From the Back Room: 'Private Hell 36'

Some of you were interested in hearing Leith Stevens' jazz noir score for the 1954 film Private Hell 36, which the protean Ida Lupino co-wrote and starred in. So here it is in the latest "From the Back Room" post.

I didn't need much encouragement to post this score, because it is a fine example of the gritty jazz music that Stevens was producing at the time. It makes a good companion for the roughly contemporaneous Wild One, which I covered in depth here.

Many of the same West Coast musicians appear in both scores - Shorty Rogers, Jimmy Guiffre, Bud Shank, Milt Bernhardt, John Graas, among others.

Jazz Scores for Cops and Robbers

The Private Hell 36 score appeared on a 10-inch LP when the film came out. In 1959, Coral incorporated those tracks in a compilation 12-inch album called Jazz Themes for Cops and Robbers. The label filled out the bigger edition with four newly recorded items by Leith Stevens and orchestra (not sure if those had appeared on singles or not), all from current television shows.

Leith Stevens

The titles will sound familiar if you picked up on the recent post TV Jazz with Marterie, Rugolo and Martin. (Every label had to have one of these compilations.) The four new items (here in stereo versions) are: "The M-Squad Theme," "The Thin Man," "The Perry Mason Theme" and "Peter Gunn."

These are of course enjoyable, but you will note that these numbers from the late 50s reflect a mood that was lighter than during the film noir period - which was winding down even as Private Hell 36 was being released.

The download includes the Private Hell 36 music first, followed by the additional Cops and Robbers themes, along with complete scans from both LPs.

LINK to Private Hell 36 / Jazz Themes for Cops and Robbers

From the Back Room: Anita Ellis in the 40s, Vol. 2

This is the second in a three-part series devoted to vocalist Anita Ellis' recordings in the 1940s. (The first installment is here.)

Today in this "From the Back Room" post, we have Anita's 10 sides for Mercury Records and her dubbing assignments for Rita Hayworth in Gilda and for Vera-Ellen in Three Little Words, plus one item with Eddy Duchin. There are 21 cuts altogether.

Ellis had become popular on the radio and via AFRS recordings by the time these songs were recorded. She was already a polished artist when her first commercial disc was made.

Mercury Recordings

I have found 10 recordings that Ellis made for Mercury in 1946 and 1947. Most of these dates were conducted by Harry Geller, a former big band trumpeter who later led his own ensemble and worked in films.

Harry Geller

Anita's first number is "Either It's Love or It Isn't," a Doris Fisher-Allan Roberts song used in the Bogie noir Dead Reckoning. There it was mouthed by Lizabeth Scott, dubbed by Trudy Richards - interesting because Scott later came out with an LP of her own. It's a good tune, little remembered these days.

Like its discmate above, "The Old Lamplighter" was recorded by any number of artists at the time. Several artists did well with the Charles Tobias-Nat Simon song, Ellis not among them, although her version is entirely sympathetic. The Browns had a big hit with the number in 1960.

The Romanian composer Iosif Ivanovici wrote "Waves of the Danube" in 1880, and Al Jolson and Saul Chaplin adapted it into "The Anniversary Song" for The Jolson Story in 1946. Anita's version is heartfelt.

Johnny Green and Yip Harburg wrote the semi-standard "I'm Yours" in 1930. Ellis and Geller revived it as the flip side of "The Anniversary Song."

Burke and Van Heusen wrote "As Long as I'm Dreaming" for Bing to warble in 1947's Welcome Stranger. A nice song that's no longer heard in a sincere reading and an overly complex arrangement from Geller. The flip is another current song, "Ask Anyone Who Knows." I believe the hit was by the Ink Spots.

Eddie Kassen and Desmond O'Connor wrote "How Lucky You Are" in 1947. Now forgotten, this lovely postwar song is done well by Ellis. Several other artists recorded it back then. The flip side was a revival of "They Can't Take that Away from Me," which the Gershwins penned for Fred Astaire 10 years earlier. Dick Maltby's arrangements for this coupling are just as fussy as some of Geller's. Anita's warmth shines through, though.

Erich Wolfgang Korngold wrote the excellent song "Love for Love" for the film Escape Me Never, with lyrics by Aldo Franchetti and Ted Koehler. Peg La Centra dubbed Ida Lupino in the film.

