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Post by tonyloco on Sept 18, 2017 22:56:00 GMT
Great thread and when I get a chance I'll try and contribute. Please do – it's a swell party but a few more guests would be welcome!
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Post by tonyloco on Sept 18, 2017 23:02:10 GMT
PS. In response to a question from Mr Snow, I found a picture of Kent Baker taken in the bar at Theatre Royal, Stratford East, with Toni Palmer doing the bar entertainment in the days when Ken Hill and Caroline Eves were running the theatre after Joan Littlewood had left. The handsome devil playing the piano is of course yours truly. As I can't seem to get jpegs from my computer into my posts I will use the pic as my avatar for a while. That pic from Stratford East didn't last long. My current avatar is from the Brick Lane Music Hall but no doubt it will be replaced by something else in the not too distant future.
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Post by tmesis on Sept 19, 2017 7:31:39 GMT
Great thread and when I get a chance I'll try and contribute. Please do – it's a swell party but a few more guests would be welcome! A swelligant, elligant party!
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Post by tonyloco on Sept 19, 2017 11:25:24 GMT
A swelligant, elligant party! Going a bit off thread, I love it when movies use theatrical conventions imaginatively and the encore of 'Well, did you evah?' by Bing Crosby and Frank Sinatra in the film of 'High Society' is a great example. Another favourite example is the last exchange in 'Some Like It Hot' Jack Lemmon: We can't get married because I'm a man. Joe E Brown: Well, nobody's perfect! Blackout, just like the end of a comic sketch in a revue.
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Post by tmesis on Sept 19, 2017 12:05:14 GMT
Irving Berlin
Where to start!
Living to be 101 and writing around 1500 songs it's difficult to know where to begin.
General thoughts:
It's the absolute naturalness of his songs, with often simple direct words married to a killer tune. His music's so natural sounding that it's easy to overlook the craftsmanship and subtly in his massive output - he never draws attention to his genius. Intriguing that he couldn't read music and played everything in F#, with a transposing piano (I can't really see how that would work.) Some assistant would then write down the dots and, it is claimed, help with the harmony. I always wonder how much help he got; a superb song like I've got my love to keep me Warm has a brilliant three-fold harmonic sequence at the start, of which Kern would have been proud. It's also fascinating that given his (on paper) lack of theoretical knowledge he should have written the best ever 'counterpoint' songs: Play a Simple Melody and You're just in Love. It's not hard to write two tunes that fit together, but to write two fabulous tunes that work together, like Berlin, is genius.
He was underestimated once the 'integrated' musical came along and then confounded the critics with Annie Get Your Gun (excellent Crucible production at Christmas) and Call me Madam (excellent Union production a few years ago.)
Just a few favourites:
Cheek to Cheek (clever structure, almost as massive as Begin the Beguine.) They say that falling in love (fabulous sweep to the melody and unusual intervals) Change Partners (love playing this one with the tune mainly in the bass and a bit of 'locked hands' as in G. Shearing.) Let's face the music and Dance (great teasing major/minor tune, worthy of Schubert!)
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Post by tonyloco on Sept 19, 2017 15:12:12 GMT
OK tmesis, that's an excellent overview of Irving Berlin as one of the five top contributors to the Great American Songbook. I am impressed at how well you analyse the structure of his finest songs, as you have done with the best songs of Kern and Porter. But my musical tastes are a bit less sophisticated and I also respond strongly to his early songs which are very much in the spirit of American vaudeville. Just off the top of my head I will cite a few:
When the midnight choo choo leaves for Alabam The International Rag Alexander's ragtime band Down on the farm (I wanna go back) Ragtime Violin I love a piano Everybody's doing it now Oh how I hate to get up in the morning This is the Army Mr Jones I've got my captain working for me now You'd be surprised CUBA Let me sing and I'm happy (memorably featured behind the opening titles of 'The Jolson Story' and many, many more
Ethel Merman left definitive performances of the first two in the films 'There's No Business Like Show Business' and interpolated into 'Call Me Madam' and I heard Ethel sing 'Alexander's Ragtime Band' live in a London TV studio and thought I had died and gone to heaven!
There was a time when I was going to see a number of one-woman shows of stars like Barbara Cook, Bernadette Peters, etc, and it seemed that every single one of them included 'I love a piano' – and why not?!
And I am also a sucker for Berlin's early romantic ballads, mostly waltzes: When I lost you Always All alone What'll I do? A pretty girl is like a melody How deep is the ocean?
