Dody Goodman Sings?, Plus Reups

Dolores (Dody) Goodman became known for her acting, her wacky presence on talk shows and her inimitable voice during a long career ending with her death in 2008.

But before her period of fame, she had been a dancer on Broadway (High Button Shoes, Wonderful Town) then a performer in revues.

In Shoestring Revue

She first came to public notice as an entertainer (as opposed to dancer) in Ben Bagley's Shoestring Revue of 1955, where her solo song was "Someone Is Sending Me Flowers," included on this LP. 

Goodman followed that with an appearance in Four Below, staged by songwriter-pianist Murray Grand at the Downstairs. Then she was in Bagley's Shoestring '57, where her solo was "Crib Notes for a Certain SRO," not included here.

By mid-1957, Goodman had been noticed by Jack Paar or one of Paar's producers, and signed up to be a comic sidekick for Paar's version of television's Tonight Show. "A redhead with befuddlement written all over her face, Goodman spoke in a nasal twang through which the most innocent reflections emerged as hilarious," wrote cabaret historian James Gavin in his book Intimate Nights.

Goodman's quick wit and off-center manner endeared her to the audience, if not to Paar himself. He reportedly thought she upstaged him, so by the next year, she was gone.

During her Paar prominence, Goodman headlined a Dixieland concert, of all things, with Jimmy McPartland, Stan Rubin and Will Bill Davison

In the meantime, however, Coral rushed out this entertaining LP, largely composed of the type of songs that would be heard in the smart revues of the time.

Murray Grand

The lead song is one of the best-known items of its kind, "April in Fairbanks" ("You've never known the charm of Spring / Until you hear a walrus sighing. / The air is perfumed with / the smell of blubber frying.") The Murray Grand song comes from New Faces of 1956, where it was introduced by Jane Connell. Goodman favored Grand's songs - four of the 12 in this set are his, including the topical "I'd Rather Cha-Cha Than Eat." But the songwriter's most famous work is "Guess Who I Saw Today," written for New Faces of 1952 and beloved of emotive cabaret performers ever since.

New Faces of 1952 and 1956 were Leonard Sillman productions, the latest in a series that began with New Faces of 1934 - a year in which the new faces included Henry Fonda, Imogene Coca and songwriter James Shelton. The latter was to appear in five other revues featuring his own music over the next 20 years. Goodman chose three of his songs for this LP. 

True, in my experience

The Shelton standout is "Tired Blood," an amusing take-off on a popular elixir of the time, Geritol, which was touted for its ability to wake up your slumbering corpuscles. The Federal Trade Commission later put a stop to such claims, but not before the tonic's makers had blanketed America with the kind of spurious sales pitches you see at left.

Another favorite on the album is "Tranquilizers," written by Bud McCreery, who worked on many of the revues of the day, including several Ben Bagley and Julius Monk productions. "Nothing like Dody has been seen before or since," McCreery told James Gavin. "Her voice, her expressions, even her slightly slouched, wavering stance - like a puppet without strings - were all hilarious."

I also enjoyed "Pneumatic Drill," by the team of Walack and Baker, of whom I know nothing. Something of a take-off on "Steam Heat," it includes such endearing couplets as "You remembered to take your sweater / But forgot your pneumatic drill" and "You whispered 'Madam, / I'll take macadam.'" Perfect for Goodman's off-kilter approach.

The provenance of this album is not entirely clear. Decca group LPs of the period typically include full credits for the arranger-conductors, but this does not, even though the backings include both orchestra and chorus. It also has no liner notes, just a short note from Goodman. A Cash Box article from early 1958 said she had been working with Neal Hefti on the record, which came out a few months later.

Billboard ad

The title query, Dody Goodman Sings?, was not original even then. At least two earlier LPs had used it: Anna Russell Sings? in 1953 and Abe Burrows Sings? in 1950, the latter of which has appeared on this blog and is newly reupped (see below).

I believe this is the sole Goodman LP, although she did appear on a few Ben Bagley records, and was in the cast of Jerry Herman's revue Parade in 1960, which merited a recording. She later went on to a career as talk show guest and actor in television and film.

I transferred this album 12 years ago in response to a request, but it hasn't appeared here before. The download includes New York Times reviews of the Shoestring Revues, an article on the Paar show and album reviews from Billboard, Cash Box and HiFi and Music Review.

