two fellows, but I do offer a seasonal album here and there. In that regard, I promised Lee some time back that I would transfer this Christmas LP by a favorite gospel group, the Chuck Wagon Gang.

A few words about the Gang might be helpful. The group was started by members of the Carter family of Lubbock, Texas, who began appearing on local radio in 1935. The following year the Carters moved to a larger Fort Worth station, changing their name in the process to the Chuck Wagon Gang, in succession to another group by that name that had been sponsored by radio advertisers Bewley Mills, which produced flour. As "Bewley's Chuck Wagon Gang," the Carters sang all types of music, including an occasional gospel number.

The early Chuck Wagon Gang: Dad, Anna,
announcer and manager Cy Leland, Rose, Jim

For some reason, the group's management thought it best that they all change their first names. So patriarch D.P. Carter became Dad Carter, Lola became Rose, Ernest became Jim and Effie became Anna, notwithstanding the fact that there was another Carter sister named Anna who was not in the group.

Also in 1936, the Gang came to the attention of ARC record producers Don Law and Art Satherly. Late that year, the group journeyed to San Antonio to cut their first records, a mix of country and gospel numbers. It wasn't until 1940 that they focused their material on sacred songs.

The Gang became very popular through their radio appearances and many records for ARC and its successor Columbia. I believe the songs on this LP represent their first venture into the Christmas repertoire.

By the time of these 1954  sessions, the group had experienced a few personnel changes from the early days. Jim Carter left the group in 1953 (he was to return in 1968), and was replaced by his brother Roy. Howard Gordon, who was married to Anna, had newly joined the ensemble as guitarist.

The group on the record: Dad, Anna, Howard Gordon, Rose, Roy

This particular pressing comes from the mid-1960s, but the recordings themselves all date from 1954. Columbia originally issued the eight Christmas numbers on a 10-inch LP that I have never seen, then reissued them in this budget Harmony album, adding two well-known gospel numbers to fill out the program. These are "In the Garden" by C. Austin Miles and "In the Sweet Forever" by Luther G. Presley, the latter best known for his lyrics to "When the Saints Go Marching In."

When this reissue came out, it was the usual practice for labels to transform mono recordings into what was spuriously called "rechanneled stereo." In truth, it wasn't stereo at all, but a misguided attempt to create a stereo effect by parsing the frequency response between the two channels. I have dispensed with this chicanery, summing the channels into a good, honest mono signal.

I enjoy the Chuck Wagon Gang. I hope you will like them as well - you may hear traces of their sound in such groups as the Everly Brothers. The group's first LP, Favorite Country Hymns, was among the early posts on this site. That record, which includes some of the group's earliest recordings, is still available.

Christmas Music from St. Michael's, Tenbury

Back in September I presented one of the few recordings made by the Choir of St. Michael's, Tenbury. Now here is the final album from that English ensemble, a 1984 Christmas record made shortly before the choir school's closing.

It's a fine program, covering both familiar carols and newer material, with an emphasis on music and adaptations by English composers, who include Ralph Vaughan Williams, Gustav Holst, David Willcocks, Walford Davies, William Mathias, John Tavener, Patrick Hadley and Kenneth Leighton. The title song, "Torches," is by John Joubert. The school's music director, Roger Judd, contributed two arrangements.

Roger Judd

Judd was educated at Pembroke College, Cambridge, and had been assistant organist of Ely Cathedral before his tenure at St. Michael's. Following the school's closing, he became assistant organist of St George's Chapel, Windsor Castle, where he accompanied the Chapel choir in its services, broadcasts, concerts and recordings. He retired from St. George's in 2008.

This record was issued by an EMI-affiliated budget label, Classics for Pleasure. It was among the first records supervised by the noted classical producer Andrew Keener. You may notice that the back cover credits the engineering to a certain "Mr. Bear" - a nom du disque for Mike Clements. The sonics are pleasing.

If you appreciate the sound of better-known English choirs such as King's College, Cambridge, you will likely enjoy this record. Coming from 1984, it's outside my usual time frame, but I transferred it as the result of a request by long-time blog follower A N Other.