"Golden Earrings" is from the film of the same name; music by Victor Young, words by Livingston and Evans. The biggest hit version was by Peggy Lee, but Anita's is a worthy contender.

Dubbing Hayworth

Rita Hayworth as Gilda

It may not be apparent in her earlier work, but one of Ellis' most enduring characteristics was her ability to sound sultry. This made her a perfect match for Rita Hayworth in the latter's defining role as Gilda, a very dark film noir with a happy ending. (Don't tell anyone I told you.)

Allan Roberts and Doris Fisher wrote two fine songs for the film - "Amado Mio" and, most famously, "Put the Blame on Mame." Anita's vocal performances are justly almost as famous as Hayworth's visuals. The singer's recordings of the two numbers for Standard Transcriptions will appear in Vol. 3 of this series.

One with Eddie Duchin

The US Navy sponsored The Eddy Duchin Show, a public service program sent out to radio stations on transcription discs. We have one song from this series that featured Duchin, a popular pianist - "What Is This Thing Called Love." It's a Cole Porter song from 1929 that Ellis does in her best alluring Gilda manner. I've also included the spoken intro - contrived, as those things usually were. The song, however, is one of the best things in this set.

Three Little Words

Three Little Words lobby card

When M-G-M put their biopic of songwriters Bert Kalmar and Harry Ruby into production in 1949, the producers engaged Ellis to dub Vera-Ellen, who was playing Jessie Brown Kalmar, partner and wife of Fred Astaire's Bert.

Anita had three songs. The first was the charming duet with Astaire, "Where Did You Get That Girl?" This is presented in two versions - the first as heard on the soundtrack, the second as presented on a single. The former has a more extended instrumental close; the latter has an extra vocal chorus, which I believe may be a clone of the first chorus. Note that Ellis received label credit for her singing, unusual at the time.

Next, Anita has a solo with "Come On, Papa," adopting a thick quasi-French accent.

"Nevertheless (I'm in Love with You)" one of the most enduring Kalmar-Ruby songs, is an Astaire-Ellis duet. Again, this is presented in two versions, the first from the soundtrack, the second with a additional (cloned) chorus at the end, as it appeared on the Three Little Words LP.

Finally, the song that turned me into an Anita Ellis fan several decades ago - her version of "Thinking of You," a matchless combination of warmth, tenderness and just fine singing. One again, two versions: from the single, which clones an earlier phrase at its conclusion, and the soundtrack, which continues with Latin dance music for another 30 seconds or so.

The music director and conductor on the film was the 20-year-old André Previn. The listed orchestrator was Leo Arnaud, assisted by the uncredited Robert Franklyn, Wally Heglin and Conrad Salinger.

The third and final volume of Anita Ellis' 1940s recordings will include 24 songs recorded for Standard Transcriptions.

LINK to Anita Ellis in the 1940s, Vol. 2 

A Progress Report from the Back Room

I did not expect that my "From the Back Room" items would be as popular as they have been. I am grateful for all who responded to my first post - and the many who have commented as the series has gone on.

So far, the posts have included:

• Two volumes of Sarah Vaughan's earliest recordings, with one to come

• One volume of Anita Ellis' 1940s recordings, with two to come

• An overview of Jane Powell's M-G-M career, with one bonus post scheduled

• A set of recordings from Gloria Wood, with her Wood by the Fire LP yet to be transferred

• An early version of Mahler's first symphony, in its first recording

• A coupling of Bloch's rare (and excellent) Trois Poèmes Juifs with Herbert's Cello Concerto

• Eleanor Steber's Songs at Eventide

• A selection of recordings from the GR-E-EAT Thurl Ravenscroft

• Sue Raney's complete Capitol singles along with several later sides

• Early recordings of Janáček's Lachian Dances and Klement Slavický's Moravian Dance Fantasies

• Two LPs featuring the great jazz arranger Marty Paich

• Karl Böhm's 1959 recording of Brahms' First Symphony

In process are the following:

• Bob Manning's pre-Capitol recordings

• Buddy Clark's 1934-38 recordings with Xavier Cugat, Eddy Duchin, Johnny Hodges and solo; also his Lucky Strike and Associated Transcriptions from 1937-40

• Presenting Charlie Cochran, from the late cabaret talent (Correction: blog reader and contributor George tells me that Cochran is happily still with us; the Charlie Cochran who died was another musician)

• Kay Swift's complete compositions (these are not as voluminous as you might think)

• Leith Stevens' music from Private Hell 36, plus bonus cuts

• Bobby Hackett on Commodore - 14 songs from 1938 and 1944

• The Foursome with Bing and Dick Powell, among others

• Ancient Russian recordings of Balakirev's Overture on Russian Themes and King Lear Incidental Music

With others to come. Thanks again for all the comments!