Reuploads

As usual, the links below take you to the original posts.

Abe Burrows Sings? Burrows was a renowned Broadway figure, as writer, "script doctor" and director. This mild 10-incher from the early days of the blog was before all that. It dates from 1950, when Burrows was on television. It wasn't even his first album - he made one for Decca in 1947 when he was a radio personality.

The Jazz and Classical Music Society - Music for Brass. A 1956 LP that was one of the first products of the third-stream movement, which brought together jazz and classical music and musicians. The compositions are by Gunther Schuller, John Lewis, Jimmy Giuffre and J.J. Johnson. The ensemble included soloists Johnson, Miles Davis and Joe Wilder, all conducted by Dimitri Mitropoulos. Quite a lineup.

Jeri Sullivan - the Standard Transcriptions

I first began looking into the recordings of 1940s singer Jeri Sullivan because I had a Signature label 78 of hers that I liked. I soon found out that her career was far more interesting than I had suspected. You can read more about her in the earlier posts devoted to her life and recordings.

Today we come full circle back to the first recording I owned, but on a different label. This post - courtesy of vocal aficionado Bryan Cooper - consists of the 12 Sullivan recordings issued by Standard Transcriptions in the 1940s, which are almost certainly sourced from session or sessions that also came out at least in part on the short-lived Signature label.

The origin of the Signature/Standard recordings is not entirely clear. I believe that they first were the property of United Artists Records (UAR), which had been a semi-vanity label. As Billboard explained in 1948, "UAR assumed pressing operations of masters produced by individual artists on a profit-sharing basis. UAR and producers split net profits equally after production and pressing costs were deducted."

A good assumption might be that Sullivan proffered her recordings to UAR on this basis. Then, when UAR went under in 1948 it sold the 12 masters to Signature. At some point, Standard Transcriptions leased or acquired the same masters as fodder for its business of supplying recorded music to radio stations.

I previously speculated that the United Artists/Signature/Standard masters could have been made as early as 1944, because they contain a version of "Dream House," the theme song of Sullivan's radio show of the time. It now seems more likely that they come from 1946. At that time, her backing artists (the Les Baxter Singers and the Johnny White combo) were recording together. Vibist White was a member of Benny Goodman's orchestra throughout 1946, while Baxter was making records with Mel Tormé as one of the Mel-Tones.

Another one of my speculations was that the Les Baxter group backing Jeri was the same as the Mel-Tones. The Standard Transcriptions seem to bear that out - they call the singers the Mel-Tones on the labels. Perhaps Siganture did not want to or could not use the name Mel-Tones when Tormé was recording for the rival Musicraft company.

Now let's discuss the music at hand, and how it relates to what we have heard in previous Sullivan posts.

First, there are several new items: "I Hadn't Anyone 'Til You," "But Beautiful," "I Wish I Had a Penny," "Let's Do It," "There's a Small Hotel" and "Forgotten Blues." As far as I know, Signature did not release these masters. A few of these songs also can be heard in different versions from rare and probably unique demo recordings graciously contributed by Simon Buckmaster in a previous post.

Two additional songs - "Love Ain't No Good" and "Regular Man" - were previously heard only in incomplete versions also contributed by Simon. (That post also contains two additional rare songs that were issued on the Metro Hollywood label.)

"Cowboy Jamboree," "Dream House," "Baby Won't You Please Come Home" and "You've Been So Good to Me Daddy" have previously been uploaded from Signature pressings found in my collection and that of Bryan Cooper.

The sound on the Standard Transcriptions is at least as good as the Signature masters. However, all the recordings were pitched too high, which I have adjusted. The transfers come from two 16-inch Standard discs, R-193 and R-197. The download also includes two rave reviews from Cash Box.

These are all exceptional recordings from a much underrated singer, who is heard here at her warm and intimate best. I am so grateful to Bryan Cooper for his generosity, and want to thank him and Simon Buckmaster again for sharing their treasures with us.

Looking ahead, Bryan has sent me eight Hal Derwin recordings from his collection that weren't included in my recent post of that singer's discs. Coming up soon!

Mitropoulos Conducts Prokofiev and Swanson

This is a continuation of two ongoing series - one devoted to the music of Howard Swanson, the other to the recordings of conductor Dimitri Mitropoulos. The record also contains music by Sergei Prokofiev, which the blog has presented a number of times as well.