The First Alfred Burt Christmas LP

My friend David F. shared his compilation of Alfred Burt's carols last year, but I thought some of you might want to have a transfer of and scans from the original 10-inch album that brought Burt's superb Christmas compositions to public notice.

Burt's best-known song is undoubtedly "Caroling, Caroling," but "Some Children See Him" and "The Star Carol" also are well-loved. All were first heard on this 1954 LP issued by Columbia after the composer's early death.

Alfred Burt and Anne Shortt Burt, 1945

Burt produced his carols for a circle of friends and family, one song each season from 1942 to 1954, when he succumbed to cancer at age 33. Writing carols was a family tradition begun by his father, the Rev. Bates Burt, rector of an Episcopal church in Pontiac, Mich. The two Burts wrote the lyrics to Alfred's earliest carols. After the Rev. Burt died in 1948, Alfred collaborated with Wihla Hutson, the organist at his father's church.

Alfred Burt attended the University of Michigan before and after Army service during World War II. After graduation, he become a professional musician, eventually working as a California-based trumpeter and arranger for Alvino Rey, Hal Richards and Horace Heidt.

Burt's carols had come to the attention of Columbia executive Jim Conkling, who was married to Donna King, one of the King Sisters who performed with Rey's orchestra. When Burt became sick in 1953, Conkling moved ahead with plans for a record. The first sessions took place late that year in Los Angeles area churches. Burt wrote one of his final carols for his Christmas card that year, "O Hearken Ye," followed by one of his most beloved works, "The Star Carol" early the next year. He died in February 1954.

The producer of this record was Buddy Cole, the well-known pianist. He was married at the time to another of the King Sisters, Yvonne. The performances are ascribed to the Columbia Choir, a group of studio singers. The conductor was Bud Linn, himself a well-known tenor who was a member of the King's Men and the Ken Darby Singers. The only other performer credited is soprano Norma Zimmer, even then a noted studio vocalist who appeared with the Ken Darby group, the Norman Luboff Choir, the Voices of Walter Schumann and the Pete King Chorale. She later had a long association with Lawrence Welk's television program.

My transfer is from the first issue (cover at top). The sound is excellent.

Reissue cover

Buster's 2019 Christmas Selection

Let's start off the holiday season with a selection of 22 singles from way back when. We have familiar tunes in less familiar performances and some little-known songs as well. These come from 78s spanning 1934 to 1956, and include many genres - mostly pop, but also gospel, country, jazz and what-have-you. Something for everyone to love in this season of good cheer.

We start off with "Santa Claus Is Comin' to Town" in what is perhaps its first recording, dating from 1934. It is by George Hall and His Hotel Taft Orchestra. Hall is best known for his records with Dolly Dawn, but this single predates the coming of the Dawn and has a vocal by Sonny Schuyler (later Skylar), who achieved some renown as a composer as well as singer. He didn't write this tune, though. You can blame J. Fred Coots and Haven Gillespie for it. George Hall and His Hotel Taft Orchestra did indeed perform at that New York establishment. I used to work across the street from its successor, and just yesterday came across a hanger from the place.

Also from 1934 we have another song that was new at the time, "Winter Wonderland," as performed by Angelo Ferdinando and His Hotel Great Northern Orchestra. That hostelry also was in New York, but I don't have a hanger from it. Ferdinando's was not the hit version of "Winter Wonderland"; that was by the better-known Richard Himber. This one is pretty good, though. It has a vocal by Dick Robertson, who was on seemingly every other record made during the era. Ferdinando left the music business not long after this 78 was issued, but made a comeback in 1937 with a simpler name - Don Ferdi.

We move on to 1937 and two versions of Irving Berlin's excellent "I've Got My Love to Keep Me Warm," introduced in the film On the Avenue. First is a very good budget version from Sterling Young's West Coast band, with vocal by Billy Mozet. Then there is the better known Victor from Ray Noble's crack American ensemble, with Howard Barrie as singer. This was just after Al Bowlly completed his tenure as the band's vocalist.