And of course his 'copyright' on Christmas ('White Christmas'), Easter ('Easter Parade') and even the USA ('God bless America') are unique achievements!
I've just Googled Mr Berlin and spotted some wonderful songs that Marilyn Monroe sang in her own inimitable way: Lazy After you get what you want Heat wave
As much as I am enjoying '42nd Street', I have to admit that it is all rather at a single pitch (nothing wrong with 40 people tap dancing to Warren/Dubin songs) I thought the stage version of 'Top Hat' with all those Berlin songs was a very superior example of a musical, not only with wonderful songs and dances, but some hilarious farce, especially in the second act. I didn't expect that the humour of the original film involving those splendid Hollywood character actors could be caught so perfectly, but it sure was.
So it seems to me that Berlin sits in something of a different category from Kern, Rodgers, Porter and Gershwin in that he wrote only a relatively small number of musical comedies but also contributed to vaudeville shows and revues and worked very much as a jobbing Tin Pan Alley songwriter. So for me, I will go along with Jerome Kern's famous remark: 'Irving Berlin has no place in American music – he IS American music!'
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Post by tmesis on Sept 19, 2017 15:56:34 GMT
I'm in awe that you've seen Merman live! I too though Top Hat excellent, although Tom Chambers was a bit wooden acting-wise (great dancing and his singing was OK) but it really does work as stage musical, better than the recent stage version of High Society at the Old Vic.
I too love a lot of the early stuff too; l think I've given the wrong impression that a song has to have some clever technical feature for me to like/admire it, but I am a sucker for 'the art that conceals art.'
Of the earlier stuff I really like 'I love a piano.' This I heard live sung and played by Michael Feinstein in London a few years back. Guesting on the same evening was Julian Ovenden with whom he sang a duet; that was my died and gone to heaven moment!
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Post by tonyloco on Sept 19, 2017 20:40:19 GMT
Of the earlier stuff I really like 'I love a piano.' This I heard live sung and played by Michael Feinstein in London a few years back. Guesting on the same evening was Julian Ovenden with whom he sang a duet; that was my died and gone to heaven moment! Where and when did you hear Michael Feinstein in London? I am familiar with his early recordings but for the life of me I cannot remember whether or not I ever saw him live. I used to go regularly to Pizza on the Park for a few years to see various singers but they were mostly elderly females as well of course as Richard Rodney Bennett.
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Post by tmesis on Sept 19, 2017 21:49:04 GMT
It was November 2013 at the Palace Theatre. It was when The Commitments musical was running there (on a night off, as it were) part of the London Festival of Cabaret, which got little publicity.
I particularly like his earlier recordings, his later, over produced ones not so much. Would have loved to see him at Algonquin in his early years; he's at his best when it's just him and a piano. I like that he has great respect for the material he sings.
His two books are fascinating too; one mainly autobiographical, with lots about his time with Ira and the other more generally about the Gershwins.
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Post by Mr Snow on Sept 20, 2017 6:04:07 GMT
I saw Michael Fienstein at the Hackney Empire in a concert for R2, 3 or 4 years ago. Full Orchestra and Joe Stilgoe as support.
His voice was a lot stronger than I previously realized and overall he was a good entertainer.
Pizza on the Park. Steve Ross and Andrea Marcovicci - might take this back to the other thread.
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Post by tmesis on Sept 20, 2017 6:15:03 GMT
Full Orchestra and Joe Stilgoe as support. Joe Stilgoe is terrific. Would love to see him with Claire Martin. He was the best thing about the Old Vic High Society.
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Post by tonyloco on Sept 20, 2017 8:55:06 GMT
Ah! In November 2013 I was desperately house-hunting and totally oblivious to what was happening in the world of cabaret or theatre. And I have tended to be very inconsistent in how assiduously I have kept up with these things. For example, I attended the entire series of one-person shows at the Jermyn Street Theatre fairly recently (and had a great time) although it had been years since I had been to any others, apart from Eartha Kitt at the Shaw. The mention of Michael Feinstein at the Hackney Empire does ring a bell, the HE being one of my spiritual homes, so I probably knew about it but was in no mood to get out and see it. But I seem to be taking this discussion a bit off thread as we haven't discussed Gershwin or Rodgers yet.
Now come on Mr Snow. It's time we heard your comments on the Great American Songbook. As much as we will readily jump in to talk about Pizza on the Park, Steve Ross, Claire Martin et al (Jolson?) we must not get too diverted from the title of this thread!