This 1950 LP is unusual in that represents the only appearance of Mitropoulos on US Decca records. At the time, he was recording for Columbia with his band, the New York Philharmonic.

Dimitri Mitropoulos

The Philharmonic does not appear here, but the featured ensemble is related to the Philharmonic even so. Its unwieldly name, "The New York Ensemble of the Philharmonic Scholarship Winners," signifies that the musicians all had received scholarships from the Philharmonic in younger years. In gratitude, they banded together to provide their own scholarships to other worthy young musicians. Mitropoulos was the honorary chair of the effort.

While the term "Scholarship Winners" might lead you to think participants were neophytes, that was not the case. All were well-regarded professionals generally in their 30s. The members included clarinetist David Weber, pianist William Masselos, cellist Avron Twerdowsky of the Kroll Quartet, violinist Jacques Margolies and bassist Fred Zimmerman, who were in the Philharmonic at the time, bassoonist Harold Goltzer and his oboist brother Albert, who also were in the Philharmonic for many years, and the well-known horn player David Rattner.

As far as I can tell, this is the only record that the Ensemble made. It is entirely a chamber program, so Mitropoulos' presence may only have been to lend prestige to the affair.

Sergei Prokofiev and Howard Swanson

The bulk of their program is devoted to two Prokofiev works, his Quintet, Op. 39 and his wonderful Overture on Hebrew Themes. Howard Swanson's then-new "Night Music" completes the enjoyable program, which is well played by the talented ensemble. That said, the Swanson perhaps could have sounded more nocturnal and less careful. Also, the witty Prokofiev overture may have benefitted from a more relaxed approach.

Decca's engineers produced sound that was close and a little harsh. It benefited from my adding a small amount of convolution reverberation to the mix. The download includes a review from The Gramophone.

The LP's cover art is by Erik Nitsche, who handled many assignments for Decca during the period. His cabalistic symbols look like they ought to represent something, but I have no idea what. Interpretations are welcome.

We Celebrate 1,000 Posts with 19 Busters

My namesake above appears unenthusiastic, but I am pleased to be marking an even (or uneven) 1,000 posts on this blog, spread out over the last 12 years. To celebrate, I've put together a post consisting of 19 tracks either involving artists named Buster or songs with Buster in the title.

So we have Busters Moten, Harding, Bailey, Dees, Benson, Ferguson, Brown, Larsen, Falkenberry and Bennett among the artists, plus songs titled "Button Buster," "Finger Buster," "Atom Buster," "Skull Buster," "Banjo Buster" and "Buster Astor." There are jazz, country, blues and pop records, but no classical items by Buster Heifetz or Buster Toscanini.

My thanks go out to my great pal Ernie Haynes, who has been encouraging me since the beginning - and who actually came up with the concept of this post. And of course thanks to all of you who have followed this blog through the years, especially those who comment. Your contributions make the comment sections just as lively than the posts themselves, if not more so.

Here is some commentary on today's selections, as usual presented in chronological order.

The first selection is "Button Buster" from 1922, a version of the laughing record that was inexplicably popular back then. No artist is listed on this cheapo Grey Gull pressing, but it is thought that the original was recorded in Berlin in 1920 for the Beka label. By the way, I think the record is called "Button Buster" not because you bust your buttons from laughing but you bust the buttons on your player in your frenzy to shut the darn thing off.

Our next item, "Just You, Just Me," comes from 1929 and the almost certainly pseudonymous Buster Benson and His Band, on the Jewel label. The name "Buster Benson" appears on just this one record, and is possibly the better known and wildly prolific recording artist Adrian Schubert under another name. I did need to make a small edit to this transfer to eliminate noise.

Also from 1929 is the Gus Arnheim band on Victor with "One Sweet Kiss," vocal by Buster Dees. The singer did not record much, but managed to make 10 records in 1929 with Arnheim, Henry Halsted and Jackie Taylor.

Buster Moten

From 1932 comes the superb and important Bennie Moten band from Kansas City, featuring Count Basie, Lips Page, Walter Page and Eddie Durham. The song "Toby" was written by Bennie's brother Buster Moten and arranger Eddie Barefield.

Moving on to 1937, we have the wonderfully vulgar Western swing anthem "Ain't Nobody Truck Like You" by the Texas band Ocie Stockard and the Wanderers, with a vocal by Buster Ferguson. Despite the title, Buster repeatedly insists that "ain't nobody truck like me" in the lyrics.