Returning to "Santa Claus Is Comin' to Town," Alvino Rey brings us a 1941 reading with the King Sisters presenting lyrics that had been updated to reflect the hip lingo of the time. I wonder what lyricist Haven Gillespie thought of such couplets as "He knows if you're a ickie / He knows if you're a gate." My guess is that he was OK with it so long as the checks kept comin' to town. The record also gives you a chance to hear Rey's Hawaiian-style "Gibson Electroharp" in a swing context, where it sounds odd.

The year 1945 brought us the Cahn-Styne classic "Let It Snow! Let It Snow! Let It Snow." Among the lesser-known versions from that year was the offering by radio tenor Danny O'Neil, issued on the short-lived Majestic label.

Clyde Burke

New in 1947 was Gordon and Lee's "Christmas Dreaming," familiar to Sinatra fanciers via his classic version. Here's an lesser-known reading from Blue Barron's orchestra, with a vocal by Clyde Burke. The singer also made records with Sammy Kaye, Glen Gray and Raymond Scott.

Art Kassel and his band revived "Winter Wonderland" for the 1947 selling season. The song's arrangement could have dated from the 1930s, what with the soupy saxes and tightly muted brass that Kassel deploys. The vocal quartet is more modern sounding, though, and all in all, it's an enjoyable record.

Also from 1947 was a new number called "The Winter Song" or "Look Out the Window," depending on what record you consult. By whatever title, it didn't become a standard, although it is still heard occasionally. Our first effort comes from the Coral label and the little known Gil Downs, along with a backing band and the vocal group 4 Hits and a Miss. The latter troupe also was known as "3 Hits and a Miss" and "6 Hits and Miss," presumably based on the number of male vocalists who showed up for the session.

Tex Williams

So far we have been strictly in pop territory, but now we move into the country-western genre with Western swing's Tex Williams taking up the same "Winter Song" in his resonant baritone, for the Capitol label.

Since Frank Loesser's "Baby, It's Cold Outside" was introduced in Esther Williams' 1949 aquatic adventure Neptune's Daughter, it has been the subject of countless performances and the object of some surprising controversy. Around here, we prefer an irreverent approach to the tune. Last year we had the knowing Pearl Bailey and the lupine Hot Lips Page. This year we present a highly amusing country version with Homer and Jethro trying to persuade backwoods siren June Carter to stay out of the weather ("Say, what's in this here drink?" / "It ain't sarsaparillee.") The trio recreated their performance for television in 1971.

Jethro, June and Homer on TV

Singer June Winters is little remembered today, but at mid-century she was known as the children’s music character "Lady in Blue." She and her husband, producer Hugo Peretti (Hugo & Luigi), had started the kiddie label Mayfair in the 1940s. Here she presents the appealing "Christmas in My Heart" on a 1950 Mercury release.

Billboard, December 9, 1950

We now turn to the miraculous Mahalia Jackson with a two-sided Apollo label release, also from 1950 - "Silent Night" and "Go Tell It on the Mountain."

Also from that year comes the obscure but prolific Dick Stratton and His Nite Owls, with a tremendous honky-tonk performance of "I Wouldn't Have You on a Christmas Tree." Stratton and his band were mainstays of the small Jamboree label.

Staying in the country realm, we move on to 1951's "Blue Shadows on a White Christmas Tree" from Eddie Hazelwood and his Carolina Woodchoppers. Hazelwood was vocally under the spell of Hank Williams, but it's a good record even so. "Blue Shadows" was a Hazelwood composition; his best known numbers were "Sick, Sober and Sorry" (Johnny Bond) and "On a Honky-Tonk Hardwood Floor" (Johnny Horton). This single was issued by Intro, owned by Aladdin. Hazelwood also recorded for Imperial and Decca, including a cover of Big Mama Thornton's "Hound Dog" way before Elvis.