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Post by Mr Snow on Sept 20, 2017 12:02:10 GMT
What can I add? You two are delivering a masterclass. Perhaps I can MC at your next gig? Unfortunately, I’ve been too lazy to learn to play an instrument and so my experience is so limited compared to yours. I can only imagine the joy in going through those changes as often as I liked and feeling them for myself ...How strange, the change from… What do you make of the classic text on the subject? www.amazon.com/American-Popular-Song-Innovators-1900-1950/dp/0195014456Alec Wilder was a gifted songwriter himself and apparently quite an oddball associate of the Rat Pack. Despite not understanding much I’ve read it cover to cover. It has at least given me a clue as to why the songs endure and the subtle techniques that made each one special. It is often claimed that Jazz is America’s great gift to the world, but I’m not so sure. I also have pretty much all the collected lyrics with Ira Gershwin’s and Sondheim’s the two with the real insight. I hope you’ll get round to Bernstein. Benny Green could never play any of his songs without hinting he was a bit square, not Jazz if you like. For years, I bought that line based on WSS. But popular song is a broad church and I now think of Candide as one of the great pieces and just loved On the Town this summer. I wish I’d tuned into him sooner and there’s more I’ve yet to discover. Carry on please gentlemen I’ve been very busy but will try and keep up! PS Joe Stilgoe at Brasserie Zedel 19th October. Works outing anyone? (Anyone know about Paul Ryan and Kenny Clayton who are playing a selection of Great American Songs on the 19th?)
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Post by tonyloco on Sept 20, 2017 13:12:44 GMT
Welcome Mr Snow to the discussion! I will be interested to see how tmesis responds to your comments but here are a few personal thoughts of mine:
Regarding playing an instrument, I was born with a God-given gift of being able to play popular songs on the piano right from when I was able to sit at a keyboard. It began with my being able to pick out tunes with one finger and then after a few lessons at the Shefte College of Music in Sydney when I was in my early teens, I learned all the basic chords and was able to play songs with both hands – and transpose easily! I did put in some effort to learn to sight read and actually played some Chopin Waltzes at a public concert in the Sydey Conservatorium! I also have a gift for accompanying, which has stood me in good stead with music hall and variety. I am boasting about all this because I have come to the conclusion that no amount of teaching or practice will turn a person into a good performer on any instrument if there is not already some kind of instinctive talent to start with.
I am not familiar with Alec Wilder's book but I have read some others in the past although I am not entirely convinced that one can actually analyse various songs to explain why they are as good as they are. Again, I think this is a God-given gift and composers like Gershwin, Rodgers, Berlin, Porter and Kern just had the gift! If I may digress a little, the song 'Daisy Bell' written in 1892 by Harry Dacre was a hit in both the UK and in the USA (with the difference being in 'a bicycle built for two' and 'a bicycle made for two') but it is hardly a sophisticated melody or a clever lyric. Yet it has endured down the years and I understand that children in schools today in Hackney know it and can sing along with it! So who knows what makes a song great?!
I agree with what you say about the best lyric writers, but all the others in that field were of course providing lyrics as required for the job in hand, at which they were all highly adept. Even the most natural and straightforward, Irving Berlin, sometimes reached the heights IMHO.
I think Bernstein is somewhat different from the others we are discussing. He was first and foremost a classical composer who also loved musical theatre. As we know, 'On the Town' developed from the score he wrote for the American Ballet Theatre for a ballet called 'Fancy Free' and then he continued along the road with other musicals, but not all of them were successful apart from 'West Side Story' which is of course one of the very greats. And I think Benny Green may well have a point in that none of Bernstein's 'songs' ever became estabished as popular hits, not even those from 'West Side Story', although a few of them are instantly recongised like 'New York, New York', 'Maria' and 'Tonight'.
Sorry to be a party pooper, but I will not be coming to Brasserie Zedel on 19 October although it might turn out to be a good night, but thanks for the suggestion.