The Tune Wranglers, with Buster Coward to the right of the microphone

Another excellent Western band with a fellow named Buster as singer was the fecund Tune Wranglers, also from Texas, who present "Honey, Smile for Me" with Buster Coward on vocals. This, too, was from 1937.

Buster Bailey

Switching styles, we hear from clarinetist Buster Bailey and His Rhythm Busters in "Chained to a Dream," from 1938. I could have made a post of Bailey' records alone - he worked with everyone from W.C. Handy to King Oliver, Fletcher Henderson and John Kirby, among others.

Another key artist was the famous New Orleans pianist Jelly Roll Morton, heard here on "Finger Buster" from 1938, a few years before his early death. I've corrected the pitch on this one.

Our next selection comes from 1940 and returns us to the sound of Kansas City jazz. This record involves two Busters. One is again Buster Moten, who composed "Moten's Swing" with his brother Bennie. As "Moten Swing," this became a standard both in Bennie's own recording and in the Count Basie version of 1940. Our record is a rendition by a studio group led by guitarist Eddie Durham with solos by the brilliant alto saxophonist Buster Smith.

Buster Harding

Our next Buster is Buster Harding, an influential arranger and composer. Here is his composition "Bedford Drive," which he arranged in 1945 for Artie Shaw's band.

Buster Bennett

A much different sound from Shaw's suave tones is provided by the singer and altoist Buster Bennett, who tells us about his "Reefer Head Woman" in this 1945 Columbia recording of his own blues concoction.

Atomic bombs were on everyone's mind in the postwar era, and any number of songs at that time made use of the theme. This 1946 record not only includes it in the title, "Atom Buster," it came out on the Atomic label. The composition, which sounds like it is based on "I Got Rhythm," is by guitarist Barney Kessel, who leads an excellent ensemble in this swinging outing.

I couldn't resist adding another Buster Bennett opus to the mix. This is his entertaining double-entendre blues "Fishin' Pole" (in which he brags about his "very long pole," of course). This came out under the name of tenor saxophonist Tom Archia in a 1947 issue on the Aristocrat label. I faded this one in after a few moments because of groove damage at the record's edge.

Also from 1947 is "Silver and Gold," a pleasant country tune from the obscure Bob Pressley and His Sagebrush Serenaders, with whistling by the even-more-obscure Buster Falkenberry. Pressley cut a total of six sides for Decca at about this time.

Larry Vincent

The Pearl label was mainly if not exclusively a vehicle for the Pearl Boys, who were mainly if not exclusively a vehicle for label owner Larry Vincent and his mildly risque party-record compositions. "Buster Astor" from 1949 is a typical example of his inspirations.

"Skull Buster" from 1949 came out under the name of bop pianist Al Haig, but is mostly a showcase for the superb tenor saxophonist Stan Getz, who was making a name for himself at about this time as a member of Woody Herman's "Four Brothers" band.

Smilin' Ed O'Connell and Froggy the Gremlin

The "Witch-a-Ma-Jig Song" comes to us courtesy of the great Smilin' Ed McConnell and His Buster Brown Gang, who had a well-remembered children's show on both radio and television. The Buster Brown Gang, named after the sponsor, Buster Brown Shoes, featured the inimitable gravel-voiced Froggy the Gremlin, who became one of my favorite impersonations as a annoying teenager ("Hiya, kids! Hiya, hiya!"). I also wore the shoes (see below), although not as an adolescent.

Buster Brown's stylish selections

Quick aside - Buster Brown Shoes were one of the leading examples of a commercial image well outliving its inspiration. Buster Brown was a cartoon character (supposedly inspired by the young Buster Keaton) who had disappeared by the mid-1920s, but he, his pageboy haircut, enormous chapeau and floppy cravat were still selling shoes well into the 50s. Notable recent examples of this atavistic phenomenon are Aunt Jemima and Uncle Ben, minstrel show stereotypes who are still hawking packaged food today - although not for long.

Arthur Smith and His Cracker-Jacks

Arthur Smith was known as a many-noted guitar player (he is dubbed "Arthur (Guitar Boogie) Smith" on the label of this tune), but on "Banjo Buster" from 1950 he became a many-noted banjo player. As sometimes happened with these knock-'em-out virtuoso exercises, the record company sped up the master to make the playing more impressive, but I've tamed the pitch. Billboard called this selection a "sparkling hunk of hominy," which is saying a lot. The flip side was "Mr. Stalin, You're Eating Too High on the Hog." (Mr. Stalin and his hog are not included here.)