From the Back Room: Gloria Wood

Gloria Wood was a supremely talented singer who had the misfortune of being best known for the novelty records she made with Kay Kyser and later for Capitol records, although her career was far more diversified than those outings.

Today's "From the Back Room" post is the completed version of a project I started more than a decade ago, devoted to bringing together most of her singles output from the 1940s and 50s.

For these "Back Room" posts, the transfers, etc., are prepared with the usual care, but my commentary may be less elaborate than is sometimes the case.

This particular post includes 33 songs.

About Gloria Wood

Wood (1923-95) was the daughter of a professional singer, which set a career path both for her and for her older sister Donna. The elder sibling sang with Horace Heidt and then with Kay Kyser. When Donna died of a heart ailment at age 29, Gloria succeeded her in the Kyser band. Gloria would go on to be one of the most in-demand studio singers, for her rare virtuosity and range.

First Records with 4 Star

These days 4 Star records is mainly remembered as a country and western outfit, but the small West Coast outfit also recorded other types of music in its early days, mainly Latin outfits but also a few jazz and big band records as well. Wood's first records, dating from 1945 and 1946, were with these ensembles.

The 4-Star-5 was a traditional jazz combo with such well-known musicians as Zutty Singleton and Gus Bivona. Gloria's first record with that crew was a cover of Hoagy Carmichael's new "Memphis in June," followed by three songs by the obscure West Coast singer-composer Slim Coates: "Hitch Your Wagon," "Some Guy" and "Toy Boy." The first is, predictably, the best of the lot, but Coates' songs are not bad.

Wingy Manone

Wood's next assignment was with another traditional jazz figure, Wingy Manone, who led a raucous band backing her in the standard "My Blue Heaven" and the trumpeter's own "I Must Be Dreaming." She acquits herself well in both songs.

Finally, big band vet Ted Fio Rito used her voice on two songs, his own "Now That You're Gone" and the standard "East of the Sun." She's particularly impressive in the former.

With Kay Kyser

Kay Kyser

Kay Kyser had a polished and versatile band, but it was known for novelty records. Gloria's first record with the group in 1947 was a notable and catchy example. "The Possum Song" has the subtitle "Six, Tall, Slim, Slick, Sycamore Saplin'," which I cannot explain to you. This song was the work of singer-songwriter Terry Shand, working with a Dunham, who might or might not be bandleader Sonny Dunham.

Next was one of several duets with longtime Kyser singer Harry Babbitt, a polished performer. Gloria works well with him on Jack Brooks' "Saturday Date." Gloria then worked with the Campus Kids vocal group on the mock calypso "There Ought to Be a Society (For the Prevention of Cruelty to Poor Unfortunate Lovers)."

Now comes the big hit - "Woody Wood-Pecker," by Ramey Idriss and George Tibbles. Wood (who would have seemed to have been preordained to sing this song) manages to avoid having to imitate Woody's annoying laugh, and is otherwise charming.

Another Hoagy Carmichael song (and another faux calypso), "Too Much-a Manana" also did well for Gloria and Kyser.

Babbitt and Wood combined for another major hit, Frank Loesser's "On a Slow Boat to China." Finally, we have 1949's "I'll Wait," with Gloria billed over Harry Babbitt for the first time.

Kyser would soon wind down the band and Wood was off for a freelance career, working with Jud Conlon's Rhythmaires among others.

Capitol Recordings

Gloria recorded several songs for Capitol records in 1953. These started with two songs with keyboard player Buddy Cole, notably Vincent C. Fiorino's "Red Canary," which Cole (presumably) gave an African feel. Percussion is prominent, along with piccolo and a fascinating bass line produced in a manner unknown (to me).

"Hello Sunshine" has an old-timey feel that is accentuated by Wood's virtuosity, a tuba, banjo and some effects that Cole probably produced from his organ.

The next song is something of a classic. "Hey Bellboy" has Gloria singing insanely high (and loud), both by herself and in duet with Pete Candoli's trumpet, alternating with sexy calls of "hey bellboy!"