TL
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Post by Dawnstar on Sept 20, 2017 21:11:51 GMT
Dawnstar: I have just dug out my review of 'The New Yorkers' and I see it was mainly a zany comedy and a showcase for Jimmy Durante although it did have a couple of strong Porter songs like 'I happen to like New York' and 'Take me back to Manhattan' as well as 'love for sale' but those two songs I already knew from other places like the Cole Porter revue called 'Cole' at the Mermaid and 'A Swell Party'. The other songs have mostly been forgotten although 'I'm getting myself ready for you' survives in the stage version of 'High Society'. Now you mention it, I do remember "I Happen To Like New York" but "Take Me Back To Manhatten" is not ringing any bells in my memory. I thought the stage version of 'Top Hat' with all those Berlin songs was a very superior example of a musical, not only with wonderful songs and dances, but some hilarious farce, especially in the second act. I didn't expect that the humour of the original film involving those splendid Hollywood character actors could be caught so perfectly, but it sure was. I adored the stage version of Top Hat. In fact, given it was expanded for the stage, I now can't watch the film without missing the scenes & songs that were added for the stage version. I suppose that, given the size of the Berlin song catalogue, it must have been fairly easy to find plenty of other songs to add. I'm in awe that you've seen Merman live! I too though Top Hat excellent, although Tom Chambers was a bit wooden acting-wise (great dancing and his singing was OK) but it really does work as stage musical, better than the recent stage version of High Society at the Old Vic. Seconding the Merman awe! That's interesting, I found Tom Chambers weakest in singing rather than acting. I bought the cast recording when it was released but have rarely listened to it as I don't find his voice very pleasant when it's audio-only. I ended up far preferring his understudy, Alan Burkitt, who then took the lead for the second tour. I'm afraid I totally lack the musical knowledge to contribute to the more technical parts of this thread but I'm finding them interesting to read.
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Post by tmesis on Sept 20, 2017 21:16:43 GMT
Mr Snow, I've read the Alec Wilder book (every word!) and actually found it quite disappointing. He seems to dislike some pretty classic songs and to have a particular downer on Gershwin, mainly for using too many repeated notes.
Speaking of Gershwin....
I mentioned at the top of the thread some of my favourites but just a few (disconnected) thoughts...
- It really is a tragedy he died at 38, what could he have achieved?
- He was really fortunate to have, as a brother, such a talented lyricist.
- His musical style is so easy to recognise and yet hard to sum up, clever use of syncopation and stressing unexpected notes. One thing I've noticed, but not seen commented upon, is specifically ending phrases with the most distinctive notes of the blues scale. A case in point is The man I love. Even though in E flat, nearly all of it's early, short phrases ends on a blues note. The lovely Somebody loves Me at the start, on the word 'who', in the phrase 'I wonder who?' has a delicious flattened third that really defines the song. Of course loads of other greats love a blue note here and there, but it usually decorates the middle of a phrase.
- Love Feinstein's early Gershwin recordings - there's a brilliant duet with Rosemary Clooney on 'Isn't it a pity.'
- I've got all of the Nonesuch recordings of his musicals with the original orchestrations, Pardon my English, Lady be good etc. Highly recommended.
- Much as I enjoy Ella's singing in her Gershwin song series, I now find Riddle's orchestrations a bit overblown, and he buggers around too much with the great man's harmonies. (Generally I'm a massive Riddle fan.) Also many of the songs are too slow.
- Carol Kidd has a really good Gershwin CD in Nice Work.
- Although way over the top, I love Sarah Vaughan's CD with LA Phil and Tilson Thomas.
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Post by Mr Snow on Sept 21, 2017 5:52:48 GMT
Sarah Vaughan sings Gershwin. I have it on a compilation, is it from the CD you reference?
Oooooooooooooooooooh oh oh!
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Post by tonyloco on Sept 21, 2017 11:53:50 GMT
Yes, that youtube version is right OTT, although very impressive! Now here's a funny thing about that song. One of my music hall ladies wanted to do it but I didn't have a sheet copy with the verse, so I found a recording by somebody famous and took down the verse by ear and we performed it very successfully. Imagine my surprise when I later discovered that the verse I found was not Gershwin's original but something totally different. I can't remember the details but the recording may have been by Judy Garland, in which case the new verse might well have been by Roger Eden. Sorry this is such an incomplete anecdote but since my recent house move I no longer have access to much of my old reference material (CDs, LPs, music, etc) but the point of my telling it is that Gershwin's original verse is really rather tricky, or perhaps I should say clever, and the new one I found was a lot simpler!
And we mustn't forget that Gershwin's first big success was 'Swannee', written in 1919 which could hardly have been more different that the songs he was to write later. I guess we can see 'Swannee' in the vaudeville style of George M. Cohan or the early Irving Berlin, but what a smash hit to start his career!
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Post by tmesis on Sept 21, 2017 17:14:26 GMT
Sarah Vaughan sings Gershwin. I have it on a compilation, is it from the CD you reference? Oooooooooooooooooooh oh oh! The CD is 'Gershwin Live!' On CBS. There are a number of (very cheap) second hand copies on amazon.