Jimmy Collett

Jimmy Collett is another little-remembered country artist. In 1953 he recorded two sentimental items, "I Don't Want to Be Alone for Christmas" and "I Remember Christmas," for the Arcade label. Born in Arizona, Collett worked mainly in New Jersey, recording regularly and when he wasn't singing, plying his trade as a dentist. Here he drops his dental tools and country manner, and shows his roots as a Crosby-style crooner, even whistling like Bing.

We move to the small Diva label and a recording of "Santa's Ride" written by label owner Frank Serritella and sung by Frankie Ross, who was actually the famous but ill-fated jazz trombonist Frank Rosolino. I don't have an exact date on this one, but it was probably pre-1954, when Rosolino moved to the West coast.

Staying in the jazz realm, alto saxophonist Herb Geller and his group had a go at Leroy Anderson's "Sleigh Ride" in 1954, with interesting results. Also on the date are Lorraine Geller (p), Curtis Counce (b) and Larance Marable (d).

Next, a quick detour to Chicago and polka king L'il Wally with another "Santa Claus Is Comin' to Town," this one from 1956 and Wally's Jay Jay label. If I haven't tried your patience enough with this song, wait 'til you hear juvenile vocalists Lenny and Judith, who make Patience and Prudence sound like Simon and Garfunkel. The two had to be related to L'il Wally.

Pete Rugolo

For our final selection, we return to jazz and bandleader Pete Rugolo's 1956 arrangement of "Snowfall." Composer Claude Thornhill conceived the song as a peaceful rendering of snowflakes falling. Rugolo instead offers a Latin beat punctuated by blasting Kenton-style brass. No surprise there - Rugolo had been a Kenton arranger

I found these 78s up near the North Pole of the Internet Archive, and remastered them for your holiday listening. Best wishes of the season to all, and a special greeting to blog follower Lennonka, with hopes that he will be doing better soon!

Morel Conducts Albéniz and Ravel

Today we have another one of the few orchestral recordings led by the French-American conductor Jean Morel, this the result of a request by long-time blog follower centuri.

As with the recent post of excerpts from Swan Lake, Decca UK produced this double-LP for RCA Victor. Decca made quite a number of recordings with the Paris Conservatoire Orchestra during the period, including these September 1959 sessions with Morel.

Jean Morel

The LP set is notable in that it was the first complete recording of Isaac Albéniz's Iberia in its orchestrated form. The composer wrote the 12 pieces for piano in the years before his death in 1909. He asked his colleague Enrique Fernández Arbós to undertake the orchestration, but Arbós only scored five of the 12 sections. It wasn't until the 1950s that the Spanish-American conductor-composer Carlos Surinach provided orchestrations for the other pieces.

In its piano guise, Iberia is famed for its difficulty. Its kaleidoscopic, pictorial nature is well suited for Morel's orchestral control and mastery of balance. There is little passion in his approach, however, and the Paris orchestra was not a virtuoso ensemble. I have nothing but praise for the performance of Ravel's Rapsodie Espagnole that completes the set.

The Decca recording is typical of its output, with elevated high and low frequencies. It's impressive, but can make the strings sound harsh.

The download includes scans of the gatefold sleeve, along with reviews from High Fidelity and HiFi-Stereo Review and the ad below. RCA had several interesting releases that month, including a Delibes record conducted by Hugo Rignold that will appear here at some point. The feature attraction, though, was symphonic chunks extracted from Fritz Reiner's records.

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Shannon Bolin

Reader woolfnotes recently asked me if I had this recording by musical theater's Shannon Bolin. Not only did I not have it, I didn't even know it existed.

But I was intrigued enough to hunt up some lossy transfers on YouTube (thanks to kadoguy) and remaster them, adjusting the balance and pitch in the process.

Bolin is of particular interest to me as one of the featured performers in Adler and Ross' second musical, Damn Yankees. She played the wife of Joe Boyd, who disappears one night after making a pact with the devil to become a star with his favorite baseball team, the Washington Senators. Bolin recreated her role in the film version of the musical.