Buster Larsen

Our final Buster is Buster Larsen, a Danish stage, film and TV actor of the time. His selection is titled "På Bustur Med Buster" ("On a Bus Trip with Buster"). Could you imagine something like this today - "On a Bus Trip with Lady Gaga." "På Bustur" comes from 1957.

Thanks, everyone, for taking this bus trip through my record collection for the past 12 years! Hope you have enjoyed yourselves.

In closing, let me mention some frequent commenters and contributors, knowing that I am sure to forget some people - in no particular order, Charlot, centuri, David Federman, Bryan Cooper, 8HHaggis, JAC, Ernie, A N Other, Scoredaddy, Eric, Grover Gardner, Andy Propst, jserraglio, coppinsuk, Sky Raven, gpdlt2000, Phillip, alfred venison, Boursin, Lennonka, Your Pal Doug, Rich, Addison, rev.b, styles, Jim, StealthMan, Rich, Rootie, SwingKing, Morris, RonH, monkeeboy, RecordHunter, hkitt42, iracema1, Jim in Seattle, flurb, TupeloBrian, Badgercat, kiken, 78heretic, dave_bruce, Geoconno, Nigel, Nick, Randy, Lee Hartsfeld, Ronnie, Alan Eichler, Kevin WOlf, luckymike, boppinbob, bhowani, jeronimo, barba, thedentist, Kwork, BobSanders, Muff Diver, Ravel, flyingfinger, woolfnotes, Moahaha, Wortley Clutterbuck, Andrew, dgrb, MOQChoir, tony, DonHo57, Richard Bock, Rio Veneno and Unknown. Thanks to them and everyone else who has been part of this wonderful community!

Music for 1940s British Films, Plus Songs for a Change of Seasons

Muir Mathieson

This post supersedes and builds on one from the early days of the blog devoted to music from British films of the 1940s. It now is more than twice as extensive - including 16 examples drawn from the best films composers of the era - Vaughan Williams, Rosza, Addinsell, Mischa Spoliansky, Allan Gray, Bax, Alwyn, Ireland, Charles Williams and Arthur Benjamin - all in vintage performances. These come primarily from two albums, as detailed below.

Also today, to mark the transition between seasons, David F. has provided us with two of his fine compilations.

Summer Turns to Autumn

David has prepared a set of songs both for the waning of summer and for the coming of fall - "A Farewell to Summer" and "Autumn Auguries." These total 60 selections by artists known and obscure, as always well programmed and carefully considered. The downloads (links in comments) include David's thoughts on the music and the seasons.

One of our readers recently called his compilations "brilliant" - and I won't disagree!

'Music for Films' - the Columbia Entré LP

My 2009 post was mainly devoted to an early 50s Columbia Entré LP, Music for Films, which was almost entirely composed of British releases of the 1940s. The various recordings originated with EMI, and included performances by the Queen's Hall Light Orchestra as conducted by Charles Williams or Sidney Torch, and the Philharmonia conducted by Ernest Irving.

Here is what I wrote about these recordings a decade ago, much augmented.

The only well-known item on the record is the one American item, Miklos Rózsa's music from Spellbound, here in a performance led by Charles Williams.

The best-known composer represented is Ralph Vaughan Williams, whose beautiful score for the Loves of Joanna Godden was almost unknown until a more recent re-recording. Here the music is performed by the Philharmonia and Irving, the music director of Ealing Studios.

 

Ernest Irving and Ralph Vaughan Williams at a recording session

The little-known composer Allan Gray appears with two very effective items - the memorable prelude from Stairway to Heaven and the theme from This Man Is Mine. These pieces are apparently all that was ever recorded of Gray's film music. The composer left Germany after the ascension of the Nazis, as did Mischa Spoliansky, also represented in the collection.

Mischa Spoliansky

Much of the Entré LP, in fact, is devoted to three pieces by the now little-known (but very talented) Spoliansky. His "A Voice in the Night," from Wanted for Murder, is one of the most effective of the many quasi-romantic film concertos that turned up following the 1941 success of Richard Addinsell's "Warsaw Concerto." The album also contains Spoliansky's music from Idol of Paris and That Dangerous Age.