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Post by tmesis on Sept 21, 2017 17:18:44 GMT
Just thought of another Gershwin song where the first phrase ends on a blue note 'Stairway to Paradise,' on the 'new song every day' bit. I really love this song, it has a terrific modulating verse.
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Post by tonyloco on Sept 21, 2017 20:51:36 GMT
Diverting a little from the main thrust of this thread, did anybody see 'A Damsel in Distress' at Chichester in 2015? I thought it was wonderful although this was not by any means the general opinion. I can of course cite chapter and verse as to why I enjoyed it so much, but did anybody else like it?
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Post by tmesis on Sept 22, 2017 5:40:05 GMT
Diverting a little from the main thrust of this thread, did anybody see 'A Damsel in Distress' at Chichester in 2015? I thought it was wonderful although this was not by any means the general opinion. I can of course cite chapter and verse as to why I enjoyed it so much, but did anybody else like it? I really LOVED this. I think it was deserving of a wider audience. They captured the mood and tone of it just right.
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Post by tonyloco on Sept 22, 2017 9:06:18 GMT
Diverting a little from the main thrust of this thread, did anybody see 'A Damsel in Distress' at Chichester in 2015? I thought it was wonderful although this was not by any means the general opinion. I can of course cite chapter and verse as to why I enjoyed it so much, but did anybody else like it? I really LOVED this. I think it was deserving of a wider audience. They captured the mood and tone of it just right. I'm glad to hear that. I agree entirely. Interesting that you mentioned recently the excellent Nonesuch series of Gershwin shows with the original orchestrations. I wonder whether they achieved the sales that they deserved? Talking of original Gershwin orchestrations, the EMI recording of Kiri Te Kanawa sings Gershwin ran into trouble at the recording sessions in New York. It seems that the conductor John McGlinn, who had instigated the project, had not checked the set of the original orchestral parts before the sessions started and, to his consternation, it turned out that there were a lot of transcribing errors that had to be corrected as the sessions progressed and as it was not possible to arrange further sessions, they ended up recording fewer songs that had been originally planned. This benefited me personally in that when McGlinn came to record 'Annie Get Your Gun' he insisted on his usual 'rehearsal' session with the orchestra in which he played through the entire score to check the accuracy of the parts. On this occasion, Kim Criswell also attended the session and sang through the entire role of Annie, and I had a lovely time as an audience of one at my favourite musical! As a further thought, McGlinn did not want to record any Gershwin shows, perhaps because he knew the Nonesuch series had already done justice to Gershwin. What he did desperately want to record was Kurt Weill's 'Love Life' but EMI's marketing people felt that would not be commercial enough and so we got 'Brigadoon', 'Kiss Me, Kate' and 'Annie' as well of course as the fabulous complete 'Show Boat'.
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Post by tmesis on Sept 22, 2017 11:49:58 GMT
Fascinating stuff, as ever, Tony. I don't think the Nonsuch Gershwin series did make much money. I recall that Feinstein in his really excellent book on Gershwin said he was involved in the project because of his close working relationship with Ira and he said they planned to do all the musicals but ran out of funding. I'm fairly sure I have all they did (5 shows.) They were so well produced with all the libretto and copious, really interesting, articles.
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Post by tonyloco on Sept 22, 2017 13:17:11 GMT
For an explanation of my latest avatar, see 'Ban Hoodies from Shakespeare'. I expect I will change it fairly soon!
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Post by tmesis on Sept 23, 2017 10:29:21 GMT
Richard Rodgers
If Kern is my favourite I think Rodgers is the one I admire most. I think for sheer number of great songs he must be top of the list, even exceeding Berlin. I think it would be best to discuss him in two parts (Hart/Hammerstein) but first a few general things. Again with such staggering ability among the 5 greats this is debatable, but I would say he is the best melodist of the lot. His ability to knock out a cracking tune almost effortlessly, fills me with awe. Particularly in his Hammerstein years he wrote really big, open-hearted tunes that a Lloyd Weber always strives for,but nearly always fails to achieve.
So on to...
Rodgers and Hart
We've already commented on that masterful musical Pal Joey. All the songs are a delight to play but I particularly enjoy Bewitched. That opening four note phrase that is restated as the notes get closer together, has a yearning feel like no other song I can think of. I also adore My Funny Valentine, one of Rodger's very few minor key tunes. The best performance of this has to be Chet Baker; it absolutely breaks your heart. Other musicals by the duo that still work are Babes in Arms and The Boys from Syracuse (both given excellent performances a few years back at the Union.)