"Hey Bellboy" EP

"By the Waters of Minnetonka" has Wood singing the melody quite high both in harmony with her own voice and with Candoli's trumpet. She also sings a chorus conventionally.

"Anybody Hurt?" has her scatting both extremely high and fast. Both this and "Hey Bellboy" were written by Candoli and Tom Mack.

Finally, for "Oh, Honey" she moved on to Dave Cavanaugh's semi-R&B outfit. Dave's band plays a riff over and over while Gloria alternately pleads "Oh, honey, please!" and again ascends into the stratosphere vocally.

Capitol's Music Views magazine devoted a two-page spread to Wood's vocal heroics in 1953. The pages are below - click to enlarge them.

With Decca-Coral

Wood recorded several songs for Decca-Coral in 1955. First was "Lover-Lover (Why Must We Part?)" written by Charles Wolcott for the film Blackboard Jungle, but not, as far as I know, used as such in the film. It is, unexpectedly, a country tune, which Gloria does idiomatically.

This was backed by "Teen-Time," which, far from being adolescent fare, is boppish high harmony vocalese accompanied by vibes, clarinet and rhythm.

Coral got in on the "Hey" songs with "Hey Mister," which leaves out the vocal pyrotechnics in favor of a simple ballad accompanied by growl trumpet, tenor sax groans and clarinet. The flip side is "I Keep Telling Myself," a nice tune with a good arrangement from George Cates.

Finally, Wood moved from Coral to the main Decca label for a single with another former Capitol artist, Jimmy Wakely. "Are You Satisfied?" melds Gloria's vocalese with some awkward harmony with Wakely. "Mississippi Dreamboat" is semi-R&B. Neither Jimmy nor Gloria seem convinced.

A Few Unpolished Diamonds

Billboard ad

In 1956 Gloria surfaced on the rejuvenated Diamond label, once headquartered in New York and headed by Irving Gwirtz. That concern went under in the 1940s, leaving a trail of lawsuits, but Gwirtz and Diamond seem to have be resurrected in Hollywood in 1956. At least a "Gwirtz" is listed as co-author of the tune "The Rock and the Roll," which apparently was the B-side of the record. "Honey Bee" (with the "vocal magic of Gloria Wood") was the plug side.

"The Rock and the Roll," as you might imagine, is rock 'n' roll. The label proclaims this to be a Billy May arrangement, and there are some trumpet squeals that might suggest his hand in the charts.

"Honey Bee" is an awful song, a marriage of "Be My Little Baby Bumble-Bee" of Doris Day infamy with the vocal approach of Teresa Brewer.

There are a few other Diamond sides that I don't have, and at least one 45 on Zephyr.

The Columbia Singles

Billboard ad

Wood was back with a major label in 1957, landing at Columbia Records, where she made a few singles and one LP that came out in early 1959. All were with Jerry Fielding.

The first item, "Back Door," is rock 'n' roll, although sung at a high level. The flip, "Mr. Sorrow," is a downcast ballad. At least this one gives Gloria a chance to be expressive, which she does beautifully. Fielding wrote both songs. 

The second single coupled a song co-written by Wood and Fielding, "Heartless Kisses," another R&R effort, with "I Won't Be a Fool Again," which is even more rock-lite.

The material on Gloria's Columbia LP, Wood by the Fire, is better than the singles. I have the LP if there is interest.

LINK

From the Back Room: the 1893 Version of Mahler's First Symphony

Mahler's Symphony No. 1 is one of his most fascinating and beloved works. The edition that is performed today is, however, not the first or second version of the work. The final 1899 edition replaced an 1893 version that had somewhat different orchestration, an additional movement, and titles for the symphony and its movements that were later discarded.

Today's "From the Back Room" post is the first recording of that 1893 version, which was titled The Titan after the book by Jean Paul. This recording dates from 1970, with the Welsh conductor Wyn Morris leading the New Philharmonia Orchestra.

The young Gustav Mahler

Mahler wrote the first version of the symphony in 1888, and conducted it in Budapest that year. This version is now lost. He revised the orchestration in 1893 for a performance in Weimar. For this second version (the one recorded here), he retained the movement titles he had appended in 1888.