Shannon Bolin and Stephen Douglass during the
Damn Yankees recording sessions

This 1955 LP was likely recorded while she was in Damn Yankees' Broadway production, which ran from May 1955 to October 1957. In approach it is similar to a cabaret program, consisting mainly of unfamiliar material, thus the title Rare Wine. I can't find any evidence that Bolin ever appeared in cabaret, however. Her experience was mainly on Broadway, in such shows as The Golden Apple and Take Me Along. She also appeared in opera - she was reportedly the understudy for the title role in the first production of Marc Blitzstein's Regina - and was in a number of films and television shows.

The album's best known titles are probably Frank Loesser's "My Time of Day," Rodgers and Hammerstein's "Loneliness of Evening" and Rodgers and Hart's "He Was Too Good to Me." Here are the songs, composers and sources of the songs on the LP:

1. I Got Love (Jerome Kern and Dorothy Fields), film I Dream Too Much
2. He Was Too Good to Me (Rodgers and Hart), cut from Simple Simon
3. Somebody from Somewhere (George and Ira Gershwin), film Delicious
4. My Yellow Flower (Jerome Moross and John Latouche), from Ballet Ballads
5. My Time of Day (Frank Loesser), from Guys and Dolls
6. Loneliness of Evening (Rodgers and Hammerstein), cut from South Pacific
7. My Love Is a Wanderer (Bart Howard), from John Murray Anderson's Almanac
8. Winter of My Discontent (Alec Wilder)
9. One More Spring (J. Strauss and Edward Eager) from Waltz Down the Aisle
10. I Know Where I'm Going (traditional)
11. Just Like a Man (Vernon Duke and Ogden Nash), from Sweet Bye and Bye (closed on the road; song was re-used in Two's Company)
12. The Party's Over Now (Noël Coward), from Words and Music

The arrangements are by Bolin's husband, pianist Milton Kaye. They mainly consist of a wind obbligato, rhythm, and an occasional guitar or harp. Vanguard did an excellent job of recording the songs. As I mentioned, this comes from lossy originals. As usual with such sources, there is some loss of detail and definition, but the result is nonetheless pleasing.

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Jean Morel Conducts Tchaikovsky

Tchaikovsky's ballet scores for The Nutcracker and Sleeping Beauty have appeared here a number of times, but I have neglected his Swan Lake music. To make amends, here is a set of excerpts from the early days of stereo.

The conductor is Jean Morel (1903-75), born in France and primarily associated with the operas from that country. This post is one of the few commercial records he made that were not accompaniments.

Jean Morel

Morel left Europe in 1936, and after stops in Latin America, came to the US in 1940. He became associated with the New York City Opera a few years later, staying there until 1951. A 22-year association with the Juilliard School began in 1949. He soon became an influential teacher. Morel has appeared on this blog before, conducting the Juilliard Orchestra in a Mozart concerto with pianist Rosina Lhévinne, his colleague at the school. Much of the conductor's reputation rests on his 1956-71 tenure with the Metropolitan Opera, where he primarily was associated with French works.

In this Tchaikovsky recording, he leads the Royal Opera House Orchestra, Covent Garden. As far as I can determine, Morel never was engaged by the Royal Ballet, and only conducted a single 1960 performance of Manon for Covent Garden Opera. Nor was he a specialist in ballet music, unlike most of the conductors who have appeared here in that repertoire.

That said, his reading of the Swan Lake music is very good. The opposite of an improvisatory conductor, Morel believed in having all aspects of the score worked out ahead of time. You can hear that this performance is well controlled, and his care over the score may seem a little too careful at times. But all in all, it's most enjoyable.

The recording was made for RCA Victor by UK Decca engineers working in Watford Town Hall in September 1957. As usual with Decca recordings, both the low and high frequencies are emphasized. While the results are vivid, the microphones perhaps were too close to the strings, which can sound wiry at times.

Cover of first US issue

RCA originally issued the LP in mono only in the US (above). The first US stereo edition, which is the source of my transfer, was in 1965 in the budget Victrola line (advertisement below). RCA's UK arm issued a mono version in late 1958 and stereo early the next year. The download includes a Gramophone review from October 1958.

Ad in May 1965 High Fidelity magazine (click to enlarge)

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