Other songs I love...
Manhattan
Mountain Greenery (has a scale ever been more effective)
With a song in my Heart (love Ella's version)
Where or When
This Can't be love
Blue Moon (has to be Mel for this, and he's the only one to get the punctuation right to put the meaning of the words across, something he's always very fastidious [but not precious] about.)
Spring is Here
Lover
I could go on...
I think Ella's two volumes in the songbook series are her most successful and enjoyable of the lot (the Porter set comes next.) I also LOVE Dawn Upshaw sings Rodgers and Hart. She's about the only opera-trained singer I can take in this sort of stuff, not only take, she's an absolute natural at it.
I will pause for now, although I'll probably think of many other things later, but if not of course there's the small matter of Hammerstein to discuss.
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Post by tonyloco on Sept 23, 2017 11:20:28 GMT
Yes, it's a very rich assortment of wonderful songs, and that's just Rodgers and Hart! Personally I like playing those songs with a bit of punch in them like 'Thou swell' and 'You took advantage of me' – speaking of which brings Elaine Stritch inevitably to mind, interpolated into the recording of 'On Your Toes' and of course 'Zip' in 'Pal Joey'. I've just checked 'On Your Toes' and that has a great original score and includes several of Hart's really clever lyrics like 'The heart is quicker than the eye', 'It's got to be love' and 'Too good for the average man'. How did Rodgers compose those brilliant tunes first before Hart wrote the lyrics? Was this really the way it happened? Well, however it came about, those songs are amazing, and I think even sharper than Porter.
Oh, and don't forget 'Ten cents a dance', a song with which Ruth Madoc and I used to bring the house down in a really punchy performance at the Pindar of Wakefield. I guess our version maybe lacked subtlety but boy did we tear up the boards. The other big song that I loved to do was 'I'm still here' but that's by some other composer!
A few more that I liked to play are 'It's easy to remember' and 'There's a small hotel'. But why has nobody mentioned that anthem for all female jazz singers 'The lady is a tramp'?
So Rodgers has already claimed his place as one of the big five and he hasn't even got to Hammerstein yet!
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Post by tonyloco on Sept 23, 2017 11:31:10 GMT
By the way, if I remember correctly, in her recording of 'You took advantage of me', Stritch drops down a tone to give added welly to a slower repeat of the chorus. This is certainly a device I used to use with Toni Palmer when we were performing in the bar at Theatre Royal, Stratford East. Off the top of my head, I think a song like 'Give me the moonlight, give me the girl' responds well to this treatment. I know it's a man's song but that never stopped Toni singing it! If Bing Crosby could record 'There ain't no sweet man that's worth the salt of my tears' then why not?!
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Post by tmesis on Sept 23, 2017 15:20:40 GMT
I always wondered why Norman Grantz didn't have a word with Ella about her breath in the middle of a word in Manhattan:
'Sweet push carts gently gli(breath)ding by.'
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Post by tonyloco on Sept 23, 2017 15:26:08 GMT
I always wondered why Norman Grantz didn't have a word with Ella about her breath in the middle of a word in Manhattan: 'Sweet push carts gently gli(breath)ding by.' Interesting point. Who knows?! BTW, you mentioned Dawn Upshaw's R&H album. EMI also has Frederica von Stade and John McGlinn doing an interesting assortment of standards as well as rarities by R&H: Track Listings Disc: 1 1. Babes In Arms: 'My Funny Valentine' 2. Chee-Chee: 'I Must Love You' 3. Too Many Girls: 'I Didn't Know What Time It Was' 4. Chee-Chee: 'Moon Of My Delight' 5. I'd Rather Be Right: 'Ev'rybody Loves You' 6. Heads Up!: 'A Ship Without a Sail' 7. On Your Toes: 'Quiet Night' 8. A Connecticut Yankee (Revival): 'To Keep My Love Alive' 9. Too Many Girls: 'Love Never Went To College' 10. Too Many Girls (Film Version): 'You're Nearer' 11. Betsy: 'If I Were You' 12. Pal Joey: 'Bewitched, Bothered and Bewildered' 13. Two Weeks With Pay: 'Now That I Know You' 14. Dearest Enemy: 'Bye And Bye' 15. Lido Lady: 'Atlantic Blues' 16. Babes In Arms: 'Where Or When' 17. The Boys From Syracuse: 'Falling in Love With Love' I used to think it was OK but haven't played it for some years and have no idea where it is now!
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