Lord Berners in repose

Finally, the Entré LP includes the Nicholas Nickleby music from the eccentric composer-novelist-painter Lord Berners (Gerald Hugh Tyrwhitt-Wilson), who wrote concert as well as film music and was a friend of Constant Lambert and William Walton. I don't care for Berners' music, but he cut quite a figure!

'Film Music' - the 1947 Decca-London Album

Like EMI, UK Decca was active in the film music realm during the 1940s. I have included a new transfer of a six-sided 78 album, Film Music, from the London Symphony and Muir Mathieson, the music director for a large number of British films.

Mathieson's set is largely given over to composers better known for concert than film music. It leads off with one of the most beautiful themes ever written by Vaughan Williams - the hymn-like Epilogue from the film 49th Parallel.

Arthur Benjamin

Next is what is possibly Arthur Benjamin's greatest hit - the "Jamaican Rhumba" of 1938, which doesn't seem to be film music at all [thanks Boursin for the tip!]. Benjamin's other popular favorite ishis "Storm Clouds Cantata" (not included here), featured at the climactic moments of both versions of Hitchcock's The Man Who Knew Too Much.

Sir Arnold Bax's music for the short film Malta G.C. was one of his few scores for the screen. It concludes with an Elgarian march.

William Alwyn

We return to Jamaica for another well-known use of its music, as captured in William Alwyn's score for The Notorious Gentleman. Neither the Alwyn nor Benjamin pieces were what you would call authentic, but are enjoyable nonetheless. Alwyn was equally renowned for his film and concert scores.

The final composer in this set - John Ireland - only composed for one film, The Overlanders, which involved a cattle drive in Australia. (One wonders how they attracted people into the theaters for that scenario.) Ireland was an uneven composer, and this is not among his best work, although it has enjoyed several recordings, all of which I seem to own.

Bonus Items

Richard Addinsell

The talented Richard Addinsell was not represented on either album above, but I have added two of his finest themes as a bonus. First is the original recording of music from Passionate Friends by the Philharmonia Orchestra and Muir Mathieson, which comes from another Entré album that otherwise does not contain film music. (Parenthetically, I saw David Lean's Passionate Friends a long time ago, and remember it as excellent.)

I also wanted to include perhaps the most popular and influential piece of film scoring from that period - Addinsell's "Warsaw Concerto" from Dangerous Moonlight. Here from the original 78, Muir Mathieson conducts the London Symphony with uncredited pianist Louis Kentner.

As a final bonus, I have included the "Dream of Olwen" music from While I Live, another notable quasi-concerto of the period. The composer was Charles Williams, who conducted several of the works on the Entré LP above. In this recording William Hill-Bowen was the pianist, with George Melachrino leading his orchestra on an HMV 78.

All transfers are from my collection, except for the bonus items, which are remastered from lossless needle-drops from CHARM and the Internet Archive. The sound is good in all cases.

Lambert Conducts Warlock, Delius and Lambert

The composer-conductor Constant Lambert has been a periodic subject of posts hereabouts. Today he takes on the music of two people he knew well - "Peter Warlock" (Philip Heseltine) and Frederick Delius, along with his own most famous composition, "The Rio Grande."

Peter Warlock

Philip Heseltine by Gerald Brockhurst

In the 1920s, the young Lambert (1905-1951) was a close friend of the composer Philip Heseltine (1894-1930), who published his music under the name "Peter Warlock," supposedly because of his affinity for the occult.

Heseltine was principally known for his brilliant songs, which have appeared here more than once. His song cycle "The Curlew," set to Yeats, is one of the finest in the English language. Both "The Curlew" and the first work on today's program, the Capriol Suite, betray the influence of Vaughan Williams. The Suite was supposedly based on Renaissance dances, but it is more Warlock's work than any ancient source material.

The second Warlock work is his Serenade to Frederick Delius on His 60th Birthday, from 1922. Heseltine was a confirmed Delius disciple earlier in his life. Although the influence had faded by the time this music was written, this particular piece is a conscious homage to the older composer, and makes a good segue between Warlock's music and Delius' own.

These recordings were made at Abbey Road with the Constant Lambert String Orchestra in 1937.

Frederick Delius

Frederick Delius by Achille Ouvré

In 1938, Lambert was again in Abbey Road, this time with the London Philharmonic and Delius' most famous work, "On Hearing the First Cuckoo in Spring."