Part 1 - Aus den Tagen der Jugend

I. Frübling und kein Ende [Spring without End]

II. Blumine (Andante) [Flowers]

III. Mit vollen Segeln (Scherzo) [Under Full Sail]

Part 2 - Comedia humana

IV. Totenmarsch in Callots Manier [Funeral March in Callot's Style; aka The Huntsman's Funeral Procession]

V. D'allinferno al Paradiso (Allegro furioso) [From Hell to Heaven]

The brief Blumine is the movement that the composer dropped from the published edition. It is sometimes performed and even recorded with the 1899 version, but this is a solecism. It only makes sense to perform the 1893 version in toto, and even then just for its historical importance. As the Mahler expert Deryck Cooke wrote, reviewing this recording in The Gramophone:

If one gladly welcomes this first-ever recording of the 1893 version of Mahler’s Symphony No. 1, it’s purely on account of its great historical and musicological interest. It cannot be emphasised too much that this ‘version’ of the work no longer exists, for practical purposes, since Mahler himself rejected it when he made his final definitive score for publication in 1899. On the other hand, it’s certainly fascinating to be able to hear this early stage of the symphony, with its smaller and less sophisticated orchestration and its extra movement.

Wyn Morris

Here is Cooke's verdict on this particular performance:

[T]he recording is clear enough to make it possible to enjoy Wyn Morris’s remarkably sensitive and powerful interpretation of the five-movement version of the work. He takes the Blumine movement ... just about as slowly as it can be taken - and one feels that the aching nostalgia which results is what the young Mahler would have been aiming at. The Scherzo, following on from Blumine, instead of from the first movement, is taken faster than usual, and so is its trio; this is no doubt inevitable, in the five-movement version, but I find that it robs the scherzo music of its rustic heaviness and the trio music of its charm. But apart from this one dubious point, the overall interpretation has certain special and unusual qualities to recommend it: an absolute fidelity to Mahler’s markings, especially to his lavish use of pianissimo (it’s amazing how much of the first movement is really hushed music), and a fully committed emotional approach to the romantic content of the music.

As Cooke wrote, the recording is "clear enough," but that may be its only virtue. It doesn't possess much presence and the tone at forte is notably edgy.

As for Wyn Morris, his was a talent that was largely unfulfilled. From his 2010 obituary in The Guardian: "Had he come to prominence in the era when truculent, temperamental maestros ruled the roost, the conductor Wyn Morris, who has died at the age of 81, might have achieved far more than he did. His performances could certainly be inspirational, and Morris was not alone in his belief that his accomplishments and reputation failed to do justice to his talent. His irascible, cantankerous nature made him impossible to deal with, however, and time and again even those willing to indulge his erratic behaviour, for the sake of what he had to offer artistically, had to admit defeat."

Morris has appeared on this blog before with the soprano Montserrat Caballé in Debussy's La Damoiselle élue and Chausson's Le Poème de l'amour et la mer. This fine recording is now newly remastered.

LINK to Mahler's Symphony No. 1 (1893 version)

From the Back Room: the Early Sarah Vaughan, Vol. 2

Here is the second installment of a three-volume survey of the recordings Sarah Vaughan made before joining the Columbia label in 1949. Almost all of these transfers are taken from the original 78s. The three volumes encompass 56 recordings; this iteration has 21.

The items in this and the third volume were all made for the small Musicraft label. Today's selections cover April 1946 to October 1947.

This is one of my "From the Back Room" posts, featuring recordings that I've been working on  for some time, but haven't yet published for one reason or another.

For these posts, the transfers, etc., are prepared with the usual care, but my commentary may be less extended (i.e., gabby) than usual.

With Georgie Auld and Tadd Dameron

The earliest session in this volume yielded just one vocal - "A Hundred Years from Today," the Victor Young-Ned Washington song. It elicits a sophisticated performance from Vaughan and Georgie Auld's excellent band, heard in an arrangement by a 20-year-old Al Cohn.

A few weeks later, Sarah had a recording date with a Tadd Dameron ensemble, with more well chosen songs: "If You Could See Me Now" by Dameron and Carl Sigman; "I Can [Could] Make You Love Me" by Bob Russell and Peter DeRose; "You're Not the Kind" by Will Hudson; and "My Kinda Love" by Louis Alter and Jo Trent. Dameron produced all the arrangements, which included strings. "If You Could See Me Now" is especially well done.