He returned to the studio in 1941 for two interludes from Delius opera, the Serenade from Hassan in Thomas Beecham's edition and "La Calinda" from Koanga as arranged by Eric Fenby. This time the orchestra was the Hallé and the site was the Houldsworth Hall in Manchester.

All these works are nicely handled and the recordings are more suitably atmospheric than those done in 1937.

Lambert's The Rio Grande

Vocal score

Lambert was well aware of currents in music, and was particularly inspired by what he considered jazz. He had been very impressed with the short-lived Florence Mills, whom he had seen in the West End revue Blackbirds in 1926. The composer wrote, "The colour and rhythm of the singing was an absolute revelation of the possibilities of choral writing and this Rio Grande is the first example of a serious and perfectly natural use of jazz technique in a choral work."

All this may be true, but the first name that comes to mind when listening is Gershwin. The writing in the important piano part is Gershwinesque in its rhythms and phrasing. The critic Angus Morrison also cites Liszt's Faust Symphony as a direct influence. Lambert was fond of Liszt; he mined the Abbe for the ballet music Apparitions, done for Sadler's Wells and for a setting of the Dante Sonata for piano and orchestra.

Sacheverall Sitwell

As we have seen before on this blog, Lambert was close with the Sitwells, serving both as conductor and reciter in William Walton's various settings of Edith's Façade. For 1928's The Rio Grande, Lambert set a poetic exercise in exoticism by Sacheverall Sitwell. The poet moved the Rio Grande from North America to South America for the purpose of his verse, and imagines a dream world of dancing and revelers.

"The music of The Rio Grande no more represents any actual scene or event than the poem that inspired it," wrote Lambert. "It is an imaginary picture that it conjures up, a picture of the gay life of a riverside town which may be in either South or North America, as the listener chooses to fancy."

Kyla Greenbaum

The poetry is atmospheric, if dated, but you would have a hard time telling from the woolly diction of the Philharmonia Chorus and even at times the well-known contralto Gladys Ripley. I've included the text for those who want to understand the words. 

The Philharmonia Orchestra plays well for Lambert. The stand-out performance is by pianist Kyla Greenbaum, one exposed slip aside. She did not have a big career, but on this evidence, was a fine talent.

For this recording, Lambert returned to Abbey Road in early 1949, two years before his early death. The recording is good. My transfer of The Rio Grande comes from a 1950s LP reissue on UK Columbia. The other works were remastered from lossless transfers found on Internet Archive and CHARM.

The Original 'Victory at Sea' and More Re-ups

A few reuploads for you today, all remastered to taste (my taste, that is), and presented to you via the original posts. The highlight is the spectacular original 1953 recording of Victory at Sea.

 Click on the headers below to go to the original post for each item.

Victory at Sea

Richard Rodgers' memorable score for the television documentary series Victory at Sea was a huge success, so much so that RCA Victor brought in the music's orchestrator, the illustrious Robert Russell Bennett, and the NBC Symphony for a recording in summer 1953. This release would later be superseded by a stereo LP series that eventually reached three volumes. But the 1953 mono is plenty good enough. I've tamed the overly bright sound and fixed the pitch on this go-around.

Mickey Spillane's Mike Hammer

Back in the early days of this blog, I tended to post more obscure stuff than I do today. This was among the more off-beat items. It's a 10-inch LP of tough-guy author Mickey Spillane in the role of his tough-guy invention, the gumshoe Mike Hammer. That short drama is on one side of the record. The other contains musical interludes by the obscure Stan Purdy that are enjoyable enough. The ghastly cover may lead you to think this was a low-budget production, but it's clear that Spillane spent some money on it. (Although I am surprised he allowed himself to be depicted on the cover with a fucshia face and trench coat.)

Lauritz Melchior in Two Sisters from Boston

Speaking of my odd obsessions, throughout this blog's existence I have featured classical artists in popular material - none odder than the occasional appearances of retired heldentenor Lauritz Melchior back in the days when Hollywood was trying to turn him into a Danish S.Z. "Cuddles" Sakall. The 1946 musical Two Sisters from Boston is a good example. I wrote back in 2013 that "it plunders Liszt and Mendelssohn to concoct noisy cod arias that Melchior attacks with some enthusiasm in his role as an imperious tenor." This transfer was from the original 78 album, a gift from my long-suffering wife.