Sarah had previously recorded "I Could Make You Love Me" with John Kirby for Crown, which is in Vol. 1 of this collection.

In June, Vaughan was back in the studio with Auld for "You're Blasé" (by Bruce Sievier and Ord Hamilton) in another Cohn arrangement.

Four with George Treadwell

George Treadwell and Sarah Vaughan

Trumpeter George Treadwell, whom Vaughan would marry in a few months, was in charge of a July 1946 date that yielded four songs: "I've Got a Crush on You," "I'm Through with Love" (Fud Livingston, Matty Malneck, Gus Kahn), "Everything I Have Is Yours" (Burton Lane, Harold Adamson) and "Body and Soul" (Johnny Green, Edward Heyman).

"Everything I Have Is Yours" is a particularly confident interpretation, showing the vocal flexibility, even acrobatics that were among Vaughan's hallmarks. 

With Teddy Wilson

Teddy Wilson

The four songs made with Teddy Wilson in August and November 1946 are special, showing Vaughan in fully mature form. The pianist is always a pleasure to hear, of course.

From August: "Don't Worry 'bout Me" (Rube Bloom, Ted Koehler), "Penthouse Serenade" (Will Jason, Val Burton). From November: "Time after Time" (Sammy Cahn, July Styne) and "September Song" (Kurt Weill, Maxwell Anderson). The latter two could have used more Wilson and less Charlie Ventura.

With a George Treadwell Big Band

Vaughan's next date was in July 1947 with a large band assembled by George Treadwell. The songs are: "I Cover the Waterfront" (Johnny Green, Edward Heyman), "I Don't Stand a Ghost of a Chance" (Victor Young, Ned Washington), "Tenderly" (Walter Gross, Jack Lawrence) and "Don't Blame Me" (Dorothy Fields, Jimmy McHugh).

It's notable that the more conventional the backing, the more adventurous Vaughan became vocally. These arrangements are nothing special, but the singing is superb. "Ghost of a Chance," for example, starts with vocalese backed by Jimmy Jones' celesta.

With Ted Dale

Ted Dale

For the rest of her stay with Musicraft, Vaughan made most of her recordings with Ted Dale, who would soon become a music director with NBC.

Their first recordings together were a departure from the bop anthems and standards that had previously been Sarah's fare in the studio. First was the Albert Hay Malotte setting of "The Lord's Prayer," backed by the spiritual "Sometimes I Feel Like a Motherless Child" in Harry Burleigh's arrangement. 

The next song they recorded was not initially released; it later came out on LP: "I Can't Get Started" (Vernon Duke and Ira Gershwin). The final piece recorded in this October 1947 session was Alec Wilder's "Trouble Is a Man," which Peggy Lee had recorded a year before, although it went unreleased at the time. Vaughan's version was one of the first to actually reach the market.

LINK

From the Back Room: Eleanor Steber at Eventide

This is another in a series of posts from Buster's Back Room, where I keep the many projects I have completed but never offered on this blog.

For these "From the Back Room" items, the transfers, etc., are prepared with the usual care, but my gabby commentary may be abbreviated.

In this 10-inch LP from 1949, the soprano Eleanor Steber presents Songs at Eventide, with the assistance of Howard Barlow and the Firestone Orchestra. All would have been familiar from appearances on The Voice of Firestone, a radio program presenting classical and semi-classical music.

Eleanor Steber

Steber herself was a leading artist at the Metropolitan Opera. In 1947, she had commissioned Samuel Barber's Knoxville: Summer of 1915. (The link takes you to the first recording of the work.)

This entirely melodious Songs at Eventide program largely consists of what we today would call works from the American songbook: "You and the Night and the Music," "Ev'rytime We Say Goodbye," "I'll Be Seeing You," "Out of My Dreams" and "When I Grow Too Old to Dream."

But three selections may be more obscure. "When Day Is Done" is a German song written by Robert Katscher in the 1920s, here with English lyrics by Buddy DeSylva. "Bird Songs at Eventide" is by English light music composer Eric Coates, with words by Rodney Bennett. And the concluding "Sing Me to Sleep" is from 1902, when it was composed by Edwin Greene to words by Clifton Bingham.

Howard Barlow leads the Firestone Orchestra

This recording made the excellent Firestone Orchestra sound boomy, which I have tamed. Steber is somewhat recessed into the sonic picture, which is more truthful to concert sound than most recordings.

